THE0RY OF DESIGN

(B.Arch – Calicut University 2017)

MODULE II PRINCIPLES OF DESIGN

• FUNDAMENTAL PRINCIPLES OF ARCHITECTURAL COMPOSITIONS: axis,

symmetry/asymmetry, balance, hierarchy, rhythm, datum, transformation, unity,
harmony, dominance, climax.

• PROPORTION AND SCALE IN ARCHITECTURE- Different types of proportioning

systems
 PRINCIPLES OF ARCHITECTURAL
COMPOSITION
• AXIS
• SYMMETRY /ASYMMETRY
• BALANCE
• HIERARCHY
• RHYTHM
• DATUM
• TRANSFORMATION
• UNITY
• HARMONY
• DOMINANCE
• CLIMAX
Axis

• Is the imaginary line that organizes

forms and organization in architecture.
• It is line established by two points in
space about which forms and space can
be arranged in a regular or irregular
manner.
• It is powerful , dominating regulating
devices.
• It implies symmetry and demands
balance.
1. Axis is a linear condition it
has length , direction.it
induces movement and
promotes view along its path.
2. Can be terminated at both
ends by means of forms or
space.
3. It can be reinforced by
defining edges along its
length.
• Points ins space established by vertical
, linear elements or centralized
building forms.
• Vertical planes such as symmetrical
building façade or fronts , preceded by
courts or similar open spaces.
• Well defined spaces , generally
centralized or regular in form.
• Gateways that open outward to a view
and beyond.

Gateway Arch,
Memorial in St.
Louis, Missouri
SYMMETRY
1. Symmetry is 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.
2. Symmetry is the one of modes of orderliness.
3. Symmetry arouses visual stability.
4. A symmetrical object is better organized and
retained in memory.
5. An axis can exist with out symmetry but
symmetrical condition can not exist without axis
and center about which it is structured.
Two types

Bilateral symmetry
In bilateral symmetry, the halves of a composition mirror each other.
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 along a center axis.
1. A compositions can be symmetrical.
2. A symmetrical condition can occur in only
a portion of the building and organize an
irregular pattern of forms and space about
itself.

Zaha Hadid’s Edifici Campus, Barcelona

 Balance
• Stability of an arrangement
– Arrangement appears secure and stable
– Balance must be both visual and actual
– visual balance refers to the way an arrangement appears to
the eye.
 Unity
Principle of unity is concerned with VISUAL
COMPOSITION in design.
Visual composition produced by relationship
between visual elements.
Unity creates a feeling of wholeness. Unity is
usually achieved when the parts complement
each other in a way where they have something
in common. Unity can be achieved by use of
the same color, or different tints of it, or using

a similar graphic style for illustrations.
Unity creates a feeling of wholeness. Unity is usually achieved when the parts complement each other in a way where they have something in common. Unity can be achieved by use of the same color, or different tints of it, or using a similar graphic style for illustrations.
 Aspects of unity are

•Dominance or self unity

•Harmony
•Vitality
•Balance

Elements of composition to be considered:

1.Texture
2.Color hue and tone
3.Direction
4.Proportion
5.Solid and void
6.Form or shape
Examples

Harmony – Taj Mahal

Harmony by :
oComposition
o geometry
oDirection Harmony by repetition
o texture Ducal Palace
oProportion
Dominance

 The element given the most visual

weight, the element of primary
emphasis. The dominant element will
advance into the foreground in a
composition.
One of the aspect of dominance is
emphasis and vitality.
 EMPHASIS
Stress, Accent or Prominence
A forcible or impressive expression
An insistent or vigorous way of attributing importance
or enforcing attention
Horizontal or vertical dominance by the composition of
forms.
By surface articulation ,Linear pattern of windows
Vertical projecting columns ,Fins on the surface, bands,
Roof projections
Textures etc
 Vitality

CONTRAST of color, tone

texture, direction
 proportion
 solid and void
Vitality should not be sought at the expense of
harmony
 VITALITY

•  the facade of the building

consists of two element that
make it contrast to the city
with organic approach.

