Exit Exam Part III Flashcards
1
Q
Wrote De Architectura (The Ten Books on Architecture), an architectural treatise dedicated to Emperor Augustus
A
Marcus Vitruvius Pollio
2
Q
No atriums, stables on one side.
A
Greek house plan
3
Q
Place between the two doors
A
Concierge
4
Q
Spacing between columns in a colonnade measured at the bottom of their shafts.
A
Intercolumniation
5
Q
One and a half diameters.
A
Pyconostyle
6
Q
Two diameters
A
Systyle
7
Q
Two and quarter diameters (best
proportion).
A
Eustyle
8
Q
Three diameters
A
Diastyle
9
Q
Four diameters
A
Araeostyle
10
Q
– Alternating araeostyle and
systyle.
A
Araeosystyle
11
Q
Proportions of body should be taken
forward into architecture
A
Vitruvian Man
12
Q
Due measure to the members of a work
considered separately
A
Order
13
Q
Putting things in proper places
A
Arrangement
14
Q
Beauty and fitness in the adjustments
of members
A
Eurythmy
15
Q
Proper agreement between
members of the work itself
A
Symmetry
16
Q
Perfection of style
A
Propriety
17
Q
Proper management of materials and
of site.
A
Economy
18
Q
By Vitruvius. Asserts that
architecture must exhibit firmitas (firm, durable), utilitas
(useful), venustas (beautiful)
A
Ten Books on Architecture
19
Q
– Gothic architecture. Philosophy was, “the
upward leading method”.
A
Abbot Suger
20
Q
Father of lights
A
God
21
Q
Smaller lights
A
People
22
Q
Gothic churches has big and small windows
A
to
represent God and his people
23
Q
When on the west door:
represented creation, the glory of God, the last
judgement. When at the end of the transept:
dedicated to Mother Mary.
A
Rose window
24
Q
Symbolic beauty of Medieval church
A
omnipresence, omnipotence, divine providence
25
Renaissance architecture.
Influenced by three art treaties: Della Statua (statue),
Della Pittura (painting), De Re Aedificatoria (architecture).
Leon Battista Alberti
26
Has ten chapters discussing the
| lucid theory of architectural beauty
De re Aedifictoria
27
Temples ideal form is a circle. Centrally-planned
geometrical shapes for churches. Square, hexagon,
octagon, decagon, dodecagon all derived from the circle.
Alberti’s ideal floor plans for religious buildings
28
Mannerist period of renaissance.
Works based on symmetry, perspective, and formal
classical temple architecture. His treatise was the “Four
Books of Architecture” (I Quattro libri dell architectura).
Andrea Palladio
29
Mannerist period. His treatise was the “Five Orders of Architecture” (Regola delli cinque ordini).
Lacomo Barozzi Vignola
30
Five classical orders
Tuscan, doric, ionic,
| Corinthian, composite
31
Five sections of order articles
colonnade,
arcade, arcade with pedestal, individual pedestal
and base forms, individual capital and entablature
forms
32
Pedestal, column, entablature ratio
4:12:3
33
buildings inspired by the classical architecture of
| ancient Greece and Rome
Classicism / Neoclassicism
34
Characteristics of Classicism / Neoclassicism
```
o Symmetrical shape
o Tall columns
o Triangular pediment
o Domed roof
o Elaborate doorways
o Evenly spaced windows
```
35
Architects of Classicism / Neoclassicism
Robert Adam, William Kent, Claude
| Nicolas Ledoux, John Nash, Thomas Jefferson
36
Based on ancient temple designs
Temple
37
Large windows with central arched
| section.
Palladian
38
Rectangular or square plan with
| flat roof with exterior rich in classical detail.
Classical block
39
Neoclassical Window Styles:
A. Palladian window
| B. Norman wheel
40
● Borrowing a variety of style from other
geographical regions and eras in one
architectural composition.
● Re-interpreting historical styles with a spin.
● Example: Madrid City Council
Eclecticism
41
● Emphasizes function and attempts to provide for
specific needs.
● Considered buildings as a volume of space
enclosed by light, thin curtain walls and resting on
slender piers.
● Aesthetic largely inspired by machine and
abstract painting and sculpture.
● Architect: Ludwig Mies van der Rohe
Modernism
42
Rugged reinforced concrete construction.
