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ARCH 1311 Lecture 24 - Video #1: Ordering Principles — Transcript

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0:02in this lecture we're going to be
0:04continuing our discussion about some of
0:07the topics in unit 3 particularly formal
0:12issues in architecture and drawing a lot
0:15of this subject matter from chapter 7 in
0:19form space and Order and here we're
0:22talking about ordering principles so a
0:26lot of these ordering principles can be
0:28seen in
0:30architecture and it can be seen in
0:33individual buildings or in some cases it
0:36can be in a city or an urban planning
0:41context or it could be a cluster or
0:44grouping of buildings but you see these
0:48ordering principles play out in various
0:52ways and you could take a particular
0:54building and you might see many ordering
0:57principles within that building you
0:59might see one very strongly designed or
1:03occurring in that building but you'll
1:06start to hopefully view buildings a
1:08different way once you look at them
1:10through the lens of some of these
1:12ordering
1:13principles one of the first ones that we
1:15talk about is the Axis or the idea of
1:20creating an axis within
1:24architecture now an axis exists outside
1:27of architecture basically have a line
1:30that's established by two points
1:32occurring in space this is a very common
1:37geometric tool or
1:41function but when we're talking about an
1:44axis it could be a line around which
1:47other objects are placed it could be a
1:50line that goes through other objects it
1:53could be a blank space or a void space
1:56inside of a building or a complex of
2:00buildings in this example we're going to
2:03look at the axis as an ordering form
2:08around which other objects are placed so
2:11here we're looking at a plan view of
2:14teot wakan and this is the
2:18archaeological Zone teot aan outside of
2:20Mexico
2:21City and teot aan was an ancient
2:26civilization and was in the
2:29pre-columbian era so a
2:32Mesoamerican civilization that predated
2:34the Aztecs now eventually the aex
2:38inhabited this area and actually gave it
2:41the name teot aan but so some people
2:45tend to think that the Aztecs were The
2:48Originators or the Builders of this
2:50complex but um That civilization
2:53predates the
2:55Aztec now
2:57it's there's a lot of debate about who
2:59who built this complex and it's uh some
3:05people think it were was the toltech
3:08civilization but some of the buildings
3:10predate the toltech so um we know that
3:14it was a large society and a large
3:16civilization that occupied the site and
3:20as we're looking at this you see this
3:22strong Line running you know kind of
3:25left to right on the screen and this is
3:28a major axis that serves as a passageway
3:34or a road that is like the Main Avenue
3:38through the
3:40civilization and actually the name that
3:41it's given is Avenue of the dead so the
3:45Avenue of the Dead is really the
3:48unifying element that goes throughout
3:51this site now at its peak of
3:56population it's estimated that there
3:59were
4:00over 120 or 125,000 people living at
4:04this site and that made it for the
4:09time uh around 100 BC it made it the
4:15sixth largest population in the world
4:19now teot aan was established around 100
4:22BC but
4:24was inhabited continually until around
4:29the 8th Century
4:32ad now when we look at the buildings
4:36that are still remaining it doesn't
4:38really address everything that was here
4:40at the time that there were that many
4:42people living there it was a pretty
4:44sophisticated Society architecturally
4:46because there were basically apartment
4:49complexes or multifam houses uh that
4:54held a lot of people in a pretty dense
4:57area now what we see here is what is
5:01remaining and the main complex buildings
5:05are both pyramids and religious or
5:10ritualistic buildings and so this Avenue
5:14of the Dead that we see running all the
5:16way through has some major elements on
5:20either side of it and then probably it's
5:23most major element at the very end um
5:26that you see kind of on the left hand
5:28side of the screen we'll take a look at
5:32that when you have an axis that's
5:34serving as an ordering principle like at
5:38teot wakan the axis is defining or is
5:43defined as a major element in this city
5:46so when we have an axis sometimes the
5:50ends of the line of the axis are open or
5:54there's nothing there and we're just
5:56looking at the axis to serve as an
5:58ordering principle Le with parts of a
6:02building or other elements on either
6:04side of the line of the axis but
6:07sometimes since the line of the axis is
