محاضرة 1

Aesthetics
in
Architecture
Presented by: Aya Ashour
Content :
1. The history of beauty
2. The definitions of aesthetics in some historical eras
3. The scope of the perception of beauty
4. The purpose of beauty
5. the concept of aesthetics in architecture
6. aesthetics in architecture from the experts’ standpoint
7. What is the form in architecture?
8. What is structure in architecture ?
Reference: Pirhadi, M. (2017,May). The Study of the Concept of Aesthetics in Architecture Derived from the Ideas of Jörg Kurt Greuther,
World Academy of Science, Engineering and Technology International Journal of Urban and Civil Engineering ,4.
What is Beauty?
■ In Moein dictionary, the word “beauty” is defined as
such: “beauty refers to order and harmony which
exists in a thing together with greatness which
excites reason, imagination, and excellent human
tendencies and creates joy and pleasure.
■ The meaning of the word ‘beauty’ in English in

Webster Dictionary is defined as such: the feature
of things, sounds, feelings or rational conceptions,
behavior and the like, which has been acquired with
a perfect shape which pleases or excites one to the
highest extent by a harmonious amalgam of various
elements.
■ In the book “philosophical culture”, beauty is thus

verbalized: “the mode of a being’s existence in such
a way that nature is attracted to it and the spirit
assimilates it.”
01
the history of
the discussions
on beauty
the history of the discussions on beauty:
■ Dates back to the beginning of the history of philosophy
■ The concept of beauty acquired a more psychological aspect since the eighteenth century. Moreover, the
relation of beauty to senses was mostly investigated and the audience was considered a part of this
combination
■ The history of philosophy has had a philosophical view of aesthetics but, later, aesthetics moved away from
the philosophical view and its other facets were investigated. In other words, it was mostly viewed as
audience-centered. The beauty that an individual’s senses received from the work became the center of
discussion
02
The definitions of
aesthetics in
Greece era
the history of the discussions on beauty:
■ In Greece, beauty has mathematical and philosophical definitions.
■ In ancient Greece, “beauty was both a knowledge of quality in things which

made one to call them beautiful and an exceptional and unique quality
beyond the differences of quality and divine categories.
■ Three factors have been raised in ancient Greece as the basis of beauty.
These factors were “balance”, “harmony” and “proportion”.
■ These three factors caused the things and artistic works to seem more
appealing. These factors can be clearly seen in Greek architecture.
03
The scope of the
perception of
beauty
The scope of the
perception of beauty
Beauty and the definitions
which are referred to mostly
focus on the visual sense; but
the question of sound and
pleasant tones, the sense of
touch, smell and, generally, the
audio beauty has been rarely
discussed.
The scope of the perception of beauty
▪ In Greuther’s opinion, the sensory organs are divided into two groups:
- Distanced receptors that are placed at a distance concerning the perception

of the world: the eyes, ears and nose
- The direct receptors which are used to sense the world in close proximity:
the effects that are sensed by the outer surface of the body members and
muscles: sense of touch and taste.
▪ In the amount of information received, the senses are ordered as the sense
of vision, hearing, smell, touch and taste in a respective fashion.
▪ In general terms, it can be said that vision is the main sense in humans and
touch has the lowest status compared to other senses in sensing the
immediate environment.
VISUAL LANSCAPE Soundscape
▪ The main role in the display and ▪ The meanings and values of sounds
discernment of spaces and receiving the differ among people of different
most information from the environment cultures.
is played in the form of visual landscape
and it has the highest status in ranking ▪ The types of sounds
the five senses
1. The sounds produced by living things
such as birds and animals (Bio phony)
2. The sounds caused by the earth and

nature such as thunder and the sounds of
water and wind (Geophones)
3. The artificial man-made sounds such as

the sounds produced by machines and
sirens (Anthrophony)
Smellscape Tastescape
▪ About the sense of smell, we can point ▪ Tastescape can include the agricultural
to the memorable features of this sense farms, gardens, and places where food
as the factor in forming strong emotions and drinks are served such as
in individuals. restaurants, cafes, and drinking places
in a city.
▪ The smelling information is saved for a
long time in memory and has strong ▪ Smell is connected to taste.
connections to the sensory memory.
▪ Moreover, on many occasions, smell
▪ According to Rodaway, the smelling and taste are experienced
environment of city does not have the simultaneously like smelling the food
continuity, unity and clarity of visual, while tasting it or the simultaneous
hearing or touch space. Therefore, it is sense of the smell and taste of smoke on
impossible for humans to sense and the street
discover the totality of smellscape as a
whole at each point in time.
Tactilescape
▪ The environment is experienced in a
continuous kinetic process with the audience sensing the beauty can take place within the
through the perceived touch and the quality of scope of different human senses. As one senses
the environmental texture sensed by the body the beauty in touching a surface, the sense of
such as the coldness of cement and the beauty is also manifested through the eyesight.
roughness of cobbles. These cases have been briefly illustrated in the
explanatory sketch 1
▪ The sense of touch makes one aware of the
sense of space and being in the world through
providing awareness of heat and the quality of
the surrounding surfaces for one.
▪ Hence, all of the information which can be

