Principles of Aesthetics &

Architectural Composition - II
 Principles of Architectural Composition
 Harmony is pleasing agreement of parts or combination of parts in a
composition.

 Harmony in visual design means all parts of the visual image relate to and
complement each other.

 Harmony can be achieved through repetition and rhythm.

 Harmony involves the selection or design of elements that share a common

trait, however, Harmony becomes monotony without Variety.

 By repeating patterns in an interesting arrangement, the overall visual image

comes together.

 All the elements compliment each other and though they may have different
forms but they coexist such that there is a sense of unity and balance in the
composition.
Example Taj mahal. elements like minarets, domes, drum, cube that exist however
the way they are composed.
Hence there is definite sense of harmony.
 Harmony with Site and Nature
1. In this composition the
architecture does not dominate
nature but belongs to the site
and nature.
2. In this case the building may be
made up of the same material
that is available in the site and
thus may even seem to merge
with the site.
Example
Falling water by FLW.
Most of the vernacular architecture
is harmonious with the nature.
 Harmony with climate
1. In this, architecture responds to the climatic
conditions of the site.
2. For example the courtyard houses of dry and
arid regions or the airy houses of hot and
humid regions are in harmony with the
climate.
3. The whole green architecture movement is
an attempt to make the building harmonious
with the climate.
 Harmony with immediate context
It’s very important for architecture to respond to the context as well, especially if the
context is very strong like historical precincts, heritage structures etc.
Its advisable to respect the context.
For example
I M Pei’s extension of Louvre Museum in Parliament library, New Delhi by Ar Raj
Paris Rewal.
 Harmony with culture
If the architecture is set in a place which has a distinct culture, harmony can be
achieved by interpreting the culture in architectural ways.
For example Charles Correa’s architecture attempts to harmonize with the local
culture. His kala academy at Goa harmonizes with Goan culture, similarly his Jawahar
kala Kendra at Jaipur harmonizes with Jaipur or Rajasthan culture.
Other architects who have made such attempts are Hassan Fathy, Riccardo
Leggoretta, Geoffery Bawa, Laurie Baker etc.
Other architects who have made such attempts are Hassan Fathy, Ricardo Legorreta,
Geoffrey Bawa, Laurie Baker etc.

The mosque at New Gourna Cairo

The new Fort Worth Musuem of Science

and History

The Gallery Casa Del Agua

 ACCENTUATION

To stress or emphasize; emphasizing: the act of giving special importance or

significance to something.

The process of making an element in a composition more important or

emphasized as compared to other elements in the composition is called as
accentuation.

Hence accentuation implies Hierarchy.

Accentuation can be achieved in a number of ways-
BY FORM
the accentuated element may have a different form than the rest of the elements
which may have similar form.

SOLOMON R GUGGENHEIM MUSEUM

BY SIZE
the accentuated element may have same form but significantly larger size so
that it stands out in the composition.

SAYNATSALO TOWN HALL- CENTRAL FINLAND

HAGIA SOPHIA, ISTANBUL
By material or colour
AL-AQSA MOSQUE, JERUSALEM

the accentuated element may be made up of totally different material as

compared to rest of the elements in composition or may be painted in a
different and striking colour as compared to the rest of the composition.
By location

the accentuated
element may be kept in
the most important
position in the
composition such as in
the center of centralized
or radial organization or
termination of an axis or
set apart from the rest
of the composition.

VILLA ROTONDA, ITALY

BY PROJECTING SPECIFIC ELEMENTS

in architecture, specific elements could be projected to accentuate them in

the composition.

PALAZZO CHIERICATI, ITALY

By lighting specific elements

in night architecture, specific

elements could be lighted to
accentuate them in the
composition.
GUGGENHEIM MUSEUM BILBAO
JEWISH MUSEUM BERLIN
BAUHAUS, GERMANY
 RESTRAINT

A measure or condition that keeps someone or something in control.

Restraint in architecture may be defined as a deliberate move from

architect’s side not to over do in terms of design.

It’s to control the design so that it may be broken down in its purest
and simplest forms.

Restrain may be required by the architecture in various conditions-

RESTRAIN IN ARCHITECTURE FOR THE SAKE OF SITE
the site may be very beautiful and the architecture that may come on
it may require restrain so that it does not over power site but rather
merges with it.

Example Bharat Bhawan by Charles Correa.

GLASS HOUSE BY MIES VAN DER
RONE
RESTRAIN IN ARCHITECTURE FOR THE SAKE OF FUNCTION
Some time architecture may have to take a back seat so that something
else such as a painting or sculpture may be emphasized.

