CHAPTER 3

PRINCIPLES OF
COMPOSITION
THE PRINCIPLE OF COMPOSITION

Common Basic Principles in Architecture:

✓ Painting
✓ Sculpture
✓ Music
✓ Literature
ARCHITECTURE

➢ UNITY
-deals with the arrangement of
building materials and building parts
(floor, wall, roof, column, beam, etc) to
create a good composition

LOTUS TEMPLE, NEW DELHI

ARCHITECTURE

➢ BALANCE
-refers to the distribution of those
things that attract the eye. With
architectural balance this primarily
means mass, but there are other
characteristics that come into play that
can affect balance.

NOTE: Architectural balance can be

achieved through symmetry. We can
have a mirror image about a central
axis. In architecture this is common. It
was the norm for classical architecture.

TWIN TOWER, MALAYSIA

ARCHITECTURE

➢ RHYTHM
-“A unifying movement characterised
by a patterned repetition or alteration
of formal elements or motifs in the
same or a modified form.”

OPERA HOUSE, SYDNEY

ARCHITECTURE

➢ COMPOSITION
-“the planned arrangement of parts
to form a whole.“

NOTE: Architects compose concepts,

spaces, contexts, functions,
experiences, elements, materials,
drawings and much more.

Mausoleum in Monastir, Tunisia

CREATIVE ABILITY

• Necessary for the production of distinguished results

• Ability to discern between what is fine and what is mediocre that quality which we
called TASTE
GOOD TASTE

• Is that discerning judgement which one exercises in connection with a better things
life
• Steers an individual through seas of social adjustments and aesthetic decisions
• Must be based upon a knowledge of the rules of proper conduct with respect to our
actions and of the principles of good composition in regard to our artistic endeavors
 GOOD CREATIVE ARCHITECTURE
TASTE ABILITY

NOTE: Good taste and creative ability should produce buildings which
merit the name architecture
 BY:
HOW GOOD IS YOUR TASTE? MAITLAND
GRAVES
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
HOW GOOD IS YOUR TASTE?

A B
ANSWERS

1.A 8.B
2.B 9.A
3.A 10.B
4.B 11.B
5.A 12.B
6.A 13.A
7.A 14.A
HOW GOOD IS YOUR TASTE?

If you get 12 You possess extraordinarily good taste

ranking with professional painters,
interior decorators, commercial
designers
If you get 9 to 11 This indicate superior taste, occasionally
you make errors, but usually you choose
pleasing designs and colors.

If you get 7 to 8 This indicate taste above average

Less than 7 correct you will do well to listen to expert

advice when buying clothes or
decorating interiors
 By:
HOW ARTISTIC ARE YOU? MAITLAND
GRAVES
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
HOW ARTISTIC ARE YOU?

A B
ANSWERS

1.B
2.B
3.A
4.A
5.A
6.A
7.B
8.A
HOW ARTISTIC ARE YOU?
If all selections are correct
If 6 or 7 for a man
For a woman
If only 4 right
You should have faith in your taste or
innate artistic sense, however, there is a
great difference between appreciating art
and creating art. In addition to
appreciation, the creation of fine art
requires talent, study, training and
indefatigable
You have no hesitation in choosing your own
neckties and shirts no matter how loud you
like them, or in selecting gifts
Regardless of what the children say, paint in
the room any color you like or buy any kind of
that
Study up a bit on the elements of art—color,
harmony, unified and balanced design
CONTRAST...........variety

Our physical impressions are made possible through CONTRAST.

NOTE:
• We can hear because of the contrast between silence and sound
• We can feel because of the contrast between the quality of objects
• We can see a building because of the contrast in the shapes and texture of the surfaces
which enclose space to make architecture

Not only is it possible for us to see a building through the element of contrast but also the
building is given beauty and interest by the difference between the types of treatment which
are introduced. It is essential that certain areas, directions, and colors vary differ from
others so that by contrast the qualities of each are emphasized. It is through contrast that we
secure proper scale, proportion, and unity and consequently, a satisfactory design.
TYPICAL CONTRAST

1. CONTRAST OF FORM (SHAPE AND MASS)

2. CONTRAST OF LINE (DIRECTION AND TYPE)
3. CONTRAST OF SIZE
4. CONTRAST OF TONE
1. CONTRAST OF FORM

In order for a shape to be interesting there must be

variety or contrast. Square and circular areas may create
a diversified interest.
1. CONTRAST OF FORM

An arch pleasing contrast to the

opening on either side
1. CONTRAST OF FORM

TWO DIMENSIONAL SHAPE

Great court grid-shell roof at the British

Museum.
1. CONTRAST OF FORM

Mass of the lower part of the base

contrasts with the elongated neck
1. CONTRAST OF FORM

The tower of the building gives variety

in the arrangement of the parts

Notre-Dame De Paris Cathedral

2.CONTRAST OF LINE

Line may vary with reference to direction. It is possible to have a horizontal line
opposing a vertical or diagonal lines may form a composition
2.CONTRAST OF LINE

A line may also offer contrast on account of its change in type or character. It may be curved or
straight, regular or irregular, broken or continuous.