received by the sense of touch in an
environment including heat, coldness,
roughness, hardness, pressure, and surface
differences, form the tactilescape
04
The purpose of
beauty
What is the purpose of beauty?
This question can be answered from two viewpoints:
• One is the philosophical – psychological view
• and the other is the theory of information
▪ To tolerate this life, we are in need of a soother .The human need for beauty is a
certainty as a part of culture
▪ This matter is proved by the fact that Man has always been attempting to beautify
his environment
▪ according to Freud, the purpose of beauty is the pleasure of the human spirit and
mind following the routine difficulties as many seek refuge in nature to get
calmness.
05
the concept of
aesthetics in
architecture
the concept of aesthetics
in architecture
Architecture attempts to
remind Man of his real status in
the universe. Thus, it creates
existence in its most general
form in architecture and sets
Man as the main ruler of space
within the whole of existence.
the concept of aesthetics in architecture
▪ Architecture is considered a visual art like painting and sculpture. Architects
design buildings using a creative process by which they manipulate art
elements to create a unified and pleasing artistic statement.
▪ The difference between a painting and architecture is that a building has a

function and must be designed with safety in mind.
▪ In the process of design you will practice identifying Sensory Elements that
appear on a building. These are the lines, shapes, colors and textures ,
emotions, feelings that we first notice in art.
▪ Next, we go on to analyze formal Elements that are created when architects

arrange the lines and shapes to create a composition that is balanced and
unified
06
aesthetics in
architecture from the
experts’ standpoint
aesthetics in architecture from the experts’ standpoint
VITRUVIUS
▪ Vitruvius thought that a timeless notion of beauty could be
learnt from the 'truth of nature', that nature's designs were
based on universal laws of proportion and symmetry.
▪ He believed that the body's proportions could be used as a

model of natural proportional perfection.
▪ He showed that the 'ideal' human body fitted precisely into

both a circle and a square, and he thus illustrated the link that
he believed existed between perfect geometric forms and the
perfect body.
▪ according to Vitruvius, that an architect's designs must refer

to the unquestionable perfection of the body's symmetry and
proportions.
▪ If a building is to create a sense of eurythmia ,it is essential that

it mirrors these natural laws of harmony and beauty.
aesthetics in architecture from the
Frank Llyod wright
▪ As Wright’s source of inspiration has
been mostly the nature, this can be seen
clearly in his aesthetic thoughts as well.
▪ According to Wright: if we look at

nature, we must know that for the artist
architect, no aesthetic source is as
productive, inspiring and helpful as the
perception of the law of nature.
▪ The points that are being emphasized in

Wright’s aesthetics are naturalism
towards existence, overemphasis on
nature (instead of history, society, or
god) and the liveliness of the work.
aesthetics in architecture from the
Frank gehry
▪ None of the old aesthetic principles has
remained in his works.
▪ He has benefitted more from the

aesthetics of cinema and sculpture
compared to philosophy and literature
in architecture.
▪ Gehry says: “My view is that our

buildings or in fact the ideas that
come out of our buildings have their
roots in art.” So it can be said that
Gehry sees the beauty in art and has
displayed this view in his works of
architecture
the factors influencing the process of
making sense of beauty
▪ Knowing the historical background and the
existential causes of a building can affect the feeling
of beauty among us. For instance, Les Invalides in
Paris where Napoléon is buried or Taj Mahal in India
as the shrine that Shah Jahan created for his beloved
wife have an effect that transcends their apparent
beauty.
▪ Many of old buildings that at most have a mediocre

beauty in form, and do not have historical
significance either, may seem beautiful to us. The
long life of a building as a symbol of immortality can
in this case have a positive effect in the our process
of sensing the beauty.
▪ One’s personality traits can affect one’s
sense of beauty directly. Introverted
people are able to discern the complexity
more readily and it is thus easier to
please them. Introverted individuals
prefer the kind of architecture in which
there is a dominant order and balance.
▪ One of the most important psychosocial

