THE THEORY OF PLAN S. PLATE I. ELEMENTS OF DESIGN, FIRST PRINCIPLE. "As domestic dwelling-houses are composed of various compact masses circumscribed by lines, and the beauty of all edifices depend on their constituent parts, it is worth inquiry, whether a perfect principle cannot be laid down, which will direct the architect in the invention of beautiful forms."-Essay on Design. The subjoined plate embraces the seats or outlineal plans which dwelling-houses would assume on the ground, from the simple, to the complex forms. This is the first thing generally to be considered and determined on, although the corresponding block elevations should at the same time be conceived in the mind's eye, in conjunction with the ground seat. When a single building is composed either of a cube or a parallelopiped, it is termed a simple form; but when it is composed of a union of cubes, polygons, and circular parts mixed, it is said to be composed of complex forms. SEAT I., for example, is intended for a square house,—a form usually adopted for small suburban residences. SEAT II. is a parallelogram in the form of the Greek temples, which, when accompanied with columns, is sublime; but when applied simply to a dwelling-house, the parallelogram is of an uninteresting character.* *Note. Those simple figures composed of straight lines and right angles are more easy and convenient to arrange than any other, and there is certainly none that admits of a better distribution of light. A perfect square for a plan is a figure on which a very neat house may therefore be constructed. The cube, as an elevation, too, is a form very general, on account of its simplicity and ease; much adopted by the country builders, but an oblong for a plan is preferable, and the parallelopiped elevation, when ornamented, much better than the cube. It admits also of more variety in the inner division, and has every convenience of the other with those additional advantages. Thus we consider the pallalelogram as an advance on the cube, and as the second in order of design. The parallelogram will admit of many schemes or divisions in the architect's first sketch, and as we have in general observed, he is to keep in mind both the inner divisions as to convenience, and the outward form as to appearance; and there is one more consideration needful, that is, the proportional height of the building. In forming the proportion of length and depth the height is also to be an essential consideration, (which we have shown in Plate II.) and never should be overlooked; for assuredly there is a determined point for the height as well as for the length and breadth to make the plan pleasing and harmonious, which, if brought below that point, the building will appear flat, and if carried above it will then be considered preposterous. What is the best height then in respect to the length and breadth of a house where the plan is rectangular? is the surest inquiry, and for this our architectural writers have never yet established an absolute rule. As to the plan, a very good and safe rule may be adopted in practice, by making the length one-third more than the breadth; but to tie the architect down to this formality, would be to cut him off from the opportunity of introducing variety, which we look for in a pleasing building. It is better to make the length in general less, than to let it exceed this proportion; but for this there is no absolute rule, and there is no fear of running into extremes either way; for a good eye will always be able to discover the medium between a too narrow and that of an excessive length. Nature has taught mankind, that in music there are certain rules for modulation, or, if I may so express it, proportioning sounds. So in architecture, there are certain rules dependent on those proportions, or, at least, such proportions as are No beauty can be given to a house externally without a diversity of parts, so as to produce light and shadow; to do this, projecting and receding parts must therefore be formed and laid down in the plan. SEAT III. is the first deviation from a plain plan, and which represents the seat of a small villa with a square projection in the centre of the front, and in the rear a projection extended back to contain the servants' offices. SEAT IV. is a small detached house with a segmental bow in the centre of the front towards the garden, and a square projection at the entrance elevation. This, at all times makes a neat and pretty house. SEAT V. is the plan of a rural residence, with two wings attached, the front receding for an awning. This plan is very convenient for a small villa, and would assume a picturesque appearance when erected, as the centre division is intended to rise two stories high, and the wings but one. SEAT VI. The plan of a detached house with two segmental bows in front, and two square projections on the back. This plan would make a very genteel house as well as being airy and healthful, and admit of being made very commodious. SEAT VII. The outlined ground-plan of a public building where greater extent of room for offices is required. This intended edifice consists of a bay-window on the postern front. SEAT VIII. shows an outline groundplan for a Roman country mansion, with a portico surmounted with a pediment, and dome over the hall, and two projecting polygonal bay-windows at the extreme ends, and three projections on the back elevation, in the centre of which is a bow; more variety being here sometimes required to harmonize with the surrounding country, such as upland scenery, group of trees for a rookery, and other objects of interest. There are three grand essential points to be considered in the structure and form of an architectural edifice ;-three leading principles, which not only originate the elements of design, but which to a great degree have generated all the subsequent combinations. This influence extends not merely to the association of convenience, equilibrium, and strength; but, as will appear, has suggested the system of ornamental decoration. These master dispositions it thus becomes necessary to bear along with the material of architecture; as well as that of climate. The purpose for which any building was erected or the use it was contemplated to serve, would necessarily determine the magnitude, and, to a certain extent, the forms, which may be numerous ; I have therefore here given the most general figures or outlines of plans, that present themselves to our notice, for detached rural residences or villas, and mansions; progressing from the simple cottage ornée even to the splendid palace. Forms however might have been given ad libitum, such as the Greek and Latin crosses, applicable to entrance-lodges; irregular and compound picturesque figures for parsonage-houses, and polygonal ones for gardener's residence, sporting-lodges, &c., but this would be in arithmetical harmony of numbers, and those I take to be dependent on nature. The square in geometry, the unison or circle in music, and the cube in building, have all a simple and inseparable proportion; the parts being equal, and the sides and angles the same, give the eye and ear an agreeable sensation of pleasure. From hence may likewise be deduced the cube and half, the double cube or parallelopiped, the diapason and diaperte; being all founded on the same principle in music, from which may be considered likewise the subduple proportion. We are to observe, that even a building of one thousand feet long may have the same proportion by breaking forward for the centre, and sinking back for the diapason, and changing the same line to a diaperte, which mixture of proportional parts will make the whole agreeable; but the architect must have the same nice eye in designing as the musician has an ear for music, as the latter introduces grace notes where the sound would otherwise be harsh or flat; so the former must add ornamental parts where there would otherwise be abrupt terminations and a monotony of parts. If any of the following proportions be adopted, it must be observed, that the cube should never exceed fifty feet; the cube and a half not beyond sixty feet front, nor the double cube be more than eighty feet. If the cube be fifty feet front, consequently the depth and height will be the same. If the cube and a half of the front be sixty feet, the depth will be forty. The double cube of sixty feet front, will be thirty feet deep and thirty feet high. This, which is called a double cube in building, is only the placing of two cubes together in plano. The arithmetical proportions flow in the same progressive manner, and are to be made use of as necessity requires.-(Architectus.) |