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How Is Harmony Is Perceived In Modern day Design School of thought Essay

Through generations, harmony is definitely seen has a perception of a global efficiency and beauty. A link between several parts combined along and a good relationship with each other is what defines a harmonious beauty. This pleasant relationship can be found between people, feelings, nature, sounds, coloring and science. Everything on earth display harmony with one another.

At first, tranquility was identified by the Greeks and Egyptians as a kind of calculation. They noticed it as a kind of combination of notes that brings melody and rhythm to music. Because of this, after understanding the meaning of tranquility in music, the concept became an widespread experience that can be seen and sensed. Various philosophies, artwork and science throughout the world had followed the idea of harmony. For example, the idea of harmony is vital in the Chinese language philosophies, in determining the partnership between man and his environment or between the several elements of characteristics.

However, in design, the beliefs of harmony had been seen and interpreted in many various ways. The understanding of harmony is made of proportion, range, symmetry and asymmetry. The architect Vitruvius got seen and explained tranquility as a beauty made of perfect percentage. This beauty needs to be the representation of the proportions and symmetries of our body. After Vitruvius developed this concept of harmony, many architect and custom followed roughly the same interpretation of percentage. It had an enormous impact and had permanently changed the task of architects, designers and painters.

Nevertheless, through various architectural activities, the thought of percentage by using geometry to make symmetrical spots developed to more asymmetrical proportions. In the Bauhaus period, the thought of adopting a more modern and energetic design was to bring asymmetry into spots and forms.

The main idea in special design in my own thoughts and opinions is to bring different understanding of tranquility to the people learning about spaces. This essay seeks to determine the idea of harmony and can elaborate its development and exactly how it is identified in spatial design. The notion of harmony is questioned concerning if it's still highly relevant to the modern day spatial design.

The perception of harmony

Harmony in several cultures had various explanations but in general the essential remains the same, everything on this globe screen a certain level of harmony with each other. Philosophers through time and culture have defined tranquility as a pleasant feeling for humans. The first idea of tranquility was shown by philosophies beliefs of different culture. All values have the same basic notion of bring a enjoyable and harmonious feeling to humans.

For instance, Chinese language philosophies of tranquility were to create a good and peaceful connection between humans and aspect. The meaning of the Yin and the Yang form the China philosophy refers to all opposites that incorporate on earth. Character had links its opposite together such as hot and cold, light and dark, male and feminine to create a collection of harmony within a balanced system. The Taoist faith uses the symbol of Yin Yang to express their school of thought of life: harmony through dynamic balance between life and aspect. Following this concept will bring happiness and tranquility between life and character (Courtney and Young Lee, 1997, p. 15). The basic idea is that environment is part of men and women lives which is a thought of harmony on its own. This is the reason way Feng Shui takes on this part in the Chinese beliefs that is governed by spatial set up and organisation of things in relation of the yin and the yang theory. Making a positive sense in people's homes will complete the feeling of happiness. It's the reflection of a particular energy within an area by taking under consideration the placement of object or varieties in a way to permit a harmonious energy move. This energy will improve life by bringing positive sense within the space.

In the same manner, Japanese design analysis the bond between man and character. To keep nature within our living spaces, it is vital to include design into aspect and aspect into design. Japanese design is meant to incorporate and take in consideration the nature that surrounds it. Their design beliefs is that individuals must not ruin the partnership between him and nature. This is the reason behind the fluidity between your inside and the exterior as seen in Japanese architecture. The integration within the environment is vital.

On the contrary, the Greek interpretation of harmony originates from the musical audio that a melody can produce. The essential meaning of tranquility in the Greek school of thought originates from music. Music records were perceived as an overall support to the melody. The musical tranquility is made of different parts and each part relates to other part. They all contribute to the formation of a complete melody (Cheng 2009, p11-12). The entire sound the device produces is transformed in a beautiful melody that brings a nice experience to the hearing. From this interpretation of harmonious sound, the Egyptian philosopher Pythagoras who was a mathematical genius had identified harmonious audio as mathematical formula. His theory was that things were statistics and that there was a mathematical relationship between records in music. Music was regarded as "a way of measuring in distance and vibration" (Marlis, 2006, p. 145). Moreover, harmony was put on sound and forms. The relationship between harmony in music and structures came from the same expression "bait", which means build and rhyme (Gadalla, 2003, p. 15-16). Architecture and musical harmonies are both based on mathematics. Hence, music is a geometry that is translated into sound and in the same way structures is a geometry that is translated into proportions.

