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106 . back to again and again I took photos and tried to record and understand the visible structures of those organic places, using them as a model for the new projects I planned . The outcome made me understand that no place is self - existent, independent of the unique reality to which it belongs, and that planning a new environment building ( with that desired quality involves not ) just an application of an existing model, but a deep understanding of the Genetic codes and the processes that lead to its creation . In the late 1970 's and early 1980 's I worked with Christopher Alexander at the "Center for Environmental Structure" in Berkeley . A research institute Alexander founded in the mid 1960 's and directed since . I became closely familiar with all his research work and projects over the years and participated in some, such as the planning of The Cooperative village Shorashim in the Galilee, Israel . This experience both in theory and in practice made me understand in a profound and implementable way, the foundations of harmony in architecture and the operational process leading to its creation . The approach and assumptions put forward by Christopher Alexander as early as the mid 1960 's were essentially different from those of the movements mentioned before . This was an approach that by its very definition created a lot of reaction, raising the level of blood pressure of many… Alexander's basic assumption was ) and still is ( that beauty and harmony are an objective matter inherent in the structure itself, and that feelings have to do with facts . In other words, there is an essential link between the world of facts and the world of values . Order and beauty do not rely on the creator's subjective perception, nor are they an outcome of his arbitrary vision . They are objective properties related to the geometrical properties inherent in the structure itself . In his book The Timeless Way of Building Alexander states that all places of organic order that seem unplanned and orderless are a clear expression of order at a deeper and more complex level . This order is based on absolute rules that have always determined the quality and beauty of a place, and is the source of the good feeling about it . I came to understand the foundations of harmony in architecture and the creative process which produce timeless buildings . The foundations of the holistic approach gave me the explanation for the organic order I was trying to understand . To this approach I was exposed at a later stage in my studies of the Each planning decision regarding the location and shape of the various rooms taken as a result of that experience was marked by red chalk on the ground . These marks were later recorded on paper to become the building plan . But even in this case, where the house clearly grew out of the reality of its site, there were some critical questions that still remained open : What are the rules and processes that determine . 1 the right relationship between the various parts of the building in order to create a whole ? What is the glue that creates the feeling of unity . 2 in a building ? In other words, what is the secret of harmony in architecture ? I kept searching for a way to design new towns, villages, buildings and gardens with the same soul and heart - touching quality we experience in the various places we really love and want to come The house around the lemon tree, Shutz residence, Jerusalem Designed by ) Nili Portugali ( . The layout of the houses is organically drawn from their environment . Tinos, Greece . Longwu monastery, Tongren, Qinghai province, China Tibet ) ) Photo ( by Adiel Portugali ( .
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פורטוגלי, נילי
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