Balace and Gravitational Curve: Activity 9

BICOL STATE COLLEGE OF APPLIED SCIENCES AND TECHNOLOGY
THEORY OF ARCHITECTURE CITY OF NAGA

BALACE AND
GRAVITATIONAL
CURVE
ACTIVITY 9
SUBMITTED BY:
JENZ HOPE NOVELA
BSA -1C
SUBMITTED TO:
ARCH. IAN KENNETH ORASA
THOA111B
ARCHITECTURAL
BALANCE
BALANCE IS THE DISTRIBUTION OF THE VISUAL WEIGHT OF OBJECTS, COLORS,

TEXTURE, AND SPACE.THESE ASPECTS SHOULD BE BALANCED IF THE DESIGN IS A
SCALE TO MAKE IT FEEL STABLE. THE COMPONENTS USED ON ONE SIDE OF THE
DESIGN ARE COMPARABLE TO THOSE USED ON THE OTHER SIDE IN SYMMETRICAL
BALANCE; IN ASYMMETRICAL BALANCE, THE SIDES ARE DIFFERENT YET STILL APPEAR
BALANCED. THE ELEMENTS OF RADIAL BALANCING ARE ORGANIZED AROUND A
CENTRAL POINT AND MAY BE COMPARABLE.

IT FEELS APPROPRIATE TO HAVE A WELL-

BALANCED COMPOSITION. IT HAS A SOLID FEEL IN DESIGN, BALANCE REFERS
TO IT AND IS APPEALING TO THE EYE. WHILE TO THE DISTRIBUTION OF
SOME OF ITS PARTS MAY SERVE AS FOCAL EYE-CATCHING ELEMENTS.
POINTS AND CAPTURE YOUR ATTENTION, NONE WHEN IT COMES TO
OF THE COMPOSITION'S ELEMENTS ARE SO ARCHITECTURAL BALANCE,
PROMINENT THAT YOU CAN'T NOTICE THE MASS IS THE MOST
OTHERS. ARRANGEMENT OF POSITIVE IMPORTANT FACTOR TO
COMPONENTS AND NEGATIVE SPACE IN SUCH A CONSIDER, BUT THERE ARE
WAY THAT NO ONE PART OF THE DESIGN OTHER FACTORS TO
OVERPOWERS OTHER REGIONS IS WHAT CONSIDER AS WELL.
BALANCING A COMPOSITION ENTAILS. SYMMETRY CAN BE USED TO
EVERYTHING WORKS TOGETHER AND BLENDS ESTABLISH ARCHITECTURAL
INTO A UNIFIED WHOLE. INDIVIDUAL PIECES EQUILIBRIUM. A MIRROR
CONTRIBUTE TO THE WHOLE, BUT THEY DON'T IMAGE CAN BE CREATED
AIM TO BE THE WHOLE. AROUND A CENTRAL AXIS.
THIS IS A REGULAR
OCCURRENCE IN THE FIELD
TENSION CAN BE CREATED THROUGH AN OF ARCHITECTURE. IT WAS
UNEVEN COMPOSITION. INDIVIDUAL ELEMENTS STANDARD PRACTICE IN
DOMINATE THE TOTAL WHEN A DESIGN IS CLASSICAL ARCHITECTURE.
IMBALANCED, AND THE COMPOSITION BECOMES
LESS THAN THE SUM OF ITS PARTS.
UNBALANCED COMPOSITIONS MAY BE
APPROPRIATE FOR SOME TASKS, ALTHOUGH
BALANCED COMPOSITIONS ARE PREFERRED IN
MOST CASES.

THERE ARE THREE

DIFFERENT TYPES
OF BALANCE
SYMMETRICAL, ASYMMETRICAL AND RADIAL

BALANCE IS DIVIDED INTO THREE TYPES: SYMMETRICAL, ASYMMETRICAL, AND

RADIAL. IN THIS ILLUSTRATION, THE HUMAN FORM IS SYMMETRICALLY BALANCED
ON BOTH THE LEFT AND RIGHT SIDES OF A CENTRAL AXIS. THE TREE IS
ASYMMETRICALLY BALANCED; ITS BRANCHES AREN'T EVENLY DISTRIBUTED ON
EITHER SIDE, YET ITS OVERALL WEIGHT IS EVENLY DIVIDED LEFT AND RIGHT. THE
SUN IS AN EXAMPLE OF RADIAL BALANCE SINCE ALL OF ITS RAYS ARE THE SAME
LENGTH WHEN MEASURED FROM ITS CENTER.

