② It is considered that architectural beauty is an objective existence. Architectural modeling is beautiful only if it conforms to the objective law of formal beauty. The earliest representative of this theory is the Pythagorean school in ancient Greece. Vitruwei, an architectural engineer of the Roman Empire in the 0 ~ (th) century A.D./KLOC, pointed out in the Ten Books of Architecture that beauty exists objectively, mainly in the harmonious proportion between the various parts of the building. /kloc-Renaissance artists in the 0/5th century also attached great importance to the study of proportion. 17 and 18 centuries, European classical architects regarded the proportional relationship of architecture as the highest objective law of architectural art and sought the mystery of beauty in various mathematical relationships. L. Corbusier (1877 ~ 1965), one of the representatives of modern architecture, once designed a golden ratio building. Since the Renaissance, the research on the law of architectural beauty in Europe has formed a complete system through two ways. The first is to measure a large number of architectural relics in ancient Greece and Rome and summarize a set of proportional rules. Among them, the five-column model summarized by G.da vignola and A Palladio has the most far-reaching influence. The Five Paradigm is the proportional rule of the five colonnade forms of ancient Roman architecture, which has been regarded as the most beautiful representative of European and American architecture for 300 ~ 400 years. Then, through the scale analysis of geometric composition and the visual analysis of many buildings recognized as beautiful, some laws of formal beauty are summarized, which are called composition rules. There are many such works, among which the Form and Function of Architecture in the Twentieth Century published by hamlin 1952 and the Introduction to Architectural Composition published by the Institute of Architectural Theory, History and Architectural Technology of the Soviet Institute of Architecture 1960 are more representative. The former divides the composition rules into 10, that is, unity, balance, proportion, scale, rhythm, order, regular and irregular order design, personality, style and color in the layout. The latter emphasizes the unity of form, function and structure in architectural composition; As a means of cooperation, seven composition rules are summarized, namely symmetry and asymmetry, contrast and difference, rhythm and prosody, modulus, proportion, scale and optical correction. There are also four auxiliary means, namely, color and lighting, architectural decorative patterns, sculptures and commemorative paintings.
③ It is believed that the beauty of architecture lies in some reaction of architectural image to people's psychological activities. Early experimental psychology tried to explore the psychological influence of some architectural factors such as volume, shape, line, color and texture on people through psychological-physiological experiments, but the experimental results could not accurately explain the aesthetic effect of complex architectural art. Modern gestalt psychology and empathy theory were gradually used to explain the aesthetic feeling of architecture. According to the former's basic viewpoint, architectural aesthetics is a comprehensive whole, which includes psychological activities such as feeling, perception, association, memory and impulse. And each element is often associated with a certain space, component, style, technique, color, texture and so on. One of them was removed, which also destroyed the overall aesthetic feeling. According to the latter's basic viewpoint, only when the viewer and the architectural image are integrated can a strong aesthetic feeling be produced; In other words, when the inanimate abstract architectural form is endowed with personalized characteristics, it has the meaning of beauty. For example, people think that temples are sacred and lofty, palaces are graceful and elegant, gardens are beautiful and quiet, and houses are peaceful and comfortable, all of which are the result of the mutual blending of human emotions and architectural environment and forms.