The introduction of  sound recording and reproduction technologies in the 20^th century created new perceptions around the musical workand the sound more generally. The interest of listener but also author was shifted by the authentic source of sound in the reproduction and inevitably in the fidelity of this reproduction. This shift constitutes substantially the spark for the new musical style of remix which is supported in the choice and the recontextualization of already constructed forms and their integration in new environments and narratives. Sampling, the basic tool for remixing, has its roots in the experiments of the Italian futurists and the French “musique concréte” and it constitutes, beyond a different strategy in cmoposition, a new attitude toward the artistic creation and the way with which one handles the products of this creation, through the weakening of the concept of the original work, the replacement of repetition with interpretation and the perception of the world finally as a database. This strategy of Dj consists of the filtering of incoming information and the adaptation of preexisting forms thus the Dj as a model applies in fields beyond that of music. Τhe concept of remix is imported in architecture using different examples of virtual and physical spaces and a new reading of the building as a “recording” is being introduced. The building as a variable culture product with read/write permissions.