id4tech

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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 Gravitational curves V. RHYTHM ------------ repetition VI. UNITY --------------- harmony VII. CHARACTER ---- expressiveness
hierarchy dimension

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

VARIETY

SHAPE

VARIETY - Contrast of form

M
A

S
S

VARIETY - Contrast of form

Direction or Type

VARIETY - Contrast of Line

VARIETY - Contrast in size

Texture Openings

Planes

VARIETY - Contrast of Tone

 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

PROPORTION - Relationship

PROPORTIONS
Anthropomorphic 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 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

PROPORTIONS

Relative Proportiondeals with the relationship between the parts of an object and the whole.

PROPORTIONS
Absolute Proportiondeals 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.

Human General Scale Scale

Balance is concerned with the distribution of visual interest Simply an equal distribution of weight. 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.

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

BALANCE- equilibrium

Unaccented rhythm if equally spaced windows are introduced on the unbroken wall, then regular repetition is present

RHYTHM- movement, repetition, spacing

RHYTHM- movement, repetition, spacing

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.

UNITY - hierarchy, harmony

 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.

CHARACTER- expressiveness

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