Finished and unfinished rhythm in architectural composition

The rhythm was at all times and in all forms of art. Already in the countries of the Ancient East the composition was ordered, distinguished by strictness, the presence of rhythm. In ancient Egyptian and Greek art rhythm was also the main form of composition. In the Renaissance rhythm was considered one of the three main tasks of composition. Knowledge about rhythm as an integral compositional means is constantly expanding, especially after the first theoretical works on architectural composition. Rhythm is an even alternation of ordered elements and is considered one of the most influential means of creating a coherent architectural composition. Rhythmic (metrical) order as a regularity can develop endlessly, but in an artistic composition, where integrity and unity of form are an integral attribute, repetition must have certain limits, a series must have a limited length and have a beginning and an end. In this connection a number of creative problems arise when using rhythm in specific architectural compositions of the frontal surface. It is necessary to notice the peculiarity of the combination of three elements in the composition – if there is a clearly expressed axis, then the ternary rhythm (the one consisting of only 3 elements) is considered complete, if there are elements built according to an increasing or decreasing vector, then this type of ternary rhythm must be completed by methods of stopping the rhythm. On the frontal architectural plane the rhythm can appear in an unstoppable form when the idea of   the work consists in bringing the viewer's thought out of the compositional field – an opportunity to have own thoughts about the work, to get the answers outside the creation. In this case the rhythm really does not stop visually. In order for such frontal compositions to feel complete the elements of the rhythmic series and the composition in general must be carefully proportioned, or the stop of the rhythm must be manifested by the natural boundaries of the form which is not visible visually but sensuously encompasses the rhythmic series. The finished rhythm can be achieved by the main ways of stopping it in the composition: form, "extreme element", "rhythm – counter rhythm", stopping the vertical rhythm with a horizontal one. The use of methods of stopping the rhythm in compositional practice simplifies the creation of a complete composition.