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ARCHITECTURE > ARCH DES > Flashcards

ARCH DES Flashcards

1
Q

THE ART AND SCIENCE OF DESIGNING AND CONSTRUCTING BUILDING.

A

ARCHITECTURE

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2
Q

THE PRODUCT RESULT OF ARCHITECTURAL WORK, BUILDINGS, EFFECTIVELY.

A

ART

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3
Q

A STYLE OR METHOD OF BUILDING CHARACTERISTIC OF A PEOPLE, PLACE, OR TIME.

A

SCIENCE

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4
Q

THE CONSCIOUS ACT OF FORMING THINGS RESULTING IN A UNIFYING OR COHERENT STRUCTURE.

A

CONSTRUCTING

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4
Q

THE PROFESSION OF DESIGNING BUILDINGS AND OTHER HABITABLE ENVIRONMENTS.

A

DESIGNING

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5
Q

THE CONSCIOUS USE OF SKILL, CRAFT, AND CREATIVE IMAGINATION IN THE PRODUCTION OF WHAT IS BEAUTIFUL, APPEALING OR OF MORE THAN ORDINARY SIGNIFICANCE.

A

ART

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6
Q

A BRANCH OF KNOWLEDGE DEALING WITH A BODY OF FACTS OR TRUTHS OBTAINED BY DIRECT OBSERVATION, EXPERIMENTAL INVESTIGATION, AND METHODICAL STUDY, SYSTEMATICALKLY ARRANGED AND SHOWING THE OPERATION OF GENERAL LAWS.

A

SCIENCE

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7
Q

THE WORD “ARCHITECTURE” ORIGINATES FROM THE _ CULTURE.

A

GREEK

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8
Q

ARCHITECTURE DERIVED FROM THE WORD _.

A

ARKHITEKTON

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9
Q

TO COMPOSE A PLAN FOR A BUILDING.

A

DESIGN

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10
Q

ARKHITEKTON WHICH MEANS _ IN SIMPLE TERMS.

A

MASTER BUILDER

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11
Q

THE ARCHITECTURAL CONCEPT OF A BUILDING AS REPRESENTED BY PLANS, ELEVATIONS, RENDERINGS, AND OTHER DRAWINGS.

A

DESIGN

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12
Q

ANY VISUAL CONCEPT OF A MAN-MADE OBJECT, AS OF A WORK OF ART OR A MACHINE.

A

DESIGN

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13
Q

THREE PRINCIPLES OF ARCHITECTURE.

A

VENUSTAS, FIRMITAS, UTILITAS

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14
Q

BEAUTY . DELIGHT

A

VENUSTAS

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15
Q

STRENGTH . FIRMNESS

A

FIRMITAS

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16
Q

UTILITY . COMMODITY

A

UTILITAS

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17
Q

ANY BUILDING MUST BE STRONG ENOUGH TO PROTECT ITSELF AND OTHERS FROM NATURAL DISASTERS.

A

FIRMNESS OF ARCHITECTURE

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18
Q

ARCHITECTURE PROVIDES FUNCTIONALITY FOR PEOPLE TO SUSTAIN THEIR EVERYDAY NEEDS AND LIFESTYLE.

A

FUNCTIONALITY AND PRODUCTIVITY.

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19
Q

APPEARANCE PLAYS A VITAL IF NOT THE MOST IMPORTANT ROLE IN THE OVERALL BUILDING.

A

THE BEAUTY BEHIND ARCHITECTURE

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20
Q

ARCHITECTURE NEED TO ENSURE THAT, WHATEVER THEY ARE DESIGNING, IT NEEDS TO LOOK AESTHETICALLY PLEASING AS THIS IS THE FIRST THING PEOPLE SEE WHEN LOOKING AT THE STRUCTURE.

A

THE BEAUTY BEHIND ARCHITECTURE

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21
Q

1 - SITE ANALYSIS
2 - ZONING ANALYSISD
3 - PROJECT SCOPE
4 - BUILDING PROGRAM
5 - PROJECT BUDGETING
6 - PROJECT SCHEDULE
7 - SELECTION OF THE PROJECT TEAM

A

PRE-DESIGN PHASE

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22
Q

THE FIRST PHASE OF DESIGN.

