PRINCIPLES OF DESIGN

The nature around us is sometimes beautiful sometimes not.

We try to understand why is it so? We try to analyze the nature,
and then,
We try to apply the knowledge from the nature, to the artificial design we want to create.

Art form changes with:

❑ Mans perception
❑ His culture
❑ His religions background
❑ The geographical belonging
❑ The technological level he has attained.

Therefore, with the help of our art form, we can interpret or have an idea of the
❑ Period it belongs to
❑ Geographical parameters that influenced it,
❑ Cultural attitude of the people that mounded it,
❑ Religions belief that gave it a shape and
❑ Technological attainment that helped the creation.
PRINCIPLES OF DESIGN

The “scale” used for the ‘measurement’ or ‘reading’ of an art form is called
“PRINCIPLES OF DESIGN”.

Basic principles are:

▪ Axis
▪ Symmetry or Balance
▪ Harmony
▪ Rhythm
▪ Hierarchy or Dominance or Emphasis.
▪ Datum
 A line established by two points in space,
▪ Axis about which forms and spaces can be
arranged in a symmetrical or balanced
manner.

▪ Symmetry or Balance
The balanced distribution and
arrangement of equivalent forms and
spaces on opposite sides of a dividing line
or plane, or about a center or axis.

▪Harmony

The arrangement of elements to give the

viewer the feeling that all parts of the piece
form a coherent whole
▪ Hierarchy or Dominance The articulation of the importance or
or Emphasis. significance of a form or space by its size,
shape, or placement relative to the other
forms and spaces of the organization.

▪Rhythm/Movement A unifying movement characterized by a

patterned repetition or alternation of
formal elements or motifs in the same or a
modified form.

▪ Datum
A line, plane, or volume that, by its continuity
and regularity, serves to gather, measure,
and organize a pattern of forms and
spaces.
▪ AXIS • The axis is perhaps the most elementary
means of organizing forms and spaces in
architecture.

• It is a line established by two points in

space, about which forms and spaces can
be arranged in a regular or irregular
manner.

• Although imaginary and not visible

except to the mind’s eye, an axis can be
a powerful, dominating, regulating device.
The terminating elements of an axis serve to both send
and receive its visual thrust. These culminating elements
can be any of the following:

• points in space established by

vertical, linear elements or
centralized building forms

• vertical planes, such as

symmetrical building facades
or fronts, preceded by a
forecourt or similar open space

• well-defined spaces, generally

centralized or regular in form

• gateways that open outward

toward a view or vista beyond
▪ Symmetry or Balance

Stated briefly,” Balance is rest or repose”

This restful effect is obtained by grouping shapes and colors around a center in such a
way, that there are equal attractions on each side of that center.

In other words, ‘State of equilibrium’.

Balance influences eye movement.

▪ Lines and shapes have visual ‘weight’.

▪ A heavy line attracts the eye more than
a thin line of equal length.

▪To create a psychological sense of balance, the thin line would have to be extended to
a point at which its total mass, or visual weight is equaled that of the heavier line.
There are two fundamental types of
symmetry:

1. Bilateral symmetry :

refers to the balanced arrangement of

similar or equivalent elements on opposite
sides of a median axis so that only one
plane can divide the whole into essentially
identical halves.

2. Radial symmetry :

refers to the balanced arrangement of

similar, radiating elements such that the
composition can be divided into similar
halves by passing a plane at any angle
around a Center point or along a central
axis.
Unity Temple, Oak Park, Illinois, 1905–7, Great Stupa at Sanchi, India, c. 100 B.C.
Frank Lloyd Wright
Balance in art can be explained as balance in “weight”.

▪The only difference is that, it is not that important, how much the object weights, but
the important is, how much “attention” it attracts.

▪A boy wearing a red shirt attracts much more than a boy wearing a brown cloth.

1. Formal or symmetrical balance

2. Informal or asymmetrical balance.
FORMAL BALANCE:

It is seen that the center of the space under consideration is, the point around which all
attractions must be adjusted.

If objects are alike or are equally forceful in appearance; they will attract the same
amount of attention and therefore should be equidistant from the center.