factors that affect our sense of beauty is
the dominant cultural model: for
example, we can name the style or
fashion that has been accepted at this
time. Often, it is difficult for us to accept
the artistic beauty originating from other
cultural environments.
▪ In line with the four main types that we enumerated in this regard, there exists another
significant factor: taste
▪ It is the taste that tells us what is beautiful and taste is also the product of training.
Conclusion
• The sense of beauty can be trained and learned and this confirms the idea that an architect
should not obtain his or her plans based on the employer’s taste but should make an effort
to allow his plan to have the most aesthetic value.
• Taste is exclusive to an individual and differs among different individuals. This can be
affected by the thoughts and culture of each person, depending on the society in which he or
she lives. In this sense, the beautiful view and beautiful appearances for anything can differ
for people.
07
What is Form ?!
What is the form?!
What elements define form in architecture?
▪ Design Elements point –line –shape – primary shape
▪ primary shape – proportion – Color – Scale – Texture – Articulation
▪ Principle of architecture design (Repetition – Rhythm – unity – Symmetry – contrast )

What is proportion?
▪ Proportion is the term used to describe the relationship between
two things of different size.
▪ When the beauty-in-proportion belief system originated centuries

ago, however, the notion of beauty was not always considered to
be a subjective product of human emotion.
Reference:Cohen, M A 2014 Introduction: Two Kinds of Proportion. Architectural Histories, 2(1): 21, pp. 6, DOI: http://dx.doi.org/10.5334/ah.bv
The art principle of proportion:
➢ Proportion in art is the comparative
harmonious relationship between two
or more elements in a composition with
respect to size, color, quantity, degree,
setting, etc.; i.e. ratio.
➢ A relationship is created when two or
more elements are put together in a
painting.
➢ This relationship is said to be
harmonious when a correct or desirable
relationship exists between the
elements. This refers to the correct
sizing and distribution of an element or
object which creates good proportion.
Good proportion adds harmony and
symmetry or balance among the parts of
a design as a whole.
Reference:Cohen, M A 2014 Introduction: Two Kinds of Proportion. Architectural Histories, 2(1): 21, pp. 6, DOI: http://dx.doi.org/10.5334/ah.bv
08
THE CONCPT OF GOLDEN
SECTION AND FIBBANNOIC
SERIES
THE CONCPT OF GOLDEN SECTION AND
FIBBANNOIC SERIES:
▪ The concept of golden section is theorized by Greek
Philosopher Plato. He has establish the relationship
between the two unequal segment of line, as per his
theory that if ratio between the sum of two segment
of line to larger part is same as ratio between large
segment to small segment , the two part are in
golden ration .This golden ratio is constant and its
value is 1.6180339887
▪ The fibbannoic series is 0,0,1,2,3,5,8,13,21………. and

in this series the next no is sum of two previous no
and the ratio of next no to previous no is constant
called golden ratio. In nature the Fibbannoic series
found in animals, plants etc This series has very
great significance in almost all field because the
ratio of two no is in golden ratio.
Reference: Pirhadi, M. (2017,May). The Study of the Concept of Aesthetics in Architecture Derived from the Ideas of Jörg Kurt Greuther, World Academy of
Science, Engineering and Technology International Journal of Urban and Civil Engineering ,4.
Golden ratios that appear in “The Last Supper,” by Leonardo Da Vinci
The Golden Ratio vs. the Rule of Thirds
➢ Artists have long used a “Rule of
Thirds” as a guide to composition.
This rule, however, is just a rough
approximation of the golden ratio
proportions that appear in nature, and
that has so many unique mathematical
and geometrical properties.
➢ The Rule of Thirds creates divisions at
33.3% and 66.7%. The Golden Ratio
creates divisions at 38.2% and 61.8%.
This might seem like a small
difference, and in some cases the Rule
of Thirds will not be notably different
to the eye.
09
PRINCIPLES OF GEOMETRIC
PROPORTION IN
ARCHITECTURAL DESIGN :
Geometric proportions:
➢ System of proportion has been used to fulfill the technical and aesthetic
requirement of design throughout history of architecture.
➢ There were key principles for this proportion system as follows:
a) Ensure the repetition of key ratio throughout design
b) have additive properties so that the whole could be divided into

