What is a system?

• a set of connected things or parts forming a

complex whole, in particular.
• a set of principles or procedures according to
which something is done; an organized
scheme or method.
Villa Savoye, Poissy, France
THE PRINCIPLE OF COMPOSITION
THE PRACTICE OF GOOD VISUAL DESIGN
• Awareness of the elements and
principles in design is the first step in
creating successful visual compositions.
These principles, which may overlap, are
used in all visual design fields, including
graphic design, industrial design,
architecture and fine art.
 • ARCHITECTURE HAS THE SAME BASIC
PRINCIPLES WHICH ARE COMMON TO
PAINTING, SCULPTURE, MUSIC AND
LITERATURE.
• Design elements and principles describe
fundamental ideas about the practice of good
visual design that are assumed to be the
basis of all intentional visual design strategies.
 • The elements form the 'vocabulary' of the
design, while the principles constitute the
broader structural aspects of its composition.

• Design elements are the basic units of a visual

image. These elements include:
 DESIGN ELEMENTS:
• SPACE
• LINE
• BALANCE
• COLOR
• SHAPE
• TEXTURE
• FORM
• VALUE
SPACE
Space is the area provided for a particular
purpose. It may have two dimensions (length
and width), such as a floor, or it may have
three dimensions (length, width, and height).
Space includes the background, foreground
and middle ground. Space refers to the
distances or areas around, between or within
components of a piece. There are two type of
space: positive and negative space. Positive
space refers to the space of a shape
representing the subject matter. Negative
space refers to the space around and between
the subject matter.
LINE
• Line is the basic element that refers to the
continuous movement of a point along a
surface, such as by a pencil or brush. The
edges of shapes and forms also create lines. It
is the basic component of a shape drawn on
paper. Lines and curves are the basic building
blocks of two dimensional shapes like a
house's plan. Every line has length, thickness,
and direction. There are curve, horizontal,
vertical, diagonal, zigzag, wavy, parallel, dash,
and dotted lines.
EXPRESSIVE LINES
BALANCE
Balance can be either symmetrical or
asymmetrical. Balance also refers to a sense
that dominant focal points don't give a feeling
of being pulled too much to any specific part
of the artwork. Balance can be achieved by the
location of objects, volume or sizes of objects,
and by color. It can also be achieved by
balancing lighter colors with darker colors, or
bold colors with light neutral colors.
COLOR
• Color is seen either by the way light reflects off
a surface, or in colored light sources. Red
colors seem to come forward while blue seems
to recede into the distance. and particularly
contrasting color is also used to draw the
attention to a particular part of the image.
SHAPE
• A shape is defined as an area that stands out
from the space next to or around it due to a
defined or implied boundary, or because of
differences of value, color, or texture.[1] Shapes
can also show perspective by overlapping.
They can be geometric or organic. Shapes in
house decor and interior design can be used to
add interest, style, theme to a design like a
door. Shape in interior design depends on the
function of the object like a kitchen cabinet
door. Natural shapes forming patterns on
wood or stone may help increase visual appeal
in interior design. In a landscape, natural
shapes, such as trees contrast with geometric
such as houses.
TEXTURE
• A shape is defined as an area that stands out
from the space next to or around it due to a
defined or implied boundary, or because of
differences of value, color, or texture.[1] Shapes
can also show perspective by overlapping.
They can be geometric or organic. Shapes in
house decor and interior design can be used to
add interest, style, theme to a design like a
door. Shape in interior design depends on the
function of the object like a kitchen cabinet
door. Natural shapes forming patterns on
wood or stone may help increase visual appeal
in interior design. In a landscape, natural
shapes, such as trees contrast with geometric
such as houses.
form
• Form is any three dimensional object. Form
can be measured, from top to bottom (height),
side to side (width), and from back to front
(depth). Form is also defined by light and dark.
There are two types of form, geometric (man-
made) and natural (organic form). Form may
be created by the combining of two or more
shapes. It may be enhanced by tone, texture
and color. It can be illustrated or constructed.
value
• Value is an element of art that
refers to the relationship between
light and dark on a surface or
object and also helps with Form. It
gives objects depth and
perception. Value is also referred
to as tone.
•PRINCIPLES OF DESIGN
 The Principles
organize the Visual Elements into a
pleasing and comprehensible
WHOLE.
This organization is called
Composition
• The principles of design govern the
relationships of the elements used and
organize the composition as a whole.
Successful design incorporates the use
of the principles and elements to serve
the designer's purpose and visual
goals. There are no rules for their use.
The designer's purpose and intent
drives the decisions made to achieve
harmony between the elements.
 Basic Principles of Composition to
shape –enclosing elements