6:10defined by two points kind of two points
6:13in space that are defined and then that
6:15line in between sometimes those end
6:18points of the axis are actual built
6:21items or they're what we would refer to
6:24as terminating elements so when we look
6:27at the Avenue of the Dead t to Aon on
6:31one end there's a major terminating
6:33element that we see here and that is the
6:36Pyramid of the Sun the Pyramid of the
6:39sun serves as the terminating element on
6:43one end there is not a corresponding
6:45element on the other end of the axis
6:50that serves the same purpose now
6:53interestingly there is another major
6:55pyramid along the Avenue of the dad
6:58which is the pyramid of the Moon which
7:00we'll see in the next slide but they're
7:02not you know symmetrical about the axis
7:06um but this is a great example of a
7:09terminating
7:10element you see this occurring over and
7:13over in architecture and you also see it
7:16over and over in City Planning urban
7:19planning town planning the axis can
7:23serve as either a thoroughfare or a
7:27visual Axis or visual Corridor you see
7:32this in Austin if you're in South Austin
7:35and you're looking up Congress Avenue to
7:38the
7:39north that Avenue serves as an axis and
7:43the Texas capital building is the
7:46terminating element visually of that
7:49axis now Congress Avenue kind of goes
7:52through that and continues on beyond the
7:55capital but planwise and Visually you're
7:59seeing that as a major terminating
8:01element so you don't have to have
8:02terminating elements on both ends of the
8:06axis now sometimes that occurs where you
8:09have two definite terminating elements
8:12on either end of a strong linear axis in
8:16Washington DC on the National
8:19Mall the mall itself serves as an open
8:23Corridor and a strong visual connecting
8:27axis a physical axis
8:30uh and unifying element for the whole
8:32mall so there are things along the axis
8:34but on the two ends there are definite
8:37terminating elements so on one end is
8:39the US capital building and on the other
8:41end is the Lincoln Memorial so you can
8:44look up one end of the axis look up the
8:47other end and you can visually and
8:49physically see those terminating
8:52elements here at teot tan you're seeing
8:56it you know visually the Avenue is quite
8:58wide it's not as wide as the base of the
9:01Pyramid of the sun you can see this is
9:03just massive especially when compared to
9:06people walking around it and up on
9:10it but it definitely serves as a visual
9:14unifying element and the axis we can
9:18also Imagine was the center of City Life
9:22at teot wakan for that many people to be
9:25living in a small
9:27area was uh pretty unusual thing in that
9:31era so you know in the 1 Century
9:35BC most civilizations would have been
9:39been agrarian or
9:41rural types of settlements or
9:44civilizations and this acted as a city
9:49center of a much larger
9:53area now when we look at terminating
9:56elements as being important
9:59in the overall structure of the complex
10:01or the structure of the building they
10:04might have certain symbolism and just by
10:07its use as a terminating element it
10:10almost elevates it its importance in the
10:13layout of the entire structure of the
10:17entire complex so you can imagine
10:20architecturally if you're inside of a
10:22building and you see a long
10:26Corridor and you are walking down the
10:29corridor or even if you're just looking
10:31down it whatever is placed at the end of
10:34the corridor that you're walking toward
10:36and you're seeing continually the entire
10:38time you're walking down the corridor
10:40whether or not the designer or whoever
10:44owns it or constructed it meant for that
10:46to happen that terminating element
10:48becomes more important because you're
10:51seeing it isolated at the end of this
10:54axis so even if you have other things on
10:57either side of it you had things on
10:59either side of the corridor
11:01psychologically you're not going to
11:03perceive that as being as important as
11:05the terminating element that is at the
11:07end of that
11:09Corridor so we can see that in uh this
11:13example of the Pyramid of the Sun at
11:15teot
11:20aan this is a view from the Pyramid of
11:23the sun once you're up a couple of
11:26levels you know having gone up the step
11:29when you're looking back down the Avenue
11:32of the dead so you can see there is not
11:34a
11:36corresponding terminating element on the
11:39other side of this axis but off to the
11:41left you see the Pyramid of the Moon
11:44that is along the axis so it's kind of
11:47curious that that's where it's placed
11:50you know there is not necessarily
