Symmetry: Art and Science

Tihany Congress, 2004

Folk Architecture – Vernacular Architecture

An International Conference, Hungary, 2012

Appendix

PROPORTION ANALYSES OF TRADITIONAL

VERNACULAR ARCHITECTURE (TVA)

Joachim Langhein

Name: Dr. Joachim Langhein, Economist, Ecologist, Geographer, Japanologist, private Researcher on

Proportion in Architecture since 1978, global human ecology (since 1969)

Born in Potsdam, Germany, 1942), grown up in Hamburg-Volksdorf, 2 years Berlin, since 1958 Frankfurt/M.

Address: Sitzbuchweg 83, 69118 Heidelberg, Germany & Sonnenalm 157, 8983 Bad Mitterndorf, Austria), Email:

DrLanghein@proportions.de, Website: www.proportions.de. Retired as economist, (during 1970s) assistant professor

at Heidelberg University, specialist in R&D and I&D; preparation of policy decision making, system

theoretician, specialist food industry and development, specialist in information economics, energy saving &

renewable energy resources, “vernetztes Denken”, feasibility studies in food industry etc.

Fields of interest: Objective & complementarily subjective Aesthetics & Proportions in vernacular & other

Architecture within the frame of Anthropoecology; Architecture & urbanism in general, Systems Theory

applied to several fields of Ecology (human ecology, long-term resource ecology & economy, visual

phenological ecology, Resource ecology and regenertive energies), multistability theory & global

sustainability; Geography and subfields, includ-ing Geology, Anthropogeography, House Science &

Geography (geography of traditional architecture); theory and general application of physical and ecological

Entropy Theory; Economics, global economy and tropical agriculture. social sciences (first main study);

Linguistics, study of all major & some minor languages of Europe, and Far & partly Near East; Japanology,

Sinology and other East Asian languages; Cultural history of vernacular architecture in Europe, the Americas,

Japan and categorization by proportion systems; History of Art & Architecture; History of Geometry,

commented Bibliographic Database on proportion and treatises on architecture, with >56.000 records (work

started in 1980, www.proportions.de); Humanistic, Gestalt & Phenomenological Psychology; Physiology of

visual perception; Critical History & Geography of Religions; Christianity before 553 (Origenes, Oetinger).

Awards: “Diplom-Volkswirt” (Economist universities of Frankfurt(Main, Vienna, Heidelberg) 1969,

Diplom-Geographer at Heidelberg Univ. 1971, Dr. nat. in Geography & Ecology, Heidelberg Univ. (Math.-

Natwiss. Gesamtfakultät) 1986, Allgemeine Proportionstheorie …, in: Ordo et Mensura VIII, 219-248 et al.,

Propotion and traditional architecture, in: INTBAU essay 10, 2005 (The Prince’s Foundation. UK); c. 4.500

CAD proportion analyses of all kinds of European & American and Japanese traditional architecture.

Publications: in many copies of “Ordo et Mensura” (1990-2007, Scripta Mercaturae); see publication list in

www.intbau.org/archive/essay10.htm and in my „On the Path to a Proportion Science …, in: Symmetry

2010,1-4, 152-153; ca. 100 publications on different other fields, many research reports for EU, federal &

länder ministeries, World Bank, ERBD, EIB, German federal and laender mministeries, foreign governments.

Abstract: ”Traditional vernacular architecture” (TVA) may primarily be defined as the

rural architecture of preindustrial ages. Outside the Mediterranean territories, TVA

was in Midle Ages mainly wooden architecture, erected with prefabricated materials,

Since Antiquity, ”in the European North” exceptional areas to this rule remained,

particularly where stone TVA persisted since the Roman period (France, Lorraine,

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British Isles, Trier & East Lorraine areas, ancient Bavaria). To make the building by

assembling & erecting successful, TVA required design-guidance by simple geometry,

developed from the three most elementary regular polygons: the equilateral triangle,

the square and the pentagon. By means of simple operations, some 250 proportioning

angles for (the mesh of) regulating lines could be derived. TVA in Europe was erected

by a geometry derived mostly from the square (some 35 angles) called in Middle Ages

