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The Principles organize the Visual Elements into a pleasing and comprehensible

WHOLE. This organization is called

Composition

Basic Principles of Composition to shape –enclosing elements

• I. CONTRAST -------- variety• II. PROPORTION ---- relationship• III. SCALE --------------- size magnitude• IV. BALANCE ---------- equilibrium• V. RHYTHM ------------ repetition• VI. UNITY --------------- harmony• VII. CHARACTER ---- expressiveness

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Gravitational curves

VARIETY

Contrast in art and design occurs when two related elements are different

SHAPE

VARIETY - Contrast of form

VARIETY - Contrast of form

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VARIETY - Contrast of Line

Direction or Type

VARIETY - Contrast in size

VARIETY - Contrast of Tone

Texture

Openings

Planes

PROPORTION - Relationship

• Proportion is largely a matter of relationship. It is evident by

comparison which the eye makes between the size, shape, and tone

of various objects or parts of composition.

PROPORTION - Relationship

• Proportion is largely a matter of relationship. It is evident by

comparison which the eye makes between the size, shape, and tone

of various objects or parts of composition.

PROPORTION - Relationship

Divine Proportion is also known as the Golden Mean, Golden Ratio and Golden Section .  It is a ratio or proportion defined by the number Phi (= 1.6180339887... )

PROPORTION - Relationship

The golden section, golden mean – a line that is divided such that the lesser portion is to the greater as the greater is to the whole.

PROPORTION - Relationship

PROPORTION - Relationship

PROPORTIONSAnthropomorphic proportions - refers to the measurement of the human individual for the purposes of understanding human physical variation.

PROPORTIONS- may be based on the following factors:

1. Natural Material Proportions2. Manufactured Proportions3. Mode of Construction or Structural Proportions4. Requirements of the Program, Function or Government

Ordinances- the proportion of the height a room is controlled by local building ordinances, logic and artistic sense.- Auditorium proportions are influenced by the visual and acoustical considerations.- Proportions between heights and areas of rooms are controlled by the capacity and lighting requirements of the room.

5. Tradition and General Accepted Taste

PROPORTIONS

Relative Proportion- deals with the relationship between the parts of an object and the whole.

PROPORTIONSAbsolute Proportion- deals with the relationship between the different parts of an object or the whole to the various parts

SCALE- size- refers to how we perceive the size of the building element or space relative to other forms.

General Scale

Human Scale

Balance is concerned with the distribution

of visual interest “Simply an equal

distribution of weight.”

BALANCE- equilibrium

BALANCE- equilibrium

symmetrical balance -refers to

an even distribution of visual weight on

either side of an imaginary axis. The results look formal,

organizedand orderly.

BALANCE- equilibrium

BALANCE- equilibrium

Near Symmetry - two halves are not exactly the

same. Slight variations will probably not change the

balance but there is more potential for variety and

hence more interest.

BALANCE- equilibrium

FORMAL

BALANCE- equilibrium

RADIAL

BALANCE- equilibrium

ASSYMETRICAL

BALANCE- equilibrium

GRAVITATIONAL OR PICTURESQUE

RHYTHM- movement, repetition, spacing

Unaccented rhythm – if equally spaced windows are introduced on the

unbroken wall, then regular repetition is

present

RHYTHM- movement, repetition, spacing

UNITY - hierarchy, harmony

Unity is one of the goals of composition. It allows the viewer

to see an integrated whole, rather than unrelated parts.

UNITY - hierarchy, harmony

repetition

UNITY - hierarchy, harmony

competition

UNITY - hierarchy, harmony

confusion

UNITY - hierarchy, harmony

• The unity of simple geometric forms is easy to understand.

• They are elementary in their shapes, and no proportion of the whole tends to detach itself and to create new forms, or centers of interest.

• Elementary geometric (shapes) FORMS are compact and direct; they tell a single story in the briefest possible manner.

UNITY - hierarchy, harmony

• The simplest kind of unity dealing with motifs of more than one member is to be found in ordinary repetition.