different parts easily
c) be adaptable to architect’s technical means
There were many pioneer architects who has developed the system of
proportion in history of architecture such Vitruvius in Roman period ,
Leon Battista Alberti in Renaissance period , Le Corbusier in twenty
century.
A. Vitruvius Proportion system :
➢ According to Roman Architect Vitruvius, an architect should
consider the three central aspects of design for building: firmitas
(strength), utilitas (functionality), and venustas (beauty).
➢ Theory of venustas is very complicated and as per these principles

timeless notion of beauty could be learnt from “truth of nature”,
nature’s designs are based on universal laws of proportion and
symmetry.
➢ He has believed that human body’s proportions are perfect created

by nature and these could be used by an architect for designing of
building.
➢ Leonardo da Vinci in Renaissance has drawn Figure based on work

of Vitruvius and He has made the an ideal human body fitted
precisely into both circle and square and through this illustration he
has told to link geometric forms of building to human body’s
Vitruvius Man drawn by Leonardo da
proportion.
Vinci
B. Alberti Proportion system :
➢ Alberti explain the harmony of proportion could be
achieved in such a manner “nothing could be added,
diminished or altered expect for the worse”.
➢ It simply means that one should go for perfection in the

system of proportion; one should explore many options
before finalizing the best one.
➢ He created a system of architecture based on the ratios

2:1 and 3:1 suggested by the Timaeus of Plato in ancient
Greece and based on musical scale.
➢ He reasoned that “what is pleasing to the ear should be

pleasing to the eye.” He has applied the system of
proportion for designing of the two buildings namely
Santa Maria Novella in Florence and San Sebastiani in Geometric proportion in elevation of Santa
Mantua, Italy. Maria Novella in Florence
C. Le Corbusier Modulor System :
➢ Le Corbusier has taken the advantage of knowledge
given by Vitrivus, Vitruvius, Leonardo da Vinci's
Vitruvian Man, Leone Battista Alberti and interpreted
this knowledge in new way called “ Modulor”.
➢ Le Corbusier has created Le Modular six-foot (about

183- centimeter) Man, somewhat resembling the
familiar logo of the “Michelin man,” with his arm
upraised (to a height of 226 cm; 7’5”), was inserted
into a square.
➢ The ratio of the height of the man (feet to head 183

cm; 6’) to the height of his navel (at the mid-point of
113 cm; 3’8.5”) was taken precisely in a Golden Ratio.
Le Modular Man by Le Corbusier
➢ He has further divided the height of man (from feet to
the raised arm) in golden ration (140 cm and 86 cm) at
the level of wrist of downward –hanging arm. These
two ratios (113 /70) and (140/86) were further
divided into smaller dimensions according to
Reference:Fibonacci series. The Study of the Concept of Aesthetics in Architecture Derived from the Ideas of Jörg Kurt Greuther, World Academy of
Pirhadi, M. (2017,May).
C. Le Corbusier Modulor System :
➢ According to the quantities of 113 and 226,
Le Corbusier developed two vertical
measurements, the red series and the blue
series, which are descending scales related to
the height of the human figure.
➢ The basic plot of human figure is 113 (feet to

naval), 70 (naval to head) and 43 (head to
raised arm) have been shown on left side of
human figure. The all anthropometrics of
human activities could be worked out by
Modulor man .
Anthropometrics through Le Modulor Man
➢ He has used this Modulor principles in
designing of Villa Savoye,Poissy- France,Mill
Owners Association Building Ahemdabad
,Unite D’habitation Marseilles, France ,
planning and designing of Capitol complex
,Chandigarh .
CASE STUDIES OF GEOMETRIC PROPORTIONS
Golden ratio in façade of Parthenon Golden ratio in Great Pyramid
Golden ratio in UNITE D’HABITATION Golden spiral in the plan of College of Engg
Golden ratio
Golden spiral
Renaissance Era
Florence Cathedral
- As we can see a b
in the figures, the
arrangement of
the Elevation
keeps the rhythm
in the same
proportions.
However, all
graduated shapes
are repeated in
the same
proportions. If we
apply the golden
section to each
part of the
building we can
find that all
proportions are
equal.
10
WHAT IS SCALE?
Scale:
▪ While proportion refers to an ordered set of
mathematical relationships among the dimensions of a
form and space, scale refers to how we perceive the
size of something in relation to something else.
▪ It is a proportional relationship between two sets of

dimensions. In dealing with the issue of scale
therefore, we are always comparing one thing to
another
▪ In an architectural drawing, we use a scale to specify

