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Theory of Architecture > Exit Exam Part III > Flashcards

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

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2
Q

No atriums, stables on one side.

A

Greek house plan

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3
Q

Place between the two doors

A

Concierge

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4
Q

Spacing between columns in a colonnade measured at the bottom of their shafts.

A

Intercolumniation

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5
Q

One and a half diameters.

A

Pyconostyle

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6
Q

Two diameters

A

Systyle

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7
Q

Two and quarter diameters (best

proportion).

A

Eustyle

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8
Q

Three diameters

A

Diastyle

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9
Q

Four diameters

A

Araeostyle

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10
Q

– Alternating araeostyle and

systyle.

A

Araeosystyle

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11
Q

Proportions of body should be taken

forward into architecture

A

Vitruvian Man

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12
Q

Due measure to the members of a work

considered separately

A

Order

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13
Q

Putting things in proper places

A

Arrangement

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14
Q

Beauty and fitness in the adjustments

of members

A

Eurythmy

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15
Q

Proper agreement between

members of the work itself

A

Symmetry

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16
Q

Perfection of style

A

Propriety

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17
Q

Proper management of materials and

of site.

A

Economy

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18
Q

By Vitruvius. Asserts that
architecture must exhibit firmitas (firm, durable), utilitas
(useful), venustas (beautiful)

A

Ten Books on Architecture

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19
Q

– Gothic architecture. Philosophy was, “the

upward leading method”.

A

Abbot Suger

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20
Q

Father of lights

A

God

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21
Q

Smaller lights

A

People

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22
Q

Gothic churches has big and small windows

A

to

represent God and his people

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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

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24
Q

Symbolic beauty of Medieval church

A

omnipresence, omnipotence, divine providence

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25
Q

Renaissance architecture.
Influenced by three art treaties: Della Statua (statue),
Della Pittura (painting), De Re Aedificatoria (architecture).

A

Leon Battista Alberti

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26
Q

Has ten chapters discussing the

lucid theory of architectural beauty

A

De re Aedifictoria

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27
Q

Temples ideal form is a circle. Centrally-planned
geometrical shapes for churches. Square, hexagon,
octagon, decagon, dodecagon all derived from the circle.

A

Alberti’s ideal floor plans for religious buildings

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28
Q

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).

A

Andrea Palladio

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29
Q

Mannerist period. His treatise was the “Five Orders of Architecture” (Regola delli cinque ordini).

A

Lacomo Barozzi Vignola

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30
Q

Five classical orders

A

Tuscan, doric, ionic,

Corinthian, composite

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31
Q

Five sections of order articles

A

colonnade,
arcade, arcade with pedestal, individual pedestal
and base forms, individual capital and entablature
forms

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32
Q

Pedestal, column, entablature ratio

A

4:12:3

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33
Q

buildings inspired by the classical architecture of

ancient Greece and Rome

A

Classicism / Neoclassicism

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34
Q

Characteristics of Classicism / Neoclassicism

A 
o Symmetrical shape
o Tall columns
o Triangular pediment
o Domed roof
o Elaborate doorways
o Evenly spaced windows
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35
Q

Architects of Classicism / Neoclassicism

A

Robert Adam, William Kent, Claude

Nicolas Ledoux, John Nash, Thomas Jefferson

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36
Q

Based on ancient temple designs

A

Temple

37
Q

Large windows with central arched

section.

A

Palladian

38
Q

Rectangular or square plan with

flat roof with exterior rich in classical detail.

A

Classical block

39
Q

Neoclassical Window Styles:

A

A. Palladian window

B. Norman wheel

40
Q

● 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

A

Eclecticism

41
Q

● 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

A

Modernism

42
Q

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

A

Brutalism

43
Q

(“Béton Brut)

A

Brutalism

44
Q 
● 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
A

Functionalism

45
Q

● 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

A

Internationalism

46
Q

● 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

A

Minimalism

47
Q

“Less is more”

A

Ludwig van der Rohe

48
Q

Italian anti-historicism with strong chromaticism,
long dynamic lines
● Architect: Antonio Sant’Elia

A

Futurism

49
Q

Antonio Sant’Elia architecture style

A

Futurism

50
Q

Modern architecture in the Soviet Union keeping
the Communist philosophy.
● Architect: Konstantin Melnikov
● Example: Rusakov club

A

Constructivism

51
Q

● 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

A

Expressionism

52
Q

● 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)

A

Postmodernism

53
Q

● 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

A

Deconstructivism

54
Q

Frank Gehry Architectural style

A

Deconstructivism

55
Q

● spiritual father of modern American architecture
● incorporated symbolism, geometric structural
system and organic ornamentation
● Philosophy: form follows function
● Works: Auditorium building, Wainwright Building,
Guaranty

A

Louis Sullivan

56
Q

● 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

A

Frank Lloyd Wright

57
Q

● 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

A

Philip Johnson

58
Q

● 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

A

Walter Gropius

59
Q

● 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

A

Ludwig Mies van der Rohe

60
Q

● 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

A

Le Corbusier

61
Q

● 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

A

Louis Kahn

62
Q

● 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

A

Michael Graves

63
Q

● 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

A

Robert Venturi

64
Q

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.

A

Architectural programming

65
Q

is the problemseeking phase (provided by client/user design

team).

A

Architectural programming

66
Q

is the problem-solving phase

provided by architect

A

Design

67
Q

Area of concern demanding a design

response

A

Design Issues

68
Q

States mission/purpose of the

project

A

Program document

69
Q

Breaking up of any whole into parts so as to

find out their nature, function

A

Analysis

70
Q

Putting together of part of elements to form

a whole

A

Synthesis

71
Q

Site, user, culture economics must be uncovered

A

Facts

72
Q

Basic, central, or main concept, drawing, or

scheme of an architectural design.

A

Parti

73
Q

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).

A

Concept statement

74
Q

Necessary comparisons with known objects
to generate new ideas about the object to be designed.
Using similies, metaphors and biomimicry (imitating
nature).

A

Analogies

75
Q

Four significant phases

A
  1. Definition of the project
  2. Development of design strategies and concepts
  3. Development of design and appreciation
  4. Final design and appreciation
76
Q

Discussing the
intention of the project and how it touches on
basic needs and other uses.

A

Background of the project

77
Q

Needs of the project that
can be translated into spaces. Hierarchy of needs
should be observed.

A

Scope of the project

78
Q

Reflects intentions of the

project owner to the building

A

Project objectives

79
Q

Client

A

Project objectives

80
Q

Architect

A

Design objectives

81
Q

Broad, vague statements of what to achieve at the

end of the process.

A

Goal

82
Q

Specific activities to be done to reach the

goal.

A

Objective

83
Q

Architect’s intention on what

to accomplish at the end of the design process.

A

Design objectives

84
Q

Influencing factors that
are considered in developing the building and its
environment (environmental, art elements, legal,
demographic, others)

A

Design considerations

85
Q

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.

A

Technical space analysis

86
Q

Determine all users’

activities and find requirements for each activity

A

Interrelationship analysis

87
Q

Determine the activities that can be put

together in one zone/area.

A

Zoning

88
Q

Lay out all spaces on site.

How will the users move between spaces?

A

Circulation analysis

Theory of Architecture (4 decks)

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