“Quadrature”. This was the case in the TVA of the Hungarians, Slavs, Alemans,

Frisians, Scorrs, and other peoples. The Slavs migrated since 6c into an extended zone

that reached from the Baltic Sea to Greece (M. VALMER identified 1941 some 2.100

Slavic toponyms in Greece). The Hungarian TVA is dominated by Quadrature

proportions, too.- The Gothic traditional high architecture (THA) succeeded its bold,

material-saving constructions by means of the proportion geometry of

“Triangulature”. The Golden Section is mainly represented by the so-called Golden

Triangle[s] (GT) via the geometry of the regular pentagon (“Quinture”). While the

Triangulature is almost never used in TVA, the Golden Section of the GT is a common

proportion in Franconian and Mediterranean TVA, as well as in many THA, including

many Egyptian and Mesoamerican pyramids.- Material history seems to become visible

in southern part of the fertile Rhein rift valley, being populated both on the French &

German side of the Upper Rhine by an Alemannic populations: These areas are the

only ones in the “Alemannia” without a Quadrature TVA. One reason might be that the

Alemans became submitted here to the Francs after 515, the battle of Strasbourg.- The

author prepared some 4.500 CAD proportion analyses of all kinds of architecture. TVA

complies in long-term view with the proportion geometry of the space, and THA with

that of the time (= style period), the “partly high architecture”(like townhouses,

functional buildings of monasteries) of both. Almost all architecture built before 1830

was proportioned. According to probability theory any form) order of objects can not

be originated without shape generators. Probability still increases, when a large

number of objects have the same form order (expressed in proportion codes), as being

the case when the majority of vernacular houses of a site have the same or code-affine

proportions.

Motto: “The quest for sustainability has also given rise to a new interest in vernacular forms of

construction and placemaking, and the lessons they might have for current architecture … Learning to

appreciate and learn from the past is a similar life-long endeavour to which sincere and serious

architects are committed. … Possibly most important is the role of the façade in historic architecture,

… dismissed [by] modern architects … as cosmetic facadism. They simply ignored … the obvious fact

that the façade not only encloses the interior but also frames the public realm outside that it should

articulate and animate – and thereby help endow with a sense of place.” (Peter Buchanan, in: Architectural Review, 24.04.2012).

1. INTRODUCION Traditional vernacular architecture (TVA) contains and balances visual perceptions of

objects that support the psychological welfare of man, since it embodies many harmonic

traits due to their integration of pattern languages based on proportion, harmony of

form, environment, colour, light & shade, fittingness to material, rhythm, and many

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other gestalt parameters that can objectively as well as subjectively be identified. All

these gestalt parameters have in common that they harmonize (or intermediate) unity

with diversity, the precondition of beauty. Recently, “beauty reactions” depending only

on proportion in man can be determined and measured by the means of Neuroaesthetics

(MRT) (Di DIO et al., 2007). Other neuroaesthetic research are related on other

parameters defined by visual math, natural sciences, Gestalt Psychology, Shape

Grammar. The psychological welfare depend higher psychicological and physiological

immunity and well-feeling. The economic welfare effects of well preserved traditional

architecture derive - beyond reduced health costs - from tourism that offers unique

benefits to many population groups in otherwise disadvantaged regions- Many former

visited tourist areas have become increasingly unattractive due to exaggerated

destruction and modernization (e.g. coasts, skying areas, wellness facilities, etc). Soft

tourism will have a big future in areas of less-destroyed Eastern states of the EU, and

will get promoted by different EU fonds. These nations will be supported to preserve

their traditional architectural environments as one of their most valuable assets. [For

better understanding please see my paper in www.intbau.org/archive/essay10.htm].

