Where Melodies Meet
(2021) AAHM01 20211Department of Architecture and Built Environment
- Abstract
- This thesis investigates principal terms that are pertinent specifically to the visual character of architecture. In common terminology such as order, complexity, variation, monotony, and contrast. By surveying recent public debates it is deduced that both laymen and professionals lack the sufficient language to establish common ground. By a doctor-patient metaphor it follows that no remedy can be found unless the issues are more precisely defined and diagnosed.
The theoretical foundations of the work starts off with Nikos Salingaros who writes of the raw material of visual perception, which is the information found in what he refers to as the information field. Ernst Gombrich illustrates this information as beeing not merely seen, but... (More) - This thesis investigates principal terms that are pertinent specifically to the visual character of architecture. In common terminology such as order, complexity, variation, monotony, and contrast. By surveying recent public debates it is deduced that both laymen and professionals lack the sufficient language to establish common ground. By a doctor-patient metaphor it follows that no remedy can be found unless the issues are more precisely defined and diagnosed.
The theoretical foundations of the work starts off with Nikos Salingaros who writes of the raw material of visual perception, which is the information found in what he refers to as the information field. Ernst Gombrich illustrates this information as beeing not merely seen, but also read. He argues that visual perception by biological evolution constitutes a feedback loop where the brain constantly tests hypoteses against accumulated experience.
Eline Van Geert and Johan Wagemans defines the elementary terms of order and complexity, and show that it would be imprecise to consider them simply as two extremities on the same scale. They demonstrate a more accurate stance with the two differing scales of complexity-simplicity and order-disorder.
Variation is generally used to refer to any subject’s “change in level”, but here Eduardo Lozano provides a more productive definition in the context of visual perception. He defines the essence of variation as describing unequal aspects of an environment, but only if they share similarities that connects them in a distinct typology.
In developing these theories the dichotomy nature as disorder vs. man-made as order is challanged. It is hypothesised that visually, this condition rests on the assumption that in architecture rhytmical repetition have to be completely regular. This thesis argues that mere similarity also constitutes rhythm, and thereby also order.
Significantly, this thesis emphasis contrast and variation as two distinct mechanisms. Monotony represents absolute regularity, while variation portrays surprising alteration of established types. Contrast, finally, breaks with this type by being assuredly unpredictable.
The thesis further suggests implementing the term dominant order, which signals a hierarchy where one or more orders visually dominate any built environment. Urban visual melody refers to environment of coherence that have both rhythm and variation, and is unbroken by dominant contrast.
Contemporary architecture regularly looms as islands of contrast. In a paradigm where variation equals “that which is different” it is hard to see how coherent visual melodies, with rhythm and variation, can originate. Therefore, whenever someone appeals for variation, as medicine for monotony, they should keep in mind that variation requires the rhythm of repetition. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/9059385
- author
- Sivertsen, Simon Myklebust LU
- supervisor
- organization
- course
- AAHM01 20211
- year
- 2021
- type
- H2 - Master's Degree (Two Years)
- subject
- keywords
- Order, complexity, variation, contrast, monotony, visual character, architectural language, diagnosis, visual perception, information field, orientation, rhythm, repetition, chaos, visual melody, symmetry, grouping, Gombrich, Salingaros, Stecker, Rasmussen, architectural debate, Gehl, Lynch, Lozano, Stavanger, contemporary architecture, surface, Wagemans, Van Geert, simplicity, disorder, typology
- language
- English
- id
- 9059385
- date added to LUP
- 2021-06-30 14:32:16
- date last changed
- 2021-06-30 14:32:16
@misc{9059385,
abstract = {{This thesis investigates principal terms that are pertinent specifically to the visual character of architecture. In common terminology such as order, complexity, variation, monotony, and contrast. By surveying recent public debates it is deduced that both laymen and professionals lack the sufficient language to establish common ground. By a doctor-patient metaphor it follows that no remedy can be found unless the issues are more precisely defined and diagnosed.
The theoretical foundations of the work starts off with Nikos Salingaros who writes of the raw material of visual perception, which is the information found in what he refers to as the information field. Ernst Gombrich illustrates this information as beeing not merely seen, but also read. He argues that visual perception by biological evolution constitutes a feedback loop where the brain constantly tests hypoteses against accumulated experience.
Eline Van Geert and Johan Wagemans defines the elementary terms of order and complexity, and show that it would be imprecise to consider them simply as two extremities on the same scale. They demonstrate a more accurate stance with the two differing scales of complexity-simplicity and order-disorder.
Variation is generally used to refer to any subject’s “change in level”, but here Eduardo Lozano provides a more productive definition in the context of visual perception. He defines the essence of variation as describing unequal aspects of an environment, but only if they share similarities that connects them in a distinct typology.
In developing these theories the dichotomy nature as disorder vs. man-made as order is challanged. It is hypothesised that visually, this condition rests on the assumption that in architecture rhytmical repetition have to be completely regular. This thesis argues that mere similarity also constitutes rhythm, and thereby also order.
Significantly, this thesis emphasis contrast and variation as two distinct mechanisms. Monotony represents absolute regularity, while variation portrays surprising alteration of established types. Contrast, finally, breaks with this type by being assuredly unpredictable.
The thesis further suggests implementing the term dominant order, which signals a hierarchy where one or more orders visually dominate any built environment. Urban visual melody refers to environment of coherence that have both rhythm and variation, and is unbroken by dominant contrast.
Contemporary architecture regularly looms as islands of contrast. In a paradigm where variation equals “that which is different” it is hard to see how coherent visual melodies, with rhythm and variation, can originate. Therefore, whenever someone appeals for variation, as medicine for monotony, they should keep in mind that variation requires the rhythm of repetition.}},
author = {{Sivertsen, Simon Myklebust}},
language = {{eng}},
note = {{Student Paper}},
title = {{Where Melodies Meet}},
year = {{2021}},
}