Design Elements & Principles

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Design Elements and Design Principles

Every homeowner contemplating a remodel is anxious about how to design for it.

But it’s actually not hard. Almost all of us have an instinct for what works in design because we know what pleases us. But it is definitely helpful to understand why it works and why it pleases us. So we can more reliably arrive at a pleasing result.

So let’s explore.

A remodeling project must necessarily operate within the confines of a given structure. This may or may not be modifiable. So, unless we are making structural changes, we must work with what we have.

We work with it by applying certain design elements and principles. These derive from the experience and insights of the thinkers, architects, and designers who came before us. 

Why Do We Do This? Because It’s What Works!

A great deal of good design is simply intuitive. Most of us have a sense of “what works.” There is a good reason for this. Because important parts of a design that pleases are to be found in the natural order around us.

So our brief explanation here of Design Elements and Design Principles is offered as an additional reference. It is to help you understand the rhyme, reason, and timeless “music of the spheres.” This informs our remodeling decisions when it comes to the aesthetics of a project.

And we need to remember that aesthetic design aspects, on the micro level, must go hand in hand with the physical aspects, on the macro level.

Applying the principles of Universal Design, and aging in place lay the macro foundation.

Distinguishing Design Elements from Design Principles

• Design Elements are the concepts or building blocks we use in first creating space and then filling it, once the macro foundation is in place.

• Design Principles are a guide to the use of these tools.

These elements and principles have been discovered, rediscovered, developed, and refined since ancient times. 

They are used by anyone creating a visual effect. This includes painters, sculptors, photographers, designers in every field, and remodelers. 

Design Elements

Design elements are space, shape & form, mass, line, texture, pattern, light, and color.

Let’s explore.

Space

Space is an area designed for a particular purpose. It is 3-dimensional, having length, width, and height. 

For it to please (and also function), a home needs both large and small spaces. And there needs to be a balance of filled space and empty space. 

Areas such as traffic paths are empty spaces. And, depending on how the furniture is arranged, a room can be made to appear large or small. 

Differently sized spaces can impart positive or negative feelings. For example, a small room can feel cozy but, if overcrowded with “stuff,” can feel cramped. Equally a large room can feel either airy or stark, depending on how it is furnished. 

Color also has a great impact on how space is perceived. Light colors make a room appear larger. Dark colors can shrink it.

Shape & Form

A shape is the 2-dimensional outline of a 3-dimensional form. Different shapes have different effects. For example, curved shapes appear soft while rectangular shapes appear edgy. 

It is important to use shape and form in such a way as to complement the intended mood of the design.

Mass

Mass is the apparent density of an object. In physics, objects with great mass attract other objects toward them. Likewise, in design, the perception of mass in an object is how strongly the eye is pulled towards it. 

In design, mass is visual weight. This is the ability of an object to draw attention to itself through its line, form, color, and texture.

Line

Line creates width and height. Lines create the appearance of activity, movement, or flow. Lines draw attention and convey feelings. 

Vertical lines impart dignity and formality. Horizontal lines impart security and calm. Long curved lines tend to relax. Short curved lines tend to excite. Diagonal lines bring drama and tension.

Texture

Texture is the physical feel or surface appearance of an object, furnishing, or treatment. It is more felt than seen and is important in the creation of mood, interest, and variety.

Pattern

Pattern is the orderly arrangement of forms.

Light

Light is critical to residential design. Whether it be general (ambient) lighting, task (focused) lighting, or accent lighting. Lighting can affect the appearance of shapes, colors, textures, and patterns.

• Related Post: Interior Lighting

Color

Color is the most noticeable of the design elements. It has a major influence on the appearance and feel of a room. Light colors make it appear larger. Dark colors make it appear smaller. Warm colors (reds, yellows, oranges) add excitement to a room. Cool colors (blues, greens, purples) make it restful. Neutral colors are black, white, beige, and brown. Everyone has a favorite color but should be aware of its effect.

• Related post: Color in Culture
• Related post: Color in Design
• Related post: Room Color & Mood

Design Principles

Design principles address unity, harmony, balance, emphasis, rhythm, scale, and proportion.

Unity

A home is a totality, the sum of its component spaces. A common theme or style must run through it. Color schemes are an excellent way to create a theme.

Harmony

Harmony is the creation of an appealing whole through a variety of unifying elements and objects. An example would be a collection of Asian artwork displayed throughout the house.

Balance

Balance is the creation of equilibrium in a space. It is achieved by the placement of objects according to their mass or visual weight.

There are three types of balance: symmetrical, asymmetrical, and radial.

• Symmetrical balance: In traditional interiors, this is the repetitive placement of identical objects. An example would be the placement of two identical candelabra in opposition from a central point.

• Asymmetrical balance: This is more casual and interesting. It is where the mass of an object is balanced by another object or other objects without duplication. An example would be a sofa balanced in opposition from a central point by a pair of chairs.

• Radial balance: This is where there is a central focal point with other elements arranged around it. An example would be a round dining table with chairs around it.

Emphasis

An emphasis or focal point is what dominates a room and first draws the eye. This could be a piece of artwork, a chandelier, a fireplace, an aquarium, or a view through a window. There is usually only one focal point in a room.

Rhythm

Rhythm is what draws the eye, first to a focal point in the room and then to other components. Rhythm creates a flow of visual interest from object to object and room to room throughout the home.

The “rules of rhythm” are repetition, progression, transition, and contrast.

• Repetition: This is the use of the same element or elements of pattern, color, texture, or line more than once in a space.

• Progression: This is increasing or decreasing one or more of the qualities of an element, usually its size.

• Transition: This is creating a smooth flow for the eye, where it is gently drawn from one area to another. Using a curved line in an archway or a winding path in a landscape are examples.

