Sanctuary of Sound is a 72-hour composition performed in an open-air environment delineated by eight wind harps. This spatial configuration defines an architectural framework without physical walls or roof—a site where sound, landscape, and listener coexist in a continuously transforming relationship. Seated or reclining on the grass, the audience is invited to engage in an extended act of listening, attuning to the subtle and unpredictable variations produced by the movement of the wind. In this work, the wind operates as the sole performer. As it moves across the strings of the harps, it generates an ever-changing spectrum of overtones that respond directly to atmospheric conditions. The tactile sensation of a gust on the skin coincides with corresponding fluctuations in sound, fusing perception, motion, and environment into a single sonic experience. Composer Miranda Driessen has long explored the musical and perceptual possibilities of overtone-based sound. The nuanced and evolving harmonic textures of such works may be likened to the interplay of color and light at sunrise or sunset—continuous yet never identical in form. The composition’s large-scale structure arises from the interplay of sound, time, and space, which Driessen has organized according to the architectural principles developed by Dom Hans van der Laan and his concept of the Plastic Number. These proportional systems enable the calculation of distinct orders of magnitude, each corresponding to specific tuning relationships. According to these calculations each wind harp is tuned to a specific pitch, corresponding to a specific moment in the piece. The moments at which the constellation of tunings change function as thresholds—transitions into new sonic-temporal domains, each characterized by a distinct harmonic and atmospheric identity. The decision to entrust a work of this duration to natural forces introduces both risk and philosophical reflection. Variables such as wind and weather can neither be predicted nor controlled. This element of unpredictability foregrounds questions about human agency, environmental interdependence, and artistic legacy. In this sense, Sanctuary of Sound becomes an invitation to reflect on continuity—both ecological and cultural—and on what persists beyond individual lifetimes. The piece also serves as a posthumous tribute to Jan Heinke, creator of the eight wind harps, who passed away in April at the age of 53. Driessen’s conceptual foundation extends across musical and philosophical traditions: the harmonic theories of Pythagoras, notions of consonance and dissonance from the Middle Ages and Renaissance, the temporal openness articulated by John Cage, and the sustained sonic developments characteristic of Éliane Radigue. Within this continuum of thought and practice spanning more than 2,500 years, Sanctuary of Sound situates itself as both a contemporary composition and a meditation on time, resonance, and impermanence. In that vast continuum, 72 hours becomes only a fleeting moment—yet one through which time, space, and spirit continue to breathe and resonate.