Chapter 4: Basic Design

principles
-Balance,
Ordering Principles ,
-Emphasis,
-Unity/harmony,
-Similarity/ Contrast
Introduction

• The principles of design are the tools used by an artist or

designer to create an effective composition or design.
• The basis of all design is the arrangement of the elements of
design, using the design principles.
• The difference between a weak design and a strong one is
completely dependant upon the designer’s knowledge of the
design principles and how well he/she applies them.

“Good art always starts with an idea.”

Introduction

• Organization - the act

of bringing separate
elements together to
form a unit or a
structure
Introduction

• The organization of
form is facilitated by
the knowledge and
application of all the
principles of design.
 Introduction
• These principles, a basic •
listing as there are others
that may be defined through ▪
interpretation, work ▪
together to provide a final
solution. ▪
• The overall impact of the ▪
final solution will depend on ▪
the manner by which the
architect or designer applies
specific principles to the
solution.
BALANCE

• Concerns the distribution of visual

weight within a composition.
• a feeling of equality of Visual
weight, attention, or attraction
• balance can be visual
balance(optical Equilibrium) or
actual (physical) balance .
balance

• In assessing pictorial balance, we always assume a

center vertical axis and usually expect to see
some kind of equal weight (visual weight)
distribution on either side.
Symmetrical Balance

Bilateral balance
• like shapes are
repeated in the
same positions
on either side
of a vertical
axis.
Formal Balance

• Conscious symmetrical
repetition, while clearly
creating perfect balance,
can be undeniably static, so
the term formal balance is
used to describe the same
idea.
Formal Balance
Asymmetrical Balance

• balance is achieved with dissimilar objects that have equal visual

weight or equal eye attraction.
Informal Balance

• Asymmetrical balance is
actually more intricate and
complicated to use than
symmetrical balance.

The expressive asymmetry of Calatrava’s

bridge confounds our usual expectation of
stability, and the result is a dynamic,
unforgettable design.
Asymmetrical Balance

BALANCE BY VALUE AND COLOR

Value
• One element that attracts our
attention is value difference, a
contrast of light and dark.
Asymmetrical Balance

BALANCE BY VALUE
AND COLOR
Color
Asymmetrical Balance

• Balance by Texture and Pattern

Asymmetrical Balance

BALANCE BY POSITION
• A well-known principle in
physics says that two items
of unequal weight can be
brought to equilibrium by
moving the heavier inward
toward the fulcrum.
Radial Balance

• Here all the elements

radiate or circle out from a
common central point.
• Radial balance is not entirely
distinct from symmetrical or
asymmetrical balance. It is
merely a refinement of one
or the other, depending on
whether the focus occurs in
the middle or off center.
Radial Balance
The Taj Mahal Mausoleum ,Agra, Uttar Pradesh, India
EMPHASIS

ATTRACTING ATTENTION
• emphasis or focal point, emphasized
element initially can attract attention
and encourage the viewer to look closer.
WAYS TO ACHIEVE EMPHASIS

EMPHASIS BY CONTRAST
• As a rule, a focal point results
when one element differs from
the others.
EMPHASIS BY CONTRAST
WAYS TO ACHIEVE EMPHASIS

EMPHASIS BY ISOLATION
• This is contrast but it is contrast of
placement, not form.
UNITY/HARMONY

Unity/ Harmony
• Unity, the presentation of an integrated image,
is perhaps as close to a rule as art can
approach.
• a congruity or agreement exists among the
elements in a design;
• they look as though they belong together, as
though some visual connection beyond mere
chance has caused them to come together.
• The state of oneness & wholeness,
• Is the relationship between the individual parts
and the whole of a composition
•

• It allows the viewer to

see an integrated
whole, rather than
unrelated parts.
• unity is achieved
in the home
interior by a
consistent use of
color (yellow and
white) and
smooth texture.
Unity is created in the Taj Mahal design by the
consistent use of color, forms, and shapes. In
addition, the entire site is unified by straight
pathways that lead to the mausoleum

the consistent use of curved roofs, color,

rectangular openings, and similar potted plants
create a unified design.
• Although the multiple
colors of Saint Basil’s
Cathedral is somewhat
distracting, the
consistent use of
onion domes and
arches create a sense
of unity.
 Ordering principles
• In a composition that uses elements, regardless of the logic of
organization, we can establish an ordered relationship
between the elements by the use of Ordering Principles.
• These principles, unlike organizing principles, they are not due
to the manifestation of the actual structure of the
composition
• rather it is a relationship defined between the elements as
parts of the composition that can contribute to the overall
effect.
Ordering principles

• Order refers not simply to geometric regularity, but

rather to a condition in which each part of a whole is
properly assembled with reference to other parts so as to
produce a harmonious arrangement.
• Order without diversity can result in monotony or
boredom; diversity without order can produce chaos.
• A sense of unity with variety is the ideal.
Ordering principles