11:52bilateral symmetry or symmetry running
11:55down the axis and then having a mirrored
11:58representation of the other pyramid on
12:00the other side but because of
12:04the the great size and scale of these
12:09pyramids they definitely held importance
12:13within the
12:14cityscape and the Pyramid of the moon is
12:18slightly smaller than the Pyramid of the
12:21Sun not quite as tall but that kind of
12:24makes sense in
12:26the uh hierarchy of the building that
12:29the one that is the terminating element
12:32would be slightly larger and more Grand
12:35in
12:37scale now as we look at this you know
12:40visually it's fairly interesting to see
12:43the backdrop of the mountains
12:45surrounding this
12:47Valley right behind these large pyramids
12:50so you know some people theorize that
12:52these were meant
12:53to reflect the surrounding mountains and
12:58had some symbolic importance there's a
13:01lot of speculation about what happened
13:05at these sites um there are some very
13:09well preserved
13:10murals at some of the buildings at
13:13teoton so we can get an idea of some of
13:17what daily life must have been like
13:19here and it seems to have been a a
13:23fairly sophisticated
13:25civilization because of the number of
13:28people that that lived here there were
13:30over 100,000 people that lived at teoton
13:34so you can imagine that having that many
13:36people in this area and functioning as a
13:40society for several
13:42centuries uh would have been quite a
13:45feat and quite an accomplishment at that
13:54time often when we're discussing the
13:57idea of an axis
13:59sometimes that axis becomes a line of
14:02symmetry so a line of symmetry is kind
14:06of an imaginary line that you might
14:08strike down a building or across a city
14:13plan or a town plan and if you were to
14:17fold that over then it would match up
14:20and it the two sides would kind of
14:22mirror each
14:23other so bilateral symmetry says that
14:27there's a central line of symmetry or
14:29Central axis point around which two of
14:32the halves if put together would be
14:35identical now this is the floor plan of
14:40unity Temple by Frank lyd
14:42Wright this was built in the early part
14:45of the 20th century in Oak Park Illinois
14:49where many Frankl Wright buildings are
14:52constructed where he's from and so you
14:55can imagine the line of symmetry in this
14:58plan is not down the middle top to
15:01bottom because if you folded that over
15:03if you folded the left side and the
15:04right side together they would not match
15:06up but if you drew an
15:08imaginary Axis or line of symmetry from
15:12the left side of the screen to the right
15:15and folded the top and bottom halves
15:18together then those would match up so we
15:20would say that this plan has bilateral
15:23symmetry lateral means side and by means
15:26two so two sides match up about that
15:30Axis or about that line of
15:33symmetry now it's interesting the unity
15:36Temple is uh meant to be a place of
15:40reflection and I don't know if you can
15:43tell on the left hand side is the main
15:45sanctuary there is a Pulpit and kind of
15:48uh an area for an organ and choir but
15:52many of the benches at Unity Temple are
15:55facing into the central part and then
15:58there are kind of these rows of benches
15:59in the main floor of the auditorium and
16:03there are these kind of seats that rise
16:05up on the sides and so it's really kind
16:08of a centralized plan anyway and it's
16:11meant to make people feel like they're
16:14kind of all together in this this one
16:18unifying
16:22space here we look at Unity Temple from
16:25the street view and if you were Orient
16:28ring yourself to the plan that was on
16:31the previous slide then you'd be looking
16:34kind of from the bottom of the slide and
16:36so you know here the left hand and right
16:38hand portions of the building are not
16:41symmetrical you couldn't put those
16:43together but the side that you're
16:44looking at and the side that is kind of
16:47facing the rear of this
16:49Photograph you could put those together
16:52and they would be
16:54symmetrical now it's not just the plan
16:57that has symmetry here
16:59there are various elements that
17:02are symmetrical like these columns these
17:05kind of uh fluted detailed columns um
17:10those are symmetrical you know they have
17:13even numbers so there's just four on the
17:16smaller portion of the building and six
17:18on this larger portion of the building
17:20so if you were to strike a line of
17:22symmetry and uh look at the two sides
17:26those would be symmetrical so they're
17:28individual portions of the building that
17:30contain bilateral symmetry and you see
