ITA Unit4

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UNIT 4 ATTRIBUTES AND PRINCIPLES OF FORM

Notes Compiled by Ar.Preethima Devarajan,


Asst. Prof, Meenakshi College of Engineering

 Form as manifesting attributes such as pattern, light, colour, surface, texture.


 Effects of these attributes. Form in its basic state, in combinations, composite organisations and
configurations as manifesting characteristics such as proportion, scale, balance, symmetry,
asymmetry, rhythm, axis, hierarchy, datum, unity, harmony, dominance, climax, focus.
 Characteristics acting as principles to generate architectural design.
 Exercises and architectural case studies.

COLOUR
 Color or colour is the visual perceptual property corresponding in humans to the
categories called blue, green, red, etc.
 Colour derives from the spectrum of light interacting in the eye with the spectral
sensitivities of the light receptors
 Color is the attribute that most clearly distinguish a form from its environment.
 It also affects the visual weight of a form.
 The colour of something is the appearance that it has as a result of the way in which it
reflects light. Red, blue, and green are colours.
 There are three different types of colours: primary, secondary, and tertiary or
intermediate colours.
 The primary colours are red, yellow, and blue.
 The secondary colours are green, orange, and purple.
 Yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green
are examples of tertiary colours.
TEXTURE
Visual activity across a surface is a texture when the visual activity forming the texture is based
on irregular and random relationships over given areas. Textures are organic and natural.

What may vary in a texture?


• The size of objects/ lines forming the texture
• The distance between them
• The density of the structure
What does this variation lead to?
This variety leads to a perception of organic, natural, or random structures in a texture. Texture is
also visual and especially tactile quality given to a surface by the size, shape, arrangement, and
proportions of the parts. Texture also determines the degree to which the surface of a form reflect
or absorb incident light.
PATTERN
 When lines and shapes are repeated, they create a pattern.
 Patterns can be regular or irregular, however, architects try to repeat elements of design in a
regular manner.
 In architecture, patterns can be found in the way bricks are laid, in repeated shapes of
windows, and in decorative wood or stone trim.

LIGHT
•Light is fundamental for space, it is the success of any building.
•Light quality affects human behaviour, health, comfort and
mood.

"Space and light and order. Those are the things that men need
just as much as they need bread ora place to sleep"
-Le Corbusier, August27, 1965

•Light, space and human they effect and work with each other.
•Space needs light to illuminate; light needs space to receive it,
light within the space change human experience.
• Most of the architectures like to amplify use of natural light.
• Natural light makes architectural more harmony between
exterior ,interior, nature and human.
• Light work with some element like colours, can make space more dynamic and beautifier and it
is a major natural element in architecture design.
• More than that, light can be employed through
• design to evoke an emotional response to increased sensibilities.

NATURAL LIGHT AND ARCHITECTURE:


•Natural light keeps changing through times.
•However, architects cannot control natural light,which from morning to night, day after day
changes.
• Its existence gives life to space, modeling the spatial sensibility.
•Natural light for the space, like the air for life, these two have symbiotic relationship.
•Natural light into interior design have many positive effects, including the considerable financial
savings in energy.
•Natural light is considered a beneficial design formany reasons: human health, comfort and
satisfaction, energy conservation, view.

ARTIFICIAL LIGHTING:
It is made by human. It is very useful when there is lack of natural light.
Types of Artificial lighting
•General or Ambient lighting
•Accent or Directional lighting
•Traditional or Decorative lighting
•Task lighting
SURFACE
The focus of the relationship between structure and skin is the architectural surface. ... The
properties of a building's surface—whether it is made of concrete, metal, glass, or other
materials—are not merely superficial; they construct the spatial effects by which architecture
communicates. Through its surfaces a building declares both its autonomy and its participation in
its surroundings.

FORM IN ITS BASIC STATE IN COMBINATION WITH PRINCIPLES OF DESIGN


Design principles are rules that will help and guide you while making important decisions
throughout the designing process. These are a set of rules that designers can follow when creating
a composition to create visually pleasing work. The following are the principles of design.

1. Axis
2. Balance
3. Rhythm
4. Unity
5. Contrast
6. Hierarchy
7. Emphasis
8. Repetition
9. Pattern
10. Movement
11. Harmony
12. Variety
13. Scale and proportion
01
AXIS

What is an axis?
An axis is established by two points; a symmetrical condition
requiring the balanced arrangement of equivalent patterns of
form and space on opposite sides of a dividing line or plane, or
about a center or axis.

Forms and spaces can be arranged in a symmetrical or


balanced manner
 Although it implies symmetry, it demands balance.
 Since an axis is essentially a linear condition, it has
qualities of length and direction, and induces
movement and promotes views along its path.

Example: The front pathway portion of the Tajmahal


02
BALANCE

What is balance?
Balance is one of the key principles of design, refers to the way visual elements are arranged so
that their visual weight harmonizes with the other elements in the design, and the composition
gives an appearance of properly distributed elements.