Accordingly to these basic definitions the main objective of harmony is the fusion of parts mutually to secure a whole. This concept of ideas will be the basis expression of how design can bring harmony into spots. Hence the interpretation of harmony began to create a true notion that developed into a general individual experience.

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The understanding of harmony in design can be explained as a combination of aesthetic elements such as forms, proportion, symmetry, asymmetry and scale that will create a notion of beauty. This understanding will bring a unique design on building a pleasant connection with each part of the space. The relationship of proportion through natural elements is seen and put on design. These expressions of harmony will define the beauty of the design.

Formerly, Egyptians, Greeks and different philosophers had identified proportion through varieties of natural structures. This notion of percentage became a universal law that lots of philosopher or designers got followed. This universal regulation is the connection of sizes between systems of dimension which have been developed through decades. These dimensions can be determined with number or degree called geometry which motivated the proper execution and condition. This combination of tranquility and geometry came up with the rule of percentage in structures. This universal guideline was a way of sizing that was based initially to measure a perfect belief of beauty in structures. This technique helps, to begin with, to work through the structure of the areas. Subsequently, it was to create a sense of tranquility and balance within the area. The mathematic of space planning is based by the aspect of proportion and level (Corinna Rossi, 2004, p. 2-5). The idea came from the human proportion, geometry, Fibonacci quantities, pentagram and golden ratio that have been all applied as part of the practice of architectural design.

The whole notion of the theory of harmony in design is the need to integrate the look to its environment. Mother nature has proportion that is thought as beautiful and a design needs to have beautiful proportions. For this manner, the use of percentage was to represent the notion of perfection in the look.

In contrast, harmony in contemporary design is seen more invest to the initial ideology of beauty. The manifestation is incomplete composition. The thought of organic integration will not rlay on fixed ideal type and neither proportional systems that privilege symmetry and percentage. Design are subsystems mutually inflect and adapt to one another, achiving interation via various function of spatial interlocking very soft transition at the boundaries between parts, morphological affiliation etc.

Thus the ides is to not add or subtract without elobarate inflection, meditaions or interarticulations.

is more a manifestation of social principles to conform our modern lifestyle.

The approach is seen as a geometic point of view that is manipulated and intuitive eyesight of proportion

Braken the traditional guidelines of proportion

The terms of tranquility has changed however the goal remains the same.

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According to the numerical terms that allow the calculation of proportion, the theory of the Golden Proportion was affected by the traditional Greek architecture, the quantity phi 1. 618 is a numerical content that relates to mathematics, biology and skill (Doczi, 1981, p. 109). It really is a simple form that acclaims divine percentage that is found everywhere in nature including shells, snowflakes and plants. The Greeks used this concept to represent balance of symmetry in their design and fine art. The best example of proportion by using the golden proportion is the Parthenon in Athena. Different segments split the monument from the columns to the most notable, the segments become a member of to a meeting point and it reflects a perfect rectangle (Doczi, 1981, p. 109). The technique of computation is a multiplication of the amount of both previous volumes in instance 1, 1, 2, 3, 5, 8. . . It really is called the Fibonacci quantities and it will determine the percentage and symmetry of the architecture (Doczi, 1981, p. 92).

Moreover, "Tranquility in structures is to produce order with symmetry", as stated by the architect Vitruvius (Mallgrave, p. 6-7). Tranquility is an notion of beauty that is constructed of symmetrical order. The idea of Vitruvius was that harmony has a universal sense of beauty that can be applied to everything, to humans and varieties. According to his beliefs the structure of natural design was predicated on universal laws and regulations of proportions and symmetry. He compares varieties to the efficiency of the symmetrical beauty of our body. Thus, his concept of harmonious design must make exact mention of the efficiency symmetry and proportion of the body.

