Arts Teaching Kit for Senior Secondary Curriculum Visual ...

Arts Teaching Kit for Senior Secondary Curriculum

[Teacher notes]

Proportion in Architecture

Visual Arts

© Le Corbusier Foundation

Organizer Sponsor Research Team

ContentsPreamble

Teaching plan i

DisclaimerCreate Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) do not reflect the views of the Government of the Hong Kong Special Administrative Region.© 2012 Hong Kong Institute of Architects

Lesson 1: Proportion in Architecture

1.1 What is Proportion in Architecture?

1.2 The Aesthetic Ratio in Art and Architecture

1.2.1 The Golden Ratio in Art and Architecture

1.2.2 Case Study 1 — Ancient Greek Temples

Exercise 1 - Finding the Golden Ratio in Architecture

1.2.3 Le Corbusier’s Modulor System

1.2.4 Case Study 2 — Unité d’Habitation

Exercise 2 - Applying Proportion to Art and Furniture Design

Summary, Key words and Further reading

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Arts | Proportion in Architecture

Topic 06Proportion in Architecture

Major Teaching AreasVisual Arts

Arts Appreciation and Criticism in Context • Formal knowledge

• Knowledge of History and Ways of Seeing

Learning objectives• To understand how proportion contributes to good architecture

• To learn how proportion is applied in ancient architecture and contemporary architecture

• To apply appropriate proportion in different types of three-dimensional arts

Teaching planLesson Contents

Lesson 1

Proportion in architecture

• 1.1 Discuss the importance of proportion in good architecture

• 1.2 Evaluate common proportions adopted in art and architecture

• Apply appropriate proportion in architecture through exercise

Interdisciplinary Teaching AreasDesign and Technology

Strand 1 Design and Innovation

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Lesson 1Proportion in Architecture

© Le Corbusier Foundation01


1 How would you describe the two spaces above?

2 What kind of activities will you suggest to be held at the two places?

3 How does proportion affect the sense of place?

p The wide passage/ common space of Ewha Womans University, South Korea

1.1 What is Proportion in Architecture?

Lesson 1Proportion in Architecture

Introduction - proportion as the expression of architecture

The English author Henry Wotton translated ‘de Architectura’, which was written by Roman architect Vitruvius in 1624, and interpreted Vitruvius’ three conditions of a good building to be commodity (usefulness), firmness (solidity or strength) and delight (beauty). Proportion plays an important role in all three, as it provides guidelines for laying out useful spaces, for designing structural systems, and for creating an aesthetically pleasing environment. The proportions of a space can dramatically change how visitors feel in it, and the proportions of a facade design can affect whether a building appears welcoming threatening, or impressive.

p The tall vertical space in York Minster

[Discussion]

Teaching TipsMore information about universal design, please refer to Design and Technology Topic 03: ‘VIDEO: Universal Design’. 02


p Caged home in Hong Kong © Society for Community Organization

p Children’s playhouse

1 How do the spaces below satisfy/dissatisfy the three conditions of a good building?

2 Can scale and proportion in art and architecture be perceived in similar ways?

Possible perspectives

1 Caged home marginally can barely satisfy ‘commodity’ and ‘firmness’ of a good building. It does not provide ‘delight’ to its users because the space is too small to offer a living space that allow inhabitants to do their daily activity at ease. A children playhouse satisfies strength. However, it can only satisfy ‘commodity’ and ‘delight’ to its particular users (i.e. children). The playhouse is not useful to adults and does not bring adults enjoyment because it is not built according to adult’s proportion.

2 Both impressions of an art piece and an architecture are closely related to the target audience. The size of an art piece relative to perceivers would differ the message the artist wishes to deliver. The relative dimension of a space to its users can alter their spatial experience.


1 In the left photo, the space is relatively enclosed and vertical. In the right photo, the space is more open and wide.

2 The enclosed space in the left photo suggests that the place is for quiet and private activities. The vertical space symbolizes the relationship to God (a place to pray and worship). The right photo suggests that the space is for public gathering because it is wide and open. It can also act as a place for circulation and movement.

3 Proportion relates closely to our immediate impression when we perceive a space. It enhances the ‘delight’ of the space and encourages activities accordingly.

