The design competition “A House for…” invites architects to create a house for a specific person of their choice. In responding to it, we wished to explore the relationships between architecture and music; between a place and the sounds it hosts, generates, or amplifies. This house for the American composer and pianist Philip Glass offers an architectural reinterpretation of his “music with repetitive structures,” where the perception of linear time is disrupted by a succession of moments. Located on the shore of Lake Annecy, in the village of Talloires-Montmin in the heart of the French Alps, this house provides a space for rest and contemplation as much as for work. Like a gigantic musical instrument, its architecture is a structure in which sound and its vibrations unfold throughout the space until their eventual disappearance. Its form results from a process of iterations. Starting from a solid volume, a series of excavations gradually removes material to shape voids. Through the repetition of these extraction operations, the voids intersect and eventually create a form where silence governs the space. Each excavation becomes part of the score: a bedroom, a bathroom, a corridor, or an office. Independent, these borings form wells of varying depth, diameter, and light intensity. Some open onto the starry sky, while others remain in the intimacy of the volume. Thus, measure by measure, these rooms compose a minimal serial continuity, yet one rich in nuance. While the “UBach” (sic) of the house follows its own compositional movement of space, the second part of the house reinterprets the motion suggested by the resplendent Lake Annecy. The dining room, kitchen, and living room are conceived as an extension of the lake, offering themselves as a stage where the “Master” can express the full singularity of his music. The openings are designed like a grand theater curtain, permanently drawn back, framing the uninterrupted performance from the interior to the exterior. Or perhaps it is the other way around.