ARTHE QUIZ 2 - SCALE AND PROPORTION PDF

**ARTHE QUIZ 2 - PROPORTION AND SCALE** **PROPORTION AND SCALE** While scale alludes to the size of something compared to a reference standard or to the size of something else, proportion refers to the proper or harmonious relation of one part to another or to the whole. This relationship may not...

**ARTHE QUIZ 2 - PROPORTION AND SCALE** **PROPORTION AND SCALE** While scale alludes to the size of something compared to a reference standard or to the size of something else, proportion refers to the proper or harmonious relation of one part to another or to the whole. This relationship may not only be one of magnitude, but also of quantity or degree. While the designer usually has a range of choices when determining the proportions of things, some are given to us by the nature of materials, by how building elements respond to forces, and by how things are made. **SCALE** **Scale** refers to the size of something compared to a reference standard "1:100" or to the size of something else, "human scale". When the proportions of architectural composition are applied to a particular building, the two-termed relationship of the parts to the whole must be harmonized with a third term---the observer. He not only sees the proportions of a door and their relationship to those of a wall, but [he measures them against his own dimensions.] This [three-termed relationship is called scale.] **Scale** refers to the [relative size of objects or elements within a composition.] For example, in a landscape painting, the mountains in the background might be depicted on a much larger scale than the trees in the foreground. Scale can be used to create a sense of depth, emphasize certain elements, or establish a sense of grandeur or intimacy. When an architectural drawing has a scale, meaning that so many units of measure on the drawing represent so many units of measure in the actual building. **PROPORTION** Proportion refers to the proper or [harmonious relation of one part to another or to the whole.] Proportion, refers to the relationship between the sizes of different elements within a composition. It is concerned with the harmonious balance of these sizes, rather than their absolute values. For example, in a portrait, the size of the subject\'s head should be proportional to the size of their body and the other features of their face. Proportion can be used to create a sense of balance, harmony, or tension within a composition. **Why are proportioning systems useful and of particular significance in architectural design?** 1. The intent of all theories of proportions is to create a sense of order and harmony among the elements in a visual construction. 2. To establish a consistent set of visual relationships between the parts of a building. 3. The visual order they create can be sensed, accepted, provide an aesthetic rationale for their dimensions. 4. They can visually unify the multiplicity of elements in an architectural design by having all of its parts belong to the same family of proportions. The designer usually has a range of choices when determining the proportions of things, some are given to us by the nature of materials, by how building elements respond to forces "tension or pressure", its function and by how things are made "manufacturing". Because these elements are mass-produced in factories, they have standard sizes. However, the designer still has the ability to control the proportion of the forms and spaces within and around a building.  A steel column will be thinner than a wood post supporting the same load. In a similar manner, columns become thicker as their loads and unsupported height increase. - A **ratio** refers to the [quantitative comparison of two similar things,] while proportion refers to the equality of ratios - A **proportion** is the [equality between two ratios.]  A proportioning system establishes a consistent set of visual relationships between the parts of a building; as well as between the parts and the whole. Many architectural elements are sized and proportioned according to: - Their structural properties - Function - The process through which they are manufactured. - Because these elements are mass-produced in factories. - Aesthetic and visual judgment. **Aesthetic**: Proportioning systems can visually unify the multiplicity of elements in an architectural design by having all of its parts belong to the same family of proportions. **Effect Of Perspective** - A rectangle can appear to be exactly square, almost a square, or very much unlike a square. It can appear to be long, short, or broad, depending on our point of view. - Perspective affect the perception of the space's proportions. - Colors have another effect: narrow, wide, far, etc. **Types of Proportion** **THEORIES OF PROPORTION** **Golden Section**  The Greeks recognized the dominating role the Golden Section played in the proportions of the human body. Another progression that closely approximates the Golden Section in whole numbers is the Fibonacci Series:1,1,2,3,5,8,13,21 Each term again is the sum of the two preceding ones, and the ratio between two consecutive terms tends to approximate the Golden Section as the series progresses to infinity. 21/13 ≈ 1.6 A rectangle whose sides are proportioned according to the Golden Section is known as a Golden Rectangle. The Parthenon, Athens - Two different analysis If the diagonals of two rectangles are either parallel or perpendicular to each other, they indicate that the two rectangles have similar proportions. These diagonals, as well as lines that indicate the common alignment of elements are called [regulating lines]. A **regulating line** is an [assurance against disorder.]  It is a [means of verification order or rhythm]. **Classical Orders** A. base B. column diameter C. body D. capital E. shaft F. cornice G. frieze H. architrave To the [Greeks and Romans] of classical antiquity, the Orders [represented] in their proportioning of elements *[the perfect expression of beauty and harmony.]* 1. The basic unit of dimension was the diameter of the column. 2. From this module were derived the dimensions of the shaft, the capital, as well as the pedestal " base of column" below and the entablature above "upper parts", down to the smallest detail. 3. The system of spacing between columns was also based on the diameter of the column. 4. The sizes of columns varied according to the extent of a building. 5. The Orders were not based on a fixed unit of measurement, but were proportionate and in harmony with one another (next figure). The Classical Orders according to Vignola **Renaissance Theories** Renaissance theories: is a proportion which depends on mathematical system generated from the Greek mathematical system of proportions. Palladio was probably the most influential architect of the Italian Renaissance. In The Four Books on Architecture, he proposed seven \"most beautiful and proportional manners of rooms as below.  