2. TERM OF PROPORTION One basic formal key function of proportion in architectural aesthetics concerns the

clarity and algorithmic unity within a sign diversity of buildings and ensembles in their

whole bodies, despite visual tensions etc. Proportion relates to extentional balance

between unity/order & diversity/complexity in objects related to their appearance in

perception. Without proportion, architecture has no clarity and readability, resulting in

confusion, monotony, and unreal life feeling. The clarity promotes information reduction

and subsequent information enrichment. This is one of the important formal functions.

Proportion helps us to reduce sign diversity to sign order of visual patterns. Traditional

art and architecture can be charcterized by algorithm-like patterns. Our perception

system is able to reduce stepwise 2 mln bits to 200 bits within fractions of a second, in

order that short term memory can grasp essentials of the perceived. This reduction is an

attribute of beautiful things and architecture.

The neuroaesthetical experiments of C. Di Dio et al. proved by means of medical imaging

procedures, i.e., on ground of natural scientific experiment, that proportion is the “number 1”

parameter for perception and appreciation of beauty. In this experiment seeing well-

proportioned objects (in this case good copies of the Doryphoros of Polykleitos by in not-

trained test subjects) do arouse a complex pattern of central and peripheric brain areas, which

immediately disappears when the proportions of the sculpture become (digitally) distorted. Proportion can be defined and characterized in many ways, having astonishingly many

aspects. A allover systematic knowledge and research is lacking, and therefore modern

architects do not have in this important field any appliable tools for their design. In this

paper, I characterize proportion as a primarily geometric pattern of the whole of

surfaces and body parts of objects in the way that the whole appears in perception as a

unity and is felt as “well-formed”. This complies with Aristotle’s “The whole is more

than the sum of its parts”, and also his word “measure is best” (έἂ.

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The particularities of architecture and architectural proportions compared with propor-

tions in general lie in the following aspects: (1) Overall form of architecture is normally

orthogonal, particularly horizontal, vertical and inclined. Inclinded are mainly the

roof(s), some-times extermal scales. The roof pitch shows normally the angles of the

regulating lines in non-mediterranean traditional architecture, thus the main proportion

angles. (2) Architecture must fulfil the three Vitruvian functions functionality, stability,

and beauty. (3) Architecture is fixed to a specific site. Only traditional architecture

adapts harmoniously in an often idealtypical way to form and characteristics of its site. It is just the orthogonality which makes construction of architecture accessible to design

supported by simple Euclidian geometry. Proportion geometry is mainly based on it.

According to my current insight, builders in probably all differentiated civilizations

figured out far in the past that a deduction of building geometry can be derived from the

three most basic regular polygons (circular-linear figures with almost perfect

symmetries): the regular equilateral triangle, the square, and the regular pentagon.

For the geometrical construction, already a measuring cord could be used as a compass

in order to perform all necessary operations of building geometry. For wooden

architecture, the ax was the most important tool. Such a design operation with a

measuring cord combines already form (organization) with measure (measuring), setting

up measured frameworks to establish building patterns und structures. E.g., by drawing

two circles with the same radius, cutting each other’s centres, the following results are

achieved: (1) the halving of a line, (2) the right angle, (3) the height of the equilateral

triangle, (4) the geometrical determination of the ratio 1:3 or 1: to the height of a

equilateral triangle, (5) by a few additional operations the square and (6) the ratio 1:2,

and (7) by 5 times repeating to draw a circle with a same radius around one circle, the

drawing of the hexagon. The construction of the pentagon – the geometrical base of the

Golden Section - is a bit more difficult. The builder of the past had a practical sense for

synergy and aesthetics, they availed of the heritage know-how of “all pasts”. With these eight (or more) geometrical operations, the majority of design operations

necessary in traditional architecture could be executed by means of building geometry:

these were: (1) a systematic design, (2) the systematic transfer of the design into const-

ruction, and (3) he fulfulment of the three Vitruvian main tasks of architecture, [I] utility

& functionality (‘utilitas’), [ii] stability & firmity (‘firmitas’), and [iii] beauty & percep-

tual adaptation to environment (‘venustas’ of Vitruvius). Proportion as way to beauty

and harmony was in the past ever a strong concern, as reveals the study of thousands of

treatises on architecture. It brings balance into masses, contrasts, and order & diversity.