17:34this idea of symmetry throughout and
17:37it's kind of a unifying principle of the
17:41entire
17:42structure and some of what you see is
17:46meant to
17:47be perceived as a sanctuary space so you
17:51know it's quite Monumental on the
17:53outside you can't see in directly to the
17:57sanctuary from the outside and the
18:00windows are placed high up so that that
18:03light comes in above you and filters
18:06down into the building but it's meant to
18:09feel as if you know people are kind of
18:11contained within the building and
18:13protected from what's going on
18:16outside when we look at the time that it
18:20was built this is built between 1905 and
18:241908 this is quite early in Frank lyd
18:27wri's career
18:29but he is starting to experiment with
18:33architectural precedent which means he
18:36is looking
18:39toward previous examples of classical
18:43architecture and putting his own spin on
18:46that and also looking at Monumental
18:50architecture and things that were meant
18:55to symbolize something greater than the
18:58people inside and so you see reflections
19:02of previous examples of monumental and
19:05classical architecture with his own
19:08details and maybe some minimalization of
19:12some of the more filigreed or ornamental
19:17applications that some previous examples
19:19of class classical architecture might
19:22have demonstrated
19:31the next structure that we look at is
19:34the great stupa at sanchi in
19:37India and this is an example of radial
19:40symmetry now when we look at bilateral
19:44symmetry the implication is that there
19:47is a single line of symmetry or a single
19:50axis that you could strike across either
19:53the plan or section of a building and
19:56the two halves would be symmetrical in
19:59radial symmetry it's not just the two
20:01halves even though there is bilateral
20:03symmetry here in this building where if
20:06you were to strike a line of symmetry
20:09right down the middle the halves would
20:11be the same but in radial symmetry it
20:14means that you could strike more lines
20:17of symmetry than that and different
20:19parts would be symmetrical as well so
20:22this is a round structure so you can
20:24imagine if there's a point in the center
20:26of this plan or the center of this
20:28building and you started striking lines
20:31of symmetry radiating out from that
20:34Central Point that several of the sides
20:38and several of the halves would start to
20:40match
20:41up now this is an interesting comparison
20:45to teot aan because parts of the
20:48structure were built around the same
20:50time as teot aan so this was begun
20:53slightly earlier uh around the 2 Century
20:56BC but was continued to be
21:01constructed into the 2 Century ad and
21:06it's interesting to see the comparison
21:08of these two cultures and how they used
21:12local elements how they
21:14expressed elements of their culture and
21:18their construction techniques and what
21:21they viewed as important in their
21:23buildings but were occurring
21:26in disperate parts of the world but at
21:29the very same
21:33time as we look at the plan of this
21:36structure and the elevation you can see
21:40that there
21:42are points at which if you struck lines
21:46of symmetry kind of going through the
21:49middle as long as they were going
21:50through the middle you could strike a
21:52line kind of going up and down one going
21:54side to side or even you know at 45 de
21:59angles going through the center of the
22:01building one way and then diagonally the
22:04other way and all of those sides would
22:07match up so it has both bilateral
22:10symmetry and radial symmetry in the plan
22:13and the section of the building so if
22:15you had a section cut of this or a a cut
22:18going through the building you could see
22:20that the sides would match
22:22up this was commissioned by Ashoka the
22:26great and is still the oldest Stone
22:30structure currently in India this was
22:33originally constructed as a Buddhist
22:35Sanctuary often referred to as a vihara
22:39and the Buddha is or was constructed in
22:44the middle and then the sanctuary or the
22:49structure is built around
22:52it so originally it served as a
22:56religious site and site of worship so
23:00became a Sacred Space and often people
23:04will say that you could move around the
23:08Buddha that was at the center and so
23:11hence the round structure and the round
23:15plan and it it gains something from the
23:20idea of radial
23:25symmetry the next ordering princip that
23:28we look at after symmetry is
23:32hierarchy and there are several
23:34different types of
23:36hierarchy when we think of hierarchy it
