PRINCIPLES

OF

COMPOSITION

RENARD CATABAY
BS in ARCHITECTURE 1A
Theory of Architecture 01
Exercise No. 1
PRINCIPLES OF COMPOSITION
Composition is the organization of the elements of design into a unified
whole. “It is the organization of the whole out of its parts - the conception of
single elements, the interrelating of these elements, and the relating of them
to the total form. It means ‘putting together’, and can apply to any work of art,
from music to writing to architecture, that is arranged or put together using
conscious thought.” 1 It basically refers to the placement or arrangement of
conceptual elements (point, line, plane, volume, form, shape, space) and
visual elements (color, texture, size and shape) in a work of art according to
some (consciously or unconsciously used) compositional principles. “In the
visual arts, composition is often used interchangeably with various terms
such as design, form, visual ordering, or formal structure, depending on the
context.”
In architectural design, the architect creates an ordered expression
through the process of composition by using the raw materials of architectural
form, which are basically the mass and the space.3 In this process, the
material forms (masses) and spaces are arranged into the final composition,
of the definitive design. At this stage each element ends up in its proper place
according to the principles of composition. Without this ordering process the
result would be chaos. The method of ordering and the concept employed
ultimately dictate the character, appearance and style of a design.”
Some compositional principles might be used (such as unity, balance,
hierarchy, scale, dominance, similarity, contrast, rhythm, repetition, symmetry)
to create this order. The way the formal and spatial elements are arranged
through these principles creates the order of composition in architecture.
These organizational principles of composition are like the grammar of a
language. The use of these principles over the visual and conceptual elements
of design is like using a visual grammar. It is like speaking and writing in the
language of architectural design. Visual and conceptual elements are the
materials (words) of design and the principles are the ways to work with and
arrange the elements (grammar). However it is also true that there is not such
a thing that these principles should be obeyed. As William Lidwell's stated in
Universal Principles of Design, “The best designers sometimes disregard the
principles of design. When they do so, however, there is usually some
compensating merit attained at the cost of the violation. Unless you are certain
of doing as well, it is best to abide by the principles
CONTRAST
Contrast creates a visual principle,
variety, excitement, and interest which
there is distinguishable difference
between objects. The differences in sizes,
textures, colors, positions, shapes,
orientation etc. create contrast. The
presence of contrast creates the illusion of
depth within a 2 or 3 dimensional
composition. If there is too much similarity
between the elements of design, the
design takes the risk of being boring and monotonous. Contrast adds variety
and visual interest to the total design. However too much contrast can also
create confusion. Therefore the aim should be to find the balance between
similarity and contrast. Contrast can be recognize in a building, when two
adjacent parts are different from one another, even on the scale of streetscape,
adjacent old and modern buildings create and interesting contrast.
While too much similarity between design elements can be dull, too
much difference can cause confusion. Therefore, it is important to balance
the level of contrast to develop a compelling visual. Contrast in
architectural composition is a secondary importance only to unity of
design, and a feeling for its perception and proper employment is bound
up with which it is indissolubly connected. The use of contrast can only be
learnt by experience and a development of the aesthetic sens e. Contrast
in design is applied over an almost limitless field. In the first place we
have a contrast of form and mass, such simple contrasts, for example, as
that of the sphere and the cube , and contrasts in bulk between figures of
identical type. We then have contrasts of line, being considered either as
the contour of objects , as the silhouette of pattern, or by extension as
‘direction’, such a verticality, horizontality, obliqueness.

Examples of Contrast in Principles of Composition:

 • PROPORTION AND
ANTHROPOMETRICS
Proportion as the relationship
of one object to another or one part of
an object to its other parts of the
whole. It also refers to the relative
size and scale of the various
elements in a design. The issue is the
relationship between objects ,or parts
of a whole.
Proportion in the various smaller architectural elements of a building
we may say that exactly the same principles hold good as for the general
massing, and the same desiderata are to be aimed at. Difficulties which
arise in the main grouping are, however, encountered in a more insidious
form when we come to the details of design, for here we are obliged to be
extremely precise, and the obtaining of correct proportions requires in
addition an architectural vocabulary, a knowledge of what are called *
motifs,' of great range and flexibility. To the student of composition it is
probable that greater obstacles will be met with in the design of a single
monumental doorway than in the massing of a large block of buildings. The
latter constitutes a broad general essay in form, the former requires
definition, precision, and a very practice knowledge of effect.
The fact that certain proportions have been found so generally
satisfactory and acceptable has naturally raised the question of the method
by which they have been arrived at, and opens up the controversial subject
of proportion ratios and their relation to the science of geometry and
mathematics generally.
It is held by many persons that there is a definite arithmetic of beauty,
and that it should be possible to discover some relationship of mathematical
values, some Curves or geometrical forms, through the use of which it
would be feasible to synthetize beauty with mathematical accuracy.