3. BASIC TYPES OF TRADITIONAL DOMESTIC ARCHITECTURE: TVA,

TSHA, THA, MTA/MTVA, MTUA (TVA/NTVA & MTVA, [N/M]THA,

[N/M]TSHA The proportion-related characteristic of TMA are the bay segments, be they either

window axes, bays limited by lisenes or columns that determine their proportions. MTA

houses are mainly built of stone. Mediterranean traditional architecture complies also

ever with pattern languages. Proportion as the traditional “backbone” of pattern

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language could lead to reflect the material history of the last one or more thousand years

if viewed under the asptect of a continent-wide perspective. E.g., the basic type of traditional Mediterranean architecture (TMA) dominated not

only the countries of South Europe, Latinamerica, but also dominant in a somehow

modified manner in all Celtic parts of British Isles (beyond areas of heavy Roman

settlement), parts of northern France (Brittany, Lorraine etc.), but still today the TVA of

The Basic Types of Traditional Architecture and their Proportions.

Fig. 1-8: Examples for the basic types of domestic architecture complying with

proportion codes in pre-industrial Europe. Each category has a specific proportions.

Fig 1-3: Fig.: Fig. 1 and 2 show German rural houses (TVA = traditional vernacular architecture). They

have almost never the Gothic proportions of Triangulature, derived from the angle of 60° or the equikateral

triangle, necessary for material saving statics of Gothic churches. This is central European TVA, which

appears in an incredible variety of forms. Fig. 1 shows a South Westfalian farmhouse near Olpe, Fig. 2 an

Upper Frankonian farmhouse in Rossach (Bavaria). Fig. 3 shows a traditional urban house (TUA =

traditional urban architecture) of Eppingen (1474), Baden, near Heidelberg, in Triangulature proportions.

Fig. 4-6: This images show traditional high architecture of urban communities in Switzerland, but not already

traditional high architecture (THA), which are shown in my INTBAU essay, Fig. 4 shows the “Haus zum

Ritter” in Schaffhausen (CH, 1487/1580), fig. 5 the Basel town hall (built 1504-13) in still Gothic style

proportions, and fig. 6 the town hall of Lausanne VD (CH, 1673-1675), Hôtel de Ville de la Palud.

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Fig. 7/8: These images show proportion analyses of traditional Mediterranean architecture, dominating many

areas of the European Mediterranean and Latin America on rural and urban areas, particularly along the coast

and in larger settlements. Fig. 7 shows a rural in Oppède-le-Neuf (in the basin between Luberon and

Vaucluse, photographed by me in June 2012). Fig. 8 the Palazetto Spada (1540s) in Rome, attributed to

Peruzzi and Vignola)

mountaneous territories in a circle of 100-300 km around Trier (to the north, east, and

south). A reason may be because Trier was until they year 400 one of the capitals of the

Roman Empire (particularly of Gallia); Romance populations survived here in the

following centuries. At the same time, this very area became a key area between the

western and eastern part of the Franconian empire of the Merovingian and Carolingian

empires; already in 8c, the western part became France, the eastern Germany. E.g., the basic type of traditional Central, North and East European traditional

architecture (NTA) have more or less pitched - often steep - roofs, determining the

proportions via otherwise invisible regulating lines. Houses are mainly built of wood.

The windows are freely distributed, no pattern arrangement is recognizable, as in TMA. By means of proportion analyses, we can identify in large parts of Europe clearly the

continous traces of the Quadrature Slavic TVA between the Baltic Sea down to the

Aegean Sea, including Germany and Austria, Poland, the Czech and Slovak Republic,

Belorus, Ukraine, Slovenia, Croatia, and Serbia, down with some traces e.g. to Aeolia in

Greece. Max VALMER identified 1941 2.100 Slavic toponyms in Greece. In Germany

& Austria, Slavic Quadrature proportions survived here in areas with many Slavic

toponyms. Alemannic TVA, Hungarian, Romanean, Saxonian, Turkish, Frisian, Scottish

TVA are also perhaps exclusively Quadrature proportions. The Turkish influence have

eliminated most Slavic traces in TVA of Bulgaria, Bosnia, Macedonia, and Greece.

