Principles

Ordering Principles

This final section goes into detail about some more ways to create order within architecture and interior design. If you remember order refers to one part being properly placed with other parts in order to create a harmonious arrangement. Order without diversity creates boredom, while order with too much diversity creates chaos. The following principles allow for a strong balance between variation and diversity while still providing unification and harmony.

Axis

The simple ordering principle of an axis is created by establishing a line through two points in space. The invisible axis can group forms and spaces around it in a regular or irregular manner, which creates powerful, dominating arrangements. It usually implies symmetry and balance however the amount and arrangement of items on the axis will determine its success. Its has similar properties of line including length and direction however it is not infinite there will be some sort of form or space at both ends of the axis.

 

A visual representation of Axis in the built environment:

Here in this photo we see that many of these living spaces have been organized around the blue axis line. From the cooking space on the far wall to the living space in the foreground most elements are even symmetrical to this axis point.

Symmetry

Symmetry cannot exist without the presence of an axis. In order for symmetry to occur,  there must be a balanced arrangement of equivalent items on each side of the axis. There are two main types of symmetry. Bilateral symmetry refers to a balanced arrangement of elements on a center axis. Radial symmetry refers to the balanced arrangement of radiating elements around a center point. There are likely multiple axes with radial symmetry.

 

A visual representation of Symmetry in the built environment:

Here we see the use of bilateral symmetry in this dining space. Every element is repeated once again on the other side of the median axis point shown in blue.

Hierarchy

Hierarchy suggests a degree of functional, formal, or symbolic importance between different forms and spaces. Hierarchy needs to be uniquely visible to the human eye. Some ways hierarchy can be achieved is through exceptional size, unique shape, color, and strategic location. Hierarchy is seen as the exception to the norm.

 A visual representation of Hierarchy in the built environment:

Here we see the bright lime green door being the dominant element on the house facade. By the use of color and the lack of horizontal lines it is uniquely different from the other elements. It could represent both functional and symbolic meaning. Not only is it the entrance to the house but it is also an entrance to the lives of the people that live there.

Datum

Datum refers a line, plane, or volume that groups together and relates all other forms and spaces. Quite often many of these other forms and spaces are quite random and irregular. The Datum helps provide stability and regularity for them. The datum must have significant visual presence in order to be considered a datum; without presence it simply gets lost amongst the other elements.

 

A visual representation of Datum in the built environment:

 The use of the black wall and flooring continues throughout most rooms of the house in a continuous curve like the one that is seen here. The overall floor plan curves to match this datum line. This helps organize and provide regularity to the otherwise random shaped rooms of the house.

Repetition & Rhythm

These two terms refer to the pattern of occurrence that elements make at regular or irregular intervals.
Buildings by nature are repetitive. Beams and columns occur every few feet for support. Windows and doors repeat for circulation. Rooms repeat to meet functional needs. There are really two ways we group items to determine repetition. The first method is by their proximity to one another and the second method is by their similar visual characteristics. The second method could involve similiar size, shape, or detail characteristics.

 A visual representation of Rhythm & Repetition in the built environment:

Not only does the curvy shape of the walls, ceiling, and seating create a fluid rhythm, but the shear amount of pillows and their repeated patterns creates beautiful repetition for the space. The bright colors in addition to the rhythm make the pillows the main focal point in the room.

Transformation

Everything we do and touch has some notion of the past in it. The past of Architecture and Interior Design should be used to study prior experiences, endeavors, and accomplishments and their successes . These learnings should be then applied in the present and future. The application of transformation embraces these ideas. With transformation the designer selects an existing architectural model and then alters it slightly to fit the clients needs and the design requirements.

 A visual representation of Transformation in the built environment:

Here we see how one designer took existing elements and transformed them to better fit the needs of not only the client but also the space. Through application of the previous arrangement we learned what works and what doesn't in order to apply it to the new arrangement.

Proportion & Scale

Proportion & Scale

Proportion refers to the proper relation between a part to its whole or to other another part. This may not only refer to size but to also quantity or degree. On the other hand, scale refers to the physical size of an object in comparison to another. Everyday proportions and scales can be altered by perspective, distance, and cultural bias. Quite often it is hard to see very small alterations in proportion or scale. Proportion serves to create harmony and order in our visual environment. A number of theories of proportion have been developed to to accomplish this and will be discussed below.

The Golden Section

Most systems of proportion rely on numbers and the belief that certain relationships of numbers create harmonic proportions. The earliest idea of this is the Golden Section, which also plays off dimensions of the human body. The Golden Section is defined as the ratio between two parts of a line, or the two dimensions of a plane figure, in which the lesser part is to the greater part as the greater is the the whole. Usually the ratio comes out to be somewhere around 0.618 to 1.

A visual representation of the Golden Section in the built environment:

Here we see how a series of golden sections have been applied to create various golden rectangles in this infinite progression known as the golden spiral. The elements within the room have been arranged to match this curvilinear pattern which helps promote visual harmony and balance.

Classic Orders

The Orders within Greek and Roman antiquity represented the perfect definition of harmony and beauty.  The diameter of the column was used as the basic unit of measurement. The columns shaft, entablature, capital, pedestal, and even spacing was influenced by the diameter. The measurement wasn't based upon a specific length. Instead each part of a building was proportionate to the other. 

A visual representation of Classic Orders in the built environment:

Here we see a remake of a classic Doric column. Although it may not have inspired the the rest of the proportions in the space, the proportions of the column itself reflect the principles of the classic orders.

