ARCH 1502 CH5-CH10

CH 5. Scale

the size of an object relative to own size, or size of humans

CH 5. Proportion

relationship between the sizes of two or more objects, together

CH 5. In regards to proportion, the Greeks believed:

“it makes the soul happy to work with clear mathematical ratios”

CH 5. Man in possession of special intuition that…

allows them to perceive simple mathematical proportions (in both music, and architecture.

Visual proportions have the same effect on us as harmonies and disharmonies in music

CH 5. the comparison between music and architecture with regards to proportion is flawed, because

In architecture, unlike music, it requires careful measurement to determine ‘flaws’ in a building’s dimensions and proportions.

CH 5. Dominant proportional section:

golden ratio/ golden section

CH 5. the golden section:

the 1st is the 2nd as the 2nd is to the whole

CH 5. pentagram

uses the golden ratio in its form; believed by Pythagoras to have mystical properties; represented harmony and balance

CH 5. fibonnaci sequence

1,2,3,5,8,13…

The high it goes, the closer it approaches the golden ratio. 5:8 is a common approximation of the golden ratio.

CH 5. Villa Foscari, andrea palladio

main floor 1 floor above ground level because of flooding

modeled on a small temple

rectangular rooms with clear mathematical proportions organized around a vaulted hall in the shape of a greek cross

CH 5. villa foscari’s proportions were derived from

the proportions of greek columns

CH 5. villa garches, le corbusier

Columns/pillars hidden in wall form nodal points in a geometric pattern very similar to villa foscari. 

Also has the main floor 1 level above ground

CH 5. Curvilinear forms in villa garches were inspired by…

Le Corbusier ‘s purist paintings

CH 5. villa garches by le corbusier utilizes what proportions overall

5:8, hidden well in building

CH 5. marseilles block, le corbusier

Based on Le Corbusier’s new concept of the module, a new system of proportions derived from human body and actions, replacing the decimal system.

Large building with tall columns that support 4 humans tall “foundation”

mass housing produced to cheaply house large amounts of people post WWII.

Featured cross-over unit designs to increase air and light quality in buildings, and had floors with shopping and utility areas for residents.

CH 5. “larger order” columns

introduced by michelangelo and palladio, and allowed columns to be built larger and taller (several floors, even). Led to larger monumental buildings, and caused a division in monumental VS domestic architecture 

CH 5. after introduction of large order columns, domestic architecture

retained rules of proportioning based on human dimensions, determined in a practical manner

CH 5. after introduction of large order columns, monumental architecture

became even more monumental thanks to increased possible scale of architectural features. Enjoyed increased contrast compared to domestic buildings

CH 5. In baroque period…

palaces (as well as churches and other monumental buildings) were given a monumental scale, inspired by the grandiose dimensions taken from classical structures

CH 5. in rococo period …

“the small room came into its own” - proportioning rules of domestic architecture began to be employed, and privacy and comfort were emphasized 

CH 5. frederick’s hospital, nicolai eigtved

Design for hospital based on “modules” of wards, which were made of beds. 

Example of realistic/practical proportioning.

CH 5. while working on frederick’s hospital, nicolai eigtved discovered

the proportions of a building made more sense when measured in FT and IN instead of meters.

Many things we use in our daily life are standardized without our realizing it.

CH 5. nicolai eigtved aimed to

determine the natural dimensions of architecture and how they could harmonize, by means of simple division

CH 5. is proportioning in architecture objective?

No.

Certain proportions may appeal to many people for a particular purpose, but this doesn’t mean there are certain proportions which are only the right ones for architecture.

what is the major concept for chapter 6?

Variations on a theme

the architecture of various periods must be looked upon as an expression of …

changing rhythms

The architect is usually forced to create what type of subdivision?

regular method of subdivision

Simplest, most timeless method of subdivision

regular repetition of two elements (1,2,1,2 pattern)

rhythm of medieval roman streets

variegated, difficult to navigate

rhythm of quirinal palace

regular abbreviating rhythm, alternating between wall, window, wall, window.

Distances between windows horizontally and vertically exactly balanced. 

1,2 rhythm creates an exhilarating, rather than tiresome feeling.

rhythm in venice

rooms with 2 windows on far side of walls, separated by broad expanse of wall (perhaps for a chimney). 

