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By Rocky Architecture Licensure Exam > JPT THEORY 2023 > Flashcards

JPT THEORY 2023 Flashcards

1
Q

The art and science of designing and constructing buildings.

A

Architecture

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2
Q

The conscience use of skill, craft and creative imagination in the production of what is beautiful, appealing or more than ordinary significance.

A

Art

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3
Q

A branch of knowledge dealing with a body of facts or truths obtained by direct observation, experimental investigation, and methodical study systematically arranged and showing the operation of general laws.

A

Science

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4
Q

Difference of Architecture and Engineering

A

Architecture is beautiful; Engineering is economical

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5
Q

Similarities of Architecture and Engineering

A

Architecture and Engineering is both functional and structurally sound

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6
Q

The ordering of the physical environment by means of architecture, engineering, construction, landscape architecture, urban design and city planning.

A

Environmental Design

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7
Q

The aspect of architecture and city planning that deals with the design of urban structures and spaces.

A

Urban Design

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8
Q

The activity or profession of determining the future physical arrangement and condition of a community, involving an appraisal of the current conditions, and forecast of future requirements, a plan for the fulfillment of these requirements, and proposals for legal, financial, and constructional programs to implement the plan.

A

City Planning

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9
Q

The art, business, or profession of planning the design and supervising the execution of architectural interiors, including their color schemes, furnishings, fitting, finishes, and sometimes architectural features.

A

Interior Design

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10
Q

The aspect of architecture and interior design that deals with the planning, layout design and furnishing of spaces within a proposed or existing building.

A

Space Planning

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11
Q

Applied science: the branch of knowledge that deals with the creation and use of technical methods and materials, and their interrelation with life, society, and the environment.

A

Technology

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12
Q

The science of and art or of the arts in general.

A

Technics

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13
Q

The science or art of shaping, ornamenting or assembling materials in construction.

A

Tectonics

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14
Q

The unifying structure or concept of an artistic work.

A

Architectonics

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15
Q

The art and science of applying scientific principles to practical ends in the design and construction of structure, equipment systems.

A

Engineering

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16
Q

The science of human social institutions and relationships: specifically, the study of the origin, development, structure, functioning, and collective behavior of organized groups of human beings.

A

Sociology

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17
Q

Design Process

Enumerate (Chrono)

A

Initiation → Preparation → Synthesis → Hypothesis → Alternative → Draft → Evaluation → Action → Implement → Re-Evaluation → (back to synthesis)

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18
Q

A purposeful activity aimed at devising a plan for changing an existing situation into feature preferred state, especially the cyclical, iterative process.

A

Design Process

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19
Q

Identifying a problem and its social, economic, and physical context.

A

Initiation

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20
Q

Collecting and analyzing relevant information and establishing goals and criteria, for an acceptable solution.

A

Preparation

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21
Q

Discovering constraints and opportunities, and hypothesizing possible alternative solutions.

A

Synthesis

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22
Q

Formulating a tentative assumption in order to draw out and test it logical or empirical consequences.

A

Hypothesis

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23
Q

One of the propositions or courses of action to be chosen from a set of two or more mutually exclusive possibilities.

A

Alternative

Develop
Modify
Refine
Inflection (bend, angle, or similar change in the shape of a configuration, by means of which a change of relationship to some context.
Transformation (process of changing in form or structure)

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24
Q

Development of Architecture

3

A

Arhaic Period
Mastery Period
Decadence Period

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25
Q

Saw the grouping of the untried hands in an attempt to master new problems and new media, and an effect to fins an expression for new material.

A

Archaic Period

See figure page 7

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26
Q

Fundamental Desires of a Man

A

Preservation - through houses, homes
Recognition - desire for prestige through (1) building of cathedrals (2) public buildings
Response to a need
Self-expression - (1) theater (2) museums

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27
Q

Marked with the artist becoming too sure of himself and begins to take liberties with his materials. His designs were less structural and were too ornate. It heralds the beginning of the end.

A

Decadence Period

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28
Q

The buildings or art priced during this time show that the designer or artis has discovered how to control his medium and is sure of his technique. This is the height of development.

