The opera house is envisioned as a spatial analog of a music compositional process - perhaps the most parsimonious and recursive one, the fugue, with its maximum self-sufficiency of content. In the fugue, the more such self-sufficiency is manifested in the form of unity, the more all the shapes stem from one basic idea, that is, from a single theme and the way it is treated, and the more artful it is. In its highest form, which may perhaps be a merely theoretical construction, nothing would claim a place in a fugue unless it was derived, at least indirectly, from the theme. (Schoenberg, 1975, Style and Idea). A stretto fugue, from stringere, meaning to draw close or tighten, denotes, in music, the temporal compression in the repetition and development of the theme and its imitation in a fugal composition. The response begins before the original theme is completed. This layering of tones creates a relationship that binds the two lines together in perfect relations (unisons, octaves, fourths, and fifths), though both progressions are distinct. When this relationship is continually stressed, the composition can be termed a stretto fugue. The opera house here is modeled after a spatial relation between two triangular prisms, a spatial idea that produces a continuous and oblique perception throughout the building through all its scales - from the urban to the detail.