and outlines that related well to each other and contained
in themselves a harmonic repose. Hence the front of a
house may be a double square on its side, with windows
also in the proportion of a double square placed vertically.
Sometimes an elevation may consist of a circle within a
square or the placing and size of windows may be
dictated by the diagonal lines of the golden section.
In modern buildings the repeating pattern of lines
within curtain walling may also subscribe to similar rules
of proportion. At South Quay Plaza on the Isle of Dogs in
London Docklands, an office development by Seifert
Architects mixes double squares, squares and diamonds
to good effect. Here the buildings can be viewed across
the river Thames, allowing the calculated use of harmonic
subdivisions to have maximum impact on the observer.
Often architects draw attention to the key lines that
they want you to read in order to understand the
proportional system they are using. String courses may
be employed or the building may be set upon a solid base
(piano nobile). Frequently corner definition is employed,
thereby creating a rectangular frame across the façade.
By changing the colour, texture or nature of the
constructional material, the designer is able to express
the critical lines or planes of the proportional system.
The problem that architects often face is how to
subdivide a large elevation into smaller parts that fix the
position of windows, doors, columns, etc. in a logical
fashion. A proportional system should embrace both large
and small parts, and should also allow the observer to
‘read’ where the important elements or functions are
located. Many modern buildings are so abstract in design
that the same pattern is wrapped around all sides of a
building irrespective of functional hierarchy. On the other
hand, a study of older buildings, even functional ones like
warehouses, can reveal the use of proportional systems
worked out to a surprising level of detail, if you make the
effort to uncover them.15.10 (opposite)
These buildings in Chicago exploit not just the technical possibilities of steel
construction, but the aesthetic ones as well. The contrast between the stoneclad
skyscraper and the one finished in glass is immediately evident. Open public spaces
like this demand a matching architecture of scale and interest.
15.11 a and b (below)
These drawings of Georgian terraces in Glasgow show how proportional systems
can create elevation with repose and dignity.
The façades of buildings 129