One of the most amazing drawings I have seen shows the construction of geometric forms starting from a single line. It's sometimes referred to as the Flower of Life. As this drawing shows, with a compass and a rule it's possible to construct any shape from the basic to the most complex. Every figure generated by this method shares a proportional relationship to the original line.
Each shape, therefore, is born out of a single line. The process begins simply by drawing two circles using the each endpoint of the line as a center and the length of the line as the radius. From this simple exercise one line becomes two circles -- the division of unity, if you will -- which leads to the unfolding of an infinite number of forms. This is a beautiful metaphor for the creation of new life which commences with the division of the cell.
Architecture has relied on such geomtery throughout the ages. It was always important for an architect to be well versed in geometry, how it can be observed in nature, and how it can guide their practice. Far from being merely the generation of intricate forms, geometry encompassed harmonics, order, and rhythm imbuing a structure with a sublime sense of repose, grace, and appropriateness.
There is something mystical about experiencing a great building. It will resonate with you, make you feel welcomed, comfortable, and at peace. Mystical as it may be, the principles followed in the deisgn of these places were used for more than just religious buildings. They guided the patterns of floor tile all the way up to the design of entire cities. Every piece related to the other, each being a part of a greater whole, expressed within an infitite range of variety.
This meshes well with what we know of nature. The nautilus shell, petals of a rose, the human body; all grow based on proportional relationships. It only makes sense that the environment we build for ourselves follow natural patterns. This is the root of that connection we feel with certain buildings and special places. They have an energy that radiates wellbeing thanks to this connection.
Therefore a muntin, being part of the whole, carries within itself the nature of the entire building. This level of understanding, this depth of care in design, this philosophy is what has come to be known as Classicism. This is why, as expounded upon by Demetri Porhpyrios, Classicism is not a style. As such there are some Classical designs which may seem thoroughly modern just as there are many traditional designs which fall short of the Classical ideal. Thus a Classical building may not have muntins just as a building with muntins may not be Classical.
The distinction above I think is crucial. Economy and beauty are not mutually exclusive. The desire for more modest, clean, and simple design fits perfectly with Classical principles. As seen previously on this blog Ben Pentreath has been doing a magnificent job of exactly that. Understanding the nature of materials, how we humans use space, and what resonates with us, has little to do with rote numerology. Whether or not a window has a specific number of muntins is not the issue. What is important is that the muntins suit the window, the window suits the room, the room suits the façade, and the whole suits the plan.
This is the beginner's mind of Zen practice as applied to Classicism. They exist together at peace. Where east meets west is in the creation of the aforementioned Vesica Piscis. To find out more start here:
