Summary Part 3: Similarity - Architectural Composition by John Beverley Robinson

Today, we continue our examination of the classic book Architectural Composition, 1908 by John Beverley Robinson.  We've previously discussed Robinson's observations about Unity, and Individuality / Continuity.

Robinson continues with the principle of Similarity - creating power in an architectural composition by repetition of a chosen shape or motif.

Robinson observes:

"To achieve unity, similarity of shape should prevail among all parts of a composition from greatest to smallest, from dome to door panel.  Even in a modest work, a line reflecting another in a different part of the composition, whether interior or exterior, will give a pleasing effect which no richness of adornment could produce.  Similarity of forms of different sizes in an architectural composition is analogous to corresponding musical notes of different octaves.  In the Classical and Medieval styles, this similarity of form is carried into the smallest details."  

Robinson notes that "Medieval uses the repetition of spire and pointed arch forms."  This can be seen in the Collegiate Gothic buildings of the Yale University campus designed by James Gamble Rogers (between 1917-1921) in New Haven, CT.  Here, even the forms of the main building masses repeat at slightly different sizes:

Robinson remarks that, by contrast, "Classical architecture uses regular rows of vertical columns contained by the horizontal lines of the stylobate and cornice. Flutings repeat the orderly line of the columns themselves. Each column is thereby itself colonnaded although with concaves rather than convexes. Every enriched molding is a repetition of vertical lines contained between horizontal lines."  The repetition of orderly rows of vertical elements that are  contained between horizontal elements above and below can readily be seen in facade of the Field Museum of Natural History designed by Daniel Burnham (in 1921) in Grant Park - Chicago, IL: 

Robinson observes that "less perfect styles also show repetition of motives throughout.  I.e. Rococo under Louis XV used the double curve in both plan and elevation."

Robinson notes an important design consideration to keep in mind is that "dissimilarity between parts that have substantially the same function is always disagreeable."  

He reinforces that "the effect of a building is improved if all of the openings are of the same sort, all linteled, or all round, or all pointed.  The same sort of line that is used in elevation i.e. curves or semicircles, may as a general rule be used in the plan to good effect.  Curved roof forms, accordingly, appear out of place over rectilinear plan forms."  Similar curves are repeated at different sizes in the various arched windows, dormers and curved corner facade of this grand apartment building along Andrassy Boulevard in Budapest, Hungary:

In closing, Robinson observes that, generally, "pitches of all roofs of a building should be of equal inclination (there are exceptions). Treatment of both main gables and dormer gables should be the same, at least in general impression." This repetition of roof forms can be seen in Grace Hopper Hall, anchoring a new neighborhood within Baldwin Park in Orlando, FL:

Amazon: Architectural Composition, 1908 (by John Beverley Robinson)