• I. CONTRAST -------- variety

• II. PROPORTION ---- relationship
• III. SCALE --------------- size magnitude
• IV. BALANCE ---------- equilibrium
• V. RHYTHM ------------ repetition
• VI. UNITY --------------- harmony
• VII. CHARACTER ---- expressiveness
• The principles of plan composition are:
A.Primary principles
• 1. Contrast (size, shape, character, direction)
2. Balance (Symmetrical & unsymmetrical)
• 3. Emphasis
• B. Secondary Principles
• 1. Repetition
• 2. Alternation
• 3. Transition
• 4. Transformation
contrast
• juxtaposition of different things:
an effect created by placing or
arranging very different things
such as colors, shades, or textures
next to each other.
• the occurrence of differing
elements, such as color, value,
size, etc. It creates interest and
pulls the attention toward the
focal point.
 contrast
• Contrast in art and design occurs
when two related elements are
different.
• The greater the difference the
greater the contrast.
• Contrast adds variety to the total
design and creates unity.
The key to working with
contrast is to make sure
the differences are
obvious. The most
common ways of creating
contrast are by creating
differences in:
CONTRAST IN
ARCHITECTURE
•FORM
•LINE
•SIZE
•TONE
 CONTRAST OF FORM

IN ORDER FOR AN OBJECT TO BE

INTERESTING AND
SATISFYING,THERE MUST BE A
VARIETY OR CONTRAST OF
FORM.
ST.MARIA DEL FIORE,FLORENCE
 CONTRAST OF line
LINES MAY VARY WITH
REFERENCE TO DIRECTION.IT
IS POSSIBLE TO HAVE A
HORIZONTAL LINE OPPOSING
A VERTICAL OR DIAGONAL
LINES.
 CONTRAST OF line
• IN AN ARCHITECTURAL
EXAMPLE,CONTRAST OF TYPE
OF LINE GIVES AN
INTERESTING CONTOUR OR
SILHOUETTE TO A BUILDING
BOBOLI GARDEN,FLORENCE
 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 OR
UNIFORM,THE RESULT IS
CALLED GRADATION.
 CONTRAST OF TONE
• TONE MAY BE SECURED BY
CONTRAST OF
TEXTURE,OPENINGS OR
PLANES.
CONTRAST OF TEXTURE
CONTRAST OF OPENINGS
CONTRAST OF PLANES
CONTRAST OF PLANES
CONTRAST OF PLANES
• CONTRAST OF MASS
• CONTRAST OF DIRECTION
• CONTRAST OF CHARACTER
• CONTRAST OF TREATMENT
CONTRAST OF TREATMENT
A. CONTRAST OF PATTERN AND MATERIALS
CONTRAST OF TREATMENT
B. CONTRAST OF AREA
CONTRAST OF TREATMENT
B. CONTRAST OF AREA
CONTRAST OF TREATMENT
B. CONTRAST OF AREA
Contrast in art and design
occurs when two related
elements are different

VARIETY
 SHAPE

VARIETY - Contrast of form

M
A
S
S

VARIETY - Contrast of form

Direction
or Type

VARIETY - Contrast of Line

VARIETY - Contrast in size
 Texture
Openings
Planes

VARIETY - Contrast of Tone

PRINCIPLES OF
PROPORTION
 PROPORTION
• Proportion refers to the relationship of two
ratios/objects.
, for example, height to width.

• In architecture, this can refer to the overall

building mass as well as openings for windows
and doors within it.
• Relative sizes of surface areas of different
colors.
• Depends on functionality of object.
•Proportion is largely a matter of
relationship. It is evident by
comparison which the eye makes
between the size, shape, and
tone of various objects or parts of
composition.

PROPORTION - Relationship
•Proportion is largely a matter of
relationship. It is evident by
comparison which the eye makes
between the size, shape, and
tone of various objects or parts of
composition.