Similarly to Vitruvius, the philosopher and architect Leon Battista Alberti used the same perspective of harmony and proportion. For him, harmony is a relation of all parts to the other person and everything was governed by mathematical regulations. For example, Alberti describe a building is constructed of "lineaments" which are constituted of quantities, size and order of every part of the building. He likened it to the mind and body of a individual (Hendrix, 2004, p. 109-110). His vision was that your brain of the body will be displayed by the proportion of the look. The body will represent nature and material. It generally does not mean that lineaments are materials but similar to an overall projection of an application (Hendrix, 2004, p. 109-110). Similarly, Le Corbusier tried to enhance the appearance of design on using the proportions of the body of Vitruvius and required his one body elevation and used the golden ratio and the Fibonacci amounts of the human being measurements to build his one system. His idea was to send the symmetry and proportion of his one modular system (Padovan, 1999, p 326).

Hence, this mathematic amount will specify the perfect proportion of what a harmonious design will symbolize in its whole entire. The mention of our body is the key of perfect symmetry that require to be applied to get a harmonious form.

Therefore, the primary notion of symmetry is to bring an equal distribution of forms or weight to the structure. These constructions need to job a physical balance of percentage to bring certain equilibrium to the look. To supply this equilibrium, the design sometimes appears into two parts with an axis, the same amount of weight on each part, similar to a representation on a reflection. This syndication is associated with symmetrical balance. This symmetrical balance can even be determined with figures that are repeated in the same positions to both attributes of the look. Such as the Greek traditional structures, symmetry was usually centralised in the special structure of the design. This symmetry helped bring a sense of balance to the space by projecting the same image on both area of the design. Besides bringing the idea of balance with symmetry additionally it is an aesthetically pleasing representation of beauty. Even as we can see in the uniformity and plans of the Greek architectural columns, the order, aspect, position, repetition and position reveal a harmonious beauty of efficiency.

Furthermore, the Egyptians concept of the symmetry and repetition had been the main goal of the Egyptians architecture. One example of symmetry are available in hieroglyphs the Egyptians writing system, that was based on areas of the body and their symmetrical relation to each other like fingers, palms, hands and legs. The human proportions come with their philosophy of efficiency and maybe it's found just about everywhere from inscription to their buildings (Rossi, 2004 p. 5-10)

The symmetrical balance of the Greek and Egyptians was a systemic target with their ideal of excellence. This theory of symmetry proceeded to go worldwide and had afflicted many architectural moves. However, the first influence of your non symmetry circulation was seen at the Bauhaus period. In the 20's and 30's structures was impact by the modernist beliefs of the Bauhaus, and that period was considered as a pioneer of the asymmetric trend. Some designers observed asymmetrical design as more modern and dynamic approach to design. The idea of making a non equal syndication of weight on either both aspect of the axis whitch determines an asymmetry balance. This modernised view of design provides a more interesting schema of varieties that gets the same right and can also bring balance to an area. Designers such as Walter Gropuis, who was simply a German architect and also the founder of the Bauhaus college, always designed his buildings and areas with asymmetrical proportions. He wished to generate a provocative impression within the elements of the structures and facade (Droste, 2006, p. 46) The concept of Mies Vehicle der Rohe, was a lot like Gropuis. Mies' idea of incorporating symmetry and asymmetry design is to him, a provocative impression to the building and was regarded as "Avant Garde" (Droste, 2006, p. 82). Mies wished to approach his spots by using comparison of density, openness, asymmetry and symmetry. He was convinced that the distinction would make a tension, that will provide a energetic experience.

After the Bauhaus period, the effect of the asymmetry started out to appear more frequently. The components of order in design still extended to grow but utilizing the path of a more natural framework called "organic structure" to create harmonious designs. Designers like Frank Lloyd Wright, balanced amounts on expressing organic and natural contextual designs with asymmetry spars this idea. In his work on the Kaufmann House "Falling Drinking water" the organic and natural structure was to incorporate modern technology within natural configurations. The idea was to link mother nature, new technology in today's concept of asymmetry (Hoffman, 1993, p. 108-109).