Examples of Proportion in Principles of Composition:

 The use of anthropometrics in building design aims to ensure that
every person is as comfortable as possible. In practical terms, this means
that the dimensions must be appropriate, ceilings high enough, doorways
and hallways wide enough, and so on.

Example of Anthropometric in Principles of Composition:

SCALE
Scale Making use of scale in a
composition refers to using relative size
of elements against each other.
Playing with the scale of elements
creates visual drama and can attract
attention to a focal point.
Scale refers to how the size of
different elements relates to each
other. Varying the size of elements
can produce visual drama that draws
attention to a focal point.
The perception of scale can be
affected by a viewer’s own dimensions. Therefore, a viewer’s dimensions
play a role in the scale of the building he or she is looking at.

We have left to the last the consideration of proportion in its relation

to what is known as Scale. Mr. Belcher, in his Essentials in Architecture^
describes (good) * scale ' as * the proper relation of the several parts to
one another and to the whole in point of size/ which is practically the
definition which we have made of proportion. We would say rathe r that
good scale consisted, in fact, in these relation- ships of size, but with the
addition of the relation- ship of the parts and the whole to some fixed or
assumed standard.

Examples of Scale in Principles of Composition:

 Actual physical size alone will not guarantee in a building an appearance of
fine scale, and the elements which go to make up a composition cannot be
increased in size beyond certain limits without a loss of impressiveness.
Instead of unduly inflating our elements, we should rather add to their number,
and thus gain by repetition an effect which mere vastness may fail to produce.
A classic example, nearly always cited, of failure to produce effect through size
alone, is afforded by St. Peter's in Rome. Here we have a scheme consisting
of comparatively simple elements which have become overdeveloped, instead
of a design depending on the introduction of more elements better related to
the human scale. There is lacking in the interior of St. Peter's a sufficiency of
elements to give a clue to it actual size. All its details are large, and there are
no objects of any importance to afford a standard of comparison. The church
only begins to * look its size * when crowded with worshippers, for then the
human figure gives a clue to the scale, which we at once see is immensely
large.
In external work the attainment of good scale is less difficult than is the case
with interiors, because in nearly every instance there are surroundings which
give the key to actual size. The Arc de Triomphe in Paris derives its effect of
scale not only from the beauty and stability of its proportions, but from its
setting. It is in excellent relation- ship with the area of the Place de TEtoile, and
seen from any of the radiating vistas of which it is the climax, its silhouette
dominates sufficiently to convey an effect of * bigness.* For Paris the Arc de
Triomphe is correct in scale, but in London, where the scale of the buildings is
smaller, it would have to be set in special surroundings to avoid the risk of
crushing its neighbours, a risk not always avoided in modern English street
architecture, where the influence of large-scale American work is beginning to
be felt.
 • BALANCE AND GRAVITATIONAL
CURVES Balance can be defined as the
concept of visual equilibrium. Similar to our
physical sense of balance, like attempting to
stand on a ball, opposing forces within a
composition generate visual
stability.Symmetrical balance, also known as
formal balance, is achieved by having equal
“weight” on each side of a central fulcrum.
When the elements on each side are
arranged identically then it is referred to as
bilateral symmetry. In a composition, balance
can also be achieved by ordering elements
equally around a central point. This method
creates radial symmetry and is known as radial balance. In
photography, the reflection of an object creates balance through
inverted symmetry.
Symmetrical balance: Symmetrical balance is
when the weight is equally distributed on both sides
of the central axis. Symmetry is the simplest and
most obvious type of balance. It creates a secure,
safe feeling and a sense of solidity.
 Asymmetrical balance, or informal
balance, is the arrangement of elements
of different visual weights to balance
each other out along a central point. In
architecture, this can take place by
varying the design of each floor of a
building.
In a composition, you can also create
balance using color, texture, shapes, and
spaces.

Radial balance is arranged around a

central element. The elements placed in a
radial balance seem to 'radiate' out from a
central point in a circular fashion.
 In terrestrial architecture, the up-down axis is
normally tied to the force of gravity - the plumb line;
the other axes are free to rotate around it. The up-
down axis is called "vertical", while all possible left-
right and front-back axes are called "horizontal".

• RHYTHM
Rhythm is the repetitive use of one or more
design elements to generate a sense of
organized movement. This leads the eye to
follow a visual link across the space.
Rhythm can be accomplished with repetition by
duplicating shapes, colors, lines, and textures.
One example would be the repetitive use of blue
window panes of the same size on a building.It
can also be developed by a gradation of shifting
size or color, via identical objects radiating from
a center axis, through opposition by making abrupt changes in lines, shapes,
and color. For example, alternating black and white floor tiles.

