design principles
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The document discusses various principles of visual composition and proportion in architecture, including the golden ratio, classical orders, anthropometry, scale, rhythm, and symmetry. It provides definitions and examples to illustrate proportional systems and theories that establish visual relationships between architectural elements and the human form.
design principles
- 1. Principles of Visual composition Submitted by Antara jha Jyotsna mundary Kanchan sen sharma
- 2. Proportion
- 3. • a ratio refers to the quantitative comparison of two similar things, while proportion refers to the quality of ratio • thus a proportioning system establishes a consistent set of visual relationships between the part of a building , as well as between the part and the whole. According to EUCLID
- 4. THEORIES OF PROPORTION • GOLDEN SECTION • CLASSICAL ORDERS • RENAISSANCE THEORIES • MODULOR • KEN • ANTHROPOMETRY • SCALE
- 5. a b c • Arithmetic c-b/b-a = c/c • Geometric c-b/b-a = c/b • Harmonic c-b/b-a =c/a Type of proportion
- 6. GOLDEN SECTION Φ phi is the main element of golden section Φ = 1+√5 ˜1.618 2
- 7. GOLDEN SECTION GOLDEN SECTION CAN BE DEFINED AS THE RATIO BETWEEEN TWO SECTION OF A LINE ,OR THE TWO DEMENSIONS OF PLANE FIGURE,IN WHICH THE LESSER OF THE TWO IS TO THE GREATER AS THE GREATER IS TO SUM OF BOTH . a/b =b/a+b =Φ =0.618
- 8. METHODS OF DRAWING GOLDEN SECTION EXTENTION METHOD DIVISION METHOD
- 9. GOLDEN RATIO Φ =smaller side =a large side b =0.618 φ=large side smaller side =b/a =1.618
- 10. GOLDEN RECTANGLE • A RECTANGLE WHOSE SIDES ARE PROPORTIONED ACCORDING TO GOLDEN SECTION IS KNOWN AS GOLDEN RECTANGLE a b THE PARTHENON ATHENS, GREECE
- 11. GOLDEN SPIRAL A golden spiral is a logarithmic spiral whose growth factor b is related to φ, the golden ratio. Specifically, a golden spiral gets wider (or further from its origin) by a factor of φ for every quarter turn it makes.
- 12. GOLDEN PYRAMID --THE GREAT PYRAMID OF GIZA HAVING A GOLDEN RATIO WITH IT’S BASE AND HEIGHT -SO IT NAMED THE GOLDENPYRAMID - BY CONSIDERING THE HYPOTANEOUS AS RADIUS ,THE CIRCUMFERENCE OF THE CIRCLE IS EQUALS TO THE TOTAL SUM OF THE SIDES OF BASE OF THE PYRAMID
- 13. 38 • THE GOLDEN TRIANGLE IS A ISOSCALE TRIANGLE • THE ANGLE BETWEEN THE TWO EQUAL SIDES IS 38 dec GOLDEN TRIANGLE
- 14. PAINTINGS BY RAFHAEL PENTAGRAM HOLY FAMILY
- 16. TAJMAHAL
- 17. C N TOWER , CANADA
- 18. UNITED NATIONS BUILDING, USA
- 19. CLASSICAL ORDERS THE CLASSICAL ORDERS LIKE IN GREAK AND ROMAN ARCHITECTURE :- TUSCAN DORIC IONIC CORINTHIAN COMPOSITE THESE ARE CONSTRUCTED IN PROPORTION WITH THEIR OWN BASE DIAMETRE
- 20. THE ORDERS REPRESENTED IN THEIR PROPORTIONING OF ELEMENTS THE PERFECT EXPRESSION OF BEAUTY AND HARMONY THE BASIC UNIT OF DIMENSION WAS THE DIAMETER OF COLUMN CLASSICAL ORDERS
- 21. MODULOR -created by LE CORBUSIER He based his modulor on both mathematics ,and human body proportion.
- 22. ANTHROPOMETRY ANTHROPOMETRY REFERS TO THE MEASUREMENT OF SIZE AND PROPORTIONS OF THE HUMAN BODY A SPECIAL FIELD THAT HAS DEVELOPED FROM A CONCERN WITH HUMAN FACTOR IS ERGONOMICS
- 24. VITRUVIAN MAN
- 25. DEFINATION • When the proportions of architectural composition are applied to a particular building, the two-termed relationship of the parts to the whole must be harmonized with a third term—the observer. • He not only sees the proportions of a door and their relationship to those of a wall (as he would in a drawing of the building), but he measures them against his own dimensions. This three termed relationship is called scale. •No single scale is used in Architecture. The scale used depends on the level of detail required in the drawing. Scale
- 26. Scales used in architecture In metric drawings commonly used scales and some of their likely uses are: 1:1000 for site plans 1:500 for site plans 1:100 for plans and elevations 1:50 for plans, sections and elevations 1:20 for part plans, sections and internal elevations 1:10 for details and joinery 1:5 for details.