4. MTVA: EXCELERATED TYPE EXPANSION SINCE RENAISSANCE &

BAROQUE, ROLE OF TREATISES ON ARCHITECTURE With the expansion of the Roman Empire, the traditional Mediterranean architecture

(TMA) survived in most parts of the expaded slowly. MTVA is particularly predominant

in Italy (including Swiss Ticino), Dalmatia & Istria, Southern France (including Suisse

Romande), Spain, Portugal, and parts of Latin America. In religious, high, urban and

7

institutional architecture, the TMA mode became early the dominating pattern in

religious architecture in the North of Europe. Interesting are in this connection Danish

“herrehuser”, built between 1400 and 1800. Due to the powerful influence of printed

treatises on architecture since 1470, (e.g. like those of SERLIO in 16c, which contain

many exemplary designs easily to be ”only” copied by urban architects), MTA patterns

expanded quickly in Modern Times. My literature database (see www.proportions.de)

on proportion contains almost 8.000 treatises, within 56.100 records. - In early medieval

Europe, MTA types of dwelling architecture seemed to have survived the collapse of the

Western Roman empire in some areas in Central Europe and on the British Isles with

dense Romanized populations. In South Europe, the MTA type prevailed in TVA,

TSHA and THA (with exception of a number of “internal” regions) of France, Italy,

Spain, Dalmatia, Greece, (See fig. 70-81 in my INTBAU essay10 of 2005, fig.). After the

late Middle Ages, particularly since Renaissance, the MTA type “conquered” most of

TSHA and THA of Europe, America, the world.

5. SLAVIC VÖLKERWANDERUNG AND QUADRATURE IN TVA BETWEEN

THE BALTIC SEA AND THE BALKANS (PERHAPS AEGEAN SEA) During the second half of 6

th century, while the migration of Germanic peoples in

Europe came to a end, those of the Slavs began. They advanced on an contnental broad

front to a westernmost line that runs from Kiel Bay (and the Baltic sea coast reaching

Lithuania in the east, including parts of Denmark) down to almost all parts of Greece

(VALMER 1941). The TVA of most (western) Slavic countries is almost totally domin-

ated by Quadrature in their building geometry and proportions, including many other

visual characteristics of their vernacular architecture. In Macedononia, Bulgaria, and

Greece, the Slavic Quadrature may have been totally (?) disappeared due to centuries of

Ottoman domination and prevailing building habits. Perhaps a few relicts survived in

Greece. (The “sfergo-laro” house type in Acarnia-Aetolia, an area with a strong

concentration of Slavic toponyms.) The West-Slavic line crosses continental Europa at a

distance of more than 2.000 km as the crow flies. In the North of their settlement areas,

Slavic groups settled also in parts of the Danish islands of Lolland and Falster, and in

Germany, border fortification run down from Kiel Bay down to north of Bavarian

Passau at Danube river. Present-day Slavic nations like Czech Republic, Poland,

Slovakia, Belorus, Ukraine, Ruthenia, Russia, Slovenia, Croatia, Bosnia and

Herzogovina, Serbia, and Montenegro, Bulgaria, Macedonia originated as Slavic

peoples. The Slavic migration changed radically the ethnographic map of Europe within

only one single century. Slavic traces in TVA remains evident by means of proportion

and structural analyses. As far to my knowledge, science ignored these facts. In early 7

th century, the Slovenes in the eastern Alps asked the Bavarians for protection

against the Avarian warriors: This finally resulted in the evolution of Austria; soon later,

the Bavarians became subjugated by the Francs, and with them the Alpine Slavs, too;

Charlesmagne defeated the Avars in two wars, finally in 803, thus enabling the survival

of Alpine Slavs. The victory of Charlesmagne over the Saxonians was the begin of

Germany and was followed by the century-long conquest of east Germany from Slave

tribes. A few Slavic people survived in Germany, the Lower Sorbs (Niederlautsitz in