A

SCHEMATIC DESIGN

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23
Q

THE ARCHITECT AND THE CLIENT DISCUSS ALL REQUIREMENTS NEEDED FOR THIS PROJECT GOING FORTH.

A

SCHEMATIC DESIGN

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24
Q

A LOT OF RESEARCH IS DONE IN THIS STEP, AS THE ARCHITECT MUST ANALYZE THE BUILDING ZONES AS WELL AS TO ESTABLISH THE LOCATION AND SIZE OF THE BUILDING.

A

SCHEMATIC DESIGN

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25
Q

THIS PHASE INVOLVES THE SELECTION OF MATERIALS NEEDED, SUCH AS INTERIOR FINISHES.

A

DESIGN DEVELOPMENT PHASE

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26
Q

THE ARCHITECT AND ENGINEERS WORK CLOSELY TOGETHER IN PHASE, AS THE DRAWING IS REVISED BY THE ARCHITECT, SPECIFYING THE DETAILS.

A

DESIGN DEVELOPMENT PHASE

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27
Q

ARE THE BASIC COMPONENTS THAT ARCHITECTS UTILIZE TO DESIGN EFFICIENT AND VISUALLY APPEALING BUILDING AND STRUCTURES.

A

ELEMENTS OF ARCHITECTURE

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28
Q

THE OVERALL SHAPE AND APPEARANCE OF A STRUCTURE, AND ITS MASS, VOLUME, AND SILHOUETTE.

A

FORM

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29
Q

THE AREAS WITHIN AND AROUND A STRUCTURE, INCLUDING ROOMS, CORRIDORS, AND OUTDOOR AREAS.

A

SPACE

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30
Q

AN IMPORTANT ELEMENT THAT CAN AFFECT THE MOOD, ATMOSPHERE, AND FUNCTIONALITY OF A SPACE.

A

LIGHT

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31
Q

THE SUBSTANCES USED TO CONSTRUCT A STRUCTURE, SUCH AS CONCRETE, WOOD, BRICK, OR STELL.

A

MATERIAL

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32
Q

AN ELEMENT THAT CAN AFFECT THE MOOD, ATMOSPHERE, AND APPEARANCE OF A SPACE.

A

COLOR

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33
Q

THE SIZE OF A DESIGN IN RELATION TO IT’S SURROUNDINGS, WITH THE GOAL OF CREATING A SENSE OF UNITY AND COHESIVENESS.

A

SCALE

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34
Q

1 - VERTICAL BALANCE
2 - RADIAL BALANCE
3 - ASYMMETRICAL BALANCE
4 - SYMMETRICAL BALANCE
5 - PROPORTION AND SCALE
6 - EMPHASIS
7 - GRADATED RHYTHM
8 - RANDOM RHYTHM
9 - REGULAR RHYTHM
10 - HARMONY
11 - CONTRAST

A

PRINCIPLES OF ARCHITECTURE

35
Q

OCCURS WHEN WE CAN DIVIDE THE COMPOSITION VERTICALLY INTO TWO HALVES.

A

VERTICAL BALANCE

36
Q

IS WHEN THE ELEMENTS RADIATE FROM THE COMMON CENTER, RADIAL EQUILIBRIUM IS ACHIEVED.

A

RADIAL BALANCE

37
Q

THIS FORM OF EQUILIBRIUM PRODUCES A STRONG FOCUS POINT, AND THE VIEWER’S GAZE IS NATURALLY DRIVEN INWARD INTO THE CENTER.

A

RADIAL BALANCE
/RADIAL EQUILIBRIUM

38
Q

ALSO KNOWN AS INFORMAL BALANCE, HAPPENS WHEN THERE ARE DIFFERENT ASPECTS TO BE EXHIBITED ON BOTH SIDES OF A COMPOSITION.

A

ASYMMETRICAL BALANCE

39
Q

CAN DIVIDE THE CENTRAL AXIS INTO TWO IDENTICAL SIDES.