Most of the interior spaces of museum and art galleries show restraint to
emphasize art work
RESTRAIN IN ARCHITECTURE FOR THE SAKE OF CONTEXT
Sometimes architecture may be put up against a very strong existing
context in terms of heritage or historical precincts, in such cases
restraint comes as a tool so that the new addition may not dominate
the existing.
I M Pei’s extension of Louvre Museum ,Paris
Parliament library, New
Delhi by Ar Raj Rewal.
RESTRAIN IN ARCHITECTURE FOR ITS OWN SAKE
Modernism, by choice got itself freed from ornamentation and overdoing.
Minimalism, a movement which is very popular believes very strongly in
restraint as a tool to avoid overdoing and thus forms a totally new vocabulary
of aesthetics.

For example works of Tadao Ando.

 REPOSE
1. The act of resting or the state of being at rest.
2. Freedom from worry; peace of mind.
3. Calmness; tranquility.
4. Sense of shelter, enclosure.

Architecture that brings in a sense of peace and calmness to the

mind may be defined as architecture that has a quality of repose.

This is a very subjective quality as it may differ from person to

person, however there may be certain general guidelines which may
give a quality of repose to a space.,
1. Use of very basic geometrical form like cubes, or spheres.

2. Not using too many elements in the compositions.

3. Not using distracting ornamentation.

4. Avoiding dynamic forms.

5. Using calming natural elements in architecture like still water,

grass or lawns, light in meditative ways.

6. Use of subtle colors and textures both on the exteriors and

interiors.

7. Using organizing principles such as balance, restraint,

symmetry etc.

8. As far as possible using human scale.

EMPHASIS ON SYMMETRY AND PROPORTION:
Sony Tower, New York
 EMPHASIS ON BALANCE

Bauhaus, Germany

SAYNATSALO TOWN HALL- CENTRAL

FINLAND
EMPHASIS ON RESTRAINT
USE OF CALMING ELEMENTS (HARMONY)
 VITALITY
The characteristic, principle, or force that distinguishes living things from
nonliving things.

Vitality in architecture does not mean that architecture should look like a living
organism but when we come in the proximity of such space or building we feel
the life that makes it a great piece of architecture.

The architecture that seems to be almost alive and seems to have its own life
can be called as architecture that has vitality as its character.

It’s very difficult to really say what makes architecture vital or living as all good
architecture seems to have the vital energy that makes it almost living.
 DYNAMIC FORMS
These forms are not static or stable but represent a sense of motion or dynamism
which is a characteristic of life.
Pierres Vives building, France by Zaha Hadid
multimedia library, public archive and sports department of the Herault regional government
Santa Maria della Salute Basilica
Venice, Italy
 ARCHITECTURE
INSPIRED BY
NATURE
Sometimes forms may be
directly inspired by nature or
they may be abstracted
natural forms.
Casa Milà in Barcelona, Spain. designed by Antoni Gaudí.
Casa Batlló in Barcelona, Spain. by Antoni Gaudí.
 SYMBOLIC VITALITY

The sense of vitality in some building

might be symbolic of life, hope,
movement etc

Jewish Museum, Berlin

 ARCHITECTURE THAT RESPONDS SENSITIVELY
TO DIFFERENT PARAMETERS

There are different parameters to which architecture can respond in the

same way as an organism responds and evolves in the nature.

These parameters can be site, context, climate, client’s requirement etc.

and thus each time architecture can come up with a totally different solution
as each time the parameters are different.

For example the theory and practice of ‘Organic architecture’ as proposed

by Frank Lloyd Wright, Green architecture and Vernacular architecture.
 Husain-doshi Gufa now
known as Amdavad Gufa
 STRENGTH
1. The state, property, or quality of being strong.
2. The ability to maintain a moral or intellectual position
firmly.
3. Capacity or potential for effective action

When an element in a composition seems to be more strong or

important than the rest of the composition then visually it may
be called as a stronger element.

Strength of an object or a composition is dependent on the

visual weight of the elements.
Following table gives visually what makes an element stronger.

Composition Vertical composition > horizontal composition> neutral

composition

Form Pyramidal> vertical rectanguloid > horizontal rectanguloid >

cube > cylinder > sphere.

Elements point> line > surface > openings

Plane solid > textured > perforated

Volume projecting > receding

Curve convex > concave

Shade bright > dark

Colour red > yellow > white > green > blue > black

Texture rough>plane
 chapelle notre dame du haut le corbusier

Material, wall plane, convex vs concave, projecting vs receding

Beijing National Stadium, known as the Bird's Nest
The Matrimandir in Auroville.