- 27. Scale /proportion • Dimensional element's defined by other elements of design-size relative to other art, its surroundings, or in relation to human size. Unusual or even unexpected scale can certainly be used as a attention grabber. • Scale refers to overall size and proportion refers to relative size. Scale and proportion principles help the viewer organize an image and they can be used to create or minimize points of emphasis. If an object is out-of-scale or oddly proportioned, then it will create a point of emphasis. Also, large scale objects create obvious visual weight. We automatically perceive larger objects as closer and more important than smaller objects.
- 28. Human scale in architecture is used for- • for monumental effect. Buildings, statues, and memorials are constructed in a scale. The extreme example is the Rodina (Motherland) statue in Volgograd. • for aesthetic effect. • to serve automotive scale.
- 29. Vitruvian proportion • Vitruvius described as the principal source of proportion among the orders the proportion of the human figure. . • Vitruvian man is a world renowned drawing created by leanardo da vinci around the year 1487 • According to Leonardo's notes in the accompanying text, written in mirror writing, it was made as a study of the proportions of the (male) human body as described by the Ancient Roman architect Vitruvius
- 30. Vitruvius wrote that in the human body • a palm is the width of four fingers or three inches • a foot is the width of four palms and is 36 fingers or 12 inches . a cubit is the width of six palms • a man's height is four cubits and 24 palms • a pace is four cubits or five feet • the length of a man's outspread arms is equal to his height • the distance from the hairline to the bottom of the chin is one-tenth of a man's height • the distance from the top of the head to the bottom of the chin is one- eighth of a man's height • the maximum width of the shoulders is a quarter of a man's height • the distance from the elbow to the tip of the hand is one-fifth of a man's height • the distance from the elbow to the armpit is one-eighth of a man's height • the distance from the bottom of the chin to the nose is one-third of the length of the head • the distance from the hairline to the eyebrows is one-third of the length of the face • the length of the ear is one-third of the length of the face
- 32. • Rhythm in visual art is achieved through the creating a sense of movement. • The repeated placement of elements, lines, or color can move the viewers focus from one point to another. ST. PAULS CATHEDRAL
- 33. The Principles of Design: Rhythm • Pattern created by repeating or varying elements, with consideration given to the space between them, and by establishing a sense of movement from one element to another
- 34. Rhythm Repeated use of line, shape, color, texture or pattern. Types •Regular rhythm •Graduated rhythm •Random rhythm •Gradated rhythm
- 35. Regular Rhythm A element is repeated at the same repetition each time.
- 36. Graduated Rhythm The beats of the element become closer or further apart as they move.
- 37. The beats of the element are random or are at irregular intervals. Random Rhythm
- 38. The repeated element is identical with the exception of one detail increasing or decreasing gradually with each repetition. Gradated Rhythm BUILDING SHOOWING GRADETED RYTHM
- 39. The architects of this Islamic building have used repetition of repeated elements to create a visual rhythm within the interior space.
- 40. In visual rhythm, a beat may be one element or a combination of elements. The strongest beats here are the big, tall buildings. The lighted windows make a random rhythm. The streets and the spaces between the buildings create negative, empty space — the rest between the beats.
- 41. • Visual rhythms create a sensation of movement. • Rhythms cause the viewer’ s eyes to follow the visual beats through a work of art. • Visual movement is different from real action, which involves a physical change in position. • Visual movement simply suggests movement.
- 42. • Rhythm results from repetition. • Motf and pattern are often used to talk about repetition in art. • A motif is a unit that is repeated in visual rhythm.
- 43. • The artist here has used rhythm to pull your eyes through the work. Notice how the curved figures and the slanted hoes give a sensation of visual Movement.
- 44. In sculpture and architecture a three dimensional motif is sometimes called a module.
- 45. STONE TOWERS ZAHA HADID CAIRO ROW OF ARCH SHOWING REGULAR RHYTHM
- 52. Symmetry • Exact correspondence of form and constituent configuration on opposite sides of a dividing line or plane or about a center or an axis.
- 53. Types of symmetry • Reflectional symmetry • Point reflection • Rotational symmetry • Translational symmetry • Glide reflection symmetry • Rotoreflection symmetry • Helical symmetry • Scale symmetry
- 54. Reflection Symmetry Reflectional symmetry, mirror symmetry, mirror-image symmetry, or bilateral symmetry is symmetry with respect to reflection.
- 55. Point reflection Reflection symmetry can be generalized to other isometries of m-dimensional space which are involutions
- 56. Rotation Symmetry Rotational symmetry is symmetry with respect to some or all rotations in m-dimensional Euclidean space.
- 57. Translational symmetry • Translational symmetry leaves an object invariant under a discrete or continuous group of translations.
- 58. Glide reflection symmetry • In 2D, a glide reflection symmetry (in 3D it is called a glide plane symmetry) means that a reflection in a line or plane combined with a translation along the line / in the plane, results in the same object.
- 59. Rotoreflection symmetry • A rotoreflection or improper rotation is a rotation about an axis combined with reflection in a plane perpendicular to that axis. A pentagonal antiprism
- 60. • Helical symmetry • Helical symmetry is the kind of symmetry seen in such everyday objects as springs, Slinky toys, drill bits, and augers. It can be thought of as rotational symmetry along with translation along the axis of rotation, the screw axis.
- 61. Scale symmetry • Scale symmetry refers to the idea that if an object is expanded or reduced in size, the new object has the same properties as the original.