● Common features include: precast concrete
slabs, rough unfinished surfaces, exposed steel
beams, massive sculptural shapes.
● Architects: Louis Kahn, Paul Rudolph, Marcel
Breuer, I.M. Pei, Le Corbusier
● Examples: CCP, Weldon Library
Brutalism
43
("Béton Brut)
Brutalism
44
```
● Form follows function.
● Utilitarian structures.
● If the functional aspects are satisfied,
architectural beauty would naturally and
necessarily follow.
● Ornament serves no function.
● Examples: Van Nelle factory - Rotterdam, Tower
of Helsinki
```
Functionalism
45
● Characteristics: rectilinear forms, open spaces,
large expanses of glass, steel, and reinforced
concrete construction, light, taut plane surfaces
devoid of ornamentation
● Architects: Philip Johnson, Ludwig Mies Van Der
Rohe, Walter Gropius, Le Corbusier (Charles
Edouard Jeanneret).
● Examples: Seagram building, The Glass House,
Farnsworth House, Bauhaus Dessau
Internationalism
46
● Ludwig van der Rohe: “Less is more”.
● Drew inspiration from the elegant simplicity of
traditional Japanese architecture.
● Straight lines and rectangular shapes
● Architects: Mies van de Rohe, Luis Barragán
● Examples: Barcelona Pavilion, Casa de Luis
Barragán
Minimalism
47
“Less is more”
Ludwig van der Rohe
48
Italian anti-historicism with strong chromaticism,
long dynamic lines
● Architect: Antonio Sant'Elia
Futurism
49
Antonio Sant'Elia architecture style
Futurism
50
Modern architecture in the Soviet Union keeping
the Communist philosophy.
● Architect: Konstantin Melnikov
● Example: Rusakov club
Constructivism
51
● Early-modernist adoption of novel materials.
Formal innovation and unusual massing.
● inspired by natural biomorphic forms
● Architects: Jorn Utzon, Erich Mendelsohn,
Santiago Calatrava, and Eero Saarinen
● Examples: John F. Kennedy Airport, Lyon-Saint
Exupery Airport, Turning Torso, The Sydney
Opera House
Expressionism
52
● a result of the worldwide loss of confidence in the
international Modern movement
● theatrical and said to be trying to create instant or
neo-history
● Characteristics: modern structures with classical
ornaments, regional and vernacular
ornamentations, and vibrant colors
● Architects: James Stirling, Robert A.M Stern,
Robert Venturi, Michael Graves
● Examples: Staatsgalerie Extension, Stuttgart,
Sony Building (Philip Johnson)
Postmodernism
53
● Seeks new forms of expression by turning away
from structural restraints.
● Architects: Frank Gehry, Zaha Hadid
● Examples: Dancing House, Walt Disney Concert
Hall, Galaxy Soho, Heydar Aliyev Center
Deconstructivism
54
Frank Gehry Architectural style
Deconstructivism
55
● spiritual father of modern American architecture
● incorporated symbolism, geometric structural
system and organic ornamentation
● Philosophy: form follows function
● Works: Auditorium building, Wainwright Building,
Guaranty
Louis Sullivan
56
● had a lavish lifestyle; creating environments that
were both functional and humane
● Bootlegged houses: simple geometric massing,
bands of horizontal windows, occasional
cantilevers, and open floor plans
● Prairie houses: horizontal lines that echo the flat
prairie landscape, low hipped roofs extending
beyond the walls, balconies and terrace line the
exterior and are filled with plants, suppressed
chimneys, and materials in accord with local
nature
● Other works: Unity temple (first modern building),
Fallingwater, Usonian House, Solomon R.
Guggenheim Museum
Frank Lloyd Wright
57
● Dean of American Architects
● International style and Post Modern Architect
● Works: The Glass House, Seagram Building,
Lipstick Building, TC Energy Center, Puerto de
Europa, Chrystal Cathedral, Sony Tower
Philip Johnson
58
● International style architect
● Philosophy: “The final goal of artistic activity is
Architecture”;
● followed the principle: functionality shoud dictate
form
● Works: New England Gropius House, Bahaus
Dessau, Siemensstadt Settlement, Glassworks,
Municipal Employment Office in Dessau, Temple
Oheb, Harvard Graduate Center, Monument to
the March, Walter-Gropius House, John F.
