BALANCE and

GRAVITATIONAL
CURVES

TOA
 Gravitational
-natural tendency toward some
point or object of influence. The
gravitation of people towards
suburbs.
 If balance does not exist,
there must necessarily be
lack of balance or
inequality.
Balance is equality. It is composition. It is the
foundation upon which arrangement, harmony
and adjustment of weights, tones, values, etc. are
developed. Proper balance satisfies the eye with
reference to the relative importance of the
various parts of the design.

Petronas Twin Towers in Kuala Lumpur,

Malaysia
 AXIS
The most elementary means of organizing An axis has qualities of length and direction,
forms and spaces in architecture. It is a line and induces movement and views along its
established by two points in space and about path. An axis must be terminated at both of
which forms and spaces can be arranged in a its ends and can be reinforced by defining
regular or irregular manner. edges along its length.
Although imaginary and not visible, an axis
is a powerful, dominating, regulating device.
Although it implies symmetry. It demands
BALANCE. The specific disposition of
elements about an axis will determine
whether the v.isual force of an axial
organization is subtle or overpowering,
loosely structured or formal, picturesque or
monotonous.
 AXIS
The terminating elements of an axis serve to both send and receive its visual thrust. These terminating
elements can be any of the following:
Inequality, balance is equality. It is composition. It is the foundation upon which arrangement harmony and
adjustment of weights, tones, values etc. are developed. Proper balance satisfies the eye with reference to the
relative importance of ·the various parts of the design.
The notion of an axis can be reinforced by defining edges along its length. Those edges can be simply lines
on the ground plan, or vertical planes that define a linear space coincidental with the axis.
 There are three {3) types of BALANCE in the study of
composition.
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.
Not only is the arrangement similar but each object is exactly like the one occupying the corresponding
position on the opposite side. In this kind of balance the eye catches at a glance the equality of attraction on
each side of the center of the composition.
All elements are duplicated -shape for shape, size for size, and tone for tone. The left half of the composition
is identical with the right half. This type of balance gives a feeling of repose and order. It is straight forward
and direct. The effect of monumentality is more readily secured by the use of a symmetrical composition
than by an informal grouping of units.
 There are three {3) types of BALANCE in the study of
composition.
1. SYMMETRlCAL
b. Formal - There is another type of balance which approaches absolute symmetry but which lacks some
of the essentials of this kind of composition. At first glance the elements on one side of the central axis
appear to be identical with those on the opposite side, but upon closer examination it is found that such is
not the case. The general mass and grouping of parts may be similar, but there are dissimilarities in plan,
elevation, or details. The volumes of the balancing units may correspond, but there may exist a difference in
their shapes and surface treatments. This type of composition is called 'Formal Balance.'
 Here the two units are located at equal distances from the central shaft and are
similar in mass or bulk. However, they are unlike in plan and in elevation, though
the general effect is still one of simple balance.
 There are three {3) types of BALANCE in the study of
composition.
1. SYMMETRlCAL
c. Radial - Is characterized by an arrangement where all the parts radiate from a center like the spokes in
a wheel.
 There are three {3) types of BALANCE in the study of
composition.
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.

The eye must be satisfied when one is working for unsymmetrical balance. But the eye
must be trained to perceive the accomplishment of this result. A see-saw is used as an
example wherein a lighter weight is farther from the fulcrum and a heavier one nearer. In
an informal arrangement the larger and heavier masses should be nearer the centre of the
group, while the lighter, lower and more horizontal elements may constitute the long arm.
 In this unsymmetrical diagram, the room on the left carries up higher and thus forms a more important
exterior mass. The center of gravity of the composition is near the main entrance, and one feels that the long,
low mass to the right is balanced about this fulcrum by the heavier, more compact portion at the left.
 There are three {3) types of BALANCE in the study of
composition.
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.
One sense. rather than sees, a state of equilibrium. The gravitational is typical arrangement of nature, in
which a landscape is informal in its disposition of parts. Its arrangement is accidental, and it may be good in
its composition or it may be lacking in this quality. Nature works in an unconscious manner with no attempt
to meet man-made rules.
 There are three {3) types of BALANCE in the study of
composition.
3. GRAVITATIONAL or PICTURESQUE
Balance suggests a gravitational equilibrium of a single unit in space, or of pairs symmetrically arranged
with respect to a central axis or point. In picture-making, balance refers to a "felt" optical equilibrium
between all parts of the work. The artist balances forces horizontally, vertically, radially, diagonally in all
directions
 There are three {3) types of BALANCE in the study of
composition.
3. GRAVITATIONAL or PICTURESQUE
There are several factors which, when combined with the elements to balance in a work of art. These factors
or variables are position or placement, size, proportion, quality and direction of the elements of these factors,
position plays the lead role. If two shapes of equal physical qualities are placed near the bottom of a picture
frame, the work will appear bottom· heavy or out of balance with the large upper space. Such shapes should
be placed in positions which will contribute to the total balance of all the involved picture parts. In seeking
balance, it should be recognized that the elements of art represent " moments of force". The eye, as it travels
over the picture surface, pauses momentarily for significant picture parts which are contrasting in character.
These contrast represent moving and directional forces which must counterbalance one another that a
controlled tension results.