In an architectural example, contrast of type of line gives an interesting contour or silhouette to a

building
3. CONTRAST OF SIZE

Deals with objects which may have the same shape and direction but may vary in size if this
change in size is gradual and unuform, the form is called gradation
3. CONTRAST OF SIZE
4. CONTRAST OF TONE

Tone may be secured by contrast of texture, openings, or planes

4. CONTRAST OF TONE

Examples of Abstract Design

CONTRAST IS THE OPPOSITE
OF SIMILARITY
Contrast in Architectural Subject

1. CONTRAST OF MASS
Contrast in Architectural Subject

2. CONTRAST OF DIRECTION
Contrast in Architectural Subject

3. CONTRAST OF CHARACTER
Contrast in Architectural Subject

4. CONTRAST OF TREATMENT

A. SAME MATERIAL USED IN DIFFERENT TREATMENT

Contrast in Architectural Subject

B. Contrast of Pattern different materials

VOUSSOIRS
a wedge-shaped or tapered stone used to construct
an arch.
Contrast in Architectural Subject

C. Contrast of Area
PROPORTION

Proportion is largely a matter of relationships. It is evident by a

comparison which the eye makes between the size, shape, and tone of
various objects or parts of a composition. These are certain geometrical
forms which have very definite proportions.
PROPORTION

Examples of geometrical forms which have very definite proportions

PROPORTION
THE GOLDEN SECTION

Defined geometrically as a line is divided such that

the lesser portion is to the greater is to be the
whole
Some principles of proportion used in
Classical Architecture
Equilateral triangle
-one with equal sides and angles, has long been accepted as a form with good proportions
EXAMPLES
EXAMPLES
RELATIONS

One of the most important phases of proportion and one which should be
considered in the development of facade is the relation of solids to the
voids, of the wall surface to the openings.
In classical, Romanesque, and Renaissance buildings, where heavy stone
construction predominates. The windows and doors usually occupy a minor portion
of the façade and the wall surfaces are quite dominant
Proportions May Be Based on the Following
Factors

1.Natural Material Proportions

All building materials in architecture have distinct properties of
stiffness, hardness, and durability. And they all have an ultimate strength
beyond which they cannot extend themselves without fracturing,
breaking, or collapsing.
Proportions May Be Based on the Following
Factors

2. MANUFACRURED PROPORTIONS
Many architectural elements are sized and proportioned not only according
to their structural properties and function, but also by the process through
which they are manufactured. Because these elements are mass—produced in
factories, they have standard sizes and proportions imposed on them by the
individual manufacturies
Proportions May Be Based on the Following
Factors
3. Mode of Construction or Structural Proportions
The size and proportions of structural elements such as beams, columns, are directly
related to the structural tasks they perform and can be, therefore; visual indicators of
the size and scale of the spaces they help enclose

Since beams transmit their loads horizontally across space to their vertical support, its
depth, therefore is the critical dimension, and its depth to span ratio, is a good indicator
of its structural role.
Proportions May Be Based on the Following
Factors
4. Requirements of the Program, Function or Government Ordinances
Proportions May Be Based on the Following
Factors
5. Traditions and Generally Accepted Taste
A. At the exterior, the height of an edifice should be in proportion to the character
that the edifice demands
B. Buildings of worship such as churches and temples usually have traditional
proportions
C. Classical buildings usually have proportions based upon traditional rules
1. RELATIVE PROPORTION

Deals with the relationship between the parts of an object and the
whole example ratio between the diameter of a classical column and its
height or the relation of the panels of the door and the whole door
2. ABSOLUTE

Deals with the relationship between different parts off an object the whole
to the various parts

Example:
Ratio between the sizes of windows and the blank walls

Proportion of a cabinet or appliance to the room

ANTHROMORPHIC PROPORTIONS

This method seek not abstract or symbolic ratios, but functional ones. They are predicated on
the theory that forms and spaces in architecture are either containers or extensions of the
human body and should, therefore, be determined by its dimensions.