A

Mastery Period

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29
Q

Architecture Program

Enumerate 6

A

Pre-design
Schematic Design
Design Development
Construction Documentation
Construction Administration
Post-Design

Post-Design
1. Post occupancy
2. Evaluation
3. User’s Manual

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30
Q

Influencing factors relative to the project, acquired through experience or exposure and/or through formal studies of a given field of art or science.

A

Design Considerations

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31
Q

The designer should be able to transform objectives palatable to design.
The transformation of the project objectives into non-traditional innovative design solution.

A

Design Objectives

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32
Q

Immediate tools for designs derived from in-depth studies of design considerations.

A

Design Criteria

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33
Q

Indicates the interrelationship of the various building requirements in terms of time, space, form and function in an abstract form which relates to the design parameters.

A

Chart

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34
Q

This phase will include site analysis which will undergo similar endeavor with the site with its influencing parameters being considered.

A

Flow Chart or Programming

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35
Q

An outline of the physical attributes and space requirements in terms of areas and volume, and other technical matters relative to the site and to each building requirements are done.

A

Technical Space Analysis

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36
Q

Basic Parameters of space analysis

A

Ergonomics, anthropometrics, and the man-made physical constraint within a given space

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37
Q

The vertical extension of a building or other construction above the foundation.

A

Superstructure

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38
Q

The exterior framework or walls and roof of a building.

A

Shell

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39
Q

The underlying structure forming the foundation of a building or other construction.

A

Substructure

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40
Q

A group if interacting, interrelated or interdependent things or parts forming a complex or unified whole, esp. to serve a common purpose.

A

System

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41
Q

A. The plan in an architectural composition is the graphic projection of the volume of the building.
B. It is the pattern, dedicated on the requirement of the building of which the elements of the elevation and section arranges.

A

Nature of the Plan

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42
Q

A. The arrangement of units according to practical requirements determined by size, shape, and use of rooms.
B. Arrangement according to the rules of abstract design.

A

Qualities of the Plan

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43
Q

Visible Structure Elements

4

A

A. Structural Elements
B. Protective Elements
C. Circulatory Elements
D. Decorative Elements

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44
Q

Any of various upright constructions presenting a continuous surface and serving to enclose, divide or protect and area.

A

Wall

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45
Q

A rigid, relatively slender structural member designed primarily to support axial, compressive load applied at the member ends.

A

Columns

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46
Q

A rigid structural member designed to carry and transfer transverse loads across space to supporting elements.

A

Beams

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47
Q

Any various upright constructions presenting a continuous surface and serving to enclose, divide or protect an area.

EDIT

A

Roof

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48
Q

Different types of roofs

8

A
  1. Gable
  2. Hip
  3. Flat
  4. Butterfly
  5. Truncated
  6. Gambrel
  7. Mansard
  8. Conical
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49
Q

A vaulted structure having a circular plan and usually the form of a position of a sphere, so constructed as to exert and equal thrust in all directions.

A

Dome

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50
Q

Different types of Dome

5

A
  1. Segmental
  2. Spherical
  3. Saucer-shape
  4. Pointed
  5. Onion-shape
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51
Q

The overhead interior surface or lining of a room, often concealing the underside of the floor or roof above.

A

Ceiling

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52
Q

Different Types of Ceiling

3

A
  1. Plain
  2. Coffered Ceiling
  3. Beam Ceiling
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53
Q

One of a number of recessed, usually, square or octagonal panels in a ceiling soffit or vault, also known as caisson, lacunar.

A

Coffered Ceiling

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54
Q

The external upper covering of a building, including the frame for supporting the roofing.

A

Roof

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55
Q

A roof having no slope, or one with only slight pitch so as to drain rainwater.

A

Flat Roof

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56
Q

A preliminary version of a plan

A

Draft

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57
Q

Simulating, testing and modifying acceptable alternatives according to specified goals and criteria.

A

Evaluation

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58
Q

Selecting and implementing the most suitable solution.

A

Action

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59
Q

To ensure the fulfillment of by means of a definite plan or procedure.

A

Implement

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60
Q

Assembling how well an implemented solution in use satisfies the specified goals and criteria.