the ratio that determines the relationship between
the drawing and the actual building.
▪ We say that an object is ―full-scale‖ when it

corresponds 1 to 1 (1:1) with real life. If the same
object is rendered such that any given linear
dimension is one-half the length of the original object,
we understand this to be at ―half scale‖ or 1:2
Reference: https://arch121.cankaya.edu.tr/uploads/files/Week%205-lecture%20notes-21-oct-2012.pdf
Scale proportion
➢ scale refers to the size of something ➢ Proportion refers to the proper and
compared to a reference standard or to the harmonious relation of one part to another or
size of something else (like a human being) to the whole
Visual scale:
▪ Psychologists have studied how we perceive visual
information and their findings have shown that we
perceive and judge the size of something in relation to
something else. A thing appears smaller or larger in
relation to the size of other things in its environment.
Visual scale:
▪ One of the studies is known as the Ebbinghaus Illusion. It is the optical illusion that shows
relative size perception. In this illusion, two circles of the same size are perceived to be different
sizes because of the size of the surrounding objects.
Visual scale:
▪ Another example is the Muller-Lyer Illusion where line segments of the same size appear to be of
different lengths based on the shapes that are placed at the ends.
scale at art:
➢ Scale in art does not stand for the size of an
artwork but is a relational principle which is
usually defined through the ratio of an object
to a human body or another object
➢ Artworks are measured regarding proportion
relative to the generalized human scale
➢ Different scaling is applied in art when
something needs to be emphasized, or when
through disproportionate size the importance
of the represented is underlined.
➢ Exploring how scale in art influences viewing

experience through examples, we will see that
artists’ decisions on the scale of their works
are based on the represented motifs, cultural
traditions and the message they are trying to
convey.
1.MAGNIFYING SCALE 2.MINIATURE SCALE
➢ Katharina Fritsch’s Rat King (1993) has scaled up a ➢ When artists create work on a miniature scale, impact
group of rats in order to increase the impact of her is often created through the level of detail and skill
sculpture. The rats are twice the height of a person. involved.
➢ Their size makes them seem monstrous and combines ➢ This prayer nut was created by Adam Theodrici
with their posture to make them feel threatening to between 1500 – 1525. It measures less than 5cm
the viewer across and would have been hung from a chain of
rosary beads.
scale in architecture:
▪ Scale in architecture is measuring or ratio based on the
relation of architectural elements with each other and
their surroundings along with being in harmony with
human body geometry
types of scales in architecture
human scale domestic scale
monumental
scale
1.human scale:
➢ Human scale refers to the size of a form when
compared with our own human size.
➢ Human dimensions and scale have a

determinative effect both in our perception and
also in our creation of buildings and spaces.
➢ Human scale in architecture is based on the

dimensions and proportions of the human body
➢ Anthropology has an integral role to play in the

coordinates of a structure.
➢ Humans associate themselves with all elements

of a building like the size of a door opening,
building volume, void ratio, etc, merging
Architecture and psychology. There are various
types of scale in Architecture homolog us with
the user dimension
2.MONUMENTAL scale 3.DOMESTIC scale
➢ In monumental architecture the harmony is ➢ In domestic (human scale) architecture,
created by the proportioning of ultra large harmony is created by the proportioning of
elements human scale elements (doors, windows etc.).
Architecture Scale and Human Psychology
➢ Humans have a horizontal sense of sight which
is why small-scale is always in harmony with a
human scale.
➢ Our angle of vision ranges between 50 to 55°

so for a user to associate with high-rise
structures or extra voluminous constructed
spaces is comparatively difficult.
➢ As compared to over horizon line-built spaces

it is easier to experience the low-rise
structures. As human scale in architecture
ways upon the physical dimension of the body
and sensorial perception, it creates a friendly
and indulging impact on psychology. These
spaces facilitate a relationship and are
relatable.
Reference: https://www.re-thinkingthefuture.com/architectural-community/a5412-the-psychology-behind-scale-in-architecture/
Architecture Scale and Human Psychology
➢ Talking about the present context, technology has
taken over the comfortable scale of human
architecture.
➢ Larger distances, big structures, huge construction has

led to diminishing traditional knowledge with rising
new scales and technologies
➢ Looking back in the pages of history where it is evident

