March 2018


«Architecton: proceedings of higher education» № 44 December 2013

Theory of architecture

Sazonov Victor I.

PhD (Architecture), Professor,
Head of Department of Architectural Theory of Creativity and Composition,
Novosibirsk State Academy of Architecture and Arts,
International Slavic Academy of Education, Art and Culture,
Novosibirsk, Russia


The overall aim and direction of this paper is the construction of a grapho-analytical theory of architectural harmony that would be able to realise itself in a corresponding toolkit by analogy to that in music. Our suggestions and the works of some of our predecessors require well-founded evidence from various points of view. If solutions, both contemporary and from the remote past, even where they are intuitive, are consistent with each other, they can be confidently used for explaining and proving the relative accuracy of new ideas. As a matter of fact, relative accuracy is a sign of openness of any new theory, the process of cognizing which can never be complete. In this article (as well as in other publications of this series), we see an example of geometrical harmony in medieval Central Asia architecture in comparison with achievements of other civilisations. Irrespective of how sophisticated the principles of art creativity are, there is always a deep relationship between them on the basis of high-precision semi-graphic (geometrical) designs carried out step by step: from simple to difficult ones. An architectural form of any potential cannot do without unique tools. At various times these were the stick (stylus), pegs and rope, compasses and a ruler, and recently PCs with their various programming potentialities. But all of this is impossible without a consistent theoretical understanding of unity between actions and earlier obtained results, and essential grammar/harmony of the architectural and art language, the bearer of which, in our opinion, is a model of architectural space geometrically harmonised in relation to the Golden Section and ‘Uni-Babylon’. Circular-square constructions and their derivatives are the universals that are carriers of both meaning and grammar/harmony in the language of architecture and other spatial arts, which this series of articles attempts to prove.

Key words: grammar of architecture, geometrical harmony, grapho-analytical harmonics, integer polygons


  1. Mössel, E. (1936) Die Proportion in Antike und Mittlealter. Translated from the German by N.B. Wurgaft; N. Brunova (ed.). Moscow: All-Union Academy of Architecture. (in Russian)
  2. Sazonov, V.I. (2002) The Emergence of the Grapho-Analytical Theory of Architectural Harmony (a Version of the Spatial Language of Wholeness). Novosibirsk: NGAHA. (in Russian)
  3. Schuchardt, H. (1966) Unsere Verhältnis zum Verhältnis. Goldene Schnitt. Farbe und raum, No. 3, p. 17-20.

Russian text of this article

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