Recording of Hugh Le Caine's Invocation. The piece opens with a trio of three recorded sounds: a glass that is broken with a hammer, a ping-pong ball hitting a racket, and a drop of water. These sounds are the "instruments" used throughout the piece. Drips are configured as fast ascending and descending glissandi. A series of chords is constructed from a sustained movement of glass stamps. The sound of the ping-pong ball - from the left to the right - gradually accelerates. Severe rumbling and sharp joints appears as sudden changes in channels multiply. The introduction of these gestures disrupts the orderly progression of loops and the inclusion of small strips of paper connected to the ribbon which produces rough and jerky sounds further accentuate this breaking effect. Towards the end of the piece, sustained sounds are played out in a chord, but as soon as this effect is installed, the tape slows down and stops, as if someone had unplugged the music player. Then we hear a particularly violent sound of glass breaking.

Recording of Hugh le Caine's Ninety nine Generators. The title refers to the 99 organ sound generators sensitive keys - a separate generator for each note of the keyboard that can all be operated simultaneously. Le Caine here uses a resonance pedal and a device that can change the pitch to produce a vibrato or long glissandi impossible to achieve on an organ. The particular reverb of this piece is caused by the unusual acoustics of the place where it was realized.

Recording of Hugh le Caine's Dripsody. It is an study for variable speed recorder. It was composed in one night. Le Caine used a recording of a drop of water falling into a bucket, which he re- recorded different speeds, obtaining the heights of a pentatonic scale. Using 25 connectors and the variable speed tape recorder, it produced thousands of sound effects. Dripsody begins with the original sound of the water drop, repetition loop. Shortly afterwards, by adding more loops, the density of the sound increases and an arpeggio figure is produced. The complete work, lasting one minute and twenty-six seconds, was finished at 7.30 am, and Le Caine played it for those who arrived at the laboratory.

Recording of Włodzimierz Kotoński's Etude pour un seul coup de cymbale.

This interior view of the JFK TWA Terminal shows the curvilinear stairs and ceiling with dramatic lighting.

This interior view of the JFK TWA Terminal shows the curvilinear stairs and ceiling with dramatic lighting and some vending areas.

This sweeping interior view of the JFK TWA Terminal shows counters and curvilinear windows.

This interior view of the JFK TWA Terminal shows the curvilinear windows and counters.

This interior view of the JFK TWA Terminal shows close detail of the ceiling construction.

This interior view of the JFK TWA Terminal shows ceiling, counters, and flight arrival and departure boards.

Vertically oriented oil painting depicts a singer playing a stringed instrument. The setting appears to be a small enclosed space.

The exterior of the synagogue is composed of large triangular shapes.

The exterior of the synagogue is lit in the early dusk hour and the details of the roof are outlined.

The interior structure and the seating area are expansive.

The bronze sculpture consists of a woman with a ponytail holding three children as they play.

This detail shows the juxtaposition of one of the pyramidal glass shapes that emerges from the stone columns.

The view is a detail of an entrance with a large glass and steel pyramidal structure butting through the columns that form a foyer.

The view is of an entrance with a paved patio, raised planting beds and a large grassy lawn. In the distance can be seen the pyramidal shapes and a portion of the tower scaffolding.

A close detail of the facade with its three-story columns is visible.

This view of the building complex includes a structural log-cabin style fortress in a small area next to the building. The fort is constructed of hewn logs with a fence along the top of which are sculpted fish-like forms.

The view is parallel to the facade and shows a close detail with each floor visible through the glass walls.

The raking view is of the interior hallway of the top floor which runs the width of the building. The glass roof is visible as are the glass rails next to the exterior glass wall. A small space between the glass railings and the columns affords air space and an open feel to the floors below.

The view is of a tiled courtyard with two outdoor sculptures.

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