[Discussion]

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1.2 The Aesthetic Ratio in Art and Architecture

1.2.1 The Golden Ratio in Art and ArchitectureThe golden ratio (also called the golden rectangle) is a proportioning system that governs the relationship of smaller parts to the whole. It has long been believed to produce some of the most aesthetically pleasing shapes in nature, and as such has been used in many works of art and architecture.

The ratio is AB:BC=BC:AC=1:1.618.

p Spiral seashell in nature © Chris 73 - Wikipedia user

p The Golden Rectangle diagram © Helen Fan

AB

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The golden ratio is widely applied in ancient art, classical paintings, modern paintings and contemporary graphic design.

1: ‘Mona Lisa’ by Leonardo da Vinci © Michael Paukner

2: Stamp design by Stephan Bundi © Museum of Communication, Berne

3: ‘Broadway Boogie Woogie’ by Piet Mondrian, 1942-43 © 2012 Mondrian/Holtzman Trust c/o HCR International USA

4: Fragment of an inscription on a tombstone from Chieti, National Museum, Rome © National Archeology Museum of Naples, Italy

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1.2.2 Case Study 1Ancient Greek templesLocation: Greece and Italy

p Analysis of the Temple of Neptune, Paestum, Italy, from “Rhythm and Proportion in Lettering” by Walter Kaech, 1956 © National Archeology Museum of Naples, Italy

The temple was generated from Golden ratio AB:BC=AC:BC

Façade in Golden Ratio

• The principles of the Golden Ratio are visible in the façades of ancient Greek temples AB:BC=AC:BC=1:1.618.

• Because of the Golden Ratio’s relationship to nature, it was used in building temples as a sign of appreciation to gods.

• Strength - The height of the pediment (top triangular component) is proportional to the height of the column so as to maintain structural stability.

• Beauty - Entablature (roof slab) is carefully subdivided into structural element (lintel) and decorative element (frieze).

Marcus Vitruvius Pollio, a Roman architect, wrote in his Ten Books of Architecture on the importance of symmetry and proportion. In his language, symmetry means harmony in architectural design, while proportion is the relationship of different parts of building.

Vitruvius further suggested that

• buildings should scale down to dimensions humans can relate to,

• and all buildings should be developed from a standard module (i.e. dimensions in the building should be proportional to the set module).

Without symmetry and proportion there can be no principles in the design of any temple; that is, if there is no precise relation between its members, as in the

case of those of a well-shaped man.- Marcus Vitruvius Pollio, Book III, Chapter 1

‘’

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The Greek Orders - standard module proportional to ideal human forms

• Every building element follows an ‘order’, and each order is meant to mimic ideal human forms.

• The Greek orders are proportionally related to Golden ratio and the proportion of an ideal human form.

• In Vitruvius’s book, the classic orders (Doric, Ionic and Corinthian), have their own proportioning systems.

• Each element of ancient Greek temples is proportional to a module. In the classical order. The diameter of the column shaft at the base is often set as a module.

An Ionic column is a representation of an ideal female proportion while the Doric order is a representation of an ideal male proportion. In the diagram, the two columns are illustrated with the same module.

Evolution of the Greek Orders

In ancient Greek architecture, the Greek Orders were the guidelines of building projects. The three Greek Orders were:

Doric Order — the starting point of the Greek orders and the simplest form.

Ionic Order — an order evolved from Doric order, the mature form of the Greek Orders and the peak of style.

Corinthian Order - an over-developed compound style with leaf-like details made of stone.

DoricDoric Ionic

u Diagram of proportioning systems in Doric and Ionic orders, illustrated from William Ware’s analysis of the classical orders d = Diameter of the column shaft, i.e the standard module in Greek orders

q Details on a Doric column

Dentil=0.25d

Triglyph=0.5d

p Doric Order

p Ionic Order

p Corinthian Order 07


Entasis - Visual effect on proportion• Greek temples, and other monumental architecture, wish to appear

in a majestic manner to highlight their significance.

• The diameter of Greek columns is often decreased from the bottom upwards to exaggerate its size through optical illusion (a technique called entasis).

• The technique can also be found in Horyu-ji (法隆寺) in Japan.

[Extended Knowledge]

© 663highland - Wikipedia user 08


Finding the Golden Ratio in ArchitectureThis is Hong Kong’s Old Supreme Court building. Can you see how the building is designed using the golden ratio?

[Exercise 1]


Although golden ratio is scientifically calculated as 1:1.618, different architects in the world use their own formulated ‘golden ratio’ as an order to their buildings. More importantly, the principle of the ‘golden ratio’ in architecture is to apply a proportioning system to the relationship of building components.

