Home Plan Design – Harmony of Design and Proportion

This article is designed as a reference toolkit for harmony and proportion of home plan design. The author prefers to deal with practical practice afterwards. The author, a designer of custom homes, suggests that there is a place in designers' plans for secular Western notions of unity, harmony, order, proportion, even classicism.

Remarkable, practically all these means and potentially applicable reasons the plans of the houses of creators were approached in the literature and elsewhere mainly in public or very important private structures – coliseum, churches, big buildings of bank, etc. – rarely to design houses.

The author began to apply very old ideas. design to very new homes with success and surprises.


There is much reading about architectural design and classical design. Most of this is not particularly interesting – clinical mathematics, nautilus shells and phyllotaxy, impertinence due to style, size, and so on.

According to the author, these works are among the best:

1. The Heady, Heavy: Architectural Principles in the Age of Humanism by Rudolf Wittkower, W. W. Norton & Company, 1971.

2. The intellectually entertaining and well written The Golden Ratio: The Story of Phi, the world's most amazing number by Mario Livio, Broadway Books, 2002.

3. The imposing presentation of the Orders, their fabrication and recasting in The Language of Architecture by John Summerson, The MIT Press, 1962.

4. Methods and Materials, Traditional Construction Models: Thumb Rules Design and Detail by Stephen Mouzon et al., McGraw-Hill. 2005.

5. The thoughtful, old way of seeing: How architecture lost its magic (and how to recover it) by Jonathan Hale, Houghton Mifflin, 1994.

6. The Whole [but not over-reaching, not hardly] A Pattern Language: Cities, Building, Construction by C. Alexander and others, Oxford University Press, 1977 and his companion The Timeless Way of Building by Christopher Alexander, Oxford University Press, 1979.


As for proportion and proportions alone, here are those that are currently favored by the author, mainly for their simplicity of expression:

1. Golden Mean, or Golden Section or Golden Ratio, or Mark Barr's report from Phidias (a / k / a Phidias), or phi.

2. Lambda in the Timaeus of Plato plus 5 and 7.

3. Regulatory lines (or regulatory routes to Auguste Choisy and Le Corbusier)

Subjectively, it is the equilibrium, the rhythm, the symmetry, the meaning of the schema from the illusory to the hard rock.


For perspective, "To the extent that the laws of mathematics refer to reality, they are not certain as far as they are certain, they do not refer to reality . "Sidelight on Relativity by A. Einstein, translated by GB Jeffery and W. Perret, London, 1922.

The practical use of these metrics up to here for the author mainly concerns: a) positive integers from 1 to 9 exclusively, b) plus Phi and phi, c) generally apparent and generally symmetrical kinship lines


Comment: The practical use of these formulations is to relate these numerical values ​​and these physical relations –

1. Whole integers positive from 1 to 9

2. More phi and phi

3. Generally apparent and generally symmetrical relation lines

4. The Fibonacci series in aspects of progression

Comment: In the opinion of this designer, you can get almost everywhere from here with ordered proportions using a matrix connecting 1-9 to 1-9, in the Keeping it simple, you know, 1: 1, 1: 2. … 9: 8, 9: 9. This home designer is also leaning towards Phi = 1.618, phi = 0.618, and the first entries in the Fibonacci series 0, 0, 1, 2, 3, 5, 8, 13, 21, 34, 55 , 89, … Vesica Piscis, logarithmic spirals, dodecahedra, and others are for others the price of the day.

Commentary: Basic rule (not this designer, but he can not remember who was the first, and he thinks that centuries ago, speaking cathedrals or the like, the point is a better reference for the design of the house only for larger constructions): mainly assisting ratios between 4: 3 and 7: 1 as the observable negligible size distinction range

If you are simply looking for numerical relationships, kill you: "Theory of Online Music: Height, Temperament and Timbre, Lesson 27" by Brian Blood, http://www.dolmetsch.com/musictheory27. htm supporting (among others) the proposal of Julien Guadet, "The proportions, it is infinite". Elements and theory of architecture of J. Guadet, Four volumes, first ed. 1901-1904, fourth edition. 1915, vol. I, p. 138 ff.

Forming the design of the house in a proportional setting, the author finds that –

1. It is much easier to start drawing with proportion in mind as a conception premise than to try to impose it later

2. The complexity can overcome the order or at least leave the practical domain when the proportions proliferate beyond the 9 chosen integers and the 2 chosen irrational, a / k / a rigorous in the harmonious design does not mean slave, it does not does not mean sloppy or obtuse. 19659002] 3. Getting obsessive with this stuff can make you crazier. Enjoy it.

4. There is a tendency for momentum, a propensity for this, that proportional opportunities can occur sui generis with a proportional precedent.

5. There are practical limits, especially in interiors where the function may prevail.

6. One can not escape the inattention of a community when a client demands that the project necessarily conform to sometimes hideous design points of view, such as oversized windows, cascades of gables, unbalanced segments. predetermined coatings and linings, etc. [a point which is mirrored in client or community insistence in ignorant or insensitive departure from well-expressed style] a / k / to give up, the horse will not drink; you carried the water.

7. Whimsy does well now and then. So clever, or creative; a small discrepancy is a good thing.

8. Never say that those who preceded you relaxed in their architectural design efforts. Your sterile ignorance would show. Even the field traders not very long before your time were imbued with the knowledge of sacred geometry and classical style [would that you are doubtful, sit down sometime with the photographed front elevation of a fine example of some well-know residential architectural style of, say, the late 19th century, and layout that elevation using a basic knowledge of harmonious design and the parts fit over and over and over again] these designers and builders being at the end of millennia of practice, practice, practice and respect, respect , respect

Source by Ralph Pressel

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