23:39usually means objects in a series the
23:44idea of hierarchy is pervasive in life
23:48today I mean you could say that there
23:50are hierarchies in government or
23:55businesses or you know in graph Graphics
23:58you see different things being more
24:00dominant than another typically we're
24:03talking about hierarchy as either object
24:08dominance or something else being more
24:12significant or in a certain order uh as
24:15compared to something else so one idea
24:18of hierarchy is hierarchy by size so
24:21that just simply means that one object
24:24or a part of an object is larger than
24:26the others and therefore becomes more
24:29dominant because of its
24:31size now this example that we're looking
24:34at here is the main cathedral in
24:37Florence and it's often referred to as
24:40the dwomo or ILO and that means the Dome
24:44because the Dome of this structure is so
24:47dominant that it is much larger than any
24:51other portion of the cathedral but we
24:54also look at this because the dwo and
24:58the Cathedral itself is more dominant in
25:01the skyline and cityscape of Florence
25:04than any of the other buildings that are
25:07in the
25:08city now here on the left we're looking
25:10at the interior view of the Dome and you
25:15can see that
25:17it's overwhelming in its size but also
25:21it's extremely detailed in the paintings
25:25and the construction of you know the
25:27mural that you see inside on the right
25:31hand side this is a digital image of a
25:35cutaway of the construction of the
25:38Dome and on the exterior you can see the
25:43marble paneling there are all these
25:45beautiful green and white marble panels
25:49and that in itself is is quite
25:52unique and when we look
25:55at the dome in relation to other parts
25:58of the building even though there
26:00there's kind of a significant tower on
26:02the left hand side the size and shape of
26:05the Dome really overwhelms everything
26:07else that's going on in the
26:11structure here you see the Cathedral at
26:15night lit up with the surrounding
26:18building buildings of Florence in the
26:20background and kind of in the foreground
26:23but its hierarchy is established by its
26:26dominance over other buildings and the
26:29size of other buildings in the city so
26:33in Florence Italy this was constructed
26:37kind of in the later part of 13th
26:39century and it was originally designed
26:43as a gothic church and was begun in 1296
26:47so arnulfo dambo is the original
26:51designer but mostly this is attributed
26:54to brunoli so filipo brunoli is is
26:59mostly known as the architect because he
27:01designed the Dome and the construction
27:04of the Dome occurred under his watch or
27:07kind of his uh
27:09design and so the hierarchy is really
27:12established by both the dominance of the
27:15Dome structure on the church and by the
27:18church itself as a symbol of Florence uh
27:23as a symbol of the skyline or kind of
27:26cityscape of Florence
27:28and you can see this from most parts of
27:31the city and mostly it's what Florence
27:35is known for it's the number one
27:37attraction in
27:39Florence um among many other attractions
27:42in Florence but this is mostly what
27:45people think of as a symbol of Florence
27:47Italy when you when you think of its
27:50most dominant
27:54feature there are other forms of
27:56hierarchy another one is hierarchy by
28:00shape so here in this graphic we see you
28:03don't have to have something as a larger
28:06sh size in order for it to be
28:08hierarchical so hierarchy by shape says
28:12you have things
28:15of the same shape and then if you have
28:17something a different
28:19shape that in and of itself becomes
28:23noticed because you are kind of glossing
28:26over all the other shapes because there
28:28are the same and then once one is
28:30different it kind of pops out and jumps
28:33out at you now that could be by the
28:37shape itself like with the example of
28:39the circle on the left but you could
28:42also have something that's an identical
28:45shape but by shifting its position it
28:48then becomes a different shape because
28:50it's different in relation to the others
28:53and so this Square that's on the lower
28:57right hand p
28:59you see that just by twisting it at a
29:02certain angle that also jumps out as you
29:05at you so graphically if you kind of
29:07stand back and you look at these shapes
29:10the two things that are going to jump
29:11out at you are the circle and the
29:14rotated Square so that hierarchy by
29:17shape that could be done in several
29:18different ways but it forms a type of
29:22dominance just by the shape that it
29:25takes on now we see this occurring
