7

Principles

ORDERING PRINCIPLES
◻ ORDERING PRINCIPLES

Nothing but confusion can result when order is considered a

quality
that can equally well be accepted or abandoned,
this chapter discusses additional principles that can be
utilized to create order in an architectural composition. Order refers not simply
to geometric regularity, but rather to a condition in which each part of a whole
is properly disposed with reference to other parts and to its purpose so as to
produce a harmonious arrangement.

Order without diversity can result in monotony or boredom; diversity

without
order can produce chaos. A sense of unity with variety is the ideal.
 ORDERING PRINCIPLES

Axis

A line established by two points in space, about which forms and

spaces can be arranged in a symmetrical or balanced manner.
It is a line established by two points in space, about which forms and
spaces can be arranged in a regular or irregular manner

Although it implies symmetry, it demands

balance.

it has qualities of
length and direction,
and induces movement
and promotes views
along its path.

For its definition, an

axis must be
terminated at both of
its ends
by a significant form
or space.
The terminating elements of an axis serve
to both send and receive its visual thrust.
These culminating elements can be any of
the
following:

Points in space established by vertical.

linear elements or centralized building
forms
Vertical planes such as
symmetrical building facades or
fronts, preceded by a forecourt or
similar open space

Well defined spaces generally

centralized or regular in form
regular in form

Gateway that open outward toward

a view or
vista beyond
Northern Palace at Masada, Palestine, c. 30–20
B.C.
Axial conditions can persist across changes of
topography and
despite subtle shifts in alignment
 The notion of an axis can be reinforced
by defining edges along its
length. These edges can be simply lines on
the ground plane, or
vertical planes that define a linear space
coincident with the axis.

An axis can also be established simply by a

symmetrical
arrangement of forms and spaces.
Symmetry

The balanced distribution and arrangement of equivalent

forms and spaces on opposite sides of a dividing line or
plane, or about a center or axis.

While an axial condition can exist without a symmetrical condition

being simultaneously present, a symmetrical condition cannot
exist without implying the existence of an axis or center about
which it is structured. An axis is established by two points; a
symmetrical condition requires 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.
There are two fundamental types of
1. Bilateral symmetry
symmetry
2. Radial symmetry

At some point, however, any totally

symmetrical arrangement must confront and resolve the
asymmetry of its site or context.

The latter case of local symmetry allows a building to

respond to
exceptional conditions of its site or program
Hierarchy The articulation of the importance or
significance of a form
or space by its size, shape, or placement
relative to the other
forms and spaces of the organization

real differences exist among

their forms and spaces. These differences
reflect the
degree of importance of these forms and
spaces
This visual emphasis can
be achieved by endowing a form or
shape with:
exceptional size
a unique shape
a strategic location

Visual emphasis = hierarchy

In an architectural composition, there can be more than a
single dominant element. Secondary points of emphasis
that
have less attention value than the primary focal point create
visual accents. These distinctive but subordinate elements can
both accommodate variety and create visual interest,
rhythm,
and tension in a composition. If carried too far, however, this
interest may be replaced by confusion. When everything
is
emphasized, nothing is emphasized.

When everything is emphasized, nothing is emphasized.

Focal point= visual emphasis

variety can create visual interest,

Hierarchy by Size
A form or space may dominate an architectural composition by being
significantly different in size from all the other elements in the composition.
Normally, this dominance is made visible by the sheer size of an element. In
some cases, an element can dominate by being significantly smaller than the
other elements in the organization but placed in a well defined setting
Hierarchy by Shape
A form or space can be made visually dominant and thus
important by
clearly differentiating its shape from that of the other
elements in the
composition. A discernible contrast in shape is critical,
whether the
differentiation is based on a change in geometry or
regularity. Of course, it
is also important that the shape selected for the
hierarchically significant
element be compatible with its functional use.
Hierarchy by Placement
A form or space may be strategically placed
to call attention to itself
as being the most important element in a
composition. Hierarchically
important locations for a form or space
include:

Call attention= visual emphasis

Datum A line, plane, or volume that, by its
continuity and
regularity, serves to gather, measure, and
organize a
pattern of forms and spaces

A datum refers to a line, plane, or volume of

reference to which other elements
in a composition can relate. It organizes a
random pattern of elements through
its regularity, continuity, and constant presence.
the lines of a musical staff serve as a datum

The regularity of their spacing and their continuity organizes, clarifies, and
accentuates the differences between the series of notes

A preceding section illustrated the ability of an axis to organize a series

of elements along its length. In effect, the axis was serving as a datum.

A datum, however, need not be a straight line. It can also be planar or

volumetric in form.
To be an effective ordering device, a linear datum must have sufficient
visual continuity to cut through or bypass all of the elements being
organized.
If planar or volumetric in form, a datum must have sufficient size,
closure, and regularity to be seen as a figure that can embrace or gather
together the elements being organized within its field.

Given a random organization of dissimilar elements, a datum can organize the

elements in the following ways:

A line can cut through or form a common edge for the pattern, while a
grid of lines can form a neutral, unifying field for the pattern.
A plane can gather the pattern of elements beneath it or serve as an
encompassing background for the elements and frame them in its field.

A volume can collect the pattern of elements within its boundaries or organize
them along its perimeter.
German Pavilion, Montreal World Exposition,
1966–1967, Rolf Gutbrod and Frei Otto
Centre Le Corbusier, Zurich, 1963–1967, Le Corbusier
Rhythm A unifying movement characterized by a
patterned
repetition or alternation of formal
elements or motifs in
the same or a modified form.

Rhythm refers to any movement

characterized by a patterned
recurrence of elements or motifs
at
regular or irregular intervals
rhythm
incorporates the fundamental notion
of repetition as a device to organize
forms and spaces in
architecture.
Külliye of Beyazid II, Bursa, Turkey, 1398–1403

Rhythmic patterns provide continuity and lead us to anticipate

what comes next. Any break in
the pattern announces and emphasizes the importance of the
interrupting element or interval.
View of Spanish hill town of Mojácar
Cultural Center, Wolfsburg, Germany, 1948–1962, Alvar Aalto
Transformation

The principle that an architectural concept, structure, or

organization can be altered through a series of discrete
manipulations and permutations in response to a specific context
or set of conditions without a loss of identity or concept.
TRANSFORMATION OF FORM

Dimensional Transformation
A form can be transformed by altering one or more of its
dimensions and still retain its identity as a member of a
family of forms. A cube, for example, can be transformed
into similar prismatic forms through discrete changes in
height, width, or length. It can be compressed into a planar
form or be stretched out into a linear one.
Subtractive Transformation
A form can be transformed by subtracting a portion of
its volume. Depending on the extent of the subtractive
process, the form can retain its initial identity or be
transformed into a form of another family. For example,
a cube can retain its identity as a cube even though a
portion of it is removed, or be transformed into a series of
regular polyhedrons that begin to approximate a sphere.
Additive Transformation
A form can be transformed by the addition of elements
to its volume. The nature of the additive process and the
number and relative sizes of the elements being
attached
determine whether the identity of the initial form is
altered or retained.
datum is a ………….