A

Re-Evaluation

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61
Q

A roof having one more slopes.

A

Pitched roof

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62
Q

A roof sloping downward on two parts from a central ridge so as to form a gable at each end.

A

Gable Roof

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63
Q

The triangular portion of wall enclosing the end of a pitched roof from cornice or eaves to ridge.

A

Gable

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64
Q

A roof having sloping ends and sides meeting at an inclined projecting angle.

A

Hip roof

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65
Q

A roof divided on each side of the ridge into two or more slopes, as a gambrel or mansard.

A

Curb Roof

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66
Q

Roof having on each side a steeper lower part and a shallower upper part.

A

Mansard Roof

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67
Q

A roof having no slopes, each descending inward from the eaves.

A

Butterfly

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68
Q

A roof having a single slope.

A

Shed Roof

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69
Q

A shed roof with the higher end abutting a wall or larger building.

A

Lean-to

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70
Q

A shed roof projecting from the side of a building, as to shelter a door. Also called appentice, pent, pentice.

A

Penthouse

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71
Q

The slope of a roof, commonly expressed in inches of vertical rise per foot of horizontal run.

A

Pitch

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72
Q

The measured height of a sloping roof from the eaves to the ridge.

A

Rise

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73
Q

The horizontal distance from the eaves to the ridge of a sloping roof.

A

Run

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74
Q

A pyramidal hip roof.

A

Pavilion Roof

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75
Q

A roof having a hipped end truncating a gable. Also called jerkinhead, shreadhead.

A

Hipped Gable

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76
Q

A ridged roof divided on each side into a shallower slope above a steeper one.

A

Gambrel Roof

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77
Q

The arris between an upper and lower slope on a gambrel or mansard roof.

A

Curb

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78
Q

A gable roof in the form of a broad Gothic arch with gently sloping convex surfaces.

A

Rainbow Roof

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79
Q

A roof or ceiling having a semicylindrical form.

A

Barrel Roof

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80
Q

A roof composed of a series of small parallel roofs of triangular cross section, usually asymmetrical with the shorter slope glazed.

A

Sawtooth Roof

81
Q

An arched structure of stone, brick or reinforced concrete, forming a ceiling ro roof over a hall, room or other wholly or partially enclosed space. (Romanesque gothic)

A

Vaults

82
Q

Circulatory Elements

A
  1. Openings – (door and windows)
  2. Corridors
  3. Stairs – (connotes vertical movement)
    a. Direct Stairway
    b. 2-way stairway
    c. 3-way stairway
    d. Curved stairway
    i. 30-35 degrees – angle of stairs
    ii. Treads – 10”-13”
    iii. Riser – 6”-7 ¾ “
83
Q

Decorative Elements

A

A. Mouldings
B. Ornament

84
Q

The ones which crown a group of moldings or a cornice. Direction is usually horizontal. E.g. sigma, recto, cavetto, corona

A

Terminate

Mouldings

85
Q

uMoldings which are made sturdy in character. The direction is vector. E.g. ovolo, cyna reversa

A

Supports

Mouldings

86
Q

These concave, convex and flat surfaces which give interest to a composition by reasons of introducing a change of direction between 2 or more important elements.
E.g. torus, scotia, astragal, fillet

A

Separate

Mouldings

87
Q

No reference to any particular subject or any familiar easily recognized object. It consists of a pleasing, arrangement of geometrical forms to produce a pattern or composition.

A

Abstract

Ornament

88
Q

No reference to any particular subject or any familiar easily recognized object. It consists of a pleasing, arrangement of geometrical forms to produce a pattern or composition.

A

Abstract

Ornament

89
Q

Classification of Mouldings

A

a. Terminate
b. Supports
c. Separate
d. Translate

90
Q

Classification of Ornament

A

a. Abstract
b. Pictorial
c. Non-pictorial

91
Q

It usually hides less connection with architecture than with some other forms of expression. It tells a story.

A

Pictorial

Ornament

92
Q

The pictorial decorations why biblical or secular history which are sometimes depicted in the sculpture of the church.

A

Naturalistic

93
Q

Consists of the simplifications of the design and its reduction to a basic structural pattern which will express the character of the materials to be used.

