Distribution of visual

weight through a

work. Typically done with

symmetry and asymmetry

Visual Symmetry Visual Radial Symmetry Structural Symmetry Visual Asymmetry

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Visual Symmetry

Structural symmetry is what most people generally recognize and feel is balanced. Structural symmetry is when something is the same on both sides. This bridge is perfectly symmetrical, which contrasts with the buildings on either side which are not. This is structural symmetry as opposed to visual because the symmetry is within the architecture of the bridge.

Bridge over Street New York NY

Structural Radial Symmetry

Jefferson’s Greenville NC

Radial symmetry is symmetry that comes out from a center point. This often m e a n s a c i r c u l a r s h a p e . T h i s i s visible on the build in ornamentation on the façade of this building.

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Structural Asymmetry

Structural Asymmetry i s t h e c o n c e p t t h a t a structure i s unbalanced because of a lack of s a m e n e s s o n o n e s i d e o r the other. I t i s , a g a i n , structural in nature, because is i s something t h a t w a s built in, a n d w a s n o t a n i m a g e painted or s c u l p t e d on. Keiser Wilhelm Memorial Church, Berlin Germany

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Visual Asymmetry

Visual asymmetry is when a building, room, or piece of art is unbalanced in that it is not perfectly the same on both sides. The room can still, and often will still be balanced, but it will not be formal symmetry.

Similarities or

differences shown with grouping,

repetition, pattern, and

continuity

Unity through Line Variety through Age

Unity through Repetition Variety Through Color 43  

Unity through repetition

T h e P a l a c e o f Versailles is a very traditional b u i l d i n g . T h i s means that it is a perfect example of unity. This is b e c a u s e t h e windows and face of the building s h o w s o m u c h repetition. These ornamented windows all have the same p a t t e r n a n d continue around the entire roof of the building.

Palace of Versailles, Versailles France

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Unity through Line

U n i t y i s a useful tool to m a k e a n architectural feature, or interior feel cohesive. The use of line to create unity i s h i g h l y effective.

Here on the Golden Gate Bridge we can see this unity being put to use. The bridge l o o k s c o h e s i v e , despite the different heights of the struts, b e c a u s e o f t h e repetition of the line. The line also gives the bridge a sense of rhythm it would otherwise be lacking making it less effective visually.

Golden Gate Bridge, San Francisco CA

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Variety through Color

While all these buildings are still cohesive and unified, they have a good amount of contrast between them. While there are various reasons for this, the most prominent one is the color differences. The dark brick buildings contrast and show variety with the white faced buildings.

London England

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Here we can see modern construction of the glass roof, as compared to the t r a d i t i o n a l buildings it is set b e t w e e n . T h e different styles of building as well as t h e o b v i o u s difference is age creates an easily visible variety.

V a r i e t y a n d c o n t r a s t c a n b e shown in many ways. O n e o f which is t h r o u g h differences in age  

Variety through Age

Pattern, Repetition,

or Alternation of elements,

in similar forms to

create unified

movement.

Repetitive Flowing Climatic Contrast 48  

Flowing Rhythm Herst Castle, San Simon California

Flowing rhythm is more often than not shown with curved lines that repeat, creating a f e e l i n g o f l i q u i d i t y , t h r o u g h t h e repetition. Here the arches over the pool created this feeling of flow.

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Repetitive Rhythm

Repetitive rhythm is a type of rhythm or often times pattern that displays a sense of unity. The wrought iron hand railing in the picture is a good example to repetitive rhythm, and the sense of beat that it gives to a space.

Alice’s Teacup New York City, NY

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Contrasting Rhythm

Contrasting rhythm is a p r i n c i p l e that is made up of rhythm that has been interrupted. T h e s e b u i l d i n g s show this by h a v i n g r h y t h m , through being the same in s h a p e a n d continuing in a p a t t e r n that can be f e l t w h e n they are look at. But the c o n t r a s t comes from

the different colors of the buildings. This creates a break in the rhythm that makes the viewer slightly uncomfortable.  

Fifth Street, Greenville NC

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Climactic Rhythm

Climactic rhythm is a type of rhythm that is building, then finally reaches a high point or a climax.

This court house shows this, the windows provide a sense of rhythm, but the climax is building as the windows get smaller as they go up. Finally a climax is reached at the top point of the building.  

Judicial Court Building Richmond VA

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A focal point. The

eye is immediately

drawn to this area or

object.

Visual Structural 53  

Visual Emphasis

Visual emphasis, represented by the picture on the left, is also known as focal point made by additional visual elements. This is differentiated from structural emphasis because the emphasis can

be changed if the visuals are changed. The painting on this wall shows visual emphasis, as it is the only thing that is different on the wall.  

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Structural Emphasis

Structural emphasis is when the focal point is identified and created by the physical building or elements that were built into the dead load of a building. The focal point of this building is the detailed top. The windows all provide vertical line, leading the eye up the building to the decorated and ornamented roof.

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The visual or physical weight that

an object possess.

Actual Density Optical Density 56  

Actual Density

Outdoor Pool, Hearst Castle, San Simone CA Actual density is the use of physical mass to take up a space. Unlike v i s u a l density, the m a s s o f a n o b j e c t i s a c t u a l l y i n existence, and does not only appear to be t h e r e . T h i s p a v i l i o n i s c r e a t e d o f marble and is p h y s i c a l l y dense.

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Visual Density

Sistine Chapel, http://www.christusrex.org/www1/sistine/0B-Ceiling.jpg

Visual density is when a space or object looks like it has a lot of mass to it, while it actually doesn’t. This is usual done via paintings or reliefs. Here we can see how the ceiling of the Sistine Chapel has been painted to seem dense. The scenes painted here have many people, and the crowding makes the ceiling seem very busy and massive.

A part as related to a

whole, the whole in

proportion is directly related to

human size.

In proportion Out of proportion 59  

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Objects are either i n o r o u t o f p r o p o r t i o n a s c o m p a r e d t o o t h e r s . W h e n objects are in proportion it is a c o m f o r t a b l e feeling. Visually this light is out of proportion with the other objects in the room. It is larger than what t h e v i e w e r normally sees, and is only balanced out by the dark c o l o r s i n t h e desk.

Out of Proportion

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61  In Proportion

Objects and rooms that are in proportion are comfortable to the viewer and user of the room. These spaces are often found residentially, as the users are living with the spaces on a day to day basis and need to be comfortable within the. Here we see how the furniture is accurate to the size of the room and with one another.

Human Scale Symbolic Scale

A part as related to a

whole. Any objects can be compared

as scale. Human or

otherwise.

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63  Symbolic Scale

The Brandenburg Gate represents symbolic scale because of it’s immense size which is so unlike the humans s u r r o u n d i n g i t . Symbolic scale means that some object is considerably larger or smaller than what we consider normal scale.

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Human Scale Human scale is when an object is compared to a human and it is similar and relatable to human size. Unlike symbolic scale it is accurate and comfortable for humans to work with and experience. This is visible here because of the chairs in the room which represent human size. We can see how the rest of the room is all at a comfortable height and mass to the human scale.

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