THE PRINCIPLES OF COMPOSITION 

Following the rule on contrast, one has to observe that contrast

(CONTRAST) be present in just the correct amount, enough to give variety but
A synthesis of all the principles is necessary in order to ensure a not in excess, which will cause confusion. 
unified and satisfactory composition.  Contrast is the opposite of similarity. 
It has been seen that the principles of composition may and If similarity exists to a marked degree, the effect is monotony. 
should be applied to the development of the plan of a building, On the other hand if contrast exists violently and profusely the
but they are best illustrated in the treatment of volumes. result will be a restless and disorganized design, which lacks
Visible architecture, or the masses and surfaces of which it is repose.
composed, lends itself to critical analysis.  Following the rule on contrast, one has to observe that contrast
The following discussion is concerned with the application of the be present in just the correct amount, enough to give variety but
basic principles of composition to space enclosing elements.  not in excess, which will cause confusion. 
Contrast Contrast of Mass: 
Not only is it possible for us to see a building through the Contrast of vertical and horizontal volumes giving a composition
element of contrast but also the building is given beauty and in abstract form which becomes capable of housing human
interest by the difference between types of treatment, which is interests through the introduction of windows, doors, and floor
introduced.  levels. 
It is essential that certain areas, directions and colors vary or Contrast of Direction: Horizontal and vertical details.
differ from others so that by contrast the qualities of each are Contrast of Treatment: Surface finish. The same material in
emphasized.  different treatment, as in contrast of pattern, contrast of areas,
It is through contrast that we secure proper scale, proportion or use of different materials. 
and unity and consequently a satisfactory design.  Contrast of Treatment: Surface finish. The same material in
Contrast of Form  different treatment, as in contrast of pattern, contrast of areas,
Shape  or use of different materials.
Mass
Contrast of Line   
Direction  REFERENCE:
Type  Architecture Form, Space And Order by Francis D.K. Ching, John,
Contrast of Size Witley & Sons, 2007.
Gradation Architectural Graphics Standards, CD Rom, 2004.
Modular  Concept Sourcebook by Edward White.
Contrast of Tone Architectural Design by E. Pickering
Texture
Openings
Contrast of Form -  THE PRINCIPLES OF COMPOSITION
If form is used to mean merely surface or to imply a 2- (PROPORTION)
dimensional area, there exists only the element of shape.  Proportion is largely a matter of relationships.
In order for a shape to be interesting there must be variety or It is evident by a comparison, which the eye makes between the
contrast.  size, shape and tone of the various objects or parts of a
If form is more properly conceived in 3 dimensions, the composition.
architectural result is mass or volume.  There are certain geometrical shapes with good proportion such
Contrast of Line:  as the circle, triangle and square.
Lines may vary with reference to direction.  The eye judges them quickly and classifies them with no
It is possible to have a horizontal line opposing a vertical or difficulty. 
diagonal lines may form a composition.  They are dominant shapes in a composition and for that reason
A line may also offer contrast on account of its change in type or should be used for accents. 
character. Types of Proportion:
It may be curved or straight, regular or irregular, broken or relative proportion – parts of the object as it is 
continuous.  absolute proportion- parts of the object or the whole to the
Contrast of Size:  various parts 
This type of contrast refers to objects, which may have the same Circles
shape and direction but may vary in size.  In plan: a circular or square units acts as a focal point on the
If this change in size is gradual and uniform, the result is called center for radiating lines.
gradation.  On an elevation: these same shapes will give emphasis to that
Contrast of tone:  particular portion in which they are incorporated.
tone may be done through contrast in texture, opening or The circle and the square have been found to possess certain
planes.  properties, which recommend them as a base upon which to
Combinations: Various types of contrast are combined like:  begin the design. 
contrast of mass- contrast of vertical and horizontal volumes  Squares to Rectangles
contrast of shape  Often, a rectangle is mistaken for a square if the rectangle
contrast of tone  approaches a square’s dimension. 
Contrast is the opposite of similarity.  An observer will have a doubt to its real geometric shape. 
If similarity exists to a marked degree, the effect is monotony.  On the other hand, if it’s too long the observer would divide it
On the other hand if contrast exists violently and profusely the into 2 equal spaces. 
result will be a restless and disorganized design, which lacks Thus the rectangle to the diagonal of a square based upon the
repose. short sides – and this is called the Golden Mean. 
The Golden Mean  Human- size of a building element or space relative to the
Inclusive rectangle  dimensions and proportion of a human body. 
