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The paper provides a detailed historical account of Douglass C. North's early intellectual contributions and analytical developments in pursuing a Grand Theory for why some countries are rich and others poor.

The author approaches the discussion using a theoretical and historical reconstruction based on published and unpublished materials.

The systematic, continuous and profound attempt to answer the Smithian social coordination problem shaped North's journey from being a young serious Marxist to becoming one of the founders of New Institutional Economics. In the process, he was converted in the early 1950s into a rigid neoclassical economist, being one of the leaders in promoting New Economic History. The success of the cliometric revolution exposed the frailties of the movement itself, namely, the limitations of neoclassical economic theory to explain economic growth and social change. Incorporating transaction costs, the institutional framework in which property rights and contracts are measured, defined and enforced assumes a prominent role in explaining economic performance.

In the early 1970s, North adopted a naive theory of institutions and property rights still grounded in neoclassical assumptions. Institutional and organizational analysis is modeled as a social maximizing efficient equilibrium outcome. However, the increasing tension between the neoclassical theoretical apparatus and its failure to account for contrasting political and institutional structures, diverging economic paths and social change propelled the modification of its assumptions and progressive conceptual innovation. In the later 1970s and early 1980s, North abandoned the efficiency view and gradually became more critical of the objective rationality postulate. In this intellectual movement, North's avant-garde research program contributed significantly to the creation of New Institutional Economics.

Analysis of architectural space is commonly conducted by examining architectural drawings that project spatial information by means of walls and partitions. To capture the lived experience of space, which is richer than what we can see from drawings, a new method is proposed to quantify the cognitive dimension of space and re-present it as an audible format.

Using an urban vernacular house in Seoul as a case study, this research takes a syntactic approach to quantify one's changing perception through their movement from the main gate to the most private reception room. Based on Luigi Moretti's theory of hollow space, a new method is proposed to measure the level of spatial pressure exerted on a navigating body. The numerical data of spatial pressure are then converted to a sound using musical techniques of the chromatic scale and chorale textures.

Building on Moretti's abstract concept, it has been shown that a rule-based quantification of users' spatial perception is possible. In addition, unlike conventional approaches of treating architecture as a static entity, this study showed an alternative approach to represent it as a sequence of sensorial experience that can be readily converted to a sound of music.

This research developed a quantification method to measure the perception of pressure inside buildings by revisiting Luigi Moretti's theory proposed in 1952. It has been also demonstrated that the visual stimuli in space can be translated into an audible experience. This new method is applicable to a wide range of buildings including important historic architecture.