In everyday life, the interdependence of any individual with her or his surrounding environment is self-evident. The subconscious consolidation of spatial orientation by the human being is fundamental to most activities. However, in artistic and aesthetically motivated works, creating a clear sense of spatial orientation is not always the artist’s main intention. Especially in creative activities that are directly related to space and time, such as architecture and music, both spatial and tonal orientation are sometimes brought out, while at other times they are challenged. The use of what is called, in established musical terminology “tonality” and “atonality” and their equivalent ones in architecture, not only enriches the understanding of the regulating mechanisms that are similar in both activities, but helps to describe the means by which the designer of the architectural space determines the kind of interaction between the structured environment and its user.

在日常生活中，任何人与其周围环境的相互依存都是不言而喻的。人类对空间定向的潜意识整合是大多数活动的基础。然而，在具有艺术和审美动机的作品中，创造清晰的空间取向感并不总是艺术家的主要意图。特别是在与时间和空间直接相关的创造性活动中，例如建筑和音乐，有时会发扬空间和色调的方向，而在其他时候则受到挑战。在既定的音乐术语中使用所谓的“音调”和“音调”及其在建筑中的等效术语，不仅丰富了对两种活动中类似调节机制的理解，