The dimensions and proportions of the human body affect the proportion of things we handle,
the height and distance of things we must reach, the dimensions of the furniture we use to
sitting, working, eating, and sleeping.
ANTHROPOMETRICS (Human Dimension)

“FURNICUBE”
A formula Discovered by the Author as based from Le Corbusieris
Modulor a height of any person in meters divided by the no. 7.85
will give the dimension of the head or H
 SALVANS “FURNICUBE”

The author coined the word Furnicube from furniture and cube, which is formed by perfect squares. The
golden section is based on SQUARE. As the modular uses 1.83 (6’-0”) height of a person, mostly all
furniture in the market is based on this standards. The author deems it necessary then to seek a formula
to produce a comfortable HEIGHTS for an individual person, from midget to giants, and not necessarily
be forced to use the standard heights of 6 footers.
 PROPORTIONING SYSTEMS
(DYNAMIC AND HARMONIC
SERIES)

• DYNAMIC RECTANGLES
When GP and AP are
combined to conceive a myriad
variations. They can be combined
to sit one a top the other, they can
be set in opposition so that one
diverges as the other converges.
 Alternating positive and
negative rotation, to the
x and y axis produces and
intermittent series of
dynamic rectangles.
 Diagonal system giving
a diminishing gradation
of lines using the
square.
a vertical line am be divided to equal parts. (for example into 10 by
using a diagonal measurement equaling 10, just construct a
horizontal line. This is done for measuring of stairs.
when the arc is divided into seven
(more or less) equal parts and the
diagonals are constructed to
touch the vertical line, it will
produce a proportionate
diminishing distances so that the
higher portion is bigger than the
lower portion.
 NATURE tends to grow by
compound interest or
geometric Progression or GP.
It is explained as a doubling
process.
SCALE

Scale has reference to proportions which are good for humans. Scale
deals with the relation of architectural motifs, such as doors, windows
or moldings, to each other and the human figure. Architecture must be
adapted to human needs. Doors should be large enough to walk through
in comfort but not so gigantic that they require an almost impossible
physical effort to close them.
 In architecture, therefore,
we are concerned with two
types of scale:

1. GENERIC SCALE
the size of a building
element relative to other forms
in its context; (three windows
indicate three stories, the small
window indicate a small room
inside).
2. HUMAN SCALE
the size of a building
element or space relative to the
dimensions and proportional) of
the human body.
Factors that affect SCALE:

1. Normal requirements of human beings.

2. Sizes of familiar materials and those of nature.
Example, the size of bricks or hollow blocks which is usually
0.20 height and 0.40 length or the common plywood which is
four feet (1.20 m} wide and eight feet long (2.40 m).
3·. Beauty or appearance. Scale is so subtle that it
affects even the smallest things that its mastery
must be acquired through cultivation of good taste
and an instinct for harmony in Architecture.

4. Character whether it is monumental, residential,

rustic or formal.

5. Function or purpose usually, classroom areas or

theatre areas affect the design of a room.

6. Location or visual distance mouldings, bas reliefs

and statues outside the building should be bigger
than that is viewed from the inside.
7. Economics depends upon the budget of the owner. A
limited budget will provide a smaller building, a lower
ceiling height.

A building maybe in proper scale but is entirely out of proportion.

Proportions are only referable to one another, and therefore, a
building may have good proportions and yet be entirely out of
scale or vice versa.
 BALANCE and GRAVITATIONAL CURVES

• Gravitational

natural tendency toward some point or object of

influence. The gravitation of people towards suburbs.
 AXIS

The most elementary means of organizing forms and spaces in

architecture. It is a line established by two points in space and about
which forms and spaces can be arranged in a regular or irregular
manner. Although imaginary and not visible, an axis is a powerful,
dominating, regulating device. Although it implies symmetry. It
demands BALANCE.
 An axis has qualities of length and
direction, and induces movement and
views along its path. An axis must be
terminated at both of its ends and
can be reinforced by defining edges
along its length.
 There are three (3) types of BALANCE in the
study of composition.

1. SYMMETRICAL BALANCE - monumental effect

centralized formal radial
2. UNSYMMETRICAL BALANCE - informal
3. GRAVITATIONAL BALANCE - picturesqueness of
surroundings
 1. SYMMETRlCAL

a. Central axis- the easiest and simplest kind of

balance in which the elements are arranged in
precisely the same manner on either side of a
central axis or line.
 b. Formal

• There is another type of

balance which approaches
absolute symmetry but
which lacks some of the
essentials of this kind of
composition.
 c. Radial

• Is characterized by an
arrangement where all
the parts radiate from a
center like the spokes in
a wheel.
2. UNSYMMETRICAL (Informal)

Unsymmetrical or occult balance is more subtle and elusive, and is

more difficult to attain. It attempts to satisfy the eye without any
effort to place equal masses at similar distances from the center
of the composition. It is the grouping, in an informal manner, of
elements of varying sizes and shapes.
 3. GRAVITATIONAl or PICTURESQUE

This kind of composition is the complete adaptation to its

surroundings. This type of composition is often far removed from
conscious composition. Picturesqueness is the opposite of symmetrical
composition. Essentially, it is a quality which is not composed but
freely results from time and the forces of nature.
 TWO KINDS OF RHYTHM

1. UNACCENTED RHYTHM -if equally spaced windows are introduced on the unbroken wall, then regular
repetition is present.
 2. ACCENTED RHYTHM -if the
openings or details are arranged
in such a manner that some are
more important than others, then
the eye grasps the significance of
this relationship and pauses
longer in cbntemplating the larger
elements.
 Rhythm refers to the regular or harmonious
recurrence of lines, shapes, forms, or colors.
It incorporates the fundamental notion of
repetition as a device to organize forms and
spaces in architecture.

