Investigating the Position of Harmony in Architecture

Investigating the Position of Harmony in Architecture

In this essay the pick of the topic is driven from the pick of readings and is besides diverted on the ain observations of the metropolis and will take to look at the different positions of a sense and significance of harmoniousness and at the same clip researching more from architecture and indentifying the harmoniousnesss. Composition and balance of parts together defines of what harmoniousness is taking to happen it via reading and observation recording every bit good as by oppugning and seeking for replies.

Harmonizing to the antediluvian instruction and apprehension ; music and architecture are based on equal steps and on order of constructions that could be expressed in the signifier of numerated relationships and which can be found in their illustration in the theory of music and its harmoniousness to the theory of architecture and its proportions.

“As designers, we want more than that ; we don’t merely want a combination of signifiers that works and stands up ; we want it to be beautiful” [ 1 ]

In one manner it is a definition of the field, combination of signifiers that work and stand is a batch to take on, how to accomplish of what we want? Even by looking at the whole context ; the metropolis for illustration in order to see it, must be torn into parts and analysed piece by piece. Like giving yet once more but from an terminal to get downing, of how things come to a portion. Bit by spot which besides requires clip which would do an reply to both harmoniousness and of what we want? Proportion lies and makes the really cardinal in apprehension of harmoniousness harmonizing to Davies instructions.

And it was “Pythagoras who foremost discovered the connexion between geometry and music, ” [ 2 ] many Fieldss are based or are utilizing music rules, comparing and all, in different and many ways. Music in architecture has been chiefly compared in footings of proportions ( size that is seeable or non ) signifiers every bit basic as a rectangle, and its lengths.

To seek harmoniousness in architecture in footings of the proportions, what in fact is really easy to make and is even easier to descry. By looking and comparing and possibly non merely the sizes, what impresses most is the fact of how edifices differ in footings of its clip and even though work so right in doing up as a whole, on one route, in the metropolis and in a row. That inclines that it is the harmoniousness and it is the first thing noticeable about the whole, the proportions nevertheless were approximately right, which was my response of first ideas from my observations of a chosen topographic point of the City, which was in between the peace and quiet and the sough of loud traffic so unpleasant that some may reason as nil particular but celebrated location. Most people prefer the more “open” side of the route which is wider and following to river, ( still bothers me, what monetary value would hold one of most cardinal lands, and the river of crystal clean H2O ) full of direct sunshine during most of the twenty-four hours. The other side was reminding a wall of a figure of edifices one situated right in forward with and alongside others few metres back. Contrasting the whole ; of a modern architecture with authoritative manners environing the portion of the skyline including the proud dome of St Paul’s Cathedral. Somehow it is about ever working together so absolutely genuinely through that harmoniousness of preciseness and right proportions. Although other edifices are working or working merely all right, the form of a 21stCentury “tower” in that skyline was merely ugly and white bordering all around it, the pick of coloring material was excessively bold.

At the traversing four ways which one is taking through the span and its opposite towards the deep of metropolis, at that corner immense edifice decorated at different degrees. It is linking the angle of two sides of the roads like two wings with the entryway in the center of edifice and center of the angle. The sunshine is underscoring the coloring material of a brick block covering bright about aureate sand that eyes merely rest on. Following to it dark ruddy brick, tall and non broad edifice joined with a spread with modern unfinished office infinites, the brick works absolutely with its dark sanded walls with monolithic glass Windowss in two equal rows and four columns, and height about the same.

“Musical harmoniousness was merely one manifestation of a greater, cosmic harmoniousness? ” [ 3 ]

With this sentence the “cosmic” might intend that it is something that find promises something definitively new but in a good, right and powerful manner. That it could be a lead towards accomplishing of what “we want? ” But what cosmic harmoniousness really is?

For illustration in the Platonic duologue “Timaeus” , which deals with the creative activity of the universe, psyche and the cosmic order and in footings of a harmoniousness of the heavenly domains, the Pythagorean relationships of the whole to its parts is explained as the figure of harmoniousnesss manifest themselves as both in the fundamental law of the full universe every bit good as in the construction of the psyche.

“We perceive forepart and back in a different manner from right and left. The construct of above and below bases out, since it is conditioned by the unsloped position of the human being.” [ 4 ]

To cognize some of proportion quotation mark from the natural co-ordinate bomber subdivision efficaciously inclines from where to get down and seek for the proportions that aim towards harmoniousness and order. In fact most architectural undertakings relay on human figure as one of the “standard” and “main” step that is repeated over and over once more, reiterating same form as one is holding the same in common with each other, making a seeable harmoniousness and of more “walls” as what is noticeable at the really first things that run through your caput, spontaneously merely as the music sometimes does.

Traveling back to Pythagorean construct of a harmoniousness that was based on the numeral aesthetics ; there is besides a more particular relationship in footings of above and an illustration gives the Florentine cathedral and Santa Maria del Fiore and Guillaume Dufay’s motet from 1436 where the numeral construction of the motet and the relative dimensions of the cathedral.

As Paul Valery states in Eupalinos ou l’architecte, in this context ; “music and architecture differ from the remainder of humanistic disciplines in their capacity to environ adult male entirely” [ 5 ] . In fact both humanistic disciplines trade with infinite, but with mathematical proportions in the first topographic point and infinite secondly.

Iannis Xenakis used geometry to put theory in his modernist edifices and music nevertheless, his designation that music and architecture were both manifestations of mathematics, provoked him to see the geometric notation. Xenakis began by sing the internal acoustics, and realised that the most choice design would be based on inflated parabolises. In both the marquee and the musical composing, he was “interested in the inquiry of whether it was possible to acquire from one point to another without interrupting the continuity” , as he has described. Furthermore, at first sight Xenakis adopted a matter-of-fact attitude towards infinite as he has stated:

“Space foremost and first has the undertaking of leting sound to be heard decently. If for case, we seat four, five, six instrumentalists executing a chamber piece near to one another the sound coming from one point is excessively thick the instruments can’t be differentiated from one another. [ … ] The sound will be much purer if we seat the instrumentalists good apart.” [ 6 ]

This may stand as a decision driven from the fact that in humanistic disciplines, one benefits from another, merely as it was making every bit far as ancient Greece as the interior decorator were able to make perfect acoustics, doing it able to hear throughout the infinites of theater. Similarly in the nowadays place, because of the ability to build or take a quality of good sound proofing, the silence can be enjoyed. It is besides someway of what architecture leaves for music and its lovers.


It is clear that there are differences between the humanistic disciplines, no uncertainty about that but there are besides many analogies between them which in this instance I found interesting, and possibly for the music less evident but in theory based on mathematical rules, for the ocular AIDSs in apprehension, pictures might be used, but would the usage of sound appear better for a preciseness. I would wish to stop with a quotation mark of good known philosopher Goethe, which now does non sound every bit abstract as it may look at first:

“Music is liquid Architecture ;

Architecture is frozen music.”


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