WEEK+6_+Rhythm

The rhythm in the visual arts are created from harmonious lines, volumes, colors and tones. In architecture happens the same thing, buildings must be in harmony between the parts, like the doors, windows, frames and structure.  The types of rhythm with great importance in architecture are:

 like windows, doors, columns, wall areas, arches... Additional, spacing can vary without destroying rhythmical character.
 * -Repetition of shapes: **

 such as the dimensions between supports or those of bay spacing. Also the units may vary in size or shape and rhythm will still remain.
 * -Repetition of dimensions: **

the ascending and descending progressions are built up from small to large and to small again. They create a visual effect for the eyes.
 * -Repetition of differences: **

 A mere repetition of similar units equally spaced and without a defined beginning or a defined end.
 * -Rhythm indefinite and open: **

 by changing the shapes of the units at the ends or by changing the size of the units at the ends. It can also be closed by adding to each end a strongly marked opposing rhythm.
 * -Rhythm can be definite and closed: **

 can be merely systematic variations of linear lengths or curvatures. This plan has a marked rhythmical character based on repetitions of wall planes and supports, and on alternations of closed and open views.
 * -The rhythm of lines: **

The spiral is one of the most rhythmical of forms because of its combination of repeated curves around a focus and the continual progressive change in the radius of the curvature.

<span style="font-family: Verdana,Geneva,sans-serif;">**-Rhythms of interior spaces**: <span style="font-family: Verdana,Geneva,sans-serif;">In complex buildings, the changing and progressive rhythm of shapes, with alternations of open and closed, big and little, wide and narrow, create an ordered variety of effect which contribute to the power of great and monumental structures.

<span style="font-family: Verdana,Geneva,sans-serif;"> its problem is in the rhythms of the masses themselves. A example is: the repeated masses of Rockefeller Center are similar to each other yet different, and all, with their subtly designed breaks form a rhythmical composition of the greatest interest. There has to be a rhythmical basis for the changing heights, widths, and setbacks. There is a rhythm in the relation of end wings to the point of central interests; there is rhythm in the outline of a good tower as it narrows from the bottom upwards. <span style="font-family: Verdana,Geneva,sans-serif;">Preferences in rhythm type have varied greatly in different architectural periods.
 * <span style="font-family: Verdana,Geneva,sans-serif;">-Rhythms of exterior spaces: **

<span style="background-color: #ffffff; color: #00b0f0; display: block; font-family: Arial,sans-serif; font-size: 18.6667px; text-align: justify;"> Applications rhythms in architecture history...


 * <span style="font-family: Verdana,Geneva,sans-serif;">-Greek ornament **<span style="font-family: Verdana,Geneva,sans-serif;">indicates an intense love of small, regular, and perfectly studied rhythms. It is essentially linear: the relief is regular throughout and shadows count almost as purely linear elements.


 * <span style="font-family: Verdana,Geneva,sans-serif;">-Roman ornaments **<span style="font-family: Verdana,Geneva,sans-serif;">the Romans loves rhythms of a much freer and more plastic type. Some elements project boldly and some die away into the background; the shadows are no longer linear but instead form varied areas of changing value. The basic composition is further distinguished by great rhythmical freedom; strong progression from big to little, from high relief to low relief, and from free swinging curves to tight spirals.

<span style="font-family: Verdana,Geneva,sans-serif;"> Gothic is extraordinarily varied in its rhythmical content. Architects liked to establish many clearly defined and persistent rhythms in their ornaments such as repeated vertical lines of wall panels which develop rhythmical power and the exaggerated staccatos on the edge of spires and gables which emphasize their rhythmical richness.
 * <span style="font-family: Verdana,Geneva,sans-serif;">-Gothic ornaments: **

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