PROPORTION - Relationship
Divine Proportion is also known as the Golden Mean, Golden Ratio and Golden
Section . It is a ratio or proportion defined by the number Phi (= 1.6180339887... )

PROPORTION - Relationship
The golden section, golden mean – a line that is divided such that the lesser portion
is to the greater as the greater is to the whole.

PROPORTION - Relationship
PROPORTION - Relationship
PROPORTIONS
Anthropomorphic
proportions - refers to
the measurement of
the human individual
for the purposes of
understanding human
physical variation.
PROPORTIONS- may be based on the
following factors:
1. Natural Material Proportions
2. Manufactured Proportions
3. Mode of Construction or Structural Proportions
4. Requirements of the Program, Function or Government
Ordinances
- the proportion of the height a room is controlled by
local
building ordinances, logic and artistic sense.
- Auditorium proportions are influenced by the visual
and
acoustical considerations.
- Proportions between heights and areas of rooms are
controlled by the capacity and lighting requirements
of
PROPORTIONS

Relative Proportion-
deals with the
relationship between
the parts of an
object and the
whole.
PROPORTIONS
Absolute Proportion-
deals with the
relationship between
the different parts of
an object or the whole
to the various parts
PROPORTION
• . A relationship is created when two or more
elements are put together. This relationship is
said to be harmonious when a correct or
desirable relationship exists between the
elements. This refers to the correct sizing and
distribution of an element or object which
creates good proportion. Good proportion
adds harmony and symmetry or balance
among the parts of a design as a whole.
PROPORTION

• Proportion is usually not even

noticed until something is out of
proportion. When the relative
size of two elements being
compared seems wrong or out of
balance it is said to be "out of
proportion".
FIGURE 1
FIGURE 2
PROPORTION
• The human body contains a rich system of proportions with
harmonious relationships between the body and face. Much
research has been done relating proportions of human form
to laws of nature and mathematics. Significant among these
systems of thought, the Golden Section (1:1.618) is found
repeatedly throughout the relationships of parts in the human
body. These proportions have been used in architecture for
over two thousand years to create a sense of natural order,
over and above the individual style. Significant for this manual
is the fundamental premise that vertical proportions in
architecture relate to the upright human body.
• Golden ratio, also known as the golden
section, golden mean, or divine proportion,
in mathematics, the irrational number (1 + Square root
of√5)/2, often denoted by the Greek letter ϕ or τ, which
is approximately equal to 1.618. It is the ratio of a line
segment cut into two pieces of different lengths such that
the ratio of the whole segment to that of the longer
segment is equal to the ratio of the longer segment to the
shorter segment.
 WHAT IS A GOLDEN
SECTION?
• pleasing proportion: the proportion arising
from the division of a straight line into two so
that the ratio of the whole line to the larger
part is exactly the same as the ratio of the
larger part to the smaller.
 SCALE- size
- refers to how we perceive the size of the
building element or space relative to other
forms.

Human
Scale
General
Scale
 Balance is concerned
with the distribution of
visual interest “Simply an
equal distribution of
weight.”

BALANCE- equilibrium
 symmetrical
balance -refers to an
even distribution of
visual weight on either
side of an imaginary
axis. The results look
formal, organized
and orderly.

BALANCE- equilibrium
BALANCE- equilibrium
 Near Symmetry -
two halves are not
exactly the same.
Slight variations
will probably not
change the balance
but there is more
potential for variety
and hence more
interest.

BALANCE- equilibrium
FORMAL

BALANCE- equilibrium
RADIAL

BALANCE- equilibrium
ASSYMETRICAL

BALANCE- equilibrium
GRAVITATIONAL OR
PICTURESQUE

BALANCE- equilibrium
 Unaccented rhythm
– if equally spaced
windows are
introduced on the
unbroken wall, then
regular repetition is
present

RHYTHM- movement, repetition, spacing

RHYTHM- movement, repetition, spacing
 Unity is one of the goals of
composition. It allows the
viewer to see an integrated
whole, rather than unrelated
parts.

UNITY - hierarchy, harmony

repetition

UNITY - hierarchy, harmony

competition

UNITY - hierarchy, harmony

confusion

UNITY - hierarchy, harmony

• The unity of simple geometric forms is easy to
understand.
• They are elementary in their shapes, and no
proportion of the whole tends to detach itself
and to create new forms, or centers of interest.
• Elementary geometric (shapes) FORMS are
compact and direct; they tell a single story in
the briefest possible manner.