Pedregal Shopping Centre  , in Mexico

Radial in nature, the building

responds to the delicate
surrounding environment.
Huski Apartments, U.S.A
 Fluidity

 Fluidity in architecture can be

achieved in the composition as well
as spaces.
 As an impression of flow , of
movement that is smooth and
graceful
Pavilion called Leonardo
Glass Cube in Germany

Different levels shows fluidity

Concrete bracing goes Geometry Fluidity House

with the pavement

UN Studio for Dubai Museum

Ben van Berkel architect

 Proportion
1. The relationship between different things or
parts with respect to comparative size, number,
or degree

2. a part considered with respect to the whole

3. The interrelationship of all parts of an

arrangement.
PRINCIPLE: PROPORTION &
SCALE

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 PRINCIPLE:
PROPORTION
• Proportion is the equality between two ratios in
which the first of the four terms divided by the
second equals the third divided by the fourth.

Whol Par
e t

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PRINCIPLE: STRUCTURAL
PROPORTION

CROWN HALL, AR. MIES VAN DER

ROHE

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 Manufactured Proportion
 Many architectural
Casement
elements not only depends window
on structural proportion or
function. It depends on the
manufacturing process. As
they are produced as a bulk
product.
Modular kitchen

Clay brick
PRINCIPLE:
PROPORTION Theories of Proportion:

• Golden Section
• Classical Orders
• Renaissance Theories
• Modulor
• Ken
• Anthropometry
• Scale

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 PRINCIPLE: PROPORTION : GOLDEN
SECTION
• The Golden Section can be defined as the ratio
between two sections of a line, or the two
dimensions of a plane figure, in which the lesser
of the two is to the greater as the greater is to
the sum of both.
• It can be expressed algebraically by the
equation of two ratios:

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 Golden section

Rectangle one: Ratio 1:1

Rectangle two: Ratio 2:1
Rectangle Three: Ratio 1.618:1
The third rectangle is the most appealing. Because the ratio of its length to its width is the
Golden Ratio! For centuries, designers of art and architecture have recognized the
significance of the Golden Ratio in their work.
Proportioning system
The Human Body

The human body is based on Phi and 5

The human body illustrates the Golden Section. We'll use the same building blocks again:

The Proportions in the Body

The white line is the body's height.
The blue line, a golden section of the white line, defines the
distance from the head to the finger tips
The yellow line, a golden section of the blue line, defines the
distance from the head to the navel and the elbows.
The green line, a golden section of the yellow line, defines the
distance from the head to the pectorals and inside top of the
arms, the width of the shoulders, the length of the forearm
and the shin bone.
The magenta line, a golden section of the green line, defines
the distance from the head to the base of the skull and the
width of the abdomen. The sectioned portions of the magenta
line determine the position of the nose and the hairline.
Although not shown, the golden section of the magenta line
(also the short section of the green line) defines the width of
the head and half the width of the chest and the hips.
 PRINCIPLE: PROPORTION : GOLDEN
SECTION

THE PARTHENON,
ATHENS

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 PRINCIPLE: PROPORTION : CLASSICAL
ORDER
• To the Greeks and Romans of classical antiquity,
the Orders represented in their proportioning
of elements the perfect expression of beauty
and harmony.
• The basic unit of dimension was the diameter of
the column.
• From this module were derived the dimensions
of the shaft, the capital, as well as the pedestal
below and the entablature above, down to the
smallest detail.

