This list and the definitions might be somewhat different than that remembered by other students. If those who took this course wish to augment or revise what I have listed, please let me know.

THEME: the theme of a composition is its main concept and/or aesthetic element.

• Repetition: the theme is repeated.
• Variation: the theme is modified.
• Development: the theme is added to in complexity
• Transcendence: the essential aspect of the theme becomes, in a sense, more than the theme itself.

COUNTERPOINT: the use of contrasting elements to the theme.

BALANCE: the visual perception that a composition is in harmony with the force of gravity. There are two types of balance:

• Symmetrical: the use of mirror images
• Asymmetrical: the use of different elements that work to counterbalance each other.

RHYTHM: the repetition of an element and is based on the interval of space and/or time between the repetition of this element.

• Regular Meter is the use of identical intervals
• Irregular Meter is the use of different intervals
• Phase rhythm is an undulating flow of the element, itself. It has no separation or intervals. It is the proportions of the variation of the undulations that constitute the rhythm.

MELODY: the movement of the contours of the element. Rhythm is delineated by the proportions, whereas melody is delineated by the contours.

HARMONY: the visual perception that the elements belong together and compliment each other. All parts of the whole have a similarity, and there is a blending together in what might be considered a pleasurable manner. All and any elements of a composition, either individually or in any combination, can be designed with harmony as the important quality.

DISSONANCE: the visual perception that the elements do not belong together, that they clash. But dissonance can add interest and can accentuate the character of the harmonious elements.

INCIDENT / TERMINAL / CLIMAX:
These three terms are part of an aesthetic development that accentuates compositional details.

• Incident : a minor point of focus. It adds interest and development to a composition.
• Terminal: a point of interest at the end point of a detail. It is an important element of completion for that detail.
• Climax: a major point of interest. It is a finalization of the detail that combines incidents and terminals into a completed development.

ARTICULATION: the accentuation and separation of elements so that the qualities of each are better defined. Articulation is particularly important at the locations where different elements meet.

MODULATION: the progressive transition from one element to another, or the transitional change of the element itself.

ORCHESTARTION: the use of various themes, elements, and/or materials in interrelated combinations.

OPAQUE / TRANSLUCENCY / TRANSPARENCY / REFLECTIVITY:
The quality of an element to block light, let it pass through it, or reflect it.

• Opaque: serves to enclose and limit visual flow.
• Translucency: allows for visual flow on a limited basis and creates a quality of mystery.
• Transparency: allows for complete visual flow and creates a quality of depth.
• Reflectivity: mirrors surrounding elements, thus interlocking the object to its surroundings.

FENESTRATION: an opening in the form, such as a door or window. It's design can be thought of as an individual architectural element that accentuates its function of entry or window.

 

• First, separately analyze each term for its various conceptual meanings in relation to composition.
• Second, study a wide range of examples from art and nature that exemplify the concepts of each term.
• Third, create abstract compositions for each term that expresses its concepts.
• Let both the aesthetics of the examples and that of your compositions filter into your architectural design solutions.

BG always considered it extremely important to continually study all sorts of aesthetic examples as a way of replenishing your aesthetic sensibilities. You should always try to be receptive to new artists and their aesthetics, as well as continually exploring the beauties of the natural world.

A way to help you see the abstract qualities of a pictured object is to turn the picture upside down. The less your mind understands what it is seeing, the better.

In doing the compositions, any art form is fine - whatever suits you. It is helpful to think of them as "exercises", not works of art - trying to do something that is "good", usually means doing what you are good at, which means doing something that you have already done. To grow and do something new, you must take chances on what you have never done. You must jump into the unknown and work your way to a newfound thing.

This is the real value of these exercises. To want to create a work of art is to defeat their purpose and severely limit their potential. This is not a place for puny egos. Here the ego has to let loose of the sure thing and even the best bet. Here the ego must throw caution to the wind. Anybody interested in jumping off the deep end?

Expect and accept the fact that you will be influenced by the things that you particularly relate to and will copy them to some extent - we all need stepping stones. Besides, what you find particularly interesting will be another source of your originality.

You should also experience aesthetics that you don't particularly like. We are all conditioned to find some aesthetics beautiful and others not. I would suggest that you don't concern yourself with whether you like it or not. You should get to it to "know" it either way. If you do find it unpleasant, by experiencing it and getting familiar with it, it is my thought that it will "stretch" and enlarge your appreciation of aesthetics. Aesthetic expansion and growth is augmented by experiencing those aesthetics that we don't particularly like. If we experience only what pleases us, there would be less growth.

Understand that finding and developing your unique expression is a slow, ever-evolving and unfolding process. Believe in the value of those very things that make you "different" - they are the key to your originality. Realize that this is a solitary journey. The more unique your expression, the less others will be able to relate to it.

The next step is to realize that what you have created in the exercises can be applied in your architectural designs. There are a number of factors that go into developing your original self-expression.

It requires a period of growing into your originality in an environment where creativity is fostered and revered. Project after project allows for that natural growth.

The nature of that originality is based upon "where" you want your architecture to go. Where you want it to go is developed by what influences you. Your need then is to strive to take your architecture to that "place", and this need will effect the decisions you make in the design process.

To "improve" your own designs, start with something God-awful and keep making it better and more appropriate. The architectural design process is primarily making choices - keep making choices that take each design closer to where you want your architecture to be.

Without the structure of a college or actual projects, this development must be self-designed. But there are no rules to the design process, and your particular "mode of thought", in itself, could develop into your unique process.

But you'd be surprised how original you could become under the right circumstances.

If you want, you are welcome to e-mail me with any questions or comments at chayofrank@aol.com.