29:28several times in architecture you see
29:31this in town plans or city plans but
29:36certainly if you have a building and you
29:41want
29:42to create a hierarchy or establish a
29:45hierarchy you can make something
29:47dominant just by E even slightly
29:50altering the shape of elements in the
29:55building another type of hierarchy is
29:57hierarch Archy by placement and
30:00hierarchy by placement says that you
30:02could have elements of all the same
30:05shape all the same size they could even
30:08be in the same position so this Square
30:11kind of in the upper left is not rotated
30:14at a different angle it's not placed in
30:16a different orientation or a different
30:18position but just by creating some space
30:22around it and by placing it further away
30:25from the rest of the elements that
30:27creates a hierarchy or a form of
30:29dominance and that isolation of the
30:33element makes you notice it so sometimes
30:36when we are trying to maintain a focus
30:39on a certain element you might establish
30:43kind of a void space around it or a Zone
30:45around it where there are not other
30:47elements and so that creates a sense of
30:52dominance by just that that object being
30:54isolated or by itself
31:00another ordering principle that we look
31:02at is
31:04datam and datam is an interesting
31:07concept because you can see datam lines
31:12or datam planes in lots of different
31:15things in life so in the book it uses
31:19the idea of music like music on a page
31:23so there are these lines that are
31:25established in music the lines of
31:28musical staff and those remain constant
31:32so those lines always stay the same but
31:35there are notes that kind of Jump Around
31:36And depending on the pattern or the
31:39rhythm of the music those notes might be
31:43together or spaced at various points
31:46depending on the Note they are around
31:48those lines but the datam is the thing
31:50that remains constant so the lines on
31:52the music remain the same and the notes
31:55jump around now that can be applied to
31:58architecture as well
32:00so this idea of datam it could be datam
32:03lines it could be datam planes and it
32:07could be datam volumes you know you
32:09could have chunks of objects or chunks
32:12of space that uh
32:15form uh datam points or you know IDE
32:19this idea of datam but here we're
32:22looking at datam lines in a plan so on
32:27the right hand side you see this town
32:30plan and this is a grid plan meaning all
32:35of the streets or all of the
32:37thoroughfares
32:39become planes that are intersecting each
32:42other and if forms a grid so actually
32:46that does not mean that every single
32:49building is the same in fact if you look
32:51at all of the individual walls this is
32:54kind of a graphic depiction of what the
32:57walls are doing doing in these
32:58individual
32:59buildings and this is a Roman Colonial
33:03town called timad and timad is in
33:06modern-day Algeria in North Africa but
33:11it really is a unique example of an
33:15orthogonal plan on a grid and that was
33:19not you know typical for that
33:23time and in the next slide we'll look at
33:27what
33:28the current state of this city looks
33:31like it's a ruined city um but you can
33:34see the ordering system of the datam
33:37lines of that grid and they're very
33:40strong and when you look at even the
33:44central kind of gathering spaces kind of
33:47at the bottom of the screen like the
33:49central Amphitheater and Central kind of
33:54city hall or city plan um that still
33:58maintains that idea of the grid and the
34:01grid is really strong throughout the
34:03entire
34:05town now when you look at um the
34:09ordering principle seen here there are
34:12probably lots of different ordering
34:14principles that you can see you can see
34:16uh axis lines you can see lines of
34:20symmetry there are even terminating
34:22elements in you know kind of that
34:25Central top to bottom Avenue or that
34:28line with some columns on it that
34:30probably terminated into this Central
34:33City
34:35building but the datam of the lines of
34:39the grid are really really the
34:41dominating
34:45feature now in timad you can see this is
34:49what it looks like now and you know the
34:54grid is extremely obvious and so
34:58kind of on the left you can see a more
35:00dominant line of Axis or dominant Avenue
35:02that probably had columns along it and
35:05it was commissioned by the Roman Emperor
35:07Tran so um in the previous slide and can
35:13go back but there was a Gateway Arch at
35:16the
35:17central area of the city and it's known
35:20as Tran's Arch and that was in honor of
35:24Tran the Roman
35:26Emperor and and this is a also built