Exclusive rectangle Types of scale:
Intimate 
Triangles Normal 
The equilateral triangle, or one with equal sides and angles, has Monumental 
long been accepted as a form with good proportions.  Shocking
It tapers in a regular manner form the base to the apex, carrying Scalar sequence
the eye up to this focal point of the composition. 
Classical Proportion Scalar sequence
In this regard, whenever we talk of proportion we often refer to Simple progression 
the Classical Orders.  Preparation-Surprise
The Renaissance interpretation of Classical Architecture as Constriction-relief
developed by Vignola and Palladio, is based upon standardized Transition 
proportions.  Balance is equality.
The Greeks did not design in this manner, but it is possible for It is composition. 
Renaissance architects, by studying a large number of Roman It is the foundation upon which arrangement, harmony and
examples, to strike an average, which would represent the adjustment of weights, tones, values, etc. are developed. 
outstanding characteristics of these Classical elements.  Proper balance satisfies the eye with reference to the relative
importance of the various parts of the design. 
Basis of Proportion Types of Balance
Traditional and Generally Accepted Mode  SYMMETRICAL - The easiest and simplest kind of balance is the
Ken-Japanese Mat (3.15 X 6.30)  purely symmetrical type in which the elements are arranged in
Manufactured proportion  precisely the same manner on either side of a central axis or
Mode of construction  line. 
Government Ordinances for function (acoustics) Not only is the arrangement similar but each object is exactly
Human proportions  like the one occupying the corresponding position on the
Human proportions opposite side. 
Le Modulor  In this kind of balance eye catches a glance the equality of
EXAMPLES OF PROPORTION attraction on each side of the center of the composition. 
Doors should be big enough to make one walk through in All elements are duplicated – shape for shape, size for size and
comfort but not so big as to require an almost impossible tone for tone. The left half of the composition is identical 
physical effort to close them.  TYPES OF BALANCE
Steps should be of such a size as to permit easy ascent and SYMMETRICAL Formal Balance – is a type of balance which
descent.  approach absolute symmetry but which lacks some of the
Ceiling heights must be properly proportioned to the size and the essentials of this kind of composition. 
function of the room. Formal Balance 
Balustrade should be related to the human figure in such a way Here the general mass and grouping of the parts may be similar,
that safety is secured.  but there may exist a difference in their shapes and surface
treatments. 
UNSYMMETRICAL (OCCULT BALANCE) – A more subtle and
elusive and is more difficult to attain. 
REFERENCE:
Architecture Form, Space And Order by Francis D.K. Ching, John,
UNSYMMETRICAL (OCCULT BALANCE) – 
Witley & Sons, 2007.
It attempts to satisfy the eye without any effort to place equal
Architectural Graphics Standards, CD Rom, 2004.
masses at similar distances from the center of the composition.
Concept Sourcebook by Edward White.
UNSYMMETRICAL (OCCULT BALANCE) –It is the grouping, in an
Architectural Design by E. Pickering
informal manner, of elements of varying sizes and shapes. 
UNSYMMETRICAL (OCCULT BALANCE) –
One senses, rather than sees, a state of equilibrium. 
THE PRINCIPLES OF COMPOSITION  UNSYMMETRICAL– In an informal arrangement the longer and
(SCALE & BALANCE) heavier masses should be nearer the center of the group, while
Scale has reference to proportions, which are good for humans.  the lighter, lower and more horizontal elements may constitute
It is one set of the most subtle of the elements of design and the long arm of the steelyard. 
one of the most difficult to obtain.  UNSYMMETRICAL– 
Scale deals with the relation of architectural motifs, such as Vertical units may be introduced near the center of interest, or
doors, windows or moldings, to each other and to the human the fulcrum, in order to create the desired accents. 
figure. 
Architecture must be adapted to the human needs: design is a
matter of the adjustment of architectural elements to meet the
REFERENCE:
needs of the human race, and proper scale should be present
Architecture Form, Space And Order by Francis D.K. Ching, John,
when this adaptation is made. 
Witley & Sons, 2007.
Kinds of scale:
Architectural Graphics Standards, CD Rom, 2004.
Generic – size of a building element relative to other forms in its
Concept Sourcebook by Edward White.
context. 
Architectural Design by E. Pickering 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. 
THE PRINCIPLES OF COMPOSITION
In other words, the highest type of unity is secured if there
(RHYTHM, UNITY & CHARACTER)
exists no doubt as to the presence of a central motif. 