Windows and doors repeatedly puncture a

building's surface to allow light, air, views,
and people to enter its interiors. Spaces often
recur to accommodate similar or repetitive
functional requirements in the building
program.
Rhythm may be one of the following :

a. Rhythmic use of color- movement of the

eye across a painting from spot to spot of
similar color.

b. Rhythmic use of line-repetition of a

similar type of line in a piece of sculpture.

c. Rhythm of motion-the movement of

dancers.

d. Rhythm of direction -continuity of a series

of arches forming an arcade.
UNITY AND HEIRARCHY HARMONY

Unity suggests harmony.

 There are at least seven (7) ways of
producing an effect of UNITY in a design.
1. There must be a central motif, a theme, or a center of interest. The attention of the
observer must be drawn to this focal point.

2. The major masses of the building should dominate the less important ones. 3. All the units
should together form a compact and coherent ensemble:

4. The element of emphasis must be introduced. It may be secured by the size, position, or
treatment of a particular motif which is to give the desired importance to that particular part
of the building.

5. By limiting the amount of treatment seen at one time.

6. -By selecting details, materials, colors, etc. in harmony with the basic idea.

7. By selecting styles, furnitures and furnishings in harmony with the surroundings.

COMPETITION

• When elements compete with each

other for the place of importance.
There is competition. This causes
'DUALITY' or the presence of two strong
conflicting personalities or masses
resulting in discord and redundancy.
LACK OF UNITY
 1. Exceptional SIZE

A form or space may dominate an architectural composition by

being significantly different in size than all other elements in the
composition. Normally, the dominance is made visible by the sheer
size of an element. In some cases, an element can also dominate
by being significantly smaller than the other elements in the
organization and placed in a well-defined setting.
 2. Unique SHAPE

Forms and spaces can be made visually dominant, and thus, important by clearly
differentiating their shape from that of. the other elements in the composition. A
discernible contrast in shape is critical, whether the differentiation · is based out
a change in geometry or regularity. It is important that the shape selected for the
hierarchically important element be compatible with its function and use to have
unity.
 3. A STRATEGIC LOCATION:
Forms and spaces may be:

• strategically placed to call

attention to themselves as being
the important elements in a
composition. Hierarchically
important locations for a form or
space include the following:
Character in architecture is derived from
three (3) types. They are characters from :

1. FUNCTION, Of use of the building.

2. ASSOCIATION, or influence of traditional types.

3. PERSONALITY, or the human quality or emotional appeal.

1. FUNCTIONAL CHARACTER

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.
 2. ASSOCIATED CHARACTER

This comes from the influence of ideas and impressions related to or

growing out of past experiences. The contemporary movement in
architecture has, however, caused many revisions in our association of
ideas. It has been necessary to adjust our points of view to the many
influences which are now changing the character of our modern
buildings. New method of construction have grown out of new materials,
and it is now possible to use openings in ways which were not
practicable according to our former conceptions of the limitations of
brick and stone. Our attitude toward physical comfort has been
revolutionized.
 3. PERSONAL CHARACTER

Personal character in architecture bears a certain relation to

the same attribute in the life of an individual. It is found .that
the element of personality plays an important part in the
revealing of character both with man and with architecture.
A custom-house

- here a sense of strength and solidity is required. Strong

walls are deemed necessary, and heavy masonry with few
openings is used to give the desired character. Here all is
business all is ;seriousness.
A large house

for those who want to display evidence of his wealth.

A simple designed house

for the quiet and unassuming people.

 Character then maybe expressed in
Architecture by the following:

1. Scale ... when increased, it gives a feeling of grandeur, dignity and monumentality. However, when
scale is reduced, these characteristics are lessened if not reversed.

2. Proportion ... regarded to produce formality in character when applied. Example is triangular
massing. The huge proportions applied in the parts of the classical buildings give them the formal
character.

3. Style ... many architects believe that style is character expressive of definite conceptions as for
example-grandeur, gaiety or solemnity. On account of traditions, certain styles of Architecture were
adapted for specific types of buildings. This give the proper or good "Ambience" say, for example, a neat
and orderly modern design of a beergarden as compared to a beergarden with indigenous, all local
materials used.
AMBIENCE

- surrounding on all sides, an environment or its distinct

atmosphere; or milieu.
MILIEU

- environment, social or cultural setting.