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)

The Attic Column Base

The attic column base is an elegant arrangement consisting of upper and lower convex torus moldings separated by a concave scotia molding between two fillets.  It was originally developed for use with the Greek Ionic order. 

Engraving of variations of the Greek Ionic order (top) and Roman Ionic order (bottom) - all with attic bases, by the French architect Julien-David Le Roy published in Les ruines plus beaux des monuments de la Grace (1758)

The attic base can be seen used in the splendid interior circular peristyle of black granite Roman Ionic columns in the rotunda of the west wing of the National Gallery of Art in Washington DC designed by John Russell Pope (from 1938 to 1941).

I was lucky to visit the National Gallery of Art during the Christmas holidays with my wife and young son.  The lower torus of these monumental attic column bases was quite useful to help 11-month old Benji, who is just learning to walk, to stand up.  The upper torus was ideal to hold onto while cruising sideways around the columns!  

The attic base received its name as it originated in antiquity in the Attica region of eastern Greece surrounding Athens where, over time, a large population of Ionian descent had settled after migrating from Asia Minor.

The Roman architect Vitruvius provides the earliest existing written documentation of the attic base in his Ten Books on Architecture (25 B.C.).  He describes its proportions (symmetria) and configuration (dispositio), and explains that it may be employed as a useful variation, instead of the typical Ionic column base.

The attic column base

The typical Ionic column base

During the Renaissance, the attic base found new life in the resurgence of classical architecture inspired by study of antiquity. The Renaissance architects, studying excavated ancient Roman ruins and Vitruvius’ then recently rediscovered writings, diverged quite a bit in their opinions of how extensively the attic base should be employed.

Palladio found the attic base so attractive that he shows it on all Ionic, Corinthian and Composite orders in his Four Books of Architecture (1570).

Palladio's version of the classical Roman orders.  Note use of slightly varying attic bases for the Ionic, Corinthian and Composite orders.

Vignola is more reluctant in his usage of the attic base in his Canon of the Five Orders of Architecture (1562).  He advocates use of the attic base only for the Composite order and occasionally for the Ionic order, preferring to instead use variations of the standard Ionic base.

Vignola's version of the classical Roman orders.  Note the use of the typical Ionic base instead of the attic base.

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For more information about the books:

The Ten Books on Architecture, Vitruvius

The Four Books on Architecture, Palladio

Canon of the Five Orders of Architecture, Vignola