RHYTHM
In architectural composition the elements must be arranged in
Movement
such a way as to ensure the domination of the less important
Repetition
parts by the major masses of the building. 
Spacing
All the units should together form a compact and coherent
RHYTHM
ensemble. 
Unaccented
Competition is one of the worst foes of unity.
Accented
In studying an architectural problem, the plan receives first
The different types of art with which we are familiar may be
consideration, and here it is too easily possible, but not
divided into two groups:
desirable, to have the elements competing with each other for
according to the way in which the impressions are conveyed to
the place of importance. 
our senses or 
However, the elements of an elevation are more quickly seen
according to the manifestations of their qualities. 
and understood than those of the plan
Some may be permanent in their characteristics, as those
Confusion exists because of the lack of similarity between the
executed in stone. Others may be transitory, as is sound. 
various elements employed to create a building. It is a case of
Kinds of Arts
unorganized competition and contrast. Dissimilarity is too
STATIC ART (permanent): 
pronounced. 
Architecture 
CHARACTER
Sculpture 
Character grows out of the function of the building and the
Painting 
consideration of all the creative principles of composition. 
Literature 
It is something, which should be kept in mind during the entire
EVANESCENT ARTS (transitory): 
process of design. 
Music 
Throughout the development of a project the designers must
Dramatics
ever strive to express the purpose of the building, both in
An Organized Movement
general composition and the use of details.
Architecture is compared to music: Music is an art that is heard. 
Manifested character is the external expression of internal
It is a combination of sounds arranged in such a manner as to
qualities. 
serve a utilitarian purpose and in addition, to have an emotional
In any architecture, which is worthy of the name, the exterior of
appeal. 
a building expresses the internal function. 
The music of the western world is based upon rhythm, melody
Classes of Character
and harmony. 
Character in architecture may be divided into three (3) types,
Rhythm is the foundation of music. 
depending upon the source of its inception and upon whether
Movement is the basis of rhythm. If windows and doors are
this source deals with the abstract or the concrete. 
thrown into the façade of a building in a haphazard manner,
The classes are CHARACTER from: 
there is no scheme or sense to the arrangement and again no
Function – or use of the building. 
rhythm. 
Association – or influence of traditional types 
Movement of the eye across a painting from spot to spot of
Personality – or the human quality or emotional appeal. 
similar color-the rhythmic use of color 
FUNCTIONAL CHARACTER
It may be the repetition of a similar type of line in a piece of
The most important kind of character in architecture is that,
sculpture – the rhythmic use of line. 
which results from the purpose of the building or the reason for
It may be found in the continuity of a series of arches forming
its erection. 
an arcade – the rhythm of direction. 
The use of a structure naturally calls for a certain disposition of
UNITY
parts, and this arrangement affects the appearance of the
Unity is the culmination of all the previously mentioned elements
exterior by which we largely judge character 
of design. 
A museum must have galleries with ample wall space and top
If structure has unity, it must have contrast, rhythm and scale.
light, which eliminates windows and necessitates the use of
Unity suggests harmony. 
skylights 
It means that all the unrelated parts of an architectural
A school building must contain many windows to admit the
arrangement are brought into proper relation to each other so
necessary side light and to offer an interesting contrast with the
that a satisfactory composition is obtained. 
possible monotony of the class-room walls.
If unity prevails, all the unimportant parts must be kept in their
A structure with large show windows is usually a shop for the
places and be made simply to assist the major units in the roles
display and sale of merchandise. 
which they are to play in the development of the structure.
A factory expresses the efficient operation of the manufacturing
The unity of simple geometric forms is easy to understand. 
within 
They are elementary in their shapes, and no proportion of the
A house reflects the informal intimacy of home life. 
whole tends to detach itself and to create new forms, or centers
ASSOCIATED CHARACTER
of interest. 
This comes from the influence of ideas and impressions related
Elementary geometric (shapes) FORMS are compact and direct;
to or growing out of the past experiences. 
they tell a single story in the briefest possible manner. 
We have come to recognize buildings by features, which had
The simplest kind of unity dealing with motifs of more than one
long been associated with that particular structure. 
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 modern buildings.
Materials, our attitudes toward physical comfort made possible
the disassociation from the past. 
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. 
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. 
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 
Reference:
Architecture Form, Space And Order by Francis D.K. Ching, John,
Witley & Sons, 2007.
Architectural Graphics Standards, CD Rom, 2004.
Concept Sourcebook by Edward White.
Architectural Design by E. Pickering

From the power point presentation prepared by:

ARCH. WILLA R. SOLOMON