SYMMETRICAL
WHEN YOUR COMPOSITION HAS THE EQUAL APPARENT WEIGHT ON BOTH SIDES
OF AN AXIS, YOU'VE ACHIEVED SYMMETRICAL BALANCE. CONSIDER TWO
PERFECT MIRROR IMAGES REVOLVING AROUND A CENTRAL AXIS.
OBJECTS ARE REPRODUCED OR REFLECTED ALONG A CENTRAL AXIS IN

SYMMETRICAL EQUILIBRIUM. EVERY SIGNIFICANT ELEMENT – FROM THE
WELCOMING SOFAS TO THE UNIQUE TABLE LAMPS – ALIGNS ALONG EITHER SIDE
OF THE CENTRAL LINE TO CREATE A HARMONIOUS SPACE IN THIS SITTING ROOM,
WHICH IS A BRILLIANT EXAMPLE OF SYMMETRICAL BALANCE.
ASYMMETRICAL
ASYMMETRICAL BALANCE OR ASYMMETRY, REFERS TO WHEN THE TWO PARTS OF
A PIECE OF ART ARE DISSIMILAR YET NEVERTHELESS ATTEMPT TO BE BALANCED.
TO PUT IT ANOTHER WAY, EVEN IF THE SIDES ARE NOT IDENTICAL, THERE WILL
BE FACTORS THAT INTERACT IN SUCH A MANNER THAT EACH SIDE IS EQUALLY
SIGNIFICANT.
A MORE COMFORTABLE AND VIBRANT INTERIOR ENVIRONMENT IS CREATED BY

ASYMMETRICAL BALANCE. THE MIDDLE LINE IS USED IN THIS BALANCING
SCHEME, BUT THE DESIGN IS COMPLETED MORE BY THE EYE'S FEELING OF
BALANCE. ASYMMETRICALLY BALANCED ENVIRONMENTS FEATURE DIVERSE
ITEMS WITH EQUAL VISUAL WEIGHT ON EITHER SIDE OF THE CENTER AXIS,
RATHER THAN IDENTICAL OBJECTS ON EITHER SIDE.
This issue's
stylish reads:
RADIAL
ANY FORM OF BALANCE BASED ON A CIRCLE WITH ITS DESIGN CENTERED ON OR
EXTENDING FROM ITS CENTER IS REFERRED TO AS RADIAL BALANCE. A STAR,
THE IRIS IN ONE'S EYES, AND A WHEEL WITH SPOKES ARE ALL INSTANCES OF
RADIAL BALANCE.
OIN TRADITIONAL HOUSES, RADIAL BALANCE IS LESS COMMON SINCE CIRCULAR

ROOMS ARE HARDER TO CONNECT TO ADJACENT AREAS. HOWEVER, THE END
PRODUCT MAY BE BREATHTAKING. THE IMMEDIATE FOCAL POINTS OF A
RADIALLY BALANCED ROOM, SUCH AS THE DINING TABLE AND LIGHT FIXTURE IN
THIS DINING SPACE, ARE THE PRIMARY FEATURES. FROM THIS FOCAL POINT, THE
CHAIRS, SCULPTURE, AND PRINT ALL EXTEND OUTWARD.
AXIS
AXIS IS DESCRIBED AS “A LINE FORMED BY TWO POINTS IN SPACE AROUND
WHICH SYMMETRICAL OR BALANCED ARRANGEMENTS OF SHAPES AND SPACES
CAN BE MADE.”
THE AXIS IS THE MOST FREQUENT ORGANIZING CONCEPT IN ARCHITECTURE,