how the rulers/dictators used to erect massive
structures of monumental scale to mark the victory
and instill fear in the public of the rule. However, with
the changing eras and winning democracies, Public
oriented buildings have been erected/designed.
Architecture has been affecting human experiences
since the beginning of time.
Reference: https://www.re-thinkingthefuture.com/architectural-community/a5412-the-psychology-behind-scale-in-architecture/
perception of scale:
➢ We can understand the size of a space, when we
compare it to the elements whose dimensions are
related with our dimensions, such as windows, doors etc
➢ We perceive the size of a building in comparison to the
other structures near it
CN Tower – height is understood by comparison to the other

structures near it
perception of scale:
➢ One example where this kind of perception is consciously distorted is Saint Peter‘s Basilica in
Rome by Michelangelo.
➢ Michelangelo consciously enlarged the sizes of windows and doors by two or three times than
their normal sizes to be able to give this huge building a simplistic composition.
11
ELEMENTS
AFFECTING THE
SCALE
1.
1.PHYSICAL ELEMENTS AFFECTING SCALE:
DIMENSIONS: The Height Has a Greater 3. OPENINGS: Its Shape and Disposition.
Effect on scale than Length & Width.
4. SURROUNDING ELEMENTS: Its Nature and Scale.
2. BOUNDING SURFACES: Its Shape, Color and
Pattern
1 3
2 4
12
What is Strucure ?!
What is Structure of your body?
What is Structure in Architecture ?
Structure is
the underlying basis of
construction of the
interior (Ching ,1998)
Structure consists of
different aspects in
space structure. The
structural elements in
interior spaces in
addition to providing the
building separator
clusters provide proper
isolation in order to
prepare comfort
conditions

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Aesthetics

2. The definitions of aesthetics in some historical eras

3. The scope of the perception of beauty

4. The purpose of beauty

5. the concept of aesthetics in architecture

6. aesthetics in architecture from the experts’ standpoint

7. What is the form in architecture?

8. What is structure in architecture ?

■ The meaning of the word ‘beauty’ in English in

■ In the book “philosophical culture”, beauty is thus

■ In ancient Greece, “beauty was both a knowledge of quality in things which

- Distanced receptors that are placed at a distance concerning the perception

2. The sounds caused by the earth and

3. The artificial man-made sounds such as

▪ Hence, all of the information which can be

• One is the philosophical – psychological view

• and the other is the theory of information

▪ The difference between a painting and architecture is that a building has a

▪ Next, we go on to analyze formal Elements that are created when architects

▪ He believed that the body's proportions could be used as a

▪ He showed that the 'ideal' human body fitted precisely into

▪ according to Vitruvius, that an architect's designs must refer

▪ If a building is to create a sense of eurythmia ,it is essential that

▪ According to Wright: if we look at

▪ The points that are being emphasized in

▪ He has benefitted more from the

▪ Gehry says: “My view is that our

▪ Many of old buildings that at most have a mediocre

▪ One of the most important psychosocial

▪ Design Elements point –line –shape – primary shape

▪ primary shape – proportion – Color – Scale – Texture – Articulation

▪ Principle of architecture design (Repetition – Rhythm – unity – Symmetry – contrast )

▪ When the beauty-in-proportion belief system originated centuries

▪ The fibbannoic series is 0,0,1,2,3,5,8,13,21………. and

a) Ensure the repetition of key ratio throughout design

b) have additive properties so that the whole could be divided into

c) be adaptable to architect’s technical means

➢ Theory of venustas is very complicated and as per these principles

➢ He has believed that human body’s proportions are perfect created

➢ Leonardo da Vinci in Renaissance has drawn Figure based on work

➢ It simply means that one should go for perfection in the

➢ He created a system of architecture based on the ratios

➢ He reasoned that “what is pleasing to the ear should be

➢ Le Corbusier has created Le Modular six-foot (about

➢ The ratio of the height of the man (feet to head 183

➢ The basic plot of human figure is 113 (feet to

Golden ratio in façade of Parthenon Golden ratio in Great Pyramid

▪ It is a proportional relationship between two sets of

▪ In an architectural drawing, we use a scale to specify

▪ We say that an object is ―full-scale‖ when it

➢ Exploring how scale in art influences viewing

human scale domestic scale

➢ Human dimensions and scale have a

➢ Human scale in architecture is based on the

➢ Anthropology has an integral role to play in the

➢ Humans associate themselves with all elements

➢ Our angle of vision ranges between 50 to 55°

➢ As compared to over horizon line-built spaces

➢ Larger distances, big structures, huge construction has

➢ Looking back in the pages of history where it is evident

CN Tower – height is understood by comparison to the other

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