Renaissance Theories

The famous mathematician Pythagoras discovered that the Greek musical system used the simple progression of 1, 2, 3, 4... for its consonances. Their ratios (1:2, 1:3, 2:3, 3:4) led the Greeks to believe that they found the answer to harmony in the universe. In the Renaissance the architects thought the needed to return to a higher, previous order of building. Applying Pythagoras' theories, the Renaissance architects created an unbroken series of ratios that formed not only the dimensions of a room but also the interlocking proportions of the a entire plan. 

A visual representation of Renaissance Theories in the built environment:

One popular ratio in the Renaissance theories is 2:3. Here we see the width of the rug being 2/3 the size of the length of the rug.

Modulor

This system of proportions was developed by the famous architect Le Corbusier. He combined various previous methods of the proportion for his theory. He based his measuring tool not only of the aesthetic dimensions of mathematics but also the functional dimensions of the human figure.
He uses numbers such as 113, 70, and 43 based off the Golden Section and then combined them and created new measurements based off of the human figure.

 

A visual representation of Modulor in the Built Environment:

Here we see Le Corbusier's most famous application of the Modulor, the Unite d'Habitation in Marseilles. Within is consumes 15 measures of the Modulor to bring human scale into a building that is 140m x 24m x 70m.

Ken

Japan's traditional method of measurement is the Shaku, a method similar to the English foot developed in China. Another method of measurement, the ken, transformed from being simply a measurement style for columns to being used as a standard in Japanese residential architecture. The ken became an absolute measurement with a ratio in size of 1:2. It is used not only in the structure of a building but also through aesthetics and materials.

A visual representation of Ken in the built environment:

Here we see the traditional use of Ken in Japanese floor mats. Quite often their dimensions can not only impact the size of the room but also the visual impact through different arrangements and patterns.


Anthropometry

Anthropometry bases measurements off of the size and proportions of the human body. The anthropometric system doesn't seek visual harmony or symbolic ratios instead it is based off of function. Structures and elements within are seen as containers for the human form and should be molded to fit humans. However, it is somewhat of a struggle since there is no one body type for humans. Depending on age, race, and sex various measurements of human size can be taken.

A visual representation of Anthropometry in the built environment:

 

The classic Eames Chair not only applies anthropometry but also ergonomics. The seat is angled to take the weight off the base of your spine; the lower back piece supports your lower back. The angle of the upper back piece that supports your chest allows you to move around comfortably while you're sitting. It fits a variety of body types and sitting positions quite easily.

Scale

As stated before scale refers to the physical size of an object in comparison to another. Something designers have to consider is visual scale. This deals with comparing the size of an object with its normal size or to other things in context. Small-scale is smaller than its normal size. Large-scale is larger than its normal size. Scale plays a big part is creating visual balance and unity within a space.

A visual representation of Scale in the built environment:

Here we see a very large-scale frame within a small office area. It is quite larger than most frames used. However, due to the mostly empty middle and the color being used in other parts of the rooms it isn't too distracting and unbalanced. It instead helps define the space.

Circulation

Circulation

How we move can be used to provide links between spaces of a building or interior and exterior. 

We are constantly moving in time through a sequence of spaces, and we tend to relate where we have been with where we are going. Different paths of circulation effect our perceptions of spaces and forms of a building. 

Approach

Before we enter inside a building we approach it from a path. The length of the path may just be a few steps or an lengthy route. How we confront the building can effect our perceptions of it. Different methods of confrontation may include frontal, oblique, and spiral. Sometimes these paths of approach are carried on into the interior path of movement.

 

A visual representation of approach in the built environment:

Here we see an oblique approach to the house. There are multiple twists and turns prolonging the approach. With this house there is actually more than one path of movement to the entrance.


Entrance
Whether it is another room or a building, entering involves going through a vertical plane that separates one space from another. Various types elements can be used as entrances such as columns, doors, and even changes in elevation. There are three main types of entrances that can be used, these include: flush, projected, or recessed. Quite often the entrance will serve as a preview to what is inside the building. Its location on the building will determine the path of movement inside.

A visual representation of entrance in the built environment:

Here we see a projected entrance off of a house. The two rounded arches help reinforce the grandness of the archway that continues within the interior of the building also. Not only do these the arches help define the entrance area but the step up does also.

Configuration of the Path
Every path has a starting point that then takes us through a variety of steps to our destination. How we get there depends on the flexibility of our mode of transportation. While the human body is pretty flexible to change, a bicycle is not. The importance of a path can usually be determined by its scale. Large paths are usually public and important. Small, narrow paths are usually private and minor. Some types of configurations might include linear, radial, spiral, grid, network, or composite.

 

A visual representation of configuration of path in the built environment:

Here we see a spiral path from one level to the next. With a spiral path we originate from a central point and then revolve around it. This example also helps save space.

Path-Space Relationships
Paths may be related to the spaces they link. Paths may pass by spaces, pass through spaces, or terminate in a space. Each different type of orientation of spaces affects the overall movement of the path.

A visual representation of Path-Space relationships in the built environment:

Here in this example we are passing through multiple spaces. While the path is pretty straight various vertical elements create points of rest and movement.

Form of the Circulation Space

Spaces shouldn't be considered just as functional linking devices. They should accommodate people's needs and movements as they not only walk but as they also rest, pause and take in the space. A circulation space may be enclosed, open on one side, or open on both sides. These variations help define and view other spaces within a building. It is important to keep enough space for circulation to continue easily.

 

A visual representation of Form of the Circulation Space in the built environment:

Here we see a circulation space open on one side the view the area below. This helps provide spacial continuity with the space below despite them being on different levels.