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breadth. Only when dimensional relationships are transferred
from surface geometry to the geometry of structural masses
and spatial volumes do the relationships of measures/dimen-
sions between buildings, interiors and urban space become
controllable. This is ensured in particular by the reciprocal di-
mensional relation of a deep space-containing facade towards
> inside and outside. Independently of the value of the in-
dividual proportions, rectangles of identical proportions are
perceived as being similar. Proportionality, then, also means
that a basic form is repeated throughout a building so that
the individual parts of a building are similar in form and ar-
rangement, or recapitulate its principal figure on a smaller
scale. ‘Harmony in architecture is precisely the analogy of
part to whole, to speak with Vitruvius.’ (Thiersch 1926, 116)
Through such formal affinities, or similar ones, a formal or-
der is directly perceived as consistent.
The perception of proportion, then, is regarded as a ra-
tional component of spatial experience, as a primary means
through which building and spatial forms are grasped in-
tellectually. Proportions are experienced not solely through
an analytical evaluation of relative dimensions, but also as
an unmediated expression of form. It is, however, not only
‘good’ proportions that are achievable through appropriate
dimensional relationships, but also a dynamic of the > form
character, and a specific > gesture, which in turn contributes
to the > atmosphere of a situation. Some dimensional rela-
tionships of building parts, including walls and floor areas
and spatial volumes, express tranquil compactness, while oth-
ers suggest vertical or horizontal movement. Theodor Fischer
assigned proportions to specific emotional expressive values;
he described reclining formats, depending upon their dimen-
sional ratios, as humble, comfortable or tranquil, and vertical
formats as strong, proud or exuberant.
Literature: Boudon 1991; Van der Laan 1983; Naredi-Rainer
1982