This kind of balance is known as, “Formal balance”.

Formal balance is achieved when identical elements are positioned equidistantly

from a central axis or line of vision.

Formal balance is quiet, dignified, and gives a sense of precision.

INFORMAL BALANCE:

If objects do not attract the same amount of attention, they must be placed at different
distance from the center.

This type of balance is called “Informal” or asymmetric balance.

Informal balance is achieved, when the visual weight of dissimilar elements
(objects), irregularly positioned to either side of a central axis, is equal.

Eye movement to either sides of a central axis is equal, even though the elements
attracting the eye are dissimilar.

Informal balance is more subtle than formal balance and affords greater opportunity for
variety in arrangements.
Some examples:
Formal and Informal Balance

Formal Informal
Formal Informal
HARMONY:

Harmony is the art principle which produces an impression of unity through the
selection and arrangement of consistent objects and ideas.

Harmony and Unity are often thought of as interchangeable terms.

In both fine and applied arts, the principle of harmony has five aspects.

1) Harmony of line and shape

2) Harmony of size
3) Harmony of texture
4) Harmony of idea
5) Harmony of color.
Harmony of line and shape:

Line:
It is possible to reduce the types of line in a composition into three main groups:
Repetitive Lines : Lines which follow or repeat one another
Contrast lines : Lines which contrast with one another.
Transitional lines (harmonious) : Lines which soften or modify the others.
Shape:

A combination of lines results in a ‘shape’. The most harmonious shape that can be put into a
rectangle is another rectangle of the same shape, and a circle makes the closest harmony
within another circle.

Extreme Contrast Monotonous Repetition

Repetition Contrast Harmony

In any arrangement where a number of shapes are used there should be always be an effect of
organization or in other word of orderly arrangement. If a sense of order is to result, shape
harmony must be present.

Harmony Contrast
Harmony of size:

Sizes which are too different, are used together, they are inconsistent.
Harmony of texture:

Harmony of texture is also important in an art form. The different course materials
used in a design should harmonize each other.
Harmony of idea:

All elements of the building are in a

Classical column on the porch of the house do
harmonious condition expressing harmony
not harmonize with the house.
of idea.
RHYTHM:

▪Rhythm may be defined as a form of movement.

▪All movement in design is not rhythmic, some times it is distracting.

▪In art, rhythm means an easy, connected path along which the eye may travel in any
arrangement of lines, forms or colors.
▪Rhythm, thus, is related to movement.
▪In a plain space, there is no movement, and the eye remains quiet at any point.
▪The moment a pattern is placed upon that plain space, the eye will begin to travel
along with lines suggested by the object and movement is created.
How to gain rhythm:

There are three outstanding methods,

1.Through the repetition of shapes.
2.Through a progression of sizes.
3.Through an easily connected, or a continuous line movement.
Rhythm through repetition:

❑When a shape is regularly repeated at proper intervals, a movement is created

which carries the eye from one unit to the next in such a way that one is not
conscious of separate units, but of a rhythmic advancement making it easy for the
eye to pass along the entire length of the space.
❑In securing rhythm through repetition, one must be careful to avoid monotony in
spacing.
❑Again when intervals are too far apart the movement will lack rhythm.

Size

Shape

Detail Characteristics
• Structural patterns often incorporate the
repetition of vertical supports at regular or
harmonious intervals which define modular
bays or divisions of space. Within such
repetitive patterns, the importance of a space
can be emphasized by its size and placement.

Cathedral at Salisbury, 1220–60

Jami Masjid, Gulbarga, India, 1367
Rhythm through progression of sizes:

❑ Progressing sizes create a rapid movement of eye.

❑ So, when an easy and rapid movement of eye is
desired, rhythm through progression may be applied.

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
Sydney Opera House, Sydney, Australia, designed 1957, completed 1973, Jørn Utzon

Section through main prayer hall: Jami Masjid of Ahmedabad, India, 1423
In this figure the pattern of the shell gives the
greatest enjoyment of rhythmic sequence
through repetition and progression.

