Principle of Design

5/26/2018 Principle of Design

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id4techS.Y. 2 0 1 1 2 0 1 2


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The Principles

organizethe Visual Elementsinto a

pleasing andcomprehens ib leWHOLE.This organization is called

Composition


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Basic Principles of Compositionto 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

dimension

hierarchy

Gravitational

curves


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VARIETY

Contrast in art and designoccurs when two related

elements are different


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SHAPE

VARIETY - Contrast of form


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VARIETY - Contrast of form

M

AS

S


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VARIETY - Contrast of Line

Direction or

Type


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VARIETY - Contrast in size


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VARIETY - Contrast of Tone

Texture

Openings

Planes


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PROPORTION - Relationship

Proportionis largely a matter of

relationship. It is evident bycomparison which the eye makes

between the size, shape, and toneof various objects or parts of

composition.


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Proportionis largely a matter of

relationship. It is evident bycomparison which the eye makes

between the size, shape, and toneof various objects or parts of

composition.


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Divine Proportion is also known as the Golden Mean, Golden Ratio and GoldenSection . It is a ratio or proportion defined by the number Phi(= 1.6180339887... )
http://goldennumber.net/neophite.htmhttp://goldennumber.net/neophite.htm


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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.


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PROPORTIONS

Anthropomorphicproportions - refers to

the measurement of

the human individual

for the purposes ofunderstanding human

physical variation.


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PROPORTIONS-may be basedon the following factors:

1. Natural Material Proportions

2. Manufactured Proportions

3. Mode of Construction or Structural Proportions

4. 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


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PROPORTIONS

Relative Proportion-

deals with therelationship between

the parts of an object

and the whole.


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PROPORTIONS

Absolute Proportion-deals with the

relationship between

the different parts of an

object or the whole to

the various parts


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SCALE- size- refers to how we perceive the size of the

building element or space relative to otherforms.

GeneralScale

Human

Scale


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Balanceis concernedwith the distribution ofvisual interestSimply an

equal distribution ofweight.

BALANCE- equilibrium


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symmetrical

balance-refers to aneven distribution of

visual weight on either

side of an imaginaryaxis. The results lookformal, organized

and orderly.


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Near Symmetry-

two halves are notexactly the same.Slight variationswill probably not

change the balance

but there is morepotential for varietyand hence more

interest.


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FORMAL


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RADIAL


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ASSYMETRICAL


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GRAVITATIONAL OR

PICTURESQUE


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RHYTHM- movement, repetition,

spacing

Unaccented rhythmif equally spaced

windows areintroduced on the

unbroken wall, then

regular repetition ispresent


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RHYTHM- movement, repetition,

spacing


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UNITY - hierarchy, harmony

Unityis one of the goals ofcomposition. It allows the viewer

to see an integrated whole,

rather than unrelated parts.


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repetition


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competition


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confusion


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The unity of simple geometric forms is easy to

understand.

They are elementary in their shapes, and noproportion 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.


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The simplest kind of unity dealing with motifs ofmore 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 thecomposition, 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 thepresence of a central motif.


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In architectural composition the

elements must be arranged in sucha way as to ensure the dominationof the less important parts by themajor masses of the building.

All the units should together form acompact and coherent ensemble.


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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.


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Confusion exists because of the lack ofsimilarity between the various elements

employed to create a building. It is a case

of unorganized competition and contrast.

Dissimilarity is too pronounced.

Character grows out of the function of the building and


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CHARACTER- expressiveness

Character grows out of the function of the building andthe consideration of all the creative principles ofcomposition.

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 ofinternal qualities.

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


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Character in architecture may be dividedinto three (3) types, depending upon the

source of its inception and upon whetherthis source deals with the abstract or theconcrete. The classes are CHARACTERfrom:

Function

or use of the building.

Association or influence of traditional types

Personality or the human quality or emotionalappeal.


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The most important kind

of character in

architecture is that, which

results from the purposeof 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


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A school building

must containmany

windows to admit

the necessaryside light and to

offer an

interesting

contrast with thepossible

monotony of the

class-room walls.


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A museum must have galleries with ample wall space and top light,

which eliminates windows and necessitates the use of skylights


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A structure with large show windows is

usually a shop for the display and sale ofmerchandise.

A factory expresses the efficient operation of

the manufacturing within

A house reflects the informal intimacy of

home life.


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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 ofhome life.


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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.


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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.

ASSOCIATED CHARACTER


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A spire atop a building with stained glass windowshas always told us that it was a church

Classic Orders often indicates the presence of abank/government building.

Collegiate Gothic frequently discloses the identity ofan educational institution.

The contemporary movement in architecture has,however, caused many revisions in our association ofideas. There are so many influences responsible forchanging the character of our Materials, our attitudestoward physical comfort made possible thedisassociation from the past.

ASSOCIATED CHARACTER


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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 emotionalreaction set up in the mind of the observer.


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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.
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PERSONAL CHARACTER

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

It is quite essential that this intangible qualityagree with the function of the building.Nothing could be more disastrous than tohave a power plant looks like anentertainment pavilion a substitute offestivity for efficiency
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Principle of Design

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