Types of Balance:
There are three types of balance:
- symmetrical balance
- asymmetrical balance
- radial balance
-
Symmetrical balance:
It is the simplest to create and involves placing objects of
the same weight, and kind of weight, on either side of a
central line. What's important is that each object on one
side, corresponds to a similarly weighted object, on the
other side
Asymmetrical balance:
Asymmetrical balance is also absolutely balanced on both
sides of a central line. However, asymmetrical balance
achieves this through the total weight of the objects,
rather than each object corresponding with another object
on other side of the centre.
Example: It's kind of like having a large man sitting on
one side of a see-saw, while ten small children sit on the
other side. The see-saw will balance, but it will take ten
of the child-size objects to equal out one of the man-size
objects. Check out this image appearing here.
Radial balance:
Objects balance according to a single point in the centre
of the design. This can be a balance of the composition by
placing the different objects equidistant from the centre.
03
RHYTHM

What is Rhythm?
Rhythm refers to any movement characterized by a patterned recurrence of elements or motifs at
regular or irregular intervals.

How is Rhythm created?


Rhythm incorporates the fundamental notion of repetition as a device to organize forms and spaces
in architecture. This is created when one or more elements of design are used repeatedly to create
a feeling of organized movement.To keep rhythm exciting and active, variety is essential.

Repetition in Rhythm
 The simplest form of repetition is a linear pattern
of redundant elements. Elements need not be
perfectly identical, however, to be grouped in a repetitive fashion.
 They may merely share a common trait or a common denominator, allowing each element
to be individually unique, yet belong to the same family.

04
UNITY

What is Unity?
Unity is the harmony produced by all the elements in a design piece. For instance, using similar
colors that match and integrate elements organically makes it appear as if they belong together and
are not just put on a page.

Lack of unity would make your design feel cluttered and confusing. Viewers will be attracted to
the wrong element of the design and won't get a clear message. A good rule of thumb is to place
an element in your design only if it enhances the message. Ask yourself what the element is adding
to the composition.

Example: Image showing unity in different aspects – colour, shape, size, and proximity
Why unity is important?
A sentence conveys more information than random words on a page. A paragraph conveys more
information than random sentences on the page. Hence order and organization helps convey your
message. Unity leas to more order and organization.

05
CONTRAST

What is contrast?
Contrast refers to the level of difference between design elements in order to create visual
hierarchies. The variation makes certain elements stand out more than others.

Source: inzone design

Application of Contrast:
 Contrast can be applied by using colors, textures, sizes, and shapes.
 Contrast can create a focal point to certain elements that can draw the viewer’s eyes.
 Contrast can also be used to create balance and harmony by making sure items are
distributed nicely on a page.
Lack of contrast can make a design look dull, and viewers can overlook the important message.
For instance, black type on a white background will be easier to read than black on a brown
background

06
HEIRARCHY

What is Hierarchy?
Hierarchy is the control of visual information in an arrangement or presentation to imply
importance.
 It is typically created by contrast between visual elements in a composition.
 For a form or space to be articulated as being important or significant to an organization,
it must be made uniquely visible.
How is hierarchy achieved?
This visual emphasis can be achieved by endowing a form or shape with:
• exceptional size
• a unique shape
• a strategic location
In each case, the hierarchically important form or space is given meaning

Source: Bridgewater learning


07
EMPHASIS

What is emphasis?
Emphasis is a strategy to get the viewer’s attention to a specific design element. The purpose is to
create something that will stand out from the rest of the page.

Source: Pinterest

How to emphasise?
 You can use different elements to highlight a specific part of the design.
 Usually the artist will make one area stand out by contrasting it with other areas. The area
could be different in size, color, texture, shape, etc

Source: Invision
08
REPETITION

What is repetition?
Repetition is the reusing of the same or similar elements throughout the design.

Source: Invision

Why is repetition used?


 We use repetition to create a sense of unity and consistency throughout a design
 Repetition creates a particular style, creates cohesiveness, creates emphasis, hierarchy
structure and strengthens a design.

Source: ModernI Source: Gareth David


Good example for repetition is in magazines. If you flick through any well-designed magazine,
you will notice a consistent style throughout. This is done to create a particular user experience
which you will become fond of and want to experience again and again. When you look at a design,
ask yourself how is repetition been considered? What elements have been repeated and how? Is
there clear consistency? And how well does it work as part of the design?

09
PATTERN

What is Pattern?
Pattern is the repetition of more than one design element. While repetition focuses on a single
element being repeated, pattern refers to multiple elements. Pattern as a principle of design may
be defined as regular arrangement of repeated same elements i.e. line, shape, colors over and over
again

Source: Invision

What is the use of pattern?


The use of such patterns can enhance the user experience, as well as the design and look of the
final product, but must be used wisely so as to avoid a complicated layout or unattractive design.
Source: ModernI

10
MOVEMENT

What is movement in principles of design?


