ABSTRACT
This chapter examines the ways in which the now established foundation will influence the walls that rise from its designated boundaries. This could find a parallel with the way in which envisioned sections of a musical composition might then be filled with appropriate behaviors serving the larger formal purposes of the composer. There is reconsideration of the previously commented sketches, now, in particular, attending to how the geometries of Xenakis’s characteristic “waving glass” panes are made to follow an inferred “counterpoint” in terms of how the proportional sequences on the second level of the living room are aligned with the arrangements below. In his first complete drawing of the Reynolds Desert House, Xenakis also adds a three-dimensional rendering of how the intended structure will look as an accomplished building. In addition to considering the waving glass surfaces, the unique characteristics of Xenakis’s residential plans, his wall fenestrations, are introduced. Chapter 5. ILLUMINATION follows the use Xenakis makes of three ways of allowing incident light to play on the interior walls: waving glass, fenestrations, and “light canons.”