Coupled windows belong to different rooms

rhythm in london’s terraced housing

3 bays (windows), with entrance door at one side. 

1,2,3 rhythm

Aage Rafn’s rejected courthouse design

1st floor had regular rhythm with alternating round and rectangular windows.

2nd floor had uniform windows and alternating pier widths.

the 2 rhythms coincide. 

In perceiving (experiencing through re-creation) architecture, you can …

experience the rhythm created by architecture

people who live in the same space at the same time have ___ sense of rhythm

the same

spanish steps, rome

“petrification of the dancing rhythm of the period”, particularly the polonaise dance.

the rooms in our houses, and the relation between them, must be determined by … 

the way we live in them and move in them

examples of processional rhythm

forbidden city, bejing

gothic cathedrals

rhythm of forbidden city

journey of rigid, axial symmetry across courtyards, halls, to temple

rhythm of gothic cathedrals

Built on the west-east axis; attention drawn from main entrance to the altar, the backbone of the building

function of processional rhythm

indicate direction of processions and direct attention towards a focal point

characteristics of processional rhythm

carries on and on; obtains meaning through the ryhthmic relation of elements. 

Directs the eye forward along a processional line.

Rhythm of renaissance architecture

less processional; aims to create harmony and clarity instead of tension and mystery

processional rhythm in palladio’s villa foscari

NOT processional. When entering main hallway, you feel content to stay, because of room’s dominance and completeness

frontal style of art

static, flat

plastic style

dynamic, circular, possesses movement and rhythm

filippo brunelleschi

1st modern engineer, devised the use of linear perspective & a vanishing point to create the illusion of 3D space on a 2D surface

“Holy Trinity”

painting by Masaccio, first painting to incorporate Brunelleschi’s concept of linear perspective

examples of baroque rhythms

San Carlo alle Quattro Fontane

Sant’Ivo alla Sapienza

rhythm of San Carlo alle Quattro Fontane

wavy, fluid rhythm

rhythm of Sant’Ivo alla Sapienza

circular, fluid, rotational rhythm

Characteristics of baroque architecture

More restless than renaissance; strove to create spatial sequences instead of unity & harmony

Example: cavities opening on other cavities

Tended to use patterns with curves turning into straight lines and then curving opposite direction.

monumental architecture of the baroque period

based on dynamic spatial planning, rhythmical series of rooms where none were treated as independent unit.

Essentially, designed with processional rhythm but not used for processions.

CH 6. rhythm of danish greek revival buildings

resemble renaissance architecture while lacking rhythmic harmony, “symmetry as a mere convention”

CH 6. rhythm of modern cities

linear, orthogonal (especially in US)

CH 6. the design of buildings (which must be stationary) should be based on… 

the movements that will flow through them

CH 6. attempts to free architecture from a stiff, ceremonial rhythm

glass shop, FLW

Einstein tower

art & commercial complex, Keqiao, China

Taliesin east and west, FLW

Hannah house, FLW

Guggenheim Museum, FLW

CH 6. Glass shop, FLW

brick wall with curved arch entrance; inside, circular structure with ramp, inspired by shop’s glassware.

In effect, more geometric than rhythmic

CH 6. Art and commercial complex, Keqiao, Shaoxing, China

Spiral rhythm: rotating, diffusing, and interweaving movement

CH 6. Einstein tower

Based on ship design (curved planes).

Rasmussen criticizes “it is unnatural to streamline what which is not meant to move.”

CH 6. Taliesin east and West, FLW

based on landscape and movement, utilized triangular and rectangular geometries

CH 6. house, FLW

difficult to inhabit due to forced hexagon and angular geometries.

CH 6. guggenheim museum, FLW

difficult to view art in museum since the body is tilted on spiral ramp

CH 6. Alvar Aalto created which movement?

organic modernism, which was concerned with the union between architecture and life

CH 6. MIT Baker Dormitory

Long, unbroken, undulating rhythm allows for many unique rooms with views of the river.

Stairs on outside have natural light

embodies the concept of “flexible standardization”

Rhythmically, embodies rhythm of modern student dormitory.