2023 נובמבר 135 הרמוניה מוזיקלית באדריכלות אדריכלות ישראלית 91 | | | Above: Liquid outline of the Harbin Opera House by Mad Architects Right page top: Harmonious random formation of urban tissue in Fez, Morocco Right page middle: Geometric harmony by Piet Mondrian Below: "Starry Night" by Vincent van Gogh a four-quarter rhythm, as well as other rhythms which were borrowed from different cultures, including tonal division into quarters of tones which are very common in Eastern music. In summary: Compared to the concept of almost abstract harmony in architecture, the obvious and meticulous rules that have existed for centuries concerning musical harmony allow us to extract several important architectural principles: First - that harmonious design can be constructed from orchestrated coordination between uniform, contrasting or complementary components. Second - that harmonious changes are possible as long as the rules of the game are based on (all) language components: semiotics (signs), syntax (order of things) and semantics. Third - that like in music, harmony in architecture is a 3D process (unlike the two-dimensional expression in painting, for example) and not a static, "frozen" picture as Goethe stated. On this basis one may compare the transition spaces in architecture to transitional chords in music; their intention is not only to connect the main spaces, but alternatively to separate them to grant the building's parts their special significance. This is in order to create stress, suspense, and relaxation - the reference being to corridors, stairs, elevators, lobbies, courtyards and waiting rooms, whose purposes are not merely to connect the main spaces but also to orchestrate their functions. Special Thanks to Claudia Chatz and Itai Tal (my guitar teacher) for their strict oversight of the musical aspects.
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