UNITY - hierarchy, harmony

• The simplest kind of unity dealing with motifs
of more than one member is to be found in
ordinary repetition.
• If this unity would be more emphatic and
interesting, an accent may be introduced into
the composition, so that a dominant note is
added to the regularity of the repetition.
• In other words, the highest type of unity is
secured if there exists no doubt as to the
presence of a central motif.

UNITY - hierarchy, harmony

• In architectural composition the
elements must be arranged in such
a way as to ensure the domination
of the less important parts by the
major masses of the building.
• All the units should together form
a compact and coherent ensemble.

UNITY - hierarchy, harmony

• Competition is one of the worst foes of unity.
• In studying an architectural problem, the plan
receives first consideration, and here it is too
easily possible, but not desirable, to have the
elements competing with each other for the
place of importance.
• However, the elements of an elevation are
more quickly seen and understood than those of
the plan.

UNITY - hierarchy, harmony

• Confusion exists because of the lack of
similarity between the various elements
employed to create a building. It is a
case of unorganized competition and
contrast. Dissimilarity is too pronounced.

UNITY - hierarchy, harmony

• Character grows out of the function of the building and
the consideration of all the creative principles of
composition.
• It is something, which should be kept in mind during
the entire process of design.
• Throughout the development of a project the
designers must ever strive to express the purpose of
the building, both in general composition and the use
of details.
• Manifested character is the external expression of
internal qualities.
• In any architecture, which is worthy of the name, the
exterior of a building expresses the internal function.

CHARACTER- expressiveness
• Character in architecture may be divided
into three (3) types, depending upon the
source of its inception and upon whether
this source deals with the abstract or the
concrete. The classes are CHARACTER
from:
– Function – or use of the building.
– Association – or influence of traditional types
– Personality – or the human quality or
emotional appeal.

CHARACTER- expressiveness
• 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
FUNCTION

CHARACTER- expressiveness
A school building
must
containmany
windows to admit
the necessary
side light and to
offer an
interesting
contrast with the
possible
monotony of the
class-room walls.

CHARACTER- expressiveness
– A museum must have galleries with ample wall space and top light,
which eliminates windows and necessitates the use of skylights

CHARACTER- expressiveness
– A structure with large show windows is
usually a shop for the display and sale of
merchandise.
– A factory expresses the efficient operation
of the manufacturing within
– A house reflects the informal intimacy of
home life.

CHARACTER- expressiveness
– A structure with large show windows is
usually a shop for the display and sale of
merchandise.
– A factory expresses the efficient operation
of the manufacturing within
– A house reflects the informal intimacy of
home life.

CHARACTER- expressiveness
• This comes from the influence of ideas
and impressions related to or growing out
of the past experiences.
• We have come to recognize buildings by
features, which had long been associated
with that particular structure.

CHARACTER- expressiveness
• This comes from the influence of ideas
and impressions related to or growing out
of the past experiences.
• We have come to recognize buildings by
features, which had long been associated
with that particular structure.

CHARACTER- expressiveness
 ASSOCIATED CHARACTER
– A spire atop a building with stained glass windows
has always told us that it was a church
– Classic Orders often indicates the presence of a
bank/government building.
– Collegiate Gothic frequently discloses the identity of
an educational institution.
• The contemporary movement in architecture has,
however, caused many revisions in our association of
ideas. There are so many influences responsible for
changing the character of our Materials, our attitudes
toward physical comfort made possible the
disassociation from the past.

CHARACTER- expressiveness
 PERSONAL CHARACTER
• Buildings have qualities which are
directly related to their functions, but in
addition, they may possess
characteristics which have to do rather
with the emotional reaction set up in the
mind of the observer.

CHARACTER- expressiveness
 PERSONAL CHARACTER
• Buildings may be stern and forbidding, light and playful or
sedate and dignified with reference to the impressions, which
they are capable of giving.
• It is to these qualities of vitality, repose, grace, restraint,
festivity, dignity, etc. that we give the name of personal
character.
 PERSONAL CHARACTER

• If the building is designed in the proper spirit, this type of

character will grow naturally from the structure itself.
• It is quite essential that this intangible quality agree with the
function of the building. Nothing could be more disastrous than
to have a power plant looks like an entertainment pavilion – a
substitute of festivity for efficiency