Symmetry and asymmetry

Whether you are designing a large building, or the interior of a single room, it is useful to have an overall guiding principle, the most basic of which would be mirror symmetry. This can be seen in the original wing of the building where I live. It follows a simple rhythm of 'abbabba', where 'a' is a two-bedroom apartment and 'b' is a one-bedroom unit. The entrance is in the centre, flanked by two studio flats, which fit neatly under the two-bedroom unit in the centre on the upper floors.

Photo of the original wing in the early 1930s

When the building was enlarged, just two years later, a different firm of architects was employed with more modernist ideas, so while the detailing borrowed from the original wing, the overall composition was asymmetrical, with a greater variety of apartment layouts. 

The later wing with its syncopated rhythm

In comparing the two photos, we have a good example of the differences of approach, with the symmetrical layout being more calm and restrained, whereas the later section is more lively with its more complex three-dimensional articulation and playful use of projecting fins and overhanging cornices. 

These days it is quite unusual to find a whole building designed as symmetrical, although it was the preferred design principle for almost all public buildings up to the 1940s. Asymmetrical layouts are more versatile and can be much more expressive of the spatial arrangement and the function of the various parts of the building. 

The principles of symmetry can be useful when designing the layout of a room: whether used for the arrangement of all the furniture and decor or as a visual anchor in a less formal setting. In my living room, the wall that faces you on entering the space has a glass door on one side and a window on the other. I have consciously arranged a bookcase and picture in the centre of the wall between them to draw the eye into the room. When the full-length curtains are closed, the whole of that wall becomes symmetrical, making the composition even more inviting.

The wall facing the entrance hall

When you are in this room, your eye is drawn to the adjacent wall, where I have mounted four sketches in matching frames and even the scatter cushions are symmetrical on the understated mid-century couch. Each of the walls in this room is treated differently, with three of them having a central symmetrical focus and a more relaxed asymmetry on either side.

The visual anchor of four symmetrically placed drawings

Asymmetry is more difficult to work with - it is not just a random placement of furniture and decor items, as this is simply chaotic. For it to work well, it needs to be balanced, with the visual "weight" of the various elements being taken into consideration. Also, it is not an "either-or" decision, and I often use partial symmetry within a more complex overall composition. An example is a design I did for an entrance foyer and waiting area for the Dean's office in the Faculty of Engineering and the Built Environment at Wits University.

Four alternative designs for a waiting area

Here we wanted to showcase artefacts from companies empowering local artists and craftspeople, so we explored what was available at the Rosebank Rooftop Market for inspiration.  For all four options, the three pieces of furniture are a visual anchor, enhanced by the similarity of colour and texture. Three of the designs use near-symmetry - a strong central feature above the couch and a balanced composition of smaller items on either side above the chairs. In the end, the client chose the most asymmetrical layout, as more lively and dynamic to make students and visitors more relaxed and energised.

In the end, we are often restricted by the furniture and fittings that we already have, and the practicalities of how we want to use a space. This said, we can often tweak our arrangement of furniture for better visual balance - take a look from the door as you enter the space. Is this first impression welcoming or is it bland and neutral? You may want to add a decor item in your line of sight to draw your visitor into the room. What is the focus of the space? This is often the largest piece of furniture, so you can give it more emphasis by placing an artwork symmetrically above it. 

Working with your actual spaces and possessions, where can symmetry flow naturally? Where can you draw the eye to a composition of repose and where can you exploit the dynamism of a space (eg a staircase or L-shaped room)? In my entrance hall, which doubles as a dining room, a ceramic mask faces one on entering, drawing you into the space, while the two flanking walls have an asymmetrical treatment to make the space more energised.

A mask, symmetrically placed, draws you into the apartment

On the side wall that leads to the kitchen, I have used decor to enhance the sense of dynamism - the large basket in the entrance is echoed in the three smaller ones in the kitchen, setting up a visual "conversation".

The asymmetrical side wall enlivens the space

As a last thought, too much symmetry can be static, dull, predictable and difficult to sustain (note how I "curated" the sewing machine out of the field of vision for the symmetrical photo of the mask!) In the end, you need to design for your lifestyle, your own decor and those accessories that are meaningful to you, but these are just some ideas that can enhance their visual impact.