Renaissance architects believed that architecture was mathematics translated into spatial units. Palladio also determined the proper height of a room as follows: 5. Height of rooms with flat ceilings would be equal to their floor width. Width= height 6. Height of vaulted square rooms would be one-third greater than its floor length. 1:1:1.3 7. For other rooms, height can be measure according to the equations of the types of proportions mentioned above "Geometric, Arithmetic, and Harmonic." In last case, the height of a room is equal to the mean (b) between the two extremes of the width (a) and length (c) of the room. a \< b \< c **The Modular** Le Corbusier developed his proportioning system, the Modular, to order the dimensions. He saw the measuring tools of the Greeks, Egyptians, and other high civilizations as being \"infinitely rich and accurate because they formed part of the mathematics of the human body, the source of that harmony which moves us to beauty. He therefore based his measuring tool, the Modular, on both mathematics (the aesthetic dimensions of the Golden Section and the Fibonacci Series), and the proportions of the human body (functional dimensions). The basic grid consist of three measures, 113,70, and 43 cm, proportioned according to the Golden Section. 43+ 70= 113 113 +70=183 113 +70+43 =226 (2x113) 113, 183, and 226 define the space occupied by the human figure. From 113 and 226, Le Corbusier developed the Red and Blue„ series, diminishing scales of dimensions that were related to the stature of the human figure. Red: 4, 6, 10, 16, 27, 43, 70, 113, 183, 296, 226 (113\*2) Blue: 13 ،20 ،33 ،53 ،86 ،140 ،226 ،366 Human Body  **The Traditional Japanese Ken** - The traditional Japanese unit of measure, the shaku, was originally imported from China. 1 ken = 6 shaku - The shaku is almost equivalent to the English foot. 1 ken =6\*30=180cm - The ken was soon standardized unit for residential architecture. - The ken evolved into an aesthetic module that ordered the structure, materials, and space of Japanese architecture. - Two methods of designing with the ken modular grid developed that affected its dimension. The ken grid of 6 shaku determined the center-to-center spacing of columns. - The standard floor mat (3x6 shaku or 0.5x1 ken or 90x180cm) - The traditional floor mat was originally proportioned to accommodate two persons sitting or one person sleeping. - 1 floor mat = two persons sitting = one person sleeping 1 mat = bed area **Anthropometry** - Anthropometry: refers to the measurement of the size and proportions of the human body. - Spaces in architecture are determined by its dimensions. - Average dimensions must always be treated with caution since variations exists between men and women, among various age and racial groups. - The different situation of human body affects the design. Human scale in architecture is based on the dimensions and proportions of the human body. **ORDERING PRINCIPLES** - Order without diversity can result in monotony or boredom; - Diversity without order can produce confusion. - A sense of unity with variety is the ideal. **Ordering principles:** 1. **Axis** - A line established by two points in space, about which forms and spaces can be arranged in a symmetrical or balanced manner. - Dominating & regulating device: Although imaginary the axis is perhaps the most elementary means of organizing forms and spaces in architecture. - It implies symmetry or balance. - The terminating elements of an axis serve to both send and receive its visual thrust. It can be: a linear elements or well-defined spaces "centralized building" forms, vertical planes "a facade", or gateways  2. **Symmetry** - The balanced distribution and arrangement of equivalent forms and spaces on opposite sides of a dividing line or plane, or about a center or axis. - A symmetrical condition can not exist without implying the existence of an axis or center about which it is structured. - There are two fundamental types of symmetry: bilateral symmetry and Radial symmetry. - A symmetrical condition can occur in only a portion of the building to respond to exceptional conditions of its site or program  Bilateral Symmetry and Radial Symmetry A portion of the building has Symmetry. 3. **Hierarchy** - The articulation of the importance or significance of a form or space by its size, shape, or placement relative to the other forms and spaces of the organization. It can be: 1. exceptional size, 2. a unique shape, 3. a strategic location. In an architectural composition, there can be more than a single dominant element; primary and secondary. - Many dominant elements may cause confusion. - When everything is emphasized, nothing is emphasized. - "in size, shape, or placement" Hierarchically important locations for a form or space include: 1\. The termination of a linear sequence or axial organization 2. The center piece of a symmetrical organization 3\. The focus of a centralized or radial organization 4\. Being offset "counterbalance" above, below, or in the foreground of a composition 4. **Datum** - A line, plane, or volume of reference to which other elements in a composition can relate. - It organizes a random pattern of elements - through its regularity, continuity and constant presence. - To be an effective ordering device, a linear datum must have sufficient visual continuity to cut through or bypass all of the elements being organized. - A datum must have sufficient size, closure, and regularity - It can gather elements above, below in front of or behind it. Datum can be: 4. A line can cut through or form a common edge for the pattern, while a grid of lines can form a neutral, unifying field for the pattern.  5. A plane can gather the pattern of elements beneath it or serve as an encompassing background 6. A volume can collect the pattern of elements within its boundaries or around it.  5. **Rhythm and Repetition** - A unifying movement characterized by a patterned repetition or alternation of formal elements or motifs in the same or a modified form. - The movement may be of our eyes as we follow recurring elements in a composition, or of our bodies as we advance through a sequence of spaces. - Examples: beams and columns, windows and doors  Graded rhythm: at irregular intervals 6. **Transformation** - The principle that an architectural concept, structure, or organization can be altered through a series of disconnected manipulations and rearrangement in response to a specific context or set of conditions without a loss of identity or concept. - The original design concept can, through a series of finite permutations, be clarified, strengthened, and built upon, rather than destroyed. - The process of developing a design concept is a series of transformation.