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PRINCIPLE: PROPORTION : CLASSICAL
ORDER

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PRINCIPLE: PROPORTION : CLASSICAL
DORIC ORDER

ORDER

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 PRINCIPLE: PROPORTION : CLASSICAL
ORDER
IONIC ORDER

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PRINCIPLE: PROPORTION : CLASSICAL
ORDER
CORINTHIAN ORDER

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The Fibonacci Numbers
and
The Golden Section
 The Fibonacci Numbers
1. He introduced in The Book of Calculating
2. Series begins with 0 and 1
3. Next number is found by adding the last
two numbers together
4. Number obtained is the next number in
the series
5. Pattern is repeated over and over

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, …
 1
1
2

3 1.5000000000000000
5 1.6666666666666700
8 1.6000000000000000
13 1.6250000000000000
21 1.6153846153846200
34 1.6190476190476200
55 1.6176470588235300
89 1.6181818181818200
The ratio in golden ratio
144 1.6179775280898900
233 1.6180555555555600
377 1.6180257510729600
610 1.6180371352785100
987 1.6180327868852500
1,597 1.6180344478216800
2,584 1.6180338134001300
4,181 1.6180340557275500
6,765 1.6180339631667100
10,946 1.6180339985218000
17,711 1.6180339850173600
28,657 1.6180339901756000
46,368 1.6180339882053200
75,025 1.6180339889579000
 The Fibonacci Numbers in Nature
~ Fibonacci spiral found in both snail and sea shells
 The Fibonacci Numbers in Nature
Continued

Lilies and irises = 3 petals

Buttercups and wild roses = 5 petals

Black-eyed Susan’s = 21 petals

Corn marigolds = 13
petals
 The Fibonacci Numbers in Nature
Continued
~ Fibonacci spirals can be made through the use of visual computer programs
~ Each sequence of layers is a certain linear combination of previous ones
 The Fibonacci Numbers in Nature
Continued
~ The Fibonacci numbers can be found in the human hand and fingers
- 5 fingers
 The Golden Section in Architecture
Continued

~ Golden section can be found in the design of Notre Dame in Paris

~ Golden section continues to be used today in modern architecture

Secretariat building
United Nations Headquarters
 PRINCIPLE: PROPORTION :
MODULAR

MODULAR MAN, AR. LE

CORBUSIER

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 PRINCIPLE: PROPORTION : RENAS
I SANCE
THEORIES

S. MARIA NOVELLA, FLORENCE,

ITALY.

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 RENAISSANCE THEORIES
 The architecture of Andrea Palladio has influenced countless
generations of architects, beginning most notably with Inigo
Jones in England .

 Expounding on the theories of Pythagoras, Plato claimed that

the harmony of the world was contained in seven numbers,
{1,2,3,4,8,9,27}, which were derived from musical consonances
and could be broken down into two sets, {1,2,4,8} and {1,3,9,27}

 These numbers and their ratios became the basis for the
proportions used by Palladio.

 In all the villa capra , villa rotunda Palladio used these

proportion in room size or in building dimension which is more
harmonious as musical note.

 The overall ratios of the lengths and widths of the rooms,

 16:24:36, then becomes 4:6:9, with 6 as the geometric mean
between 4 and 9 and further connecting the rooms .
 Ken

• Japanese unit of measurement is shaku

and ken , like feet and inches.
 PRINCIPLE: PROPORTION :
KEN

JAPANESE METHOD
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•Size of the floor mat depends on the proportion of two persons
sitting or one person sleeping.
Eg 6 mats = 9 ft x 12 ft
PRINCIPLE: PROPORTION :
ANTHROPOMETRY

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PRINCIPLE: PROPORTION :
ANTHROPOMETRY

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PRINCIPLE: PROPORTION :
ANTHROPOMETRY

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PRINCIPLE: PROPORTION :
ANTHROPOMETRY

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PRINCIPLE: PROPORTION :
SCALE
While proportion pertains to an ordered set of
mathematical relationships among the
dimensions of a form or space, scale refers to
how we perceive or judge the size of something
in relation to something else. In dealing with
the issue of scale, therefore, we are always
comparing one thing to another.

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PRINCIPLE: PROPORTION :
SCALE

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PRINCIPLE: PROPORTION :
SCALE

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PRINCIPLE: PROPORTION :
SCALE

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PRINCIPLE: PROPORTION :
SCALE

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