A

Conventions

94
Q

Alternative Approach to Decoration

A

2-Dimensional
3-Dimensional

95
Q

Painted decorations, murals, frescos, mosaics, tiles, marbles, inlays of metals woods.

A

2-Dimensional

96
Q

Carved, cast or hammered in low or high reliefs sculptures (low relief, in the round, free standing)

A

3-Dimensional

97
Q

Elements in Organizing Decorative Forms

A
  1. Origin Line
  2. Composition

Origin Line:
Straight Line
Curved Line

98
Q

Sturdy, masculine and belongs to architecture with a determined mission to fulfill, however, it has its moods.

A

Straight Line

99
Q

More subtle than the straight line. It is more graceful and sensitive. It is feminine and represents that architecture which caters to the emotional rather than the physical.

A

Curved Line

100
Q
  1. Within a border
  2. Within an area
  3. All over pattern

Elements in Organizing Decorative Forms

A

Composition

101
Q

Expressive Line Symbols

20

A
  1. Bending Upright Line
  2. Upward Swirls
  3. Rhythmic Horizontals
  4. Upward Sprays
  5. Diminishing Perspective
  6. Inverted Perspective
  7. Waterfall
  8. Concentric Curves
  9. Horizontal Line
  10. Vertical Line
  11. Rounded Arches
  12. Diagonals
  13. Pyramid
  14. Gothic Arch
  15. Rhythmic Curves
  16. Spiral Line
  17. Expanding Spheres
  18. Conducting Diagonals
  19. Zigzag Lines
  20. Radiation
102
Q

Sadness, weariness, grief

Expressive Line Symbol

A

Bending Upright Line

103
Q

Aspiration, spiritual, intensity

Expressive Line Symbol

A

Upward Swirls

104
Q

Laziness, sleepiness, joyous, calm

Expressive Line Symbol

A

Rhythmic Horizontals

105
Q

Growth, realism, spontaneity

Expressive Line Symbols

A

Upward Sprays

106
Q

Distance limited, expanse, nostalgia

Expressive Line Symbols

A

Diminishing Perspective

107
Q

Infinite expanse, expanding space, unhampered freedom

Expressive Line Symbols

A

Inverted Perspective

108
Q

Gravity, rhythmic descent

Expressive Line Symbol

A

Waterfall

109
Q

Upward expansion, flowering, movement, buoyancy

Expressive Line Symbols

A

Concentric Curves

110
Q

Tranquility, immobility

Expressive Line Symbol

A

Horizontal Line

111
Q

Stability, austerity, dignity

Expressive Line Symbol

A

Vertical Line

112
Q

Straight, heavy austerity

Expressive Line Symbol

A

Rounded Arches

113
Q

Instability, mobility

Expressive Line Symbol

A

Diagonals

114
Q

Stability, dignity, massive strength

Expressive Line Symbol

A

Pyramid

115
Q

Spiritual uplift, faith, religious hope

Expressive Line Symbols

A

Gothic Arch

116
Q

Grace, joyousness, youth

Expressive Line Symbol

A

Rhythmic Curves

117
Q

Genesis, generative forces

Expressive Line Symbols

A

Spiral Line

118
Q

Good spirits

Expressive Line Symbol

A

Expanding Spheres

119
Q

War, conflict, hate, confusion

Expressive Line Symbol

A

Conductive Diagonals

120
Q

Excitement, jagged animation

Expressive Line Symbol

A

Zigzag Lines

121
Q

Explosion, sudden outburst

Expressive Line Symbols

A

Radiation

122
Q

Is a process of purposeful visual creation. It fill practical needs and not just realization of personal visions and dreams.

A

Design

123
Q

Tackled not individually, but together. These elements determine the ultimate appearance and contents of a design.

A

Elements of Design

124
Q

Elements of Design

A

a. Conceptual Elements
b. Visual Elements
c. Relational Elements
d. Practical Elements

125
Q

Are not visible; they do not actually exist but seem to be present – if they are really there, they are no longer conceptual.

