RIDQC Flashcards

1
Q

What direction does the house face? Sketch out the front of the residence, and write some descriptive adjectives.

What is the tone of the house if set to music?

What is the layout of the rooms? Is there symmetry? What is the flow of the rooms? Is there a brightness or darkness to the room? How high are the ceilings?

A

First Impressions

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2
Q

Design has to do with the _______ of the various parts

A

wholeness

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3
Q

consider the _______ of windows and the effect they will have on ________ in the space depending on the time of day and the season.

A

orientation, lighting

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4
Q

Consider the ______ from the windows, seeing out to the exterior and the _____ seeing into the space

A

Views

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5
Q

As a designer, you are instrumental in making changes to a space that can be made at a small _____ but result in a _______________

A

cost, dramatic impact

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6
Q

Keep a list of characteristics including the ________ elements that need to be emphasized, the _______ elements that are neither good or bad, and the ________ elements that need to be altered or minimized

A

positive, neutral, negative

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7
Q

Keep these in mind when designing entryways, exits, stairs and traffic patterns

A

security issues, building codes

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8
Q

wall colors, materials, lighting and