Kennedy Federal Building
Walter Gropius
59
● International style architect
● Philosophies: “Less is more” ; Minimalism ; “God
is in the details”
● Works: Crwon Hall, Toronto-Dominion Centre,
dhat House, Seagram Building, Farnsworth
House
Ludwig Mies van der Rohe
60
● International style and Brutalist architect
● The Modulor - developed as a visual bridge
between two incompatible scales, the imperial
and the metric system
● Philosophy: “Through the channel of my painting,
I arrived at my architecture”
● Ville Savoye: pilotis (grid of reinforced concrete
columns replaced supporting walls), free
designing of the ground plan, free design of the
facade, horizontal window separating the
exterior, and roof garden
● Other works: Notre dame de haut/Ronchamp,
Chandigarh Legislative Assembly-India, Punjab
and Haryana High Court
● coined beton brut which means raw concrete
Le Corbusier
61
● Brutalist architect; play with natural light
● simple, platonic forms and compositions
● his style tends to the monumental and monolithic
● Philosophy: “A great building must begin with the
unmeasurable, must go through measurable
means when it is being designed and in the end
must be unmeasurable.”
● Works: Yale University Art Gallery, Jatiyo
Sangshad Bhaban, Salk Institute for Biological
Studies, Kimbell Art Museum
Louis Kahn
62
● Post Modern architect
● influences: reinterpretation of the forms and
compositions of existing architecture; interests
and appreciation of daily domestic rituals of life
● Philosophy: “I believe well-designed places can
actually improve healing” ; “Architecture should
be accessible to the public”
● structure must convey the architect’s style without
sacrificing the original style
● Works: Portland Municipal Services Building,
Sheraton Miramar Hotel & Resort, Disney’s
Micheal D. Eisner Building, Humana Building
Michael Graves
63
● Post Modern architect
● Philosophy: :Less is a bore.”
● designs are eclectic
● Works: Vanna Venturi House, The Guild House
Venturi, Sainsbury Wing National Gallery, The
Children’s Museum
Robert Venturi
64
Process of managing
information so that the right kind of information is available
at the right stage of the design process and the best
possible decisions can be made in shaping the building
design. This is the first step of the design process.
Architectural programming
65
is the problemseeking phase (provided by client/user design
| team).
Architectural programming
66
is the problem-solving phase
| provided by architect
Design
67
Area of concern demanding a design
| response
Design Issues
68
States mission/purpose of the
| project
Program document
69
Breaking up of any whole into parts so as to
| find out their nature, function
Analysis
70
Putting together of part of elements to form
| a whole
Synthesis
71
Site, user, culture economics must be uncovered
Facts
72
Basic, central, or main concept, drawing, or
| scheme of an architectural design.
Parti
73
Made up of a simple diagram with
few words. Statement of ideal set of relationships among
several of the elements under an architect’s control (i.e.,
form, material, texture, colour, adjacency).
Concept statement
74
Necessary comparisons with known objects
to generate new ideas about the object to be designed.
Using similies, metaphors and biomimicry (imitating
nature).
Analogies
75
Four significant phases
1. Definition of the project
2. Development of design strategies and concepts
3. Development of design and appreciation
4. Final design and appreciation
76
Discussing the
intention of the project and how it touches on
basic needs and other uses.
Background of the project
77
Needs of the project that
can be translated into spaces. Hierarchy of needs
should be observed.
Scope of the project
78
Reflects intentions of the
| project owner to the building
Project objectives
79
Client
Project objectives
80
Architect
Design objectives
81
Broad, vague statements of what to achieve at the
| end of the process.
Goal
82
Specific activities to be done to reach the
| goal.
Objective
83
Architect’s intention on what
| to accomplish at the end of the design process.
Design objectives
84
Influencing factors that
are considered in developing the building and its
environment (environmental, art elements, legal,
demographic, others)
Design considerations
85
All client’s intended
list of spaces are fitted into the building by the
architect efficiently. Which spaces are adjacent to
each other? Usually follows a matrix diagram.
Technical space analysis
86
Determine all users’
| activities and find requirements for each activity
Interrelationship analysis
87
Determine the activities that can be put
| together in one zone/area.
Zoning
88
Lay out all spaces on site.
| How will the users move between spaces?
Circulation analysis