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Brandenburg) and Upper Sorbs (in Sachsen), all along the river Spree. The Polabs in

Hannoversch Wendland (eastern Lower Saxonia) survived until 17c, and today this area

owns one of the most marvelous and best preserved TVA areas of Germany. Traces of

structures and Quadrature proportions exist (and existed) in former Slavic areas of

Germany and Austria, correlating with a density of Slavic toponyms, e.g. in Eastern

Schleswig-Holstein, Mecklenburg-Vorpommern, Sachsen-Anhalt, Brandenburg, Saxonia

(Sachsen), east Bavaria, most pre-WW2 eastern territories of Germany and otherwhere.

In Austria, such a survival even still more evident than in Germany, since masses of

rural buildings – particularly in the Alps – are still dominating the visual appearance of

landscape of Oberösterreich, Niederösterreichs & Vienna, and still more of Styria

[Steiermark], Carinthia [Kärnten], the Lungau district of Salzburg, and parts of East

Tyrol [Osttirol]. The TVA of the northern part of east Austria preserve a kind of

Bohemian appearance, the southern a Slovene appearance, as the toponyms, too. In

Austria, the correlation between toponyms TVA types/appearance is strong. The proportions, i.e. the regulating lines were determined in the NTVA Quadrature by

angles like 45°, the”Knauth Triangle” angles (48°53’50” /41°6’10”, 48°11’23”/41°48,

53°7’48”/36°52’12”, 63°26’6”/26°33’54”, 50°46’7”/39°13’53”, 46°41’10”/43°18’50”,

halves of these angles, others). Basic structural features of Slavic TVA are: Log

construction, originally full hip roofs (according Bruno SCHIER 1966), later often part-

hipped or full gable-side façades, typical ornamentations, larger openings in the upper

parts, beyond others. Later constructions are partly of stone and some-times timber

framed constructions etc., in cultural contact zones. (See fig. 33-61, compare also fig.

33-41 in my INTBAU essay10 of 2005).

6. ALEMANNIC & FRISIAN QUADRATURE IN REGIONAL TVA The Alemans, like all other modern Germanic peoples, evolved from Elbe Germanic

people or ethic conglomerations since the first centuries in “Germania libera”, i.e. the

Germania outside the Roman borders. They seem to have been the main ethnic group

that intruded in and the decades following 260 AD the Roman border fortifications

(limes) in Germania on many points, thus causing the collapse of the Roman domination

in present SW Germany between Rhine and Danube, that was until 260 protected by the

walled Roman “limes” fortification. After their conquest, the Alemans settled in SW

Germania until the Roman border along the Rhine from the river Main to the Lake of

Constance, the Lech, and the Danube. Still today, the Lech is the ethnic border between

the Alemans and Bavarians, and eastern border of timber-framed TVA in South

Germany. The Francs defeated the Alemans twice, 496 in the battle of Zülpich (near

Aachen), and 506 in the battle of Strasbourg. They pushed the Alemans each time more

to the South, including the present German Switzerland (entered by the Alemans at the

time of the total collaps of the Roman Empire 476); they even lost, as the Bavarians,

their souverainity for many centuries to the Francs, and the whole fertile upper Rhine rift

valley was dominated by the Francs. Alemannic TVA has everywhere Quadrature

proportion, besides on the Alsatian (French) and Baden side of the rift valley plain,

despite the Alemannic populations there, while TVA in the adjacent Black Forest has

9

Quadrature proportions. In the Basel suburb of Allschwil, already in Rhine valley, exists

the only German Swiss village with M:m “Golden Triangle” proportions. By means of a large number of proportion analyses of TVA in Alemannic Switzerland,

the Black Forest, Austrian Vorarlberg and and something less in parts of rural TVA in

the southern parts of Alemannic areas in Germany (southern Württemberg, the Bavarian

district of “Schwaben”), I can show that many parts of the TVA of “Alemannia” still has

Quadrature proportions, being best preserved in Alemannic Switzerland. (See fig. 62-

78Compare also fig. 28 to 31 in my INTBAU essay10) Also Frisian TVA houses (fig. 78/80) were strongly bound to the square, often even

their ground plans. Frisia stretches along the North Sea coast from Amsterdam and

Hoorn, Leuwarden, Groningen in Netherlands), through coast areas of Germany, to

Jylland, Denmark. (See fig. 79/80, and text to fig. 44 in my INTBAU).

