Harmony and Proportion As Sacred Geometry
Going back to the Pythagoreans there is an idea that proportions should be related to standards and that the more general and formulaic the standards the better. This idea that there should be beauty and elegance evidenced by a skillful composition of well understood elements underlies mathematics in general and in a sense all the architectural modulors of design as well.
The idea is that buildings should scale down to dimensions humans can relate to and scale up through distances humans can travel as a procession of revelations which may sometimes invoke closure, or glimpses of views that go beyond any encompassing framework and thus suggest to the observer that there is something more besides, invoking wonder and awe.
The classical standards are a series of paired opposites designed to expand the dimensional constraints of the harmony and proportion. In the Greek ideal Vitruvius addresses they are similarity, difference, motion, rest, number, sequence and consequence.
These are incorporated in good architectural design as philosophical categorization; what similarity is of the essence that makes it what it is, and what difference is it that makes it not something else? Is the size of a column or an arch related just to the structural load it bears or more broadly to the presence and purpose of the space itself?
The standard of motion originally referred to encompassing change but has now been expanded to buildings whose kinetic mechanisms may actually determine change depend upon harmonies of wind, humidity, temperature, sound, light, time of day or night, and previous cycles of change.
The stability victim of inflicted madness is questionable architectural standard of the universal set of proportions references the totality of the built environment so that even as it changes it does so in an ongoing and continuous process that can be measured, weighed, and judged as to its orderly harmony.
Sacred geometry has the same arrangement of elements found in compositions of music and nature at its finest incorporating light and shadow, sound and silence, texture and smoothness, mass and airy lightness, as in a forest glade where the leaves move gently on the wind or a sparkle of metal catches the eye as a ripple of water on a pond.
The frieze and architrave vary from 3/4:1/2 in the Doric style to 5/8:5/8 in the Ionic and Corinthian styles. Capitals are 1/2 in all styles except Corinthian which is 3/4. The shaft width is always 5/6 at the top. Column shaft heights are Tuscan 7, Doric 8, Ionic 9 and Corinthian 10. Column bases are always 1/2. In the Pedestal, caps are always 1/4, dies are 8/6 and bases are 3/4. In the quarter of the column entasis, Tuscan styles are 9/4, Doric are 10/4, Ionic are 11/4 and Corinthian columns are 12/4.
Having established the column proportions we move on to its arcade which may be regular with a single element at a spacing of 33⁄4 D, coupled with two elements at 11⁄3 D spaced 5 D, or alternating at 33⁄4 spaced 61⁄4 D. Variations include adding a series of arches between column cap and entablature in the Renaissance style Arcade rcade. Exterior door widths W, have trim 1/5 W for exterior doors and 1/6 W for interior doors. Door heights a re 1 D less than column heights. Anciently if a door is two cubits or between 36" and 42" wide, then its trim is between a fist and a span in width.
Read more about this topic: Proportion (architecture)
Famous quotes containing the words harmony, proportion, sacred and/or geometry:
“The brawling of a sparrow in the eaves,
The brilliant moon and all the milky sky,
And all that famous harmony of leaves,
Had blotted out man’s image and his cry.”
—William Butler Yeats (1865–1939)
“In proportion as our inward life fails, we go more constantly and desperately to the post office. You may depend on it, that the poor fellow who walks away with the greatest number of letters, proud of his extensive correspondence, has not heard from himself this long while.”
—Henry David Thoreau (1817–1862)
“The scholar was not raised by the sacred thoughts amongst which he dwelt, but used them to selfish ends. He was a profane person, and became a showman, turning his gifts to marketable use, and not to his own sustenance and growth. It was found that the intellect could be independently developed, that is, in separation from the man, as any single organ can be invigorated, and the result was monstrous.”
—Ralph Waldo Emerson (1803–1882)
“The geometry of landscape and situation seems to create its own systems of time, the sense of a dynamic element which is cinematising the events of the canvas, translating a posture or ceremony into dynamic terms. The greatest movie of the 20th century is the Mona Lisa, just as the greatest novel is Gray’s Anatomy.”
—J.G. (James Graham)