Focal points are visually strong and draw the eye. Framing mechanisms are often used on either side of a focal point to frame it, and enhance it as the eye’s natural resting place.
Focal points often become smaller at the top. For example: domes, steeples, pediments, arched entrances, statues, obelisks. Framing mechanisms often become larger at the top. For example: urns, lamp posts, columns (their capitals), trees.
In the Texas State Capitol pictured below, trees, lamp posts, and columns on the building itself, are framing mechanisms for the focal points of the arched entrance, pediment, dome, and lantern. The vertically aligned focal points make a focal axis.
There are three ways to strengthen a focal point and provide a natural resting place for the eye.
- Steepen the pitch. The steeper the pitch, the stronger the focal point. For example: a pointed pediment is a stronger focal point than a curved pediment. A steeple is stronger than a regular gable. A dome with a lantern is stronger than a dome without. A statue with a raised sword is stronger than a statue with both arms at its side.
- Vertically align focal points. Vertically aligned focal points are additive. Together they create a focal axis which is stronger than an individual focal point.
- Add framing mechanisms. Horizontally aligned framing mechanisms are additive, together they create a stronger framing mechanism and thus a stronger focal point or focal axis.
Columns, a natural framing mechanism, may also be used as focal points, such as in Place Vendôme (pictured below), Trafalgar Square, Trajan’s Column, Place de la Bastille, Heroes’ Square, etc. However, in all these instances a statue stands atop the column, resulting in the combined structure becoming smaller at the top. Thus, creating a classic focal point.
Following are guidelines related to focal points and framing mechanisms.
3a. A framing mechanism should not be placed in front of a focal point.
It is acceptable, even encouraged, to place a focal point (for example a statue, obelisk, or fountain) in front of another focal point (for example a dome, steeple, pediment, or arched entrance) as this will create a stronger focal axis. However, framing mechanisms (for example urns, lamp posts, columns without a statue atop, or trees) should not be placed in front of a focal point or focal axis. Instead of channeling the eye toward the focal point or axis as a framing mechanism should, it will block the focal point and direct the eye away from what should be its natural resting place.
An equestrian statue of King Johann stands in front of Semper Opera House in Dresden. This statue adds to, and strengthens, the focal axis of the arched entrance, arched first floor balcony, quadriga statue, and harp crowned gable.
3b. Every building should have at least one focal point.
Every building needs at least one place for the eye to naturally fall on and rest. Without at least one focal point the eye will wander aimlessly resulting in an agitated, visually unbalanced building.
The Governor’s Palace in Virginia has one focal point: a rather vertical cupola. With the cupola the building has a simple, beautiful elegance. Try viewing the image below with your thumb placed over the cupola. The building lacks focus and its elegance is diminished. Something as extreme as a cupola is not necessarily required as a focal point, a simple pediment over the entrance could also suffice.
3c. A façade should only have one primary focal axis.
Multiple focal axes can exist on either side of the primary focal axis. They often add a sense of balance and stability and give the eye a natural progression across the façade. However, they should not compete for attention. The eye should have an obvious and natural resting place.
Poitiers Hotel de Ville in France has five main focal axes. A primary axis in the center, two secondary axes on the outermost bookending sub-masses, and two tertiary axes on the connecting sub-masses. The differing strengths of the focal axes ensure each sub-mass has a natural place for the eye to rest without competing for attention with the primary focal axis.
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