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 and, harmony, proportion, sacred and/or geometry:
“Even the utmost goodwill and harmony and practical kindness are not sufficient for Friendship, for Friends do not live in harmony merely, as some say, but in melody. We do not wish for Friends to feed and clothe our bodies,—neighbors are kind enough for that,—but to do the like office to our spirits. For this few are rich enough, however well disposed they may be.”
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We used to feel the awe of the distant stars upon us. All that led to was the eighty-eight naval guns, ersatz, and the night air-raids over cities. A magnificent spectacle.
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“I never drank of Aganippe well,
Nor ever did in shade of Tempe sit,
And muses scorn with vulgar brains to dwell;
Poor layman I, for sacred rites unfit.
Some do I hear of poets’ fury tell,
But, God wot, wot not what they mean by it;
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