7. HUNGARIAN QUADRATURE (see fig. 9-30) The Hungarian TVA was studied by me recently. I found only Quadrature proportions,

with exception of fig. 22. Hungary’s tragic fate in Middle Ages and in early Modern

Times, particularly the devastations of the Mongolian raids 1241/42 and the Ottoman

devastations and depopulations between 1526-1699, seems to be mirrored in TVA of

many parts of the country, testifying uncontinued traditions. While in most of Europe all

architecture reached its highest degree of maturity around 1500, Hungary suffered

severe setbacks. Because Transylvania had a better fate, a more systematic research on

its TVA would bring substantial insight of undisturbed Hungarian TVA traditions. I

willy undertake more research as soon more measured drawings are available to me.

A SMALL SELECTION OF PROPORTION ANALYSES

Hungarian Houses, all Quadrature Proportions (see www.intbau.org/archive/essay10.htm)

HUNGARIAN TRADITIONAL ARCHITECTURE

Fig. 9/10: Farmhouse of Muraszemenye (1830) Farmhouse of Zádor (1860)

10

Fig. 11/12: Farmhouse Öcsény (mid 19th century, changements 1872)

Fig. 13: Lakóház, Ipalyfödemes

Fig. 14/15: Drávapalkonya, rural dwelling house Farmhouse in Visonta

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Fig. 16/17: Rédicz (1864), wineyard house Hollokó: Petöfi utcas 2: Square proportions

Fig. 18: Hollokó houses in the Hungarian open air museum Szentendre (Wikipedia photo)

Fig. 19: Lugoshelye

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Fig. 20: Domoszló, Petöfi utca 59

Fig. 21/22: Berzéte-Körösön (1865) Uzón (1791)

Fig. 23/24: Sajópüspöki (1846), Bortheast Hungary Magyarremete 1911 (dawing of Károly Kós), Bihar Dist.,Transylvani

13

Fig. 25: Oroszhegy

Fig. 26: Baranya in Szentendre Open Air Museum

14

Fig. 27: Baroque village houses in Feher/Zeiden (1769, Brassó area)

Fig. 28; Ecel/Hetzeldorf (Nagyszeben area). Such house types were built by Saxons, but also by Hungarians

and Skéklers. Probably a state-guided rebuilding scheme?

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Fig. 29: Nagyselyk/ Marktschelken, house of a craftsman

Fig. 30: Kaca/Katzendorf, Brassó district (2010 with a Hungarian popoulation of approx. 46%)

SLAVIC QUADRATURE IN TVA. A SELECTION

Fig. 31-33: Lower Sorbic TVA in Leipe (today Museum), Spreewald (100 km SSE from Berlin); Slavic storage in

Niederlungwitz near Glauchau, West Sachsen, Germany; Nenkenroth (1606) north Lichtenfels or Bamberg), (North Bavaria)

16

Fig. 34: House in Boehemian Forest in Czech Republic, near Bavarian Border

Fig. 35/36: Freistadt.Sand (1719), Oberösterreich, St. Agatha near Hallstatt Lake (Salzkammergut, Oberösterreich=

near Czech border

17

Fig. 37/38: Farmstead in Donnersbach, Obersteuermark Former tollhouse of eastern Salzkammergut, Styrua

Fig. 39: Eastern part of the Styrian Salzkammergut, in Wörschachtal

Fig. 40/41: A few examples of the still exuberantly existing traditional TVA of the Styrian Salzkammergut, Austria

18

a

Fig. 42/43: Mauterdorf, Fanning, Lungau, Salzburg-Land: Old inn, (1701) and a stone story