After drawing a rectangle framing the entire elevation of the Old Supreme Court building, we can see that other parts of the elevation follow the same proportion of this rectangular shape but in different dimensions. Symmetry is also applied to the order of the elevation. This is a common feature in many classical buildings.

p Elevation of the Old Supreme Court building

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1 Is Golden ratio always applicable to both art and architecture? What are its limitations?

p Examples of applying Golden Ratio - (Left) Legislative Council, Hong Kong follows a classical proportioning system to reflect its sovereignty. (Right) The spiral roof of The Core, the educational centre in the Eden’s Project, United Kingdom, is generated from Golden Rectangle.


Golden ratio is a proportioning system that provides logic in the form of the nature. However, art and architecture require more than one standardized proportioning system to respond to their target audience.

Strengths Limitations

• Golden Ratio provides guidelines and orders to structure an art piece or an architecture.

• Elements governed by Golden Ratio are balanced in harmony.

• Golden ratio may restrict designers’ personal style and artistic expression if it is used as the only universal proportioning system.

• Golden ratio does not address the relationship of the perceivers and the object itself. The relative size of an art piece/architecture will differ the perception of different people.

[Discussion]

© Peter Randall

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p Architect Daniel Libeskind used an asymmetrical and dynamic form in the Run Run Shaw Creative Media Centre in Hong Kong.

q Architect Frank Gehry’s signature move - a sculptural building envelope - can be seen at the Walt Disney Concert Hall in Los Angeles.

© Mike Hui 11


1.2.3 Le Corbusier’s Modulor System

The Modulor system by Le Corbusier

The Modulor system is the most famous standard of proportions used in architecture. It is a scale of measurements and proportions of the human body devised by Swiss architect Le Corbusier (1887–1965).

Le Corbusier bridged the relationship between the Imperial System (e.g. inch and feet) and the Metric System (e.g. millimetre and metre) by providing a system which takes the heights and proportions of the human form as a universal standard. The system is based on the human body in different gestures. Le Corbusier applied the system in his drawings, furniture design and architecture.

t Modulor diagram of the human body by Le Corbusier, 1954 © Le Corbusier Foundation

q Modulor diagram according to different postures by Le Corbusier, 1954 © Le Corbusier Foundation

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t ‘La Main Ouverte’ by Le Corbusier, 1954, showing the Modulor concept through his iconic ‘Modulor hand’ drawing.


uq Le Corbusier Chaise Lounge Chair LC4. The “wave” in this chair mirrors the curves of the body making it extremely comfortable and ergonomic. For example, the height of the seating is made 430 mm, the dimension of which is taken from the sitting posture of the Modulor man. © Le Corbusier Foundation

© Hen Fan

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1.2.4 Case Study 2Unité d’Habitation by Le CorbusierYear of completion: 1952Location: Marseille, France (Others are located in Nantes-Rezé, Berlin, Briey-en-Forêt and Firminy)

p The free façade of Unite d´Habitation is formed by a carefully orchestrated pattern of single-and double-height balconies generated from 15 different types of living spaces and public, communal spaces, in which dimensions are determined by the Modulor system.

q Elevation of Unite d´Habitation in Marseille © Helen Fan

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Challenges

Le Corbusier wished to apply the Modulor system in the project of the Unité d’Habitation in other locations. The Unité in Firminy was built under a tight budget and restrictive regulations from HLM (Habitations à Loyer Modéré, French Social Housing authorities). He was required to translate the Modulor system in yards.

In Berlin, Le Corbusier was forced to abandon the proportions given by the Modulor system due to the difficult relations with employees and the incompatibility of German building regulations. The storey height of the Unité was increased by 1m. Le Corbusier was upset and ended up resigning from work.

This residential project was Le Corbusier’s first opportunity to implement the Modulor system. The Unite d´Habitation in Marseille was meant to provide a prototype for other urban housing projects. The building had a standard module of 2.26m (Modulor man’s dimension). Four other versions were built in different locations afterwards, but they were changed from Le Corbusier’s concept for reasons of cost or political compromise.