Jester House (Project), Palos Verdes,

California, 1938, Frank Lloyd Wright
Rhythm through a continuous line movement:

❑Compositions that show rhythm through continued line likely to be made

up very largely of curves.
Cultural Center, Wolfsburg, Germany, 1948–62, Alvar Aalto
DOMINANCE OR EMPHASIS:

• Dominance connotes emphasis and strength.

• Without visual centers of interests, compositions appear disoriented and
unity is weakened.
• Dominance gives direction, attracting the eye to a focal point.

The value system by which relative importance is measured will of course

depend on the specific situation, the needs and desires of the users, and the
decisions of the designer.

In any case, the manner in which the functional or symbolic differences

among a building’s elements are revealed is critical to the establishment of
a visible, hierarchical order among its forms and spaces.
“Emphasis is the art principle by which the eye is carried first to the most
important thing in any arrangement, and from that point to every other detail
in the order of its importance.”

The use and the result of this principle depends upon the knowledge of
1.What to Emphasize,
2.How to Emphasize,
3.How much to Emphasize and
4.Where to place Emphasis.
WHAT TO EMPHASIZE:

❑In any arrangement, whether it is a room or a house design or a picture

the designer must make a definite plan.

❑In making the plan, he would classify his materials, for arrangements
according to his idea; he should consider the most important, the more
important, the less important and the least important.

❑In each field, the most important features may vary, but the least
emphasis is likely to be the same, i.e. the background against which objects
are to be scan.

❑So, the most important feature should be emphasized and the least
important should work as back ground.
HOW TO EMPHASIZE:

▪These are several methods by which one may create emphasis or attract
attention, and the most important of these are.
a) By placing or grouping of objects.
b) By the use of contrasts of color.
c) By using decoration
d) By having sufficient plain background space around objects
e) By contrasting or unusual lines, shapes, or sizes.

▪Some times all five of these methods may be combined in a single design. (As in
the design of a building).
▪Usually, one, two, or three of these will give all the force needed.
For a form or space to be articulated as being
important or significant to an organization, it
must be made uniquely visible.

This visual emphasis can be achieved by

endowing a form or shape with:

• exceptional size
• a unique shape
• a strategic location
Hierarchy by Size:

A form or space may dominate an architectural

composition by being significantly different in
size from all the other elements in the
composition.

Normally, this dominance is made visible by

the sheer size of an element. In some cases, an
element can dominate by being significantly
smaller than the other elements in the
organization, but placed in a well-defined
setting.
Hierarchy by Shape:

A form or space can be made visually

dominant and thus important by clearly
differentiating its shape from that of the other
elements in the composition.

A discernible contrast in shape is critical,

whether the differentiation is based on a
change in geometry or regularity. Of course, it
is also important that the shape selected for
the hierarchically significant element be
compatible with its functional use.
Hierarchy by Placement:

A form or space may be strategically placed to call

attention to itself as being the most important
element in a composition. Hierarchically important
locations for a form or space include:

• the termination of a linear sequence or axial

organization
• the centerpiece of a symmetrical organization
• the focus of a centralized or radial organization
• being offset above, below, or in the foreground of a
composition
HOW MUCH TO EMPHASIZE :

❑How much emphasis should one use?

The answer is, “Keep simple”

❑The standard for judging objects are,

a) Suitability to purpose
b) Simplicity
c) Beauty.

❑The way to achieve simplicity is to

understand emphasis and
subordinations.
WHERE TO EMPHASIZE :

a) For an object to be seen is a vertical position.

b) In case of more than one emphasis.

DATUM:

• A datum refers to a line, plane, or volume of

reference to which other elements in a
composition can relate.

• It organizes a random pattern of elements

through its regularity, continuity, and
constant presence.

• A datum, however, need not be a straight

line. It can also be planar or volumetric in
form.

• 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. 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.
Line:
A line can cut through or form a common edge
for the pattern, while a grid of lines can form a
neutral, unifying field for the pattern.

Plane:
A plane can gather the pattern of elements
beneath it or serve as an encompassing
background for the elements and frame them
in its field.

Volume:
A volume can collect the pattern of elements
within its boundaries or organize them along its
perimeter.