A

Conceptual Elements

126
Q

Conceptual Elements

A
  1. Point
  2. Line
  3. Plane
  4. Volume
127
Q

Indicates position – it has no length or width and does not occupy any area of space.

A

Point

128
Q

Has position and direction – it has length but no width as it is bound by point.

A

Line

129
Q

Has a position and direction – it has length and width, but no thickness, and is bound by lines.

A

Plane

130
Q

Has a position in space – it has length, width and thickness, and is bound by planes.

A

Volume

131
Q

Form the most prominent part of a design because they are what we can actually see. When conceptual elements become visible, they have shape, size, color, and texture.

A

Visual Elements

132
Q

Visual Elements

A
  1. Shape
  2. Size
  3. Color
  4. Texture
133
Q

Anything that can be seen. Main identification in one’s perception.

A

Shape

134
Q

Relative if one describes it in terms of bigness or smallness, but it is also physically measurable.

A

Size

135
Q

A shape is distinguished from its surroundings because of —.

A

Color

136
Q

Refers to the surface characteristics of a shape.

A

Texture

137
Q

This group of element governs the placement and interrelationship of the shapes in a design. Some are to be perceived (direction and position); some are to be felt (space and gravity).

A

Relational Elements

138
Q

Relational Elements

A
  1. Direction
  2. Position
  3. Space
  4. Gravity
139
Q

— of a shape depends on how it is related (1) to the observer, (2) to the frame that contains it, or (3) to other shapes nearby.

A

Direction

140
Q

— of a shape is judged by its relationship to the frame or the structure if the design.

A

Position

141
Q

Shapes of any size occupy —. Thus, this can be occupied or left blank. It can also be flat or illusory to suggest depth.

A

Space

142
Q

The sense of this is not visual but psychological. As pulled by earth’s —, one tends to attribute heaviness or lightness, stability or instability to individual shapes or groups of shapes.

A

Gravity

143
Q

The practical elements underlie the content and extension of a design. They are the seeds of design theory.

A

Practical Elements

144
Q

When a shape is derived from nature or the man-made world, it is representational. It may be realistic, stylized, or near-abstract.

A

Representation

145
Q

Practical Elements

A
  1. Representation
  2. Meaning
  3. Function
146
Q

Present when the design conveys a message.

A

Meaning

147
Q

Present when a design is to serve a purpose.

A

Function

148
Q

Inclusive term that has several meanings. It may refer to an external appearance that can be recognized, as that if a chair or the human body that sits in it.

A

Form

149
Q

The characteristic outline or surface configuration of a particular form. The principal aspect by which we identify and categorize forms.

A

Shape

150
Q

The physical dimensions of length, width, and depth of a form.

A

Size

151
Q

A phenomenon of light and visual perception that may be described om terms of an individual’s perception of hue, saturation, and tonal value. It is the attribute that most clearly distinguishes a form from its environment. It also affects the visual weight of a form.

A

Color

152
Q

The visual and especially tactile quality given to a surface by the size, shape, arrangement, and proportions of the parts. Also determines the degree to which the surfaces of a form reflect or absorb incident light.

A

Texture

153
Q

All the visual elements constitutes what is generally called —, which is the primary concern in every inquiry into the visual language. A shape of definite size, color, and texture.

A

Form

154
Q

The way form is created, constructed, or organized along with other forms is often governed by a certain discipline which is called —.

A

Structure

155
Q

A form is recognized as a — because it is small. Thus, the main characteristics of a point are (1) its size should be comparatively small, and (2) its shape should be rather simple.

A

Form as Point

156
Q

A — generally conveys the feeling of thinness. A form is recognized as a — because of two reasons: (1) its width is extremely narrow, and (2) its length is quite prominent.

A

Form as Line

157
Q

Three aspects that should be considered in a line

A
  1. The overall shape
  2. The body
  3. The edges
158
Q

Have a variety of shapes, which may be classified as follows: geometric, organic, rectilinear, irregular, hand-drawn

A

Form as Plane

159
Q

Constructed mathematically

Planar forms’ variety of shapes

A

Geometric

160
Q

Bounded by free curves, suggesting fluidity and growth.