35:30around 100 BC so you can
35:33imagine this and the great stupa sanchi
35:39and teot taakan all being built around
35:41the same time all with entirely
35:44different
35:45civilizations but you can start to see
35:47these ordering
35:49principles played out in civilizations
35:53that obviously didn't know what the
35:55others were doing but you can see them
35:57using their local materials you can see
36:00the construction techniques that were
36:02used here and again interesting to see
36:05what was occurring at the same time in
36:07different parts of the
36:12world some other ordering principles
36:16that we look at are Rhythm and
36:19repetition now Rhythm and repetition are
36:22related to one another when we talk
36:24about Rhythm we're talking about how
36:28principles or elements that are either
36:31different or similar or even the same
36:34tend to get repeated and then
36:37form uh kind of
36:40a a series of elements or a series of
36:45points about which a design of a
36:48building or anything else is created now
36:51we're looking at a cutaway of a nautilus
36:54shell and the nautilus shell is a good
36:57example of this and you can see elements
37:00of Rhythm and repetition a lot in nature
37:05and even though in the nautilus
37:08shell as we're looking at these
37:10individual fins or these individual
37:13compartments of the shell they are not
37:17the same size right they're all getting
37:20larger as they radiate out from that
37:23central point of the shell but they're
37:26so similar and their features and
37:29details and curvature are similar and
37:33their spacings even though it starts to
37:36get bigger it creates this Rhythm where
37:39it's almost a predictable spacing and
37:43Rhythm and that's where we start to get
37:45things like the golden section and other
37:47ordering principles because there's
37:50almost a
37:51mathematical algorithm that's created by
37:54starting in the central point and then
37:57those features becoming increasingly
37:59larger and the space between them
38:01becoming increasingly larger and that
38:05repetition becomes the Rhythm that is
38:08created about either a central point in
38:11this case or maybe along an Axis or you
38:15know throughout a facade of a building
38:17and you see this played out in all
38:19different kinds of ways in architecture
38:22so it could be through the size of an
38:24element it could be through the shape of
38:28various elements or individual detail
38:32characteristics and we talk about detail
38:35characteristics it doesn't necessarily
38:37have to be on every single object but
38:40here in the nautilus shell it might be
38:42that individual tiny Ridge or that tiny
38:46rib in the middle we're seeing it cut
38:48through here but these little white
38:50chunks on each of the compartments of
38:52the nautilus shell even something like
38:55that you might consider a detail
38:56characteristic and so as you see that
38:59repeated over and over you could almost
39:01draw an imaginary line through those and
39:04then as you curve that line around you
39:07could imagine that the next one you
39:09could predict where that was going to be
39:11located and in what part of the shell it
39:13would occur now the shape of this you
39:16know you could have this rounded shape
39:19because there's a rhythm it's it's
39:21predictable and Visually it's
39:23predictable so you know you're not going
39:25to come around in the shell and have
39:27have one of these ribs or one of these
39:30compartments curv the other way because
39:33that's just not the pattern that's
39:34established it's not the rhythm of the
39:37element and so the repetition they don't
39:40have to be identical to create a rhythm
39:42they could be um but they don't have to
39:45be but there typically is some kind of
39:48ordering element or ordering system that
39:52is occurring whether it's in the size
39:55the shape or detail characteristic of an
39:58architectural
39:59[Music]
40:01element now we see this in architecture
40:04a lot so it could be with a group of
40:08buildings it could be within a building
40:10itself this is in San Francisco and this
40:14is looking at some of the Victorian
40:17houses surrounding Alamo Square and
40:20these are really kind of an iconic
40:23representation of San Francisco
40:26architecture now now if you look at
40:28these buildings these houses they're not
40:30all the same color and they're not all
40:34exactly the same some of them appear to
40:37be somewhat identical but as you look
40:40closer some have arched doorways some
40:43have a little Gable on top you know so
40:45they're not exactly identical but the
40:48rhythm is established by at least the
