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As a playwright, a director and an actor, Harold Pinter knows well the theatrical technique and its function for the play. The distinctive elements in Pinter’s dramatic techniques are characterized by ‘room image’ and ‘Pinteresque’ where his recurring themes of menace/violence/intrusion, silence/pause/blackout, memory and the (latent) psychological needs, etc. are revealed. He has the literary power to create his plays in various impressions by developing the themes and technique of the previous work and by properly matching his characteristic elements of play. When we read a series of Pinter’s plays we get an impression from the process of Pinter’s writing as if an architect were to build different appearance of houses transformed by slightly changing design of the shape and number of windows, or of doors and the material or color of the house. In the sense of construction, an architect and a playwright do the same job, but architecture is a visual art while a play is synthetic art that includes literary elements as well as music, fine art, and dance to accentuate the dramatic effects. When an architect builds a house he not only draws a design but also selects the materials and colors of a house. In this sense architecture is also a synthetic art. This paper demonstrates that a play and an architectural design have a similar constructional sense, so that it is possible to transform a series of Pinter’s plays into a series of architectural designs of three dimensions. For transforming Pinter’s play into architectural design, eleven Pinter plays that divide into three different periods of his writing. From each of these periods a model house will be designed through a hypothetical correspondence of the observable qualities of Pinter’s plays with a part of an architectural design. From the set of pair items, a series of Pinter’s plays fabricates as a related series of architectural designs. This paper shows one of the significant perspectives to convey Pinter’s visions: to connect the logical development of Pinter’s plays with the transforming related series of architectural designs, there is no absolute rule in our hypothetical. Therefore ‘silence’ could be door, window, or wall. Likewise, ‘menace’ could be roof, door or patio. If we fabricate the impaired sets of plays and designs, we could have another series of houses as much as the “combination” or “permutation” calculates in mathematics. However, the point is to show another approach of Pinter’s plays.