The Modulor system provides:

• usefulness by proportioning the plan, section and elevations of the building (e.g. corridor width, storey height and bay distance), the brise-soleil (sun-shading device) and furniture units to human activities;

• strength by spacing the supporting columns in order;

• beauty in the façade by introducing rhythm.

u Openings, seating and structural elements on the internal ‘shopping street’ are governed by the Modulor system.

q Wall feature of Le Corbusier’s Modulor man

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1 The Modulor system can enhance the three conditions of a good architecture. It provides: usefulness by proportioning the plan, section and elevations of the building (e.g. corridor width, storey height and bay distance), the brise-soleil (sun-shading device) and furniture units to human activities; strength by spacing the supporting columns in order; and beauty in the façade by introducing rhythm.

2 The Modulor system is a useful reference to consider in designing a building. However, it is devised from the human body from the west. Human body in the east is less well-built comparatively. The modular man of 1.83 m tall might not be the best universal illustration of body proportion. Moreover, architecture is designed for its particular user. For example, when we are designing a kindergarten, dimensions should be scaled down to the size of a child. In this case, the Modulor system is not applicable.

3 For example, when we are building a hospital, we need to consider the size of the medical equipment. When we are building a sports hall, we need to consider the size of different sports courts.

4 A good architecture should employ an appropriate proportion that facilitates its functions for its particular users (usefulness), fulfils structural requirements (strength), and provides aesthetically-pleasing order (beauty).

The Modulor system was designed by Le Corbusier as a universal standard.

1 What is the aesthetic value of the Modulor system? (Rhythm? Pattern? Spatial quality?)

2 Is the system applicable to all types of buildings?

3 Is there any other scale we need to consider when designing a building?

4 How can we apply good proportions in architecture?

[Discussion]

p Transformation of Modulor system for a nursery school designed by a French student Vassent Garaud © Marion Vassent-Garaud, French

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p People gathering around the art / furniture piece, ‘Assembled Topology’. © SLHO & Associates Ltd. Bottom: Repeating modules of the design (left) are used as a playground for children and as an outdoor furniture for adults (right).

Applying Proportion to Art and Furniture DesignCreate a Modulor system for your classmates, friends or family members. Design a piece of furniture that is suitable for their needs.Example: Applying proportion in art / furniture design

The outdoor module, ‘Assembled Topology’ designed by Douglas Ho from SLHO, can perform either as a piece of public art or outdoor furniture in the Quarry Bay Park. The pragmatic design of module encourages people to sit and lean on in different gestures, as well as for children to play. It can serve as a single piece or in different configurations.

[Exercise 2]

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Summary1. Proportion is important as the order of architecture for usefulness, strength and beauty.

2. The golden ratio, a common relationship of scale in nature, introduces order and creates harmony in visual art and architecture.

3. Vitruvius suggested that building dimensions should relate to human scale, and a standard module should be developed.

4. Le Corbusier elaborated the golden ratio and developed the Modulor system as a universal standard.

5. A good architecture should employ appropriate proportions for its functions and its particular users (usefulness), and should fulfil structural requirements (strength) and provide aesthetically pleasing order (beauty).

Key wordsProportion

Scale

Golden Ratio

Greek orders

Modulor system

Further reading1. Bangs, Herbert. The return of sacred architecture: the golden ratio and the end of modernism.

England: Inner Traditions. 2006.

2. Benton, Tim. ‘Le Corbusier (Charles-Édouard Jeanneret)’. Oxford university Press [Online]. Available at: h t tp : / /www.moma.o r g /m/exp lo r e /co l l ec t i on /a r t_ te r ms/3426/0/1 . iphone_a jax?k lass=ar t i s t

3. Frings, Marcus. 2002. ‘The Golden Section in Architectural Theory.’ Nexus Network Journal vol. 4 no. 1. 2002. pp. 9-32. [Online] Available at: h t tp : / /www.mar cus - f r i ngs.de / tex t -nn j . h tm

4. Kaech, Walter. Rhythm And Proportion In Lettering. Olten: Walter-Verlag. 2956.

5. Le Corbusier. The modulor : a harmonious measure to the human scale, universally applicable to architecture and mechanics. London: Faber and Faber. 1954.

6. Neufert, Ernst. Bauentwurfslehre. Berlin: Bauwelt-Verlag. 1936.

7. Vitruvius. Ten Books on Architecture. Massachusetts: Harvard University Press. 1914.

8. Ware, William R. The American Vignola: a guide to the making of classical architecture. USA: Dover Publications. 1994.


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