40:52majority of elements repeating and
40:55they're not even repeating along an
40:57identical line they're sloping down on a
40:59hill but because they're spaced the same
41:03distance apart there's a definite Rhythm
41:05and pattern that's established in those
41:09houses and as a group you can see that
41:12Rhythm occurring and because there's
41:14such a rhythm you almost convince
41:16yourself that they are identical even
41:19though if you start to look closer there
41:21are many elements that are similar but
41:25different but there's enough repres
41:27repetition of sameness that's occurring
41:31that it it definitely establishes a
41:33rhythm with all of the
41:38buildings now we see this in several
41:42architectural elements this is looking
41:45at a temple in India and this is
41:48actually a series of temples this is a
41:51temple complex uh it's a delara temple
41:56complex and these are Jane temples in
42:00India now the idea of Rhythm and
42:04repetition is seen throughout this
42:07complex and it's seen by the repetition
42:10of various elements on individual
42:14temples so you could pick
42:16out lots of individual architectural
42:19pieces that are repeating and establish
42:22a rhythm so there are these kind of
42:27columnar pieces these columns that keep
42:30repeating there are carvings that keep
42:32repeating the entrance
42:35archways uh step back from each other
42:38but are the same columns and arches and
42:43those occur at several levels but those
42:46keep repeating and so there's a rhythm
42:48of architectural elements that's
42:50established by the repetition of of
42:53things that are going on now this isn't
42:55just one isolated Temple so there are
42:59five main
43:01temples
43:02and as we start to look at these they're
43:06not even
43:07established in
43:09a ordered you know bilateral symmetrical
43:13pattern they're kind of offset from one
43:15another but because there are so many
43:18repeating elements in in these temples
43:21uh that you can tell that they're
43:23definitely related to one another some
43:25even kind of touch each other at the
43:27corners and then there's space between
43:30some of the others but these uh dwara
43:34temples are known for their repetitive
43:37elements and their Rhythm that's
43:40established with the
43:46architecture some other elements that we
43:48see inside it's not just the exterior
43:53that
43:54is repeating you know and not just the
43:57exterior that has repeating elements you
43:59see these very elaborate intricate
44:02carvings and they're
44:06extremely elaborate in their use of
44:08marble so marble is the main building
44:11material and they're stunning because of
44:14how much marble is used and these
44:16intricate carving so you see repetition
44:19like in a radial way around domed
44:24structures you see carving supporting
44:28those domes and columns so those
44:30elements repeat some of the carvings
44:32themselves repeat and create a rhythm
44:35this was built between the 11th and 13th
44:38centuries ad and if you look at the plan
44:44of these temples you know they're not
44:46all exactly the same size they're
44:48similar but again because they have all
44:51of these repeating elements and the
44:54Rhythm that occurs with those repetitive
44:56elements you can you can tell that
44:58they're related and this is located at
45:00Mount Abu
45:06India transformation is
45:09another example of an ordering principle
45:12that we see in architecture and you can
45:15see this in all different buildings and
45:19lots of different ways both in classical
45:21architecture or modern architecture
45:24there's
45:25basically a single element that you
45:28might have and it's kind of like
45:30variations on a theme so if we were
45:33looking at this model this is kind of a
45:36graphic interpretation of
45:38transformation where you would have a
45:42you know these tall cylindrical well not
45:45cylindrical but these Square kind of
45:47tubes right and then you say okay some
45:51of them become curvy and taller or
45:54shorter than one another and then there
45:56groups that become smaller and narrower
46:00but you can start to see unifying parts
46:03of what was originally the same thing
46:06and so transformation basically says I'm
46:08going to take an architectural element
46:11and start to modify different values or
46:16aspects of that particular item and
46:20then group those or show them in a
46:23certain way that makes the user see that
46:26you have trans transformed that item and
46:29you have interpreted it or transformed
46:32it in some way that creates almost a
46:36unifying whole of architectural objects

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