The Principles organize the Visual Elements into a Pleasing and Comprehensible whole. This organization is called COMPOSITION.

1. id4tech
S.Y. 2 0 1 1 – 2 0 1 2

2. The Principles
organize the Visual Elements into a
pleasing and comprehensible
WHOLE.
This organization is called
Composition

3. 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
dimension
hierarchy
Gravitational
curves

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

5. SHAPE
VARIETY - Contrast of form

6. VARIETY - Contrast of form
M
A
S
S

7. VARIETY - Contrast of Line
Direction or
Type

8. VARIETY - Contrast in size

9. VARIETY - Contrast of Tone
Texture
Openings
Planes

10. 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.

11. 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.

12. 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... )

13. 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.

14. PROPORTION - Relationship

15. PROPORTION - Relationship

18. PROPORTIONS
Anthropomorphic
proportions - refers to
the measurement of
the human individual
for the purposes of
understanding human
physical variation.

19. PROPORTIONS- may be based
on 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

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

21. PROPORTIONS
Absolute Proportion-
deals with the
relationship between
the different parts of an
object or the whole to
the various parts

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

23. Balance is concerned
with the distribution of
visual interest “Simply an
equal distribution of
weight.”
BALANCE- equilibrium

24. BALANCE- equilibrium
symmetrical
balance -refers to an
even distribution of
visual weight on either
side of an imaginary
axis. The results look
formal, organized
and orderly.

25. BALANCE- equilibrium

26. 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.

27. BALANCE- equilibrium
FORMAL

28. BALANCE- equilibrium
RADIAL

29. BALANCE- equilibrium
ASSYMETRICAL

30. BALANCE- equilibrium
GRAVITATIONAL OR
PICTURESQUE

31. RHYTHM- movement, repetition,
spacing
Unaccented rhythm
– if equally spaced
windows are
introduced on the
unbroken wall, then
regular repetition is
present

32. RHYTHM- movement, repetition,
spacing

33. UNITY - hierarchy, harmony
Unity is one of the goals of
composition. It allows the viewer
to see an integrated whole,
rather than unrelated parts.

34. UNITY - hierarchy, harmony
repetition

35. UNITY - hierarchy, harmony
competition

36. UNITY - hierarchy, harmony
confusion

37. 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.

38. 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.

39. 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.

40. 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.

41. 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.

42. 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.

43. 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.

44. 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

45. 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.

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

47. 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.

48. 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.

49. 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.

50. 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.

51. 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

52. 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.

53. 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.

54. 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