Principles And Elements Of

Architectural Design

Jaspreet Kaur Aulakh

B. Arch 2nd Year 4th
Semester
K. R. Mangalam S.A.P

Principles

AXI
Axis
S
Symmetry
Hierarchy
Datum
Rhythm
HIERARCHY
Repetition
DATUM
Transformation

SYMMETRY
RHYTHM/REPETITION

TRANSFORMATION

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

and spaces can be arranged in a symmetrical or balanced manner.
Symmetry: The balanced distribution and arrangement of
equivalent forms and spaces on opposite sides of dividing line or
plane, or about a centre or axis.
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.
Rhythm: A unifying movement characterised by a patterned
repetition or alteration of formal elements or motifs in the same or
a modified form.
Datum: A line, plane, or volume that, by its continuity and
regularity, serves to gather, measure, and organise a pattern of
forms and space.
Transformation: The principle that an architectural concept,
structure, or organisation 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.

HIERARACHY

 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 organisation, but placed
in 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 strong 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 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 form or space
include:
1. The termination of a linear
sequence or axial organisation
2. The centrepiece of a symmetrical
organisation
3. The focus of a centralised or radial
organisation
4. Being offset above, below, or in
the foreground of a composition

History Faculty Building, Cambridge University,

England, 1964-67, James Stirling
The design of the
HistoryFacultybuildingwas the
subject of a limited competition in
1963. The winning design was
conceived byJames Stirling and
the resultant structure is almost
identical to the original plans.
However, after the competition, it
was discovered that a part of the
original site was unavailable to the
University and thebuildingwas
turned 90 degrees to fit the land
available. Thebuildingwas
completed in 1968 and awarded a
R.I.B.A. (Royal Institute of British
Architects) Gold Medal in 1970.
Thebuilding is listed by English
Heritage.

PLAN

Architecturally,
Stirling'sFacultybuildingarouses
great interest, and visitors come
from all over the world to view it;
so many in fact, that the times
during which they can actually

"Thebuildingwas the subject of a

limited competition and, apart from
changes in siting, is almost the
same as the original project."
"It was necessary to provide multidirectional approaches in the
History Faculty. To allow for
different cross-campus circulation
routes four entrances have been
provided, two of which are at
ground level. At the front of
thebuildingthere is also an
approach by ramp to the staff
entrance.
The accommodation includes a
reading room for 300 readers
(12,600 square feet of shelving)
which accounts for approximately
half the floor area; the other
accommodation is staff, seminar
and common rooms."
James Stirling Michael Wilford
and Associates. James

S. S. Sergius and Bacchus,

Constantinople (Istanbul), A. D. 525-30
Begun in 525 by
Emperor Justinian,
theChurch of Saints
Sergius and
BacchusinIstanbul
was an early
experiment in
Byzantine architecture,
with a large central
dome supported by an
octagonal base. The
church is now a mosque
calledKk Ayasofya
Camii(Little Hagia
Sophia Mosque), named
for its resemblance to
the much largerHagia

The former church is located on the

south side of Istanbul next to the
Hippodrome; a railway line (near
Sirkeci Station) runs between the
south wall of the church and sea wall.
The Kk Ayasofya'sinterioris
decorated and furnished as a mosque,
with Arabic calligraphy and designs in
blue painted on white walls.
Originally, the walls and vault would
have been completely covered in
golden mosaics, like those that
survive from this period inRavenna,
and probably frescoes as well.
The architecture of the building,

The Byzantine Emperor Justinian (r.

527-65) was among the saints'
devotees. According to legend, when
Justinian was a young man he was
condemned to death for plotting
against Emperor Anastasius. But
Sergius and Bacchus appeared to the
emperor in a dream, convincing him to
release Justinian.
Justinian began construction on a
church dedicated to Sergius and
Bacchus immediately after becoming
emperor himself.

Elements
Point indicates a position in space. A
point extended becomes a
Line with properties of:
Length
Direction
Position
A line extended becomes a
Plane with properties of:
Length and width
Shape
Surface
Orientation
Position
A plane extended becomes a
Volume with properties of:
Length, width and depth
Form and Space
Surface
Orientation
Position

Plane

A line extended in a direction

other than its intrinsic direction
becomes a plane.
Conceptually, a plane has
length and width, but no
depth.
Planes in architecture define
three-dimensional volumes of
mass and space. The
properties of each plane-size,
shape, colour, texture-as well
as their spatial relationship to
one another ultimately
determine the visual attributes
of the form they define and the
qualities of the space they
enclose.

S. Maria Novella, Florence, 1456-70,

Leon Battista Alberti
The Renaissance facade by
Alberti presents a public
face to a square.
Exterior wall planes isolate
a portion of space to create
a controlled interior
environment. Their
construction provides both
privacy and protection from
the climatic elements for
the interior spaces of a
building, while openings
within or between their
boundaries re-establish a
connection with the exterior
environment. As exterior
wall mould interior space,
they simultaneously shape

As a design element the

plane of an exterior wall can
be articulated as the front or
primary facade of a building.
In urban situations, these
facades serve as walls that
define courtyards, streets
and such public gathering
places as squares and
market places.

Kaufmann House (Falling Water),Connellsville,

Pennsylvania, 1936-37, Frank Lloyd Wright
Reinforced concrete
slabs express the
horizontally of the
floor and roof planes
as they cantilever
outward from a
central vertical core.
The overall form of a
building can be
endowed with a
distinctly planar
quality by carefully
introducing openings
which expose the
edges of vertical and
horizontal planes.
These planes can be
further differentiated
and accentuated by

The structural design for

Fallingwater was
undertaken by Wright in
association with staff
engineers Mendel
Glickman and William
Wesley Peters, who had
been responsible for the
columns featured in
Wrights revolutionary
design for theJohnson
Wax Headquarters.

Fallingwater stands as one of Wright's greatest masterpieces both

for its dynamism and for its integration with the striking natural
surroundings. Wright's passion forJapanese architecturewas
strongly reflected in the design of Fallingwater, particularly in the
importance of interpenetrating exterior and interior spaces and the
strong emphasis placed on harmony between man and nature