and human figures moving in unison, marching bodies of men: all are attention appeals to our rhythmic sensitivity. Our response may be so slight as to be unnoticeable, or we may move hands or some part of the body in response, even using the tactile approach and moving the fingers lightly along some long, flowing, rhythmic line.

As in all art principles, we dislike monotony and wherever possible avoid mechanical regularity in our rhythms. The exact spacings of a picket fence have little appeal compared with the rhythmic spacings of the step or set-back pattern. In one, we have monotony; in the other, variety.

This attention movement necessary for the perception of movement in rhythmic sequences becomes the theme for systematic design planning, using as a basis the whirling-square plan of procedure. The XM or 1.618 plus rectangle is now familiar to us and, in Figure 136, Plate 18, the rectangle has in the auxiliary plan been drawn to scale in modified isometric, indicated by the letters A B C D with the dimensions conveniently indicated in millimeters, projected from the line of measure.

Within this modified isometric rectangle, study the subdivisions marked by isometric squares, later to become masses and spaces; note how they whirl around rhythmically, getting smaller and smaller. This swirling pattern gives the XM rectangle the additional name of the whirling square. Steps generating this pattern are as follow:

  1. To construct these squares, mark off to the left from point A, 50 mm.; project to the isometric view and draw E F, which is the first square to be planned.
  2. Draw the diagonal D B; this cuts the side of the square E F at point G; draw G G', which completes the second square. The area F C B E is a whirling square exactly similar in ratio to A B C D.
  3. Draw the diagonal oiC FEB, giving the line E C. This cuts the line G G' at H. Complete H Hand the third square the form stage of modern design enrichment: monotony of plain surfaces relieved by thin plinths:

use of static ratiosĀ«



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