Fig. 44: Köflach-Kemnath, Central South Styria

Fig. 45: Millstatt, Seeboden, Carinthia

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Some Slavic Type Storages in Austria (Styria, Carinthia)

Fig. 46-49: Slavic storage Trögern, Srmtnik (1788) in Arriach Zell i.R., storage in Vokovnik, Carinthia Bad

Aussee, NW Styria (Salzkammergut)

Fig. 50-52: West Slavic type storages – all, of course – in Quadrature -, in Central Styria, South Carinthia, SE

Styria

B Fig. 53-54: Zell im Rosental, Carinthia, South Austria near Slovene border

Fig. 55/56: Mountain hauses north and wewt of Triglav mountains, Slovenia

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Slovene hayrack (kozolec)

Fig. 57-60: The square-based proportions of Slovenian hayracks (“kozolec”, pl. “kozolci”) according Borut

JUVANCEC. Carinthian hayracks have the same proportions.

Fig, 60/61: Drvengrad, Serbua Montenegro, mountain hut

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ALEMANNIC QUADRATURE (Switzerland, Black Forest, AUSTRIAN

VORARLBERG, BAVARIAN SCHWABEN). A SELECTION

Fig. 62/63: Farmhouses in Black Forest, Kirchzarten near Freiburg/Br, SW Germany; Sumiswald (1898),

Berne (CH)

Fig. 64/65: Inn in Hombrechtikon (1703, ZH), farmhouse in Trogen AR (Appenzell Ausserrhoden),

Switzerland

Fig. 66-67: House of inns in Amriswil (Kanton Thurgau, 1711); Marthalen (Kanton Zürich), „Zum

Hirschen“

22

Fig. 68/69: Aesch LU (Kanton Luzern, CH); Rifferswil (1679) in Canton Zürich

Fig.70/71: Aesch LU, Kostheim (1807); Hitzkirch (1696), both in Canton Lccerne, Switzerland)

Fig 72/73: Farmhouse in Diemtigen, Canton Berne (1789); in Isenthal UR (1795)

23

VORARLBERG, AUSTRIA

Fig. 74-75: Dornbirn, Vorarlberg, Austria (measured drawing of 1899): Hard, Vorarlberg (both measured

drawing of 1899)

QUADRATURE FARMHOUSES IN SCHWABEN IN BAVARIA

Fig. 76: Bodolz Lkr. Lindau, Einfirsthof “beim Fränzle” (1853) (compare Fig. 65 in nearby Appenzell)

24

Fig. 77-78: Kronburg-Illerbeuren (Lkr. Unterallgäu), „Nattererhof“ (1780);Scherstetten (Lkr. Augsburg),

“Staudenhaus”, frist half 18c (all in Regierungsbezirk Schwaben of Bavaria)

HOUSES IN NORTH-FRISIAN QUADRATURE, GERMANY

Fig. 79-80: Roter Haubarg (17c), near Witzwort, on peninsula Eidersted; Klockries (Hans Hansen,

1634)North Frisian island of Föhr (both Scheswig-Holstein, NW Germany)

List of Abbreviations MTA Mediterranean Traditional Architecture, PDWA patterns of proportioning NTA North, Central and East European Traditional Architecture, PDRS patterns of

proportioning PDRS Proportioning, dominated by Roof Slope (or Roof Pitch), as in NTA PDWA Proportioning, dominated by Window Axes (i.e. vertical axes of openings), Bays

vertical limits like columns, lisenes), as in MTA TA Traditional Architecture THA Traditional High Architecture TSHA Traditional Semi-High Architecture, as urban and monastic architecture TUA Traditional Urban Architecture TVA Traditional Vernacular Architecture

25

Gestalt Parameters = aesthetic parameters, parameters constitutin or supporting aesthetical perception (i.e., preconditions that the perceptual organization can function along “aesthetical lines”). In architecture are theses, as presented in St. E. RASMUSSEN’s “Experiencing Architecture”, extended.

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