Principles

Question 1

should acknowledge the hierarchy inherent in the functions they accommodate, the users they serve, the purposes or meaning they convey, and the scope or context they address.

Answer 1

The forms and spaces of any building

Question 2

It is in recognition of this natural diversity, complexity, and hierarchy in the programming,
designing, and making of buildings

Answer 2

ORDERING PRINCIPLES

Question 3

Order without diversity can result in

Answer 3

monotony or boredom

Question 4

diversity without order can

Answer 4

produce chaos

Question 5

What is ideal in ordering principles?

Answer 5

A sense of unity with variety is the ideal.

Question 6

seen as visual devices that allow the varied and diverse forms and spaces of a building to coexist perceptually and conceptually within an ordered, unified, and harmonious whole.

Answer 6

Ordering principles

Question 7

A line established by two points in space, about which forms and spaces can be
arranged in a symmetrical or balanced manner

Answer 7

Axis –

Question 8

The balanced distribution and arrangement of equivalent forms and spaces on
opposite sides of a dividing line or plane, or about a center or axis.

Answer 8

Symmetry

Question 9

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.

Answer 9

Hierarchy

Question 10

A unifying movement characterized by a patterned repetition or alternation of
formal elements or motifs in the same or a modified form.

Answer 10

Rhythm –

Question 11

– A line, plane, or volume that, by its continuity and regularity, serves to gather,
measure, and organize a pattern of forms and spaces

Answer 11

Datum

Question 12

The principle that an architectural concept, structure, or organization can be altered through a series of discrete manipulations and permutations in response to a specific context or set of conditions without a loss of identity or concept.

Answer 12

Transformation

Question 13

the most elementary means of organizing forms and spaces in
architecture.

Answer 13

The axis

Question 14

It is a line established by two points in space, about which forms and spaces can be arranged
in a regular or irregular manner.

Answer 14

The axis

Question 15

will determine whether the visual force of
an axial organization is subtle or overpowering, loosely structured or formal, picturesque or
monotonous.

Answer 15

The specific disposition of elements about an axis

Question 16

Since an axis is essentially a linear condition, it has qualities of

Answer 16

length and direction, and
induces movement and promotes views along its path.

Question 16

a symmetrical condition cannot exist without

Answer 16

implying the existence of an axis or
center about which it is structured.

Question 17

two fundamental types of symmetry

Answer 17

Bilateral symmetry, Radial symmetry

Question 18

refers to the balanced arrangement of similar or equivalent elements on opposite sides of a median axis so that only one plane can divide the whole into essentially identical halves.

Answer 18

Bilateral symmetry

Question 19

refers to the balanced
arrangement of similar, radiating elements
such that the composition can be divided into
similar halves by passing a plane at any angle
around a centerpoint or along a central axis.

Answer 19

Radial symmetry

Question 20

can occur in only a portion of the building and organize an irregular
pattern of forms and spaces about itself

Answer 20

A symmetrical condition

Question 21

allows a building to respond to exceptional conditions of its
site or program.

Answer 21

The latter case of local symmetry

Question 22

can be reserved for significant or important spaces within
the organization.

Answer 22

The symmetrical condition

Question 23

can add complexity and
hierarchy to a composition as well
as accommodate programmatic
and contextual requirements.

Answer 23

Multiple symmetries, both major
and minor

Question 24

implies that in most if not all
architectural compositions, real differences exist among
their forms and spaces.

Answer 24

The principle of hierarchy

Question 25

These differences reflect … of
these forms and spaces, as well as the functional, formal,
and symbolic roles they play in the organization.

Answer 25

the degree of importance

Question 26

For a form or space to be articulated as being
important or significant to an organization, it
must be made uniquely visible. This visual
emphasis can be achieved by endowing a form
or shape with:

Answer 26

• exceptional size
• a unique shape
• a strategic location

Question 27

When everything is
emphasized, what happens?

Answer 27

nothing is emphasized

Question 28

A form or space may dominate an architectural composition by

Answer 28

being significantly different in
size from all the other elements in the composition.

Question 29

A form or space can be made visually dominant and thus important by

Answer 29

clearly differentiating
its shape

Question 30

Hierarchically important locations for a form or space
include:

Answer 30

the termination of a linear sequence or axial organization
* the centerpiece of a symmetrical organization
* the focus of a centralized or radial organization
* being offset above, below, or in the foreground of a composition

Question 31

refers to a line, plane, or volume of reference to which other elements in a
composition can relate.

Answer 31

A datum

Question 32

It organizes a random pattern of elements through its regularity, continuity, and constant
presence

Answer 32

• A datum

Question 33

need not be a straight line. It can also be planar or volumetric in form.

Answer 33

Datum

Question 34

can cut through or form a common edge for the pattern, while a grid of lines can form a neutral, unifying field for the pattern.

Answer 34

Line

Question 35

gather the pattern of elements beneath it or serve as an encompassing background for the elements and frame them in its field.

Answer 35

Plane

Question 36

can collect the pattern of elements within its boundaries or organize them along its perimeter.

Answer 36

Volume

Question 37

any movement characterized by a patterned recurrence of elements or motifs at regular or irregular intervals.

Answer 37

RHYTHM

Question 38

The movement may be of our eyes as we follow recurring elements in a composition, or of our bodies as we advance through a sequence of spaces.

Answer 38

Rhythm

Question 39

incorporates the fundamental notion of repetition as a device to organize forms and spaces in architecture.

Answer 39

Rhythm

Question 40

Spaces often recur to accommodate similar or repetitive functional requirements in the building program. This section discusses the patterns of repetition that can be utilized to organize a series of recurring elements, and the resultant visual rhythms these patterns create.

Answer 40

Rhythm

Question 41

is a linear pattern of redundant elements. Elements need not be perfectly identical, however, to be grouped in a repetitive fashion. They may merely share a common trait or a common denominator, allowing each element to be individually unique, yet belong to the same family.

Answer 41

Repetition

Question 42

As in music, a rhythmic pattern may be legato, continuous, and flowing, or staccato and abrupt in its pace or cadence.

Answer 42

Repetition

Question 43

Rhythmic patterns provide continuity and lead us to anticipate what comes next. Any break in the pattern announces and emphasizes the importance of the interrupting element or interval.

Answer 43

Repetition

Question 44

More complex rhythmic patterns can be created by introducing points of emphasis or exceptional intervals into a sequence. These accents or beats help differentiate between the major and minor themes in a composition.

Answer 44

Repetition

Question 45

The radial segments of a nautilus shell spiral outward in a reverberating manner from its center and maintain the shell’s organic unity through this pattern of additive growth.

Answer 45

Repetition

Question 46

to select a prototypical architectural model whose formal structure and ordering of elements might be appropriate and reasonable, and to transform it through a series of discrete manipulations in order to respond to the specific conditions and context of the design task at hand.

Answer 46

Transformation

Question 47

Design is a generative process of analysis and synthesis, of trial and error, of trying out
possibilities and seizing opportunities.

Answer 47

Transformation