• Contrast: This is simply putting two elements in stark opposition to one another. A black pillow and a white pillow placed on a sofa would be an example.

Scale

Scale relates the size of one object relative to the size of another, or to the size of the space in which it is located. The scale of an object must reflect its surroundings so as not to seem too large or too small. 

The purpose of scale is that objects should be alike or in harmony with respect to dimension or mass.

Proportion

Proportion in design is a harmony that pleases the eye. The proper application of proportion devises the most pleasing relationship of one part of an object to another part; or between or among one or more other objects. 

Understanding the principle of proportion involves a discussion of the Golden Ratio, and also its derivative in the 60:30:10 Rule. 

Similar, but not related theories and practices, are the Rule of Thirds and Rule of Threes.

Proportion is the ratio between the size of one part of an object to the size of another part, or to the whole, or between different objects. This is a design concept rooted in ancient theory and practice with the Golden Ratio and the 60:30:10 rule.

The Golden Ratio – Φ (PHI)

The Golden Ratio is also known as the golden section, golden rectangle, golden mean, or divine proportion.

Some 2500 years ago the Greek mathematical school of Pythagoras defined the Golden Ratio or Phi as 1:1.618. Since then it is a rule that has been applied in mathematics, art, architecture, and design. Phi is the perfect relationship between the smaller and the larger.

A simple example of this ratio in the world of interior design would be a dining room table that is 45” wide and 72” long with these dimensions in the ratio of 1:1.6.

Stated mathematically, (a + b)/a: a / b = phi, or the golden ratio. In simple geometry, it looks like this:

Below: Line segments in the golden ratio, illustrating the formula –

Below: A golden rectangle with a longer side a and shorter side b, when placed adjacent to a square with sides of length a, will produce a similar golden rectangle with longer side a + b and shorter side a. This illustrates the same relationship as in the line segment example opposite.

We see from the above that a golden rectangle has this property: If a square with sides equal to the short side of the rectangle is marked off, the remaining form will be another golden rectangle. 

This process can be repeated in either direction, by addition or subtraction, ad infinitum. 

And this brings us to the Fibonacci series. Fibonacci (Leonardo of Pisa) lived in the 13th century.

The Fibonacci series is an outgrowth of the Golden Ratio. It is a sequence or progression of whole numbers, where each number is the sum of the preceding two (1, 1, 2, 3, 5, 8, 13, 21…).

The Fibonacci spiral is created by drawing arcs connecting the opposite corners of squares in a Fibonacci tiling of Golden Rectangles. This one uses squares of sizes 1, 1, 2, 3, 5, 8, 13, 21, and 34.

Composition of Golden Rectangles and the Fibonacci Spiral or Sequence

Harmony in Nature

This aesthetically pleasing harmony is found in nature. We see this spiral in the shell of a Chambered Nautilus.

We see it in a Hurricane.

We see it in a Galaxy.

Given the evident universality of the Golden Ratio in the natural order, we should pay attention to it in the design of our remodels. 

Phi is all around us, so it stands to reason that utilizing Phi in our designs and compositions will naturally lead to improved communication with the observer and a harmonious result.

Given the constraints of an existing structure, someone embarking on a remodeling project has a rather limited opportunity to apply the Golden Ratio when laying out space. 

However, it has a great effect when applied to the furnishing, decorating, and accessorizing of a completed room.

The 60:30:10 Rule

The 60:30:10 Rule is an informal derivative of Phi and the Fibonacci Progression, in which a rectangle or spiral progresses smoothly from small to large and vice versa. 

It is a rule of composition used in art, photography, and design, including interior design, to achieve a pleasing whole through a smooth, proportionate progression of elements. 

The rule is applied to room design, furniture layout, colors, and accessories.

Here are examples of how the rule works in practice:

• Overall: 60% provides a theme; 30% provides contrast; 10% provides an accent.

• Paint selection: 60% of a dominant color; 30% of a secondary color; 10% of an accent color. 

• Related Post: Color in Design

• The room’s relationship to the color of its contents: 60% of the room’s color is the walls; 30% of the room’s color is the upholstery; 10% of the room’s color is in accent pieces.

• No more than 60% of the room is filled with furniture/accessories, leaving plenty of “white space” to relieve the eye.

Rule of Thirds

The Rule of Thirds has nothing to do with the proportions of the Golden Ratio. Rather it is a compositional rule of thumb mainly applied in art and photography. 

It states that every composition can be divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines.

The convention is that the most important elements of the composition are placed along these lines or at the four points of intersection. 

This creates tension, energy, and dramatic interest. The elements of the composition that are its focus should not be placed in the center of the composition.

In interior design, the main practical application of the Rule of Thirds is in the placement of artwork on walls.

Rule of Three

In interior design, the Rule of Three is also known as the Rule of Odd Numbers. It has applications in progression and spatial composition, color and fabric schemes, arrangements of furniture, and groupings of accessories.

The basis of the rule is that details and objects that are arranged or grouped in odd numbers are more appealing, memorable, and effective than even-numbered pairings. 

For additional interest, there should also be variations of height, texture, shape, or color within the groupings.

Using and Breaking the Rules of Design in Remodeling

Understanding the elements and principles of design and using them in a remodeling project takes some effort but is necessary for achieving a satisfactory overall result in a remodeled home. 

If the result actually achieved turns out to be less than pleasing, it is usually because one of the rules of design has not been followed. 

If this happens, a review of the rules will likely identify the problem and indicate an appropriate remedy.

Can one break the rules of design in remodeling? Absolutely, you can do this. But do it deliberately and for effect. The key is to be aware of what you are doing. 

For example, breaking the rules of harmony can result in charming eccentricity and eye-catching intrigue. But make sure the effect is not discordant.

• Further reading on Amazon: The Foundations of Enduring Spaces