the rock band, the building surrounding the sound has to have qualities specific to its purpose: it must fit both the musicians and the audience; the acoustics must have a high quality all the way from the stage to the last row; and the aesthetics must be suitable for the surrounding landscape, as well as for its musical purpose. And of course, the concert hall must be as distinguished architecturally as it is musically. It is the concurrence of these two facets that Victoria Newhouse takes up in Site and Sound. In this volume, a companion to the highly regarded Towards a New Museum, Newhouse examines structures built specifically for musical performance. The first chapter offers an overview of concert hall design from ancient Greek and Roman times through to the great modern works of the second half of the twentieth century. The second chapter is a detailed case study of Lincoln Center. Built between 1957 and 1969, the twelve buildings of the Lincoln Center campus have provided a close-up look at changing attitudes toward music, architecture, and the place of the performing arts within society. The third chapter ranges through recent buildings around the world: Los Angeles; Dallas; Miami; Dublin; Olso, Norway; Porto, Portugal; and more. Newhouse delves into each project in detail and offers a critique that draws on her experiences of attending concerts in the various facilities. The fourth chapter covers the building boom in music venues in China where dozens of "Grand Theaters" are under construction or newly completed. Finally, the fifth chapter looks at the future: projects in the early stages of design and planning that will define the future of an architecture for music.