• The following are principles used as visual devices to allow

the diverse forms of a building to coexist perceptually and
conceptually within an ordered, unified, and harmonious
whole:
• Axis, Symmetry, Hierarchy, Datum, Rhythm
Axis

• A line defined between two points

in space about which forms can be
arranged in a symmetrical or
balanced manner.
• This line can be actual or implied.
Found in La Jolla, California at the Salk
Institute. Designed by architect Louis
• An axis has a beginning and end point, induces
movement, and promotes views along the path. The
idea of axis may be reinforced by defining edges along
the length.
SYMMETRY

• balanced distribution of equivalent forms on opposite

sides of a dividing line or plane, or about a center or
axis (actual or implied )
 SYMMETRY

Two types of symmetry: Bilateral

symmetry & Radial symmetry
• Bilateral symmetry; only one plane
can divide the whole into essentially
identical halves.

Monticello, Thomas
Jefferson
Charlottesville, VA
• Radial symmetry; the
composition can be divided
into similar halves by passing
a plane at any angle around
a center point or along a
central axis.

Villa Rotunda,
Palladio
Vicenza, Italy
 HIERARCHY

• Way of establishing order from most

dominant to least dominant
element.
• It establishes primary and
secondary elements that have a
dependent relationship.
 HIERARCHY

• Achieved by changing size, shape or location relative to the

other forms

Hierarchy by size Hierarchy by shape/orientation Hierarchy by placement

 Legislative
Catherdral Assembly
dominates urban Building
landscape in Le Corbusier
Florence, Italy Punjab, India
 The San Francisco Ferry Building’s prominent
tower makes it a waterfront landmark.

Paris, Arc de Triomphe

• The importance of a particular element is elevated over the other
elements in the composition due to its distinction by scale, shape,
and/or placement.
DATUM

• The introduction of one dominant element in an otherwise

disordered composition may produce an overall ordering
effect on the existing forms.
• In such cases, we are considering the introduction of the
form as a datum.
• Such a form could be a line, Plane, Volume.
• A line, plane, or volume that, by its continuity and
regularity, serves to gather, measure, and organize a
pattern of forms.
DATUM

• Line

• TO BE AN EFFECTIVE ORDERING DEVICE, A LINEAR DATUM

MUST HAVE SUFFICIENT VISUAL CONTINUITY TO CUT THROUGH
OR BYPASS ALL OF THE ELEMENTS BEING ORGANIZED.
• Plane

• Volume

• IF PLANAR OR VOLUMETRIC IN FORM, A DATUM MUST HAVE SUFFICIENT

SIZE, CLOSURE, AND REGULARITY TO BE SEEN AS A FIGURE THAT CAN
EMBRACE OR GATHER TOGETHER THE ELEMENTS BEING ORGANIZED
WITHIN ITS FIELD.
Le Corbusieur's intended plan for the re-design of
Paris.

Eco-homes by Ushida-Findlay Architects, to be built

in Preston, UK.
Phillip Exeter Academy Library
Louis Kahn
Exeter, New Hampshire
A volume can collect the pattern of elements
within its boundary.
Oscar Niemeyer, the National Congress of Brazil
building
 RHYTHM & Repetition

• Reoccurrence of similar elements

define repetition, where Reoccurrence
of elements in a logical pattern define
rhythm.
• Rhythm is hence a sense of order
established between elements that
are in repetition, but not vice versa.

Sydney Opera House, John

Utzon
Sydney, Australia
Repetition can be achieved by

• Size

• Shape

• Detailed
characteristics
RHYTHM

• A regular rhythm: occurs

when the intervals
between the elements,
and often the elements
themselves, are similar
in size or length.

Cube house design

Rotterdam, Netherlands
Progressive:
A progressive rhythm shows a sequence of
forms through a progression of steps.
• Progressive, reverberating patterns of forms and spaces can be
organized in the following ways:

• in a radial or concentric manner

about a point
• sequentially according to size in a
linear fashion
• randomly but related by proximity
as well as similarity of form
Random Rhythm
Sequentially,
Gradated Rhythm
Contrast

• Is the difference between elements

or the opposition to various
elements.
• Contrast adds variety and visual
interest to the total design.
• Most designs require a certain
amount of contrast since Too much
similarity of the components in any
design becomes monotonous.
• Contrast may also be used to
create a focus within a solution,
relative to the intended function.
• Strong contrast can be used to
provide theatrical like effects
for strong impact.
Loyola Law School Addition (Frank O. Gehry)
• Contrast may be
ineffective if the
application or technique
used remains too subtle to
provide a recognizable
difference relative to the
surroundings. Our inherent search for order will provide the means to
establish a visual hierarchy within a space, keying off
contrasted elements to discern the intended focus of a
space.
 • Contrast of form

Building material
contrast
THANK YOU