Movement refers to the path the viewer’s eye takes through a composition. In an image, every
element can affect how the eyes move. Movement in a composition creates interest and dynamism
that keeps the viewer engaged.

How is a movement created?


 Movement can be created with rhythm when using a variation of an element repeatedly.
 Rhythmic movement has to do with the way the eye naturally moves throughout the design.
 Using curved lines and diagonal lines creates more movement compared to straight lines.
Why is movement important in design?
 Movement helps control how your audience interacts with the piece and how they view it.
 When used properly, movement in design ultimately guides viewers through a composition
to where the designer wants them to go.

11
HARMONY

What is Harmony?
Harmony is the sense of cohesiveness between the elements in a composition. The elements
shouldn’t be the same or completely different but related in some way.

Source: ZME Science


How to create Harmony in design?
 Color palettes or similar textures can create a sense of unity between different components.
 Using similarly shaped items will create harmony because they will seem related.
 Specifically, harmony uses the elements of art (color, line, shape, form, value, space,
texture) as a vehicle to create a sense of togetherness amongst otherwise separate parts

Source: Evanto tuts

12
VARIETY

What is variety?
Variety is the principle of art that adds interest to an artwork. Variety works through
juxtaposition and contrast. When an artist places different visual elements next to one another,
he/she is using variety.
Source: Evanto tuts

Why is variety used in Design?


 Creating visual interest will keep viewers engaged with your design. Holding their attention
and guiding them through the composition will create a powerful user experience.
 Variety adds something interesting to the composition to create contrast and tension.
 For instance, mixing organic shapes with geometric shapes adds variety
13
SCALE & PROPORTION

What do you mean by scale and proportion?


 While scale alludes to the size of something compared to a reference standard or to the size
of something else, proportion refers to the proper or harmonious relation of one part to
another or to the whole.
 While the designer usually has a range of choices when determining the proportions of
things, some are given to us by the nature of materials, by how building elements respond
to forces, and by how things are made.

Source: Pintrest

PROPORTIONING SYSTEM:
 Proportioning systems go beyond the functional and technical determinants of architectural
form and space to provide an aesthetic rationale for their dimensions.
 They can visually unify the multiplicity of elements in an architectural design by having
all of its parts belong to the same family of proportions.
 They can provide a sense of order in, and heighten the continuity of, a sequence of spaces.
 They can establish relationships between the exterior and interior elements of a building.
Theories of Proportion:
 Golden Section
 Classical order
 Renaissance Theories of proportion
 Modular proportioning system
 Ken proportioning system
 Anthropometry

Source: Pintrest

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.
 The entity an object or space is being compared to may be an accepted unit or standard of
measurement.
Source: Pintrest

Visual Scale:

 Of particular interest to designers is the notion of visual scale, which refers not to the actual
dimensions of things, but rather to how small or large something appears to be in relation
to its normal size or to the size of other things in its context.
 When we say something is small-scale or miniature, we usually mean that thing appears to
be smaller than its usual size. Likewise, something that is large-scale is perceived as being
larger than what is normal or expected.
 We speak of urban scale when we refer to the size of a project in the context of a city, or
neighbourhood scale when we judge a building appropriate to its locale within a city, or
street scale when we note the relative sizes of elements fronting a roadway.
 At the scale of a building, all elements, no matter how plain or unimportant they may be,
have a certain size. Its dimensions may be predetermined by the manufacturer, or they may
be selected by the designer from a range of choices. Nevertheless, we perceive the size of
each element in relation to other parts or to the whole of a composition.
Human Scale:
 Human scale in architecture is based on the dimensions and proportions of the human body.
 Our dimensions vary from individual to individual and should not be used as an absolute
measuring device.
 Similarly, we can judge its height if we can reach up and touch the ceiling plane overhead.
 Once we can no longer do these things, we must rely on visual rather than tactile clues to
give us a sense of the scale of a space.
 For these clues, we can use elements that have human meaning and whose dimensions are
related to the dimensions of our posture, pace, reach, or grasp.
 Such elements as a table or chair, the risers and treads of a stairway, the sill of a window,
and the lintel over a doorway, not only help us judge the size of a space but also give it a
human scale.
 While something that is monumental in scale makes us feel small in comparison, a space
that is intimate in scale describes an environment in which we feel comfortable, in control,
or important.
 Intimate settings of tables and lounge chairs in a large hotel lobby tell us something about
the expansiveness of the space as well as define comfortable, human-scale areas within it.
 A stairway leading up to a second-story balcony or loft can give us an idea of the vertical
dimension of a room as well as suggest a human presence.
 A window in a blank wall conveys something about the space behind it and also leaves the
impression that it is inhabited.
Proportion and scale are important aspects of a good architectural result. It takes effort and skill to
balance out the horizontal and vertical dimensions of a building in order to create an overall sense
of visual harmony. Achieving the right scale during the design process can be difficult. It takes
experience and sensibility because it requires projecting oneself into the imagined (building or
furniture) in order to predict how something is going to feel once it is built.

Source: THESIS Carpentry

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