PRINCIPLES OF COMPOSTITION

CONTRAST
We can see a building because of the contrast in the shapes and textures of the surfaces which enclose
space to make architecture.
A. CONTRAST OF FORM
For a shape to be interesting, there must be variety or contrast. The Design Value of Contrast on the
building form is used to highlight critical elements and provides visual clues to the building users.

B. contrast
of line
Lines may vary in direction. It is possible to have a horizontal line opposing vertical or diagonal lines
may form a composition.
A line may also offer contrast on account of its change in type or character. It may be curved or straight,
regular or irregular, broken, or continuous. In an architectural example, a contrast of type of line gives an
interesting contour or silhouette to a building.

C. 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 and uniform, the result is called gradation.

D. contrast of tone
Tone may be secured by contrast of texture, openings, or planes.
CONTRAST IN ARCHITECTURAL SUBJECT:
A. contrast of mass- refers to the size or physical bulk of a building,
and can be understood as the actual size, or size relative to context.

B. contrast of direction
It shows contrast between the horizontal direction of the composition and the dominant vertical ascent of
the structure

C. contrast of character
It shows the contrast to all those visual aspects and physical features that comprise the appearance of
every structure
D. contrast of treatment

Architects and designers typically use this terminology specifically to describe a wide range of
surface treatments to horizontal surfaces (floors and ceilings) and vertical surfaces (walls)
fixed to the main structural elements of the building (floor and ceiling slabs, block walls or stud
walls) to complete or enhance

2. proportion
Proportion is largely a matter of relationships. It is evident by a
comparison which the eye makes between the size, shape, and
tone of various objects or parts of a composition. These are
certain geometrical forms that have very definite proportions.

Proportions may be based on the following factors:

1. Natural Material Proportions
All building materials in architecture have distinct properties of stiffness, hardness, and durability. And
they all have an ultimate strength beyond which they cannot extend themselves without fracturing,
breaking, or collapsing.

2. Manufactured Proportions
Many architectural elements are
sized and proportioned not only
according to their structural
properties and function but also by
the process through which they are
manufactured. Because these
elements are mass-produced in
factories, they have standard sizes
and proportions imposed on them by
the individual manufactures.
3. Mode of Construction or Structural Proportions
The size and proportions of structural elements such as beams,
columns, are directly related to the structural tasks they perform
and can be, therefore; visual indicators of the size and scale of the
spaces they help enclose. Since beams transmit their loads
horizontally across space to their vertical supports, its depth
therefore is the critical dimension. and its depth to span ratio is a
good indicator of its structural role.

4. Requirements of the Program, Function, or Government

Ordinances

a. The proportion of the height of a room is controlled by local

building ordinances, logic, and artistic sense.
b. Auditorium proportions are influenced by visual and acoustical
considerations.
c. Proportions between heights and areas of rooms are controlled
by the capacity and lighting requirements of the room.

5. Traditions and Generally Accepted Taste

a. At the exterior, the height of an edifice should be in proportion
to the character the edifice demands
b. Buildings of worship such as churches and temples usually
have traditional proportions
c. Classical buildings usually have proportions based upon traditional rules.

3. Scale
Scale is a fixed proportion
used in determining
measurements and
dimensions.
The scale has reference to
proportions that are good for
humans. Scale deals with the
relation of architectural
motifs, such as doors,
windows, or moldings, to
each other and the human figure. Architecture must be adapted to human needs. Doors should be large
enough to walk through in comfort but not so gigantic that they require an almost impossible physical
effort to close them.
Types of Scale
1. GENERIC SCALE-the size of a building element relative to other forms in its context; (three windows
indicate three stories; the small window indicates a small room inside).
2. HUMAN SCALE-the size of a building element or space relative to the dimensions and proportional)
of the human body.
4. BALANCE or equalization
There are three {3) types of BALANCE in the study of composition.
1. SYMMETRICAL BALANCE monumental effect

a. centralized- 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.
b. formal- The volumes of the balancing units may correspond, but there may exist a difference in their
shapes and surface treatments.
c. radial- Is characterized by an arrangement where all the parts radiate from a center like
the spokes in a wheel.
2. UNSYMMETRICAL BALANCE (informal)-  the sides may not be exactly the same, there will be
elements that interact in a way that makes each side equally important

3. GRAVITATIONAL BALANCE-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.

5. RHYTHM (movement-repetition-spacing)
Architecture is an art which is seen. It is a composition of elements so arranged as to serve a utilitarian
purpose and, in addition, to have an emotional appeal.

TWO KINDS OF RHYTHM

1. UNACCENTED RHYTHM -if equally spaced windows are
introduced on the unbroken wall, then regular repetition is present.

2. ACCENTED RHYTHM -if the openings or details are

arranged in such a manner that some are more important than
others, then the eye grasps the significance of this relationship
and pauses longer in contemplating the larger elements.

1D

6. UNITY and HIERARCHY harmony

Unity suggests harmony. If a structure has unity, it must
have contrast, rhythm, and scale. To have harmony, all the
unrelated parts of an architectural arrangement are brought
into proper relation to each other so that a satisfactory
composition is obtained. If unity prevails, all the
unimportant parts must be kept in their places and be made
simply to assist the major units in the roles which they are
to play in the development of the structure.

There are at least seven (7) ways of producing an effect of UNITY in a design.
1. There must be a central motif, a theme, or a center of interest. The attention of the observer must be
drawn to this focal point.
2. The major masses of the building should dominate the less important ones.
3. All the units should together form a compact and coherent ensemble:
4. The element of emphasis must be introduced. It may be secured by the size, position, or treatment of a
particular motif which is to give the desired importance to that particular part of the building.
5. By limiting the amount of treatment seen at one time.
6. By selecting details, materials, colors, etc. in harmony with the basic idea.
7. By selecting styles, furniture, and furnishings in harmony with the surroundings.

7. CHARACTER expressiveness
Buildings have points of similarity, like walls, doors, and roofs but have different purposes and
appearances. In any architecture which is worthy of the name, the exterior of a building expresses the
internal function and so MANIFESTED CHARACTER is the External Expression of Internal Qualities.
The element of character grows out of the function of the building and the consideration of all the creative
principles of composition.
Character in architecture is derived from three (3) types. They are characters from:
1. FUNCTION, Of use of the building.
2. ASSOCIATION, or influence of traditional types.
3. PERSONALITY, or the human quality or emotional appeal.

1. FUNCTIONAL CHARACTER
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.

2. ASSOCIATED CHARACTER
This comes from the influence of ideas and impressions related to or growing out of past experiences. We
know by association and experience that the various races have different physical characteristics and we
are thus able to distinguish between an Oriental, a Negro, a Caucasian, and an Indian. We often associate
such features as color, eyes, height, nose, and others.
3. PERSONAL CHARACTER
Personal character in architecture bears a certain relation to the same attribute in the life of an individual.
It is found that the element of personality plays an important part in the revealing of character both with
man and with architecture.

Reference: Architectural Theories of Design by George S. Salvan