A

SYMMETRICAL BALANCE

40
Q

IS NOTHING BUT THE SIZE OF EACH ELEMENT ON THE DESIGN AND PROPORTION IS THE SIZE OF AN ELEMENT IN COMPARISON WITH THE OTHER OBJECT OF THE ELEMENT, 3 IS TO 5 RATIOS IS CONSIDERED TO BE THE GOLDEN MEAN.

A

PROPORTION AND SCALE

41
Q

AN UNUSUAL ELEMENT IS ADDED TO THE DESIGN TO CREATE THE IMPORTANCE OF UNIQUENESS OF A DESIGN TO CAPTURE THE ATTENTION OF A VIEWER.

A

EMPHASIS

42
Q

IN THIS KIND OF RHYTHM ELEMENT IS IDENTICAL.

A

GRADATED RHYTHM

43
Q

HOWEVER, WITH EACH STEP, THE SIZE OF THE ELEMENT IS INCREASING, OR DECREASING WITH EACH REPITITION.

A

GRADATED RHYTHM

44
Q

OPPOSITE OF REGULAR RHYTHM.

A

RANDOM RHYTHM

45
Q

IN THIS KIND OF RHYTHM, ELEMENTS ARE REPEATED AT REGULAR INTERVALS IN THE DESIGN.

A

RANDOM RHYTHM

46
Q

AS THE NAME IMPLIES, REFERS TO THE REPITITION OF AN ELEMENT IN A DESIGN’S INTERVAL.

A

REGULAR RHYTHM

47
Q

IS ANOTHER NAME FOR UNITY.

A

HARMONY

48
Q

THE UNITY PRINCIPLE GIVES A DESIGN A SENSE OF ORDER OR WHOLENESS.

A

HARMONY

49
Q

IT CAN ONLY BE ACCOMPLISHED IF ALL OF THE DESIGN ASPECTS ARE IN SYNC WITH ONE ANOTHER.

A

HARMONY

50
Q

IS WHEN TWO OR MORE ELEMENTS IN A DESIGN OR OF DIFFERENT QUALITIES, CAN BE ACHIEVED IN FORM LIKE COLOR, TEXTURE, SIZE, PROPORTION, SHAPE, MOVEMENT, ETC.

A

CONTRAST

51
Q

1- ANALOGY
2 - METAPHOR AND SIMILES
3 - ESSENCES
4 - PROGRAMATIC
5 - IDEALS

A

DESIGN CONCEPTS

52
Q

LOOKING AT OTHER THINGS.

A

ANALOGY

53
Q

LOOKING AT ABSTRACTIONS.

A

METAPHORS AND SIMILES

54
Q

LOOKING BEYOND THE PROGRAMMATIC NEED.

A

ESSENCES

55
Q

LOOKING AT THE STATED REQUIREMENTS.

A

PROGRAMMATIC

56
Q

LOOKING AT THE UNIVERSAL VALUE.

A

IDEALS

57
Q

IS ACHIEVED WHEN ALL THE DIFFERENT ELEMENTS IN A DESIGN WORK TOGETHER TO CREATE A UNIFIED WHOLE.

A

UNITY

58
Q

UNTIL THE RISE OF THE MODERN MOVEMENT IN THE FIRST HALF OF THE 20TH CENTURY, IT WAS ASSUMED BY CLIENTS AND ARCHITECTS ALIKE THAT ALL THE GREAT _ OF THE WORLD HAD ALREADY BEEN BUILT.

A

ARCHITECTURE

59
Q

THE TASK OF THE _ WAS TO FIGURE OUT WHICH PREVIOUS BUILDING WAS THE APPROPRIATE MODEL FOR THE NEW BUILDING BEING DESIGNED.

A

ARCHITECT

60
Q

1 - ANALOGIES
2 - METAPHORS
3 - ESSENCES
4 - PROGRAMMING CONCEPTS
5 - IDEALS

A

TYPES OF CONCEPTS

61
Q

ANALOGY EXAMPLE

A

FACE HOUSE
KAZUMASA YAMASHITA
KYOTO, JAPAN

62
Q

TO TAKE THE SAME SHAPE OF SOMETHING WITHOUT ANY CHANGE.

