Chapter X: Hearing Architecture

Chapter IX: Color in Architecture

Chapter VIII: Daylight in Architecture

Chapter VII: Textural Effects

Chapter VI: Rhythm in Architecture

Chapter V: Scale and Proportion

Chapter IV: Architecture Experienced as Color Planes

Chapter III: Contrasting Effects of Solids and Cavities

Chapter II: Solids and Cavities in Architecture

Chapter I: Basic Observations

Experiencing Architecture - Chapter VII; Textural Effects

• Certain Native American tribes made entire buildings out of clay, which were smoothed and resemble plastered walls.
• Two tendencies arises in architecture: rough, which emphasizes structure, and smooth, which hides it. Some buildings have stuccoed walls so that you see only the plaster surface. On the other hand, in some buildings brick is uncovered revealing the regular pattern of the courses.
• In certain periods one tendency usually dominates the other; however, there are also buildings in which both are employed together to obtain effective contrasts.
• Frank Lloyd Wright's Falling Water is an example in which rough and smooth combine to create contrast. The rustic limestone are set against smooth blocks of white cement and shiny glass and steel
• It can be said the materials with poor textural effects are improved by deep relief, while materials of high quality can stand a smooth surface an appear to be best without relief or ornament.

Experiencing Architecture - Chapter VI: Rhythm in Architecture

• In architecture, one can experience rhythm of subtle variations within strict regularity.
• The simplest method is to use a regular repetition of the same elements.
• The Quirinal Palace uses rhythm in the windows, which are formed as squares one above the other and framed in broad, heavy moldings. The distance between windows, both horizontally and vertically, are exactly balanced.
• The term rhythm is borrowed from other arts involving a time element and based on movement, such as music and dancing.
• Architecture itself has no time dimension, no movement, and therefore cannot be rhythmic in the same way as music and dancing are.
• Architecture from various periods must be looked upon as expressions of changing rhythms.
• The Spanish Steps in Rome has a rhythm which is comparable to an old-fashioned dance - the Polonaise.
• The rhythms of modern day architecture are entirely different from those in the past.
• Frank Lloyd Wright has created many completely symmetrical compositions, while in others he abandoned both symmetry and the right angle in favor o triangles and hexagons or entirely rounded forms.
• The Baker House's design is based on the life of the students who occupies the building.
• Each room has a unique location, and each room has been arranged with an eye to the needs and comfort of its inhabitant.

Experiencing Architecture - Chapter V: Scale and Proportion

• Architecture, which often employs simple dimension, has been frequently called frozen music; however, comparison of architectural proportions with musical consonances can only be regarded as a metaphor.
• The Golden Section: A line segment is said to be divided according to the golden section when it is composed of two unequal parts of which the first is to the second as the second is to the whole.
• Frederick Macody Lund sought to prove that historical works of architecture were based on the proportions of the golden section
• Ivar Bentsen's design for a philharmonic building was based on the ratios 2:3, 3:5, and 5:8.
• A proportion study by Le Corbusier, "Le Modulor," is based on a man who is 183 cm tall and with raised arm 226 cm. His height divided according to the golden section gives 113 cm corresponding to navel height which is at the same time half of his reaching height. The man's height and reaching height is divided up in diminishing measurements according to the golden section. According to Le Corbusier, this man represents the essence of harmony.
• Le Corbusier believes that "Le Modulor" satisfies both the demands of beauty and funtional demands. For Le Corbusier, "Le Modular" is a universal instrument, which can be used all over the world to obtain beauty and rationality in the proprotions of everything produced by man.

Experiencing Architecture - Chapter IV: Architecture Experienced as Color Planes

• We do not perceive everything as either mass or void. Distant objects appear two-dimensional and flat.
• Venice was built right out into the shallow waters with brightly painted palaces completely pierced by windows and columned loggias. Instead of emphasizing weight and solidity, Venice allured with gaiety and movement.
• Venice had and idealized image of the Orient and they cherished the wealth of colorful merchandises from three continents.
• The people of Venice adorn there windows with costly rugs to create an atmosphere of splendor, which can still be seen today during festivals.
• The mosaic floors in S. Marks are costly carpets fashioned of colored stones.
• The Doges' Palace has massive walls above and completely pierced below; however, there is no feeling of top heaviness. The effect was achieved by facing the walls with white and rend marble in a large checkered pattern, while the columns are so thin that appear like edgings and no longer like supporting elements.
• By the late Renaissance, new architectural ideals were brought into the city. Buildings no longer depended on color planes for effects but on relief, on massiveness and dramatic shadows.
• Many buildings in Venice were made to appear lighter than they really were by using color; however, by the late Renaissance, buildings which appeared light was no considered real architecture because it was thought that buildings should be solid and look solid. So in order for an edifice to appear grander weight and ornament were added.
• It was not until this century that architects concentrated their efforts on the creation of a weightless architecture.