PROVIDING LENGTH, DIRECTION, MOVEMENT, AND VIEWS ALONG ITS ROUTE, AND
IT MUST BE TERMINATED AT BOTH ENDS BY A MAJOR SHAPE AND SPACE. IT'S A
FICTITIOUS LINE THAT'S UTILIZED TO ARRANGE A SET OF DESIGN ELEMENTS. IN
DRAWINGS AND DIAGRAMS, IT IS GENERALLY REPRESENTED BY A DASHED LINE.
RHYTHM
THE INTERVALS BETWEEN
RHYTHM IN ARCHITECTURE
REPEATED ELEMENTS
IS DEFINED AS “A
PROVIDE A FEELING OF
UNIFYING MOVEMENT
RHYTHM WHEN THEY ARE
CHARACTERISED BY A
REPEATED. AS A RESULT,
PATTERNED REPETITION
DESIGNERS OR, AS WE
OR ALTERATION OF
CAN SEE IN THE IMAGE
FORMAL ELEMENTS OR
ABOVE, BETWEEN THE
MOTIFS IN THE SAME OR A
FAÇADE TREATMENT AS
MODIFIED FORM.” THUS, IN
DESIGNERS. ARCHITECTS
ARCHITECTURE, RHYTHM
OFTEN USE SUCH
CAN BE DEFINED AS THE
FEATURES TO IMPROVE
RECURRENCE OF
THE AESTHETIC APPEAL OF
FEATURES SUCH AS LINES,
A BUILDING.
SHAPES, FORMS, OR
COLORS THAT RESULT IN
TO PUT IT ANOTHER WAY,
STRUCTURED MOVEMENT
RHYTHM IS ESTABLISHED
IN SPACE AND TIME.
BY THE USE OF REPEATED
SHAPES. REPETITION IN
PATTERNS, FEATURES, OR
ARCHITECTURE REFERS TO
MOTIFS AT IRREGULAR OR
A PATTERN IN WHICH THE
REGULAR INTERVALS
SAME SIZE, FORM, OR
DEFINE RHYTHM IN
COLOR IS REPEATED
ARCHITECTURE. OUR EYES
THROUGHOUT THE DESIGN.
MAY MOVE AS WE FOLLOW
THE RHYTHM OF
PIECES IN A COMPOSITION,
ARCHITECTURE CAN BE
OR OUR BODIES MAY MOVE
OBSERVED ON A
AS WE NAVIGATE
BUILDING'S FACADES,
THROUGH A SERIES OF
WHICH MIGHT BE
PLACES. IN
REGULAR, FLOWING, OR
ARCHITECTURE, RHYTHM
PROGRESSING.
IS THE ORDERING OF
REPEATING SHAPES,
ELEMENTS, AND SPACE.
TYPES OF RHYTHM
REGULAR FLOWING PROGRESSIVE
In an equally spaced Recurring organic shapes Every time the elements

pattern, pieces that are or uneven repetition of are repeated, a sequence
repeated exactly. By repeating pieces are used is generated in which they
drawing a grid or a to depict movement. are slightly altered.
sequence of vertical Bends, curves, and Simply by modifying one
lines, you may simply undulations are shown in aspect of a theme as we
create a regular beat. a flowing rhythm. The repeat it, we may create a
The user's sight will waves on a beach or sand progressive rhythm. We
immediately identify a dunes are examples of may draw a succession of
regular beat and will this in nature. We may circles, one on top of the
examine it for any imitate nature as other, each one larger
abnormalities. Keep in designers by creating than the last. You might
mind that the eye is beautiful patterns with gradually apply shade to
drawn to standout flowing rhythms. the smaller circles, such
aspects. As a result, Underwater, we may see that the topmost one is
there's a chance that bunches of seaweed with black, the middle one is
employing a consistent its strands softly pointing partially shaded, and the
rhythm in a design will in various directions. largest one is only barely
grow tedious. They're washing against shaded. We are
one other, as the user surrounded with
imagines. progressive rhythms.

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BICOL STATE COLLEGE OF APPLIED SCIENCES AND TECHNOLOGY

THEORY OF ARCHITECTURE CITY OF NAGA

BALANCE IS THE DISTRIBUTION OF THE VISUAL WEIGHT OF OBJECTS, COLORS,

IT FEELS APPROPRIATE TO HAVE A WELL-

THERE ARE THREE

BALANCE IS DIVIDED INTO THREE TYPES: SYMMETRICAL, ASYMMETRICAL, AND

OBJECTS ARE REPRODUCED OR REFLECTED ALONG A CENTRAL AXIS IN

A MORE COMFORTABLE AND VIBRANT INTERIOR ENVIRONMENT IS CREATED BY

OIN TRADITIONAL HOUSES, RADIAL BALANCE IS LESS COMMON SINCE CIRCULAR

THE AXIS IS THE MOST FREQUENT ORGANIZING CONCEPT IN ARCHITECTURE,

In an equally spaced Recurring organic shapes Every time the elements

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