A

SUPERFICIAL ANALOGY

63
Q

TO MAKE AS STRUCTURE OF BUILDING FROM A SHAPE OR SOMETHING.

A

STRUCTURAL ANALOGY

64
Q

COMBINATION OF BOTH S.A AND S.A.

A

HOLISTIC ANALOGY

65
Q

AN _ IS MORE LIKE A SIMILE.

A

ANALOGY

66
Q

AN ANALOGY IS MORE LIKE A _.

A

SIMILE

67
Q

A SIMILARITY BETWEEN LIKE FEATURES OF TWO THINGS ON WHICH A COMPARISION MAY BE BASED.

A

ANALOGY

68
Q

IS A COGNITIVE PROCESS OF TRANSFERRING INFORMATION FROM A PARTICULAR SUBJECT (SOURCE) TO ANOTHER PARTICULAR SUBJECT (TARGET), AND A LINGUISTIC EXPRESSION CORRESPONDING TO SUCH PROCESS.

A

ANALOGY

69
Q

IS MORE LIKE AN ALLEGORY.

A

METAPHOR

70
Q

IT IS AN IMPLICIT SIMILE.

A

METAPHOR

71
Q

IT IS AN EXPLICIT SIMILE.

A

ANALOGY

72
Q

IT IS LITERALLY FALSE.

A

METAPHOR

73
Q

IT IS LITERALLY TRUE.

A

ANALOGY

74
Q

NEED A BIT MORE IMAGINATION TO INTERPRET.

A

METAPHOR

75
Q

ARE READILY APPARENT.

A

ANALOGY

76
Q

METAPHOR EXAMPLE

A

NOTRE DAME
DU HAUTE-RON CHAMP CHAPEL
LE CORBUSIER
FRANCE 1955

77
Q

THE LARGEST AND THE MOST CRUCIAL PHASE OF THE DESIGN PROCESS.

A

CONSTRUCTION DOCUMENTS

78
Q

THIS IS WHEN ALL THE PLANS ARE FINALIZED BY THE DEPARTMENT OF BUILDINGS.

A

CONSTRUCTION DOCUMENTS

79
Q

THIS ENTAILS FINDING AND SECURING A CONTRACTOR TO PROCEED WITH THE CONSTRUCTION OF BUILDING.

A

BIDDING

80
Q

BIDS ON THE PROJECT ARE SUBMITTED ON BEHALF OF THE CONTRACTORS.

A

BIDDING

81
Q

ONCE A CONTRACTOR HAS BEEN SELECTED FOR THE JOB, THE ARCHITECT, ENGINEERS, CLIENT, AND CONTRACTOR DISCUSS ANY QUESTION ASKED BEFORE CONSTRUCTION OF THE PROJECT BEGINS.

A

BIDDING

82
Q

THE FINAL AND LONGEST. (DESIGN PROCESS)

A

CONSTRUCTION ADMINISTRATION

83
Q

IT INVOLVES THE ACCOUNTING SECTOR OF THE PROJECT, WHICH IS MANAGED BY A CHARTERED ACCOUNTANT.

A

CONSTRUCTION ADMINISTRATION

84
Q

WHILST THIS IS PROCESSING, THE CONSTRUCTION CONTINUES.

A

CONSTRUCTION ADMINISTRATION

85
Q

THE ARCHITECT VISITS THE SITE AND OVERVIEWS THE PROJECT, ENSURING THAT THE CONTRACTOR IS FOLLOWING WITH PLAN DISCUSSED.

A

CONSTRUCTION ADMINISTRATION

86
Q

1 - IDEALIZED DIAGRAM
2 - SITE-RELATED DIAGRAM
3 - CONCEPTUAL DESIGN
4 - EVALUATION
5 - DESIGN DEVELOPMENT

A

CONCEPTUALIZATION

ARCHITECTURE (8 decks)

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