In truth, this huge activity of asymmetrical design was the beginning of an unconventional solution of harmonious proportions. This method had influenced the future generation of custom made and has been experimented to explain new concept of proportion to make a harmonious design.

Organic architecture is based on the thought of nature and the way the design can integrate within it. Now organic design is seen in a more physical way. Two developer circumstance studies how to create a free movement of curves and asymmetrical lines in order to express the types of their design notion. First, the work of Santiago Calatrava had not been encouraged by the measurements of the body but was to incorporate the existing figures of our body within the design. From the observation of how the moves, gestural, postures, flow and structure of the exterior body are made, he came with his own motivation and principle. His work on the Planetarium in Valencia the "Eye of Knowledge" was built in the representation of the semi eye using its pupil. The positioning of the building allowed the representation on the normal water of the building and was regarded as a complete vision (Shahshahani, 2004, p. 33).

The second case study was from the famous architect, Zara Hadid. Her work consisted to show an irregular geometry in organic varieties. Her main target is to convert harmonious proportion into a contemporary active process that assignments round and curvy varieties. The classical proportion is on her behalf as an enclosed and rigid solution, so her point is to bring tranquility in a softer or smoother experience. On many of her works, the focus on the skin interface or environment is a way to job an unconventional, softer but active design. In the new Guggenheim Museum in Taichung, there is a strong ambition toward a fresh organic language. You will discover two main galleries corridors that looks like there are melding with each other in the central part of the architecture. Instead of a mathematical treatment to bring both portions collectively, there is only a realistic notion of how things can be fusion jointly naturally. That is translated with a smooth intervention without added parts, but a standard unique structure (Schumacher, 2004, p. 31).

Contemporary design

The classical method of mathematics to project harmonious balance of percentage and order in my opinion is relevant for a couple of contemporary designers. For the new generation of designers, the idea of breaking the conventions on using tranquility in an asymmetry and unbalance way is their concept of new modern design.

The notion of tranquility in symmetry for the first group of designers is still the ideal of the classical and non ephemeral representation of beauty. Design and character is now a vintage discipline and continues to be being used in contemporary areas or forms. In my own research I came across that already in the 60s organic and natural shapes began to go up with aesthetically satisfying form on integrating with its environment. The motivation and concept was toward percentage but with new strategies towards geometrical forms. These new organic approaches was seen in organic contextual concepts or in curvy lines seen in Antonio Gaudi or Frank Lloyd Wright works. However, some designers now became more oriented to organic forms meaning curvy composition of natural forms rather than upright lines. The info towards ecology and biology in our days is by the bucket load. Natural structure, patterns and forms in a bloom, a leaf, a natural stone or a seed remain viewed and connected to the natural regulation of Fibonacci volumes and golden ratio. Instead of using the natural laws, I think that designers concentrate on the geometry of the natural framework and where it will specify their harmonious curves.

The second category of designer is going with the path of a more asymmetrical unbalance procedure toward design. Leaving the guidelines of geometrical percentage or the gold ratio, designer founded their design on organic and natural percentage. Directing by the exemplory case of the concept of Calitrava, he does not use the measurement of the human body to set-up beauty but on seeking to its body gestures. Nevertheless, this approach can be seen as a geometric perspective, but it is manipulated and keeps an intuitive eyesight of percentage. The sensuality or fluidity of the physiques movement will give this sensation of tranquility. The architect Zaha Hadid for example is a famous custom that had shattered the conventional rules of percentage. Her vision is organic forms and for her an unbalanced composition sometimes appears through asymmetry that brings a genuine contemporary dynamism to her design. Her idea is to bring an unusual geometry and on the same time that the irregularity brings a soft and flow feeling of streaming in space.

I think that we are going toward a century of developer who break new limitations and has established a new representation on how things could be achieved instead of the traditional way. Designers want to explore new horizon and new limitations in design. In my perception, design in the foreseeable future will usually find new way of experimentation even if the old notions of tranquility climb time to time, but with the fusion of new ideas.

Harmony continues to be relevant in the modern day design. The way it is indicated had been improved to a modern viewpoint. The translation of harmony in modern design can be an important projection to bring to a design. Without harmony, in my belief the buildings, areas or styles of different design will have no meaning, no spirit.

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