So, this semester I am taking a course called architectural programming. I’m sure anyone on the outside looking into the world of architecture would consider this some form of a CAD (Computer Assisted Design) course. Most of my friends have stated something along the lines of: “what kind of computer code are you learning how to write?” as many of them know coding in the computer realm though I know nothing outside of AutoCAD. I’ll give you a proper definition of AP and then elaborate. “Today, we define architectural programming as the research and decision-making process that identifies the scope of the work to be designed.” Programming is one of the first steps in the design process. In short, programming is the relationship between the idea driving the project and the design’s functional necessities. The only way to properly complete the programming process is for the architect and the client to engage in an honest and open dialog with the client describing the intent for the space to the best of his/her ability. 
This is why I bring up the Experience Music Project. What it must have been like for Gehry to meet with co-founders Paul Allen and Jody Patton for the first time. I can see the giddy smirk on Gehry’s face now, “You want me to design a ROCK & ROLL MUSEUM, a tribute to HENDRIX if you will?” It is not very often that an architect is offered a balls-out liberal project such as this. Most architects are lucky if they even get a client who will allow them to think outside of the box. After all, that is what five to seven years followed by a lifetime of architectural schooling teaches you to do, so if you ever hire a firm to design your dream home, please free the reigns a little and allow the architect to expand upon your ideas. If you do so, you will walk away with something far greater, I promise. Anyway, let’s get back to the programming phase of the project.
Basically, besides the need for the various spaces, which Allen and Patton brought to the table, Gehry
was free to expand upon the idea to his imagination’s content. So, what did he do? At best a fan of classical music, Gehry wanted to understand rock ‘n’ roll in more depth so he traded in his Bach for Hendrix and took a trip to the neighborhood guitar store. According to the modest Gehry, the real inspiration for the project was a pile of trash he gleaned from the electric guitar shop near his office in Santa Monica. Indeed, the forms and finishes of EMP touch on some potent layers of American subconscious: Fender guitars, auto bodies, and a touch of rental tux.
Post Script:
I am merely a student of architecture. However, I cannot subside the feeling of jealousy although I do understand that Gehry earned this project by way of fore-fronting today’s contemporary architectural design.
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