• If this unity would be more emphatic and interesting, an accent may be introduced into the composition, so that a dominant note is added to the regularity of the repetition.

• In other words, the highest type of unity is secured if there exists no doubt as to the presence of a central motif.

UNITY - hierarchy, harmony

• In architectural composition the elements must be arranged in such a way as to ensure the domination of the less important parts by the major masses of the building.

• All the units should together form a compact and coherent ensemble.

UNITY - hierarchy, harmony

• Competition is one of the worst foes of unity.• In studying an architectural problem, the plan

receives first consideration, and here it is too easily possible, but not desirable, to have the elements competing with each other for the place of importance.

• However, the elements of an elevation are more quickly seen and understood than those of the plan.

UNITY - hierarchy, harmony

• Confusion exists because of the lack of similarity between the various elements employed to create a building. It is a case of unorganized competition and contrast. Dissimilarity is too pronounced.

CHARACTER- expressiveness

• Character grows out of the function of the building and the consideration of all the creative principles of composition.

• It is something, which should be kept in mind during the entire process of design.

• Throughout the development of a project the designers must ever strive to express the purpose of the building, both in general composition and the use of details.

• Manifested character is the external expression of internal qualities.

• In any architecture, which is worthy of the name, the exterior of a building expresses the internal function.

CHARACTER- expressiveness

• Character in architecture may be divided into three (3) types, depending upon the source of its inception and upon whether this source deals with the abstract or the concrete. The classes are CHARACTER from: – Function – or use of the building. – Association – or influence of traditional types – Personality – or the human quality or emotional

appeal.

CHARACTER- expressiveness

• The most important kind of character in architecture is that, which results from the purpose of the building or the reason for its erection. The use of a structure naturally calls for a certain disposition of parts, and this arrangement affects the appearance of the exterior by which we largely judge character

FUNCTION

CHARACTER- expressiveness

A school building must containmany windows to admit

the necessary side light and to

offer an interesting

contrast with the possible

monotony of the class-room walls.

CHARACTER- expressiveness

– A museum must have galleries with ample wall space and top light, which eliminates windows and necessitates the use of skylights

CHARACTER- expressiveness

– A structure with large show windows is usually a shop for the display and sale of merchandise.

– A factory expresses the efficient operation of the manufacturing within

– A house reflects the informal intimacy of home life.

CHARACTER- expressiveness

– A structure with large show windows is usually a shop for the display and sale of merchandise.

– A factory expresses the efficient operation of the manufacturing within

– A house reflects the informal intimacy of home life.

CHARACTER- expressiveness

• This comes from the influence of ideas and impressions related to or growing out of the past experiences.

• We have come to recognize buildings by features, which had long been associated with that particular structure.

CHARACTER- expressiveness

• This comes from the influence of ideas and impressions related to or growing out of the past experiences.

• We have come to recognize buildings by features, which had long been associated with that particular structure.

CHARACTER- expressiveness

– A spire atop a building with stained glass windows has always told us that it was a church

– Classic Orders often indicates the presence of a bank/government building.

– Collegiate Gothic frequently discloses the identity of an educational institution.

• The contemporary movement in architecture has, however, caused many revisions in our association of ideas. There are so many influences responsible for changing the character of our Materials, our attitudes toward physical comfort made possible the disassociation from the past.

ASSOCIATED CHARACTER

CHARACTER- expressiveness

PERSONAL CHARACTER

• Buildings have qualities which are directly related to their functions, but in addition, they may possess characteristics which have to do rather with the emotional reaction set up in the mind of the observer.

PERSONAL CHARACTER – Buildings may be stern and forbidding, light

and playful or sedate and dignified with reference to the impressions, which they are capable of giving.

– It is to these qualities of vitality, repose, grace, restraint, festivity, dignity, etc. that we give the name of personal character.

PERSONAL CHARACTER

– If the building is designed in the proper spirit, this type of character will grow naturally from the structure itself.

– It is quite essential that this intangible quality agree with the function of the building. Nothing could be more disastrous than to have a power plant looks like an entertainment pavilion – a substitute of festivity for efficiency