Planar forms’ variety of shapes

A

Organic

161
Q

Bound by straight lines which are not related to one another mathematically.

Planar forms’ variety of shapes

A

Rectilinear

162
Q

Bound by straight and curved lines which are not related to one another mathematically.

Planar form’s variety of shapes

A

Irregular

163
Q

Calligraphic or created with the unaided hand

Planar form’s variety of shapes

A

Hand-Written

164
Q

Determined by the effect of special processes or materials, or obtained accidentally.

Planar form’s variety of shapes

A

Accidental

165
Q

— is completely illusory and demands a special spatial attention.

A

Form as Volume

166
Q

Is generally seen as occupying space, but it can also be seen as blank space surrounded by occupied space.

A

Form

167
Q

When form is perceived as occupying space, it is called —.

A

Positive Form

168
Q

When perceived as blank space surrounded by occupied space, it is called —.

A

Negative Form

169
Q

Is commonly referred to as the figure on the ground.

A

Form

170
Q

Forms remain separate from each other although they may be very close together.

A

Detachment

171
Q

If forms are moved closer, they began to touch but still maintain their individuality.

A

Touching

172
Q

If forms are moved still closer, one crosses over, and appears to remain above the other.

A

Overlapping

173
Q

Same as overlapping, but the forms appear transparent; there is no obvious above-and-below relationship between them.

A

Interpenetration

174
Q

Same as overlapping, but the forms are joined together and become a new, bigger form.

A

Union

175
Q

When an invisible form crosses over a visible form, the result is —. May be regarded as the overlapping of a negative form on a positive form.

A

Subtraction

176
Q

Same as interpenetration, but only the portion where the forms cross over each other is the visible, which result in a new, smaller form.

A

Intersection

177
Q

When two forms move totally closer, they coincide; the two forms become one.

A

Coinciding

178
Q

Indicates a position in space.

A

Point

179
Q

A point extended becomes a

A

Line

180
Q

Properties of line

A
  1. Length
  2. Direction
  3. Position
181
Q

A line extended becomes a

A

Plane

182
Q

Properties of Plane

A
  1. length and width
  2. shape
  3. surface
  4. orientation
  5. position
183
Q

A plane extended becomes a

A

Volume

184
Q

Properties of Volume

A
  1. length, width, and depth
  2. form and space
  3. surface
  4. orientation
  5. position
185
Q

is the simplest method in designing, using the same form than once. Sense and harmony is normally associated with the repetition discipline.

A

REPETITION OF FORMS

186
Q

Repetitive shapes can have different sizes, color, shapes, etc.

A

Repetition of Shape

187
Q

Repetition of size is possible when the shapes are repetitive or very similar.

A

Repetition of size

188
Q

All the forms are of the same color but their shapes and sizes may vary.

A

Repetition of Color

189
Q

Forms of the same texture may vary in shape, size, or color.

A

Repetition of Texture

190
Q

Forms show definite sense of direction without the slightest ambiguity.

A

Repetition of Direction

191
Q

This has to do with how forms are arranged in connection with structure.

A

Repetition of Position

192
Q

All forms can occupy space in the same manner.

A

Repetition of Space

193
Q

Gravity is too abstract an element to be used repetitively.

A

Repetition of Gravity

194
Q

Most designs have a — - — is to govern the positioning of forms in a design. — generally imposes order and predetermines internal relationships of forms, one may create a design without consciously thinking of structure, but — is always present when there is organization.

A

Structure

195
Q

Consists of structural lines which are constructed in a rigid, mathematical planner.

A

Formal Structure

196
Q

Various types of formal structure.

A
  1. Repetition
  2. Gradation
  3. Radiation
197
Q

Usually quite regular, but slight irregularity exists. It may or may not consist of structural lines to determine the arrangement of unit forms.

A

Semi-formal structure

198
Q

Does not normally have structural lines. Organization is generally free and indefinite. Contrast is normally associated or used in the design.

A

Informal Structure

199
Q

The basic grid is the most frequently used in repetition structures. It consists of vertical and horizontal lines crossing over each other, resulting in a number of square subdivisions of the same size.

A

The Grid

By Rocky Architecture Licensure Exam (7 decks)

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