Thanks for all the responses. It struck me that the work of Reich and Glass was/is mathematical in arrangement. If LaMonte Young and Terry Riley started the movement on the coast then Reich and Glass brought it to the city. It reflected it's architecture. So therefore would it be possible to take the information contained within the written scores and generate a possible two or three dimensional model. I was thinking using the rhythm and spaces time division within musical notation the hierarchy of notes within the scale attributing colour values to each and so on. It is perhaps difficult to get across because I'm working it out as I go. It'll be a collaborative process as I'm a non-musician but I like that idea as much as genuine non-pedigree architecture. That is why I have introduced the proposal here. It is merely a concept that I'd like to see fly and if it does I may then approach the composers for their thoughts.
There are a few features of Music in Fifths that could translate into 3d form design.
The basic structure is composed of patterns that while being repeated are slowly morphing. The beauty and true craft in this piece is how a small changes might have a dramatic impact. I'm sure something similar is achievable in visual arts or architecture, where subtle change in repeating patterns has a big visual impact. It could actually be reflected quite accurately with a patterns that have looped endings and the number of loops increases as pattern evolves.
The basic harmonic building block - the fifths - might be viewed as "a building block that is traditionally frowned upon" and I think that could be also translated into architectural form. It's not easy to "build stuff" out of parallel fifths.
IMO what this piece does to our heads is akin to optical illusion in visual arts - it tries to confuse us as to where the phrase begins or ends, constantly shifting and phasing the simple material.
General austerity of the form and content
But obviously it's all quite personal, and more of a creative endeavour that strict "translation". And I'm not an architect so might get certain things terribly wrong :)
There is a kind "code-ish" approach that could be taken where three musical parameters would be mapped to the 3 physical dimensions. The musical parameters could be pitch, amplitude, waveform, duration, etc. But such mapping will be arbitrary. I cannot imagine it will result in any 3-D form that would stand up like architecture. I put the word in air quotes, because I feel such effort don't actual reveal any true underlying connection between different media.
Of course music is a temporal art. Traditionally harmony is understood to have grammar/syntax qualities. Some music theory draws comparisons to language. Some of those comparisons are very direct like rhythm and poetry meters. Others less direct like musical phrasing and punctuation, or cadences and rhyme. This is an interesting comparison, but it doesn't take us into three dimensions.
Another temporal art closely aligned to music is dance. The interesting thing about comparing music and dance is that dance is a 3-D art. It many not seem to fit the current info-graphic, code-ish fads, but dance might offer some ideas for how to interpret music in a 3-D medium. Below is an illustration of choreography notation from Friedrich Albert Zorn matched to music notation. It stumbled upon this very recently looking for musical rhythm study approaches. I don't really know how that dance notation translates to 3-D, but my main point is to show some example of interpreting music into a 3-D art...
Two other thoughts:
Melodic contour is the technical term for the general shape of a notated line. I have read texts that describe one common contour as an "arch." That's obviously an architectural reference. That particular comparison seems appropriate for elevation or cross section drawings.
An "arch" contour:
Minimalism doesn't really work with grand melodic contours like you get in symphonies. Instead it's more about short rhythmic patterns. Visually it reminds me of Arabic tile patterns. From that perspective it might be more appropriate to make comparisons with decorative elements or perhaps floor plans.
When I say 'decorative' I don't mean strictly decorative like a pilaster, but perhaps things like brick work patterns or exploiting some kind of transparency effect where two patterns on two planes (posts, screens, windows, etc. or perhaps their shadows) combine. Such overlapped patterns would change as the viewer moved through the space. Kind of like moire patterns. That type of gradual pattern change would reflect pattern manipulation in minimalist music which uses a lot of composite rhythms and small changes to generate new patterns of accents and syncopation.
These are just a few of my thoughts. I hope some of it is interesting or helpful.