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an incisive symmetrical axis as standing – even when they
are wider than they are tall, and actually manifest ‘recum-
bent’ proportions. The tendency to read symmetry from the
axis corresponds to the notion of an extension into breadth
of symmetrical spaces from the middle outward towards both
sides. The gesture of buildings with wings, then, is receptive,
but also capturing and dominating. The impact of a passage
into depth is heightened by symmetry, for example by double
rows of pillars or an avenue, the symmetrical accompanying
elements recapitulate and underscore the central axis, there-
by concentrating the pull into depth perspectivally. Through
symmetry, the beholder is assigned both a standpoint and
an > axis of approach. Movement along an axis is at times
deliberately blocked by ancillary structures, creating tension
between a hindered approach and the pure idea of an axial
trajectory of movement, an example being the layouts of Ba-
roque parks.
Point-symmetrical layouts too generate pressure to ad-
here to symmetry, and guide the beholder towards a centre
in relation to which he or she is, however, unable to bring
bodily disposition into conformity, prompting an > oscillation
between centre and periphery. As a wholly centred form fea-
turing multiple symmetry, point symmetry generally supports
ceremonial functions, or, in the perfect form of the sphere, is
understood as a cosmic symbol, an example being Étienne-
Louis Boullée’s Cenotaph for Newton. It therefore tends to be
directionless and the floating suspension of all opposition.
Essentially, symmetry has a highly ordering effect. ‘Sym-
metry pleases the spirit by virtue of the readiness with which
the object is immediately graspable in its totality.’ (Mon-
tesquieu, after Kambartel 1972, 65) Mirror symmetry does
not only mean the juxtaposition of two identical mirrored
sides, but also generates a tripartite hierarchical order con-
sisting of the left side, central axis, and right side. The equi-
valence of the sides hinders an impulse towards movement
that is oriented towards one side. ‘With symmetry, tranquil-