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Theory of Architecture > LECTURE 6 & 7 > Flashcards

LECTURE 6 & 7 Flashcards

1
Q

suggests harmony

A

UNITY

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2
Q

To have ________, all the unrelated parts of an architectural arrangements are brought into proper relation to each other so that a satisfactory composition is obtained.

A

HARMONY

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3
Q

HOW MANY WAYS ARE THERE TO PRODUCE AN EFFECT OF UNITY IN A DESIGN?

A

SEVEN (7)

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4
Q

There are at least seven (7) ways of producing an effect of UNITY in a design

A
  1. There must be a central motif, a theme, or a center of interest. The attention of the observer must be drawn to this focal point.
  2. The major masses of the building should dominate the less important ones.
  3. All the units should together form a compact and coherent ensemble:
  4. The element of emphasis must be introduced. It may be secured by the size, position, Or treatment of a particular motif which is to give the desired importance to that particular part of the building.
  5. By limiting the amount of treatment seen at one time.
  6. By selecting details, materials, colors, etc. in harmony with the basic idea.
  7. By selecting styles, furniture and furnishings in harmony with the surroundings. An architectural composition lacks unity if the elements compete with each other for the place of importance. And this kind of competition causes DUALITY, or the presence of two strong conflicting personalities or masses resulting in discord and redundancy.
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5
Q

An architectural composition lacks unity if the elements compete with each other for the place of importance. This kind of competition causes ________, or the presence of two strong conflicting personalities or masses resulting in discord and redundancy.

A

DUALITY

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6
Q

An architectural composition lacks unity if the elements compete with each other for the place of importance. This kind of competition causes DUALITY, or the presence of two strong conflicting personalities or masses resulting in __________ and ___________.

A

DISCORD & REDUNDANCY

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7
Q

the articulation of the importance or significance of a form or space by its size, shape, or placement relative to the other forms and spaces of the organization

A

HIERARCHY

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8
Q

For a form or space to be articulated as being important or significant to an organization, it must be made _____________.

A

VISIBLY UNIQUE

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9
Q

For a form or space to be articulated as being important or significant to an organization, it must be made visibly unique. This can be achieved by endowing a form or shape through:

A
  • HIERARCHY BY SIZE
  • HIERARCHY BY SHAPE
  • HIERARCHY BY PLACEMENT
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10
Q

All about expressiveness

A

CHARACTER

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11
Q

It is the External Expression of Internal Qualities

A

MANIFESTED CHARACTER

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12
Q

Character in architecture is derived from three (3) types

A
  1. FUNCTION, or use of the building.
  2. ASSOCIATION, or influence of traditional types.
  3. PERSONALITY, or the human quality or emotional appeal.
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13
Q

The most important kind of character in architecture is that which results from the purpose of the building or the reason for its construction.

A

FUNCTIONAL CHARACTER

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14
Q

This comes from the influence of ideas and
impressions related to or growing out of past experiences.

A

ASSOCIATED CHARACTER

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15
Q

This bears a certain relation to the same attribute in the life of an individual.

A

PERSONAL CHARACTER

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16
Q

It is found that the element of personality plays an important part in the revealing of character both with man and with architecture

A

PERSONAL CHARACTER

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17
Q

Character then may be expressed in Architecture by

A
  1. SCALE
  2. PROPORTION
  3. STYLE
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18
Q

when increased, it gives a feeling of grandeur, dignity, and monumentality.

A

SCALE

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19
Q

when _______ is reduced, these characteristics are lessened if not reversed.

A

SCALE

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20
Q

regarded to produce formality in character when applied.

A

PROPORTION

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21
Q

EXAMPLE OF PROPORTION

A

TRIANGULAR MASSING

22
Q

The huge proportions applied in the parts of the classical buildings give them the formal character.

A

TRIANGULAR MASSING

23
Q

many architects believe that this is
character expressive of definite conceptions

A

STYLE

24
Q

EXAMPLES OF STYLE

A

GRANDEUR, GAIETY, OR SOLEMNITY

25
Q

is relating to seeing or to the eyes

A

VISUAL

26
Q

is the sharpness or keenness of thought, vision, or hearing.

A

ACUITY

27
Q

It increases with an increase in the intensity of illumination.

A

ACUITY

28
Q

is the ability to see, hear, or become aware of something through the senses.

A

PERCEPTION

29
Q

It is the process by which we organize and interpret the patterns of stimuli in our environment, the immediate intuitive recognition, as of an aesthetic quality.

A

PERCEPTION

30
Q

It is experienced through the eyes, but interpreted with the mind

A

VISION

31
Q

It involves the whole pattern of nerve and brain response as well as the visual ‘stimulus’

A

PERCEPTION

32
Q

Man uses two eyes for the perception of objects in nature and continually shifts his focus of attention. In doing so leads to two different types of vision and they are:

A

Stereoscopic & Kinesthetic

33
Q

The ability to overlap views, which are slightly different into one image.

A

STEREOSCOPIC

34
Q

This visual process created an illusion of three-dimensional depth, making it possible to judge distances.

A

STEREOSCOPIC

35
Q

One of the most frequently employed types of information especially over short distances, arises from

A

RETINAL DISPARITY

36
Q

unlikeness of the retinal images in the eyes, which are in different spatial positions

A

RETINAL DISPARITY

37
Q

the vision when the man experiences space in the movements of the eye from one part of a whole work of art to another

A

KINESTHETIC

38
Q

Objects can be perceived not only visually but by the sound of familiar voices, people can be recognized.

A

PERCEPTION OF OBJECTS

39
Q

In identifying objects, they may be

A

touched and weighed in the hand.

40
Q

If they are food objects, they may be

A

smelt and tasted.

41
Q

The most important feature of a shape or object is its general outline or contour

A

PERCEPTION OF SHAPE

42
Q

A phenomenon wherein drawings consisting of black lines, any line which surrounds an area, and which is recognized as representing an object is quickly picked out by the observer, and it then seems to him to stand out from the background in an obvious manner.

A

FIGUREGROUND

43
Q

No field of view is perceived all at one dead level. Some part of it will always tend to become ________ and to be differentiated from the rest of the field which forms the ________ to this figure.

A

FIGURAL, GROUND

44
Q

If a drawing is presented wherein two parts are equally meaningful, there may be an alternation of __________________________ between them.

A

FIGURE AND GROUND

45
Q

It is a demonstration of a figure-ground reversal.

A

THE REVERSIBLE GOBLET

46
Q

ground effects an ambiguous drawing that can be seen either as a pretty young woman or as
an attractive old woman. The old woman’s eyes are the ear of the young woman

A

Ambiguous Figure

47
Q

When you look at the figure from afar it looks so much like a skull but when near, it clearly shows a lady in front of a mirror.

A

Vanity

48
Q

shows an exterior view of the left-hand house, an interior view of the right-hand, and either an exterior or interior view of the house in the middle, depending upon one’s choice.

A

CONCAVE AND CONVEX

49
Q

An example of Artistic use of reversible figure and ground

A

Circle limit IV C (Heaven and Hell)

50
Q

The angels and evil alternate but neither seem
to dominate the other looking at the black bat then swift to looking at the white dove.

A

Circle limit IV C (Heaven and Hell)

51
Q

a wood cut by M.C. Escher.

A

Circle limit IV C (Heaven and Hell)

Theory of Architecture (7 decks)

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