Incorporating Asymmetry into Your Architectural Design
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Today, our focus is on asymmetry. For many, asymmetry evokes an unsettling sense of imbalance. Our brains are primed to recognize symmetry everywhere we look. Faces. Flowers. Butterfly wings and honeycomb hexagons. Alan Lightman, the physicist, wrote in his book ‘The Accidental Universe: The World You Thought You Knew’: “I would claim that symmetry represents order, and we crave order in this strange universe we find ourselves in… The search for symmetry, and the emotional pleasure we derive when we find it, must help us make sense of the world around us, just as we find satisfaction in the repetition of the seasons and the reliability of friendships. Symmetry is also economy. Symmetry is simplicity. Symmetry is elegance."
Symmetry is simple. Readily understood. Easily appreciated. Asymmetry? Less so.
Perhaps because so many things in nature occur symmetrically (such as starfish and human bodies), we replicate this tendency in our art and our aesthetics. From the vaulted ceilings of cathedrals and to the pews lining a church’s aisles—we gravitate toward equal visual weight in our spaces.
However, today, we’re investigating the trends which have given rise to asymmetry in architecture, as well as celebrating the playful dynamism of asymmetrical design.
What is asymmetry?
Asymmetry cannot exist without symmetry, since it is the absence of symmetry. When you look at a symmetrical building, you may notice its height and its width; its windows and its doors. If you split the building in half lengthwise, both halves will have approximately the same amount of material. If you split the building widthwise, both halves will have approximately the same amount of material. If you split the building into quadrants, into fifths, into twelfths, etcetera. Anyway you decide, the building can be easily divided into parts of similar proportions. With an asymmetrical building, this wouldn’t be so easy.
That said, the common misconception concerning asymmetry is: Asymmetry lacks balance. Nothing could be further from the truth—especially in architecture. Indeed, asymmetry requires a greater awareness of balance, but balance can be achieved within asymmetry. Imagine a large circle on one side of a piece of paper. Now, imagine several smaller circles on the other side of the piece of paper. While the difference in circle size gives the appearance of asymmetry, the comparable mass inside of the circles is comparatively equal and thus balanced. It's one of the most difficult challenges posed to architects, but those who have achieved the task are among the most celebrated for their visually-stimulating additions to the architectural canon.
Commonly, shipping container homes have been on the forefront of asymmetric design, as their compact, stackable nature allows architects to distribute visual weight without compromising structural integrity. Now, we’ll explore a few concepts which inform asymmetrical architecture and have inspired architects to push asymmetry to its limits.
What is Fukinsei?
Fukinsei is a Japanese Zen principle which is based on the balance of asymmetry. Recognizing even in nature irregularities occur which promote our continued existence, fukinsei honors the beauty of asymmetry when combined with balance. The “enso,” or Zen circle, is an incomplete circle often drawn by Zen practitioners to represent the concept of fukinsei. According to fukinsei, when we accept the imperfection of life, only then are we able to find peace and recognize the beauty in asymmetry.
What is De Stijl?
Piet Mondrian, a Dutch painter of minimalist, geometrical art which focused on asymmetry, gave rise to an art movement called De Stijl, or “The Style.” Followers of The Style (also known as neoplasticism) recognized the harmony which could be achieved by using shape and color to balance asymmetry. Since Mondrian and The Style, architects have been continuously inspired by his work.
Rietveld Schröder House (Utrecht, Netherlands)
The Rietveld Schröder House was designed and built by Dutch architect Gerrit Rietveld in 1924. He was commissioned by Mrs. Truus Schröder-Schräder, who dreamt of a progressive house without walls, in which she could raise her three children without bourgeois notions of containment and hierarchy. The house is one of a handful of buildings which truly exemplify the tenets of the De Stijl movement. As you can see, the design of the Rietveld Schröder House shows no preoccupation with having an equal number of windows on both sides or level balconies. The two-toned use of grey and white, mixed with pops of primary colors, could make this something a young child dreamed up. In this regard, the house is both whimsical and practical. It’s asymmetry draws the eye, while the overall balance leaves nothing to be desired.
The Taliesin Mod Fab Prefab (Scottsdale, Arizona)
Designed by a group of students at the Frank Lloyd Wright School of Architecture in Scottsdale, Arizona. Constructed using panelized techniques, this six-hundred square foot, one-bedroom home was relatively inexpensive to build. It’s equipped to run on solar energy and recycle rainwater. It’s sliding walls can open the gleaming interior to arid desert, thus eliminating the distinction between “indoor” and “outdoors.” Most noticeably, the house is split into two sections (one square and one rectangular), each separated by an open-air overhang. Once again, the asymmetrical aspects of this design bring a striking buoyancy to the building, while its red-and-white colors stand out against the desert backdrop.
Ambiguity House (East Jama, Indonesia)
The Ambiguity House, which was designed by architect Andy Rahman, resides in East Jama, Indonesia. The name of the home comes from the illusion of its second floor. In reality, the home is one floor, but the owner wanted high-ceilings in the living room. Those high-ceilings are in fact made of glass, which allows for cloud-gazing during the day and star-gazing at night. The front facade of Ambiguity House exemplifies asymmetry at its finest. With contrasting elements—such as the wall with stone cut-outs, the window, the blue rectangular column, and varying depths of field—this asymmetrical design achieves balance through extreme means. What could easily look disorganized or “off,” instead evokes the common theme of asymmetry: intrigue.
Harrison Duplex (Denver, Colorado)
This multi-unit, 5,000 square foot duplex was designed and constructed by Nathan Jenkins, LLC in 2011. At first glance, this building seems almost symmetrical. This is because of the special attention paid by the design firm. Both units feature Fijian hardwood and glass garage doors. However, when you take a closer look, you’ll notice the difference in each façade. The left façade features a yellow panel and tiered windows, while the right façade features thin horizontal windows. The split down the middle distributes the visual weight equally on both sides, but the facades are not of equal height. This example, while subtle, is still an example of asymmetry, and serves to emphasize the power of balance.
Asymmetry adds a dramatic flare to the most commonplace designs. We hope we’ve imparted upon you the potential inherent in asymmetrical architecture to capture the mind, draw the eye, and intrigue the senses. According to Johan Wagemans, an Belgian experimental psychologist who specializes in visual perception, while symmetrical design may be more pleasing, it's not always the most exciting. “Not too complex, not too simple, not too chaotic and not too orderly,” says Wagemans, creates an “optimal level of stimulation.” If you’re looking for a way to spice up your designs, consider incorporating asymmetry. Just remember to maintain a sense of balance!
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