And by translation is utilizing curved lines to navigate your view across a

straight surface. For instance, flowy curtains hanging along flat windows.

Repeated use of line, shape, color, texture, or pattern.

Types of repetition / Rhythm

GRADUATED RHYTHM

Graduated rhythm the beats of the element become closer or further

apart as they move. The repeated element is identical with the exception of
one detail in increasing or decreasing gradually with each repetition.

REGULAR/ RANDOM RHYTHM

Repeats the elements over a predictable interval. You can repeat ,

color, shape, pattern or another characteristic of the element over a regular
interval.

• UNITY AND HIERARCHY

Unity refers to the state or quality of being
one; singleness, and the state or quality of being in
accord; harmony. In design, unity is the
organization of elements into a whole. A design is
considered unified when all elements are in
agreement. No individual part is viewed as more
important than the whole design. Unity adds order to a
design. In a unified design, the elements support
each other and all work together toward a
common goal. The elements look like they belong
together and not arbitrarily placed on the design medium. In this way, the
viewer of the design first sees the whole design and then the sum of the
parts making that whole. For this reason, unity could be seen as the single
most important aim of any design. It aims to make the whole design more
than the sum of its parts.
Unity is when a harmony among the different design elements is
achieved. More than that, it is the final result of each object and design
principle working together to improve the appearance of a space.
Principles like balance, proportion, and rhythm within an area help bring the
color, texture, and shape of objects into a practical relationship with the
physical aspects of space, light, and structure.
 When nothing distracts from the whole, you have unity. Unity without
variation can be uninteresting - like driving on a clear day through Western
Kansas on the interstate. Unity with diversity generally has more to offer in
both art and in life. Of course some very minimal art can be very calming and
at times even very evocative. Even a simple landscape can have a powerful
effect.

Examples of Unity in Principles of Composition:

Visual hierarchy is the

organization of design elements into
different levels of importance. In a
hierarchical design, one element is
emphasized over another so more
important content looks more
important. Visual hierarchy visually
creates prioritization and centers of
interest.

Hierarchy is the placement of design elements into distinct levels of

importance. This principle is used within design to emphasize one element
over another and distinguish it as more important.

Many buildings are organized as an assembly of several masses, each

of which exhibits its own symmetry and proportion. Such assemblies may be
symmetrical or asymmetrical. Blenheim Palace in England is a composition
of volumes dominated by the central portico, but where the wings are
terminated by dominant volumes that help break down the scale of the large
palace and visually balance the symmetry.

Buildings of complex mass are balanced and the connections between

their masses are visually resolved. Buildings, both simple and complex,
exhibit visual hierarchy.

Examples of Hierarchy in Principles of Composition:

• CHARACTER
 Most Architects have remarked
many buildings which they have noted as
reaching a certain standard of design,
convey a definite impression, not only of
function, but also of something equivalent
to human expression. Some facades give
an impression of blackness or baldness,
others appear to frown, while other appear
debonair and gay; yet another type will be
friendly but austere. These effects of
expression are due not only to a choice
and handling of materials, the presence or
otherwise of ornament, but in the main to
the general proportioning and shaping of the elements in the composition. It is
in the treatment of these elements that the designer has exteriorized his
personal conception of what the building should be, and he has thus endowed
it with character, the expression of which it remains for the critic to comprehend
and to classify.
It is when we come to consider character that we realize the danger of adhering
to rules or principles without under- standing their limitations, and become
aware that the artist rejoices in mastering rules, but not in allowing rules to
master him
Functional Character of a Building
• Every building has specific functions and is made for specific broad
purpose. The internal planning is in co-ordination with the exterior facade
that tells us the purpose of the building.
• The external appearance plays an important role in determining the
purpose and the function of the structure.
For example:
• Designing skylights instead of windows can indicate a museum.
• Designing a long wall having numerous windows in a particular order can
also indicate a museum.
• Designing tall and wide windows suggest a library.
• Designing a symmetrical entrance to a central block having a wide
entrance to express balance and rhythm indicates public buildings.

Associated Character of a Building

• The character of some buildings is expressed through elements
associated with certain influences. Such influences often go thousands
of years back in history and culture.
• Cultural aspects play an important role in determining the Associated
Character of a particular structure….
• We recognize a building by its features, which we associate with a
particular structural style. A spire on a tower by the side of a spacious
building indicates a church. A gopuram depicts a Hindu Temple whereas
a crescent and a white dome is the symbol of a mosque.

Personal Character of a Building

Characters in architecture is comparable with the attributes of an individual. If
a building is designed in the proper spirit, personal characteristics such as
grace, dignity and vitality can be expressed as an integral part of the structure.
Studying these Characters will help us understand the anatomy of the Design of the
Building…