Theory of Architecture Lecture 05-06 PDF

THOA111 THEORY OF ARCHITECTURE 01 LECTURE 05-06 BALANCE AND GRAVITATIONAL CURVE BALANCE or equalization......... equilibrium  In the temperate zone, the climatic changes tend to balance each other. However, nature is variable. If there is marked lack of rain, a drought results...

THOA111 THEORY OF ARCHITECTURE 01 LECTURE 05-06 BALANCE AND GRAVITATIONAL CURVE BALANCE or equalization......... equilibrium  In the temperate zone, the climatic changes tend to balance each other. However, nature is variable. If there is marked lack of rain, a drought results. If there are too many people for the food supply, there is famine. The proper balance between supply and demand has not been maintained. A person should also have a balanced diet in order not to be thin or stout or get sick. Furthermore, the books of accounts of an office or business establishment is balanced so as to have a clear view of the assets and liabilities. If balance does not exist, there must necessarily be lack of balance or inequality. Balance is equality. It is composition. It is the foundation upon which arrangement, harmony and adjustment of weights, tones, values, etc. are developed. Proper balance satisfies the eye with reference to the relative importance of the various parts of the desig'1. AXIS  The most elementary means of organizing forms and spaces in architecture. It is a line established by two points in space and about which forms and spaces can be arranged in a regular or irregular manner.  Although imaginary and not visible, an axis is a powerful, dominating, regulating device.  Although it implies symmetry. It demands BALANCE.  The specific disposition of elements about an axis will determine whether the v.isual force of an axial organization is subtle or overpowering, loosely structured or formal, picturesque Of monotonous.  An axis has qualities of length and direction, and induces movement and views along its path. An axis must be terminated at both of its ends and can be reinforced by defining edges along its length. The terminating elements of an axis serve to both send and receive its visual thrust. These terminating elements can be any of the following: Inequality, balance is equality. It is the foundation upon which arrangement, proper harmony and adjustment of weights, tones, values etc. are developed. Proper balance satisfies the eye with reference to the relative importance of the various parts of the design. The notion of an axis can be reinforced by defining edges along its length. Those edges can be simply lines on the ground plan, or vertical planes that define a linear space coincidental with the axis. There are three (3) types of BALANCE in the study of composition 1. SYMMETRICAL BALANCE...........................monumental effect centralized formal radial 2. UNSYMMETRICAL BALANCE informal 3. GRAVITATIONAL BALANCE………………… picturesqueness of surroundings 1. SYMMETRlCAL a. Central axis 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. Not only is the arrangement similar but each object is exactly like the one occupying the corresponding position on the opposite side. In this kind of balance, the eye catches at a glance the equality of attraction on each side of the center of the composition. All elements are duplicated shape for shape, size for size, and tone for tone. The left half of the composition is identical with the right half. This type of balance gives a feeling of repose and order. It is straight forward and direct. The effect of monumentality is more readily secured by the use of a symmetrical composition than by an informal grouping of units. b. Formal There is another type of balance which approaches absolute symmetry, but which lacks some of the essentials of this kind of composition. At first glance the elements on one side of the central axis appear to be identical with those on the opposite side, but upon closer examination it is found that there are differences. The general mass and grouping of parts may be similar, but there are dissimilarities in plan, elevation, or details. The volumes of the balancing units may correspond, but there may exist a difference in their shapes and surface treatments. This type of composition is called 'Formal Balance.'  c. Radial Is characterized by an arrangement where all the parts radiate from a center like the spokes in a wheel. 2. UNSYMMETRICAL (Informal) Unsymmetrical or occult balance is more subtle and elusive, and is more difficult to attain. It attempts to satisfy the eye without any effort to place equal masses at similar distances from the center of the composition. It is the grouping, in an informal manner, of elements of varying sizes and shapes.  The eye must be satisfied when one is working for unsymmetrical balance. But the eye must be trained to perceive the accomplishment of this result. A see-saw is used as an example wherein a lighter weight is farther from the fulcrum and a heavier one nearer. In an informal arrangement the larger and heavier masses should be nearer the centre of the group, while the lighter, lower and more horizontal elements may constitute the long arm. Body  3. GRAVITATIONAl or PICTURESQUE 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. Essentially, it is a quality which is not composed but freely results from time and the forces of nature. One sense. rather than sees, a state of equilibrium. The gravitational is typical arrangement of nature, in which a landscape is in formal in its disposition of parts. Its arrangement is accidental, and it may be good in its composition, or it may be lacking in this quality. Nature works in an unconscious manner with no attempt to meet man-made rules. The artist puts upon canvas his interpretation of the scene before him, modifying it to suit his own particular fancy. He moved trees, houses and even mountains about so that they will conform to a pattern which embodies the principles of good design. He secures informal balance in a number of ways. He use small areas of bright colors on one side of the painting to balance a large area of neutral tone on the other, or he may create a feeling of movement in order to equalize a static quality in another part of the composition. Balance suggests a gravitational equilibrium of a single unit in space, or of pairs symmetrically arranged with respect to a central axis or point. In picture-making, balance refers to a "felt" optical equilibrium between all parts of the work. The artist balances forces horizontally, vertically, radially, diagonally in all directions and positions. There are several factors which, when combined with the elements to balance in a work of art. These factors or variables are position or placement, size, proportion, quality and direction of the elements of these factors, position plays the lead role. If two shapes of equal physical qualities are placed near the bottom of a picture frame, the work will appear bottom· heavy or out of balance with the large upper space. Such shapes should be placed in positions which will contribute to the total balance of all the involved picture parts. In seeking balance, it should be recognized that the elements of art represent " moments of force". The eye, as it travels over the picture surface, pauses momentarily for significant picture parts which are contrasting in character. RHYTHM: movement repetition spacing Music is an art that is heard. It is a combination of sounds arranged in such a manner as to arouse various reactions of pleasure, interest or excitement. Architecture is an art which is seen. It is a composition of elements so arranged as to serve a utilitarian purpose and, inaddition, to have an emotional appeal. The music of the western world is based uponrhythm, melody and harmony. Rhythm is the foundation of music. Although it is necessary that there be tones of pleasing quality, still these tones must first be organized into some kind of time or spacing. Unorganized sounds result in discord or dissonance; unorganized architectural forms cause confusion. Movement is the basis of rhythm. The movement in music may consist of the time, which may be fast or slow, or it may be the Tempo or repetition of the theme through the composition, regular or irregular. There is the same feeling of movement in architecture. A building is, of course, static. It remains indefinitely upon its foundations. But there is a movement of the theme as it travels across the facade of the building- the eye pausing here to look at this detail and then going on to the next. An unbroken wall has no rhythm. There is nothing except texture to arrest the attention; nothing to be seen beyond the shape and contour of the surface. TWO KINDS OF RHYTHM 1. UNACCENTED RHYTHM -if equally spaeed 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 cbntemplating the larger elements.  Rhythm refers to the regular or harmonious recurrence of lines, shapes, forms, or colors. It incorporates the fundamental notion of repetition as a device to organize forms and spaces in architecture. Almost all building types incorporate elements that are, by their nature, repetitive. Beams and columns repeat themselves to form repetitive structural bays and modules of space.  Windows and doors repeatedly puncture a building's surface to allow light, air, views, and people to enter its interiors. Spaces often to accommodate similar or repetitive functional requirements in the building program. This section discusses the patterns of repetition that can be utilized to organize a series of recurring elements, and the resultant visual rhythms these patterns create. Rhythm is ORGANIZED MOVEMENT. It must be directed and controlled. If unrelated noises occur, such as the din of the factory, there is no organization and hence no rhythm. If windows and doors are thrown into the facade of a building in a haphazard manner, there is no scheme or sense to the arrangement and again no rhythm. Rhythm may be one of the following : a. Rhythmic use of color - movement of the eye across a painting from spot to spot of similar color. b. Rhythmic use of line-repetition of a similar type of line in a piece of sculpture. c. Rhythm of motion-the movement of dancers. d. Rhythm of direction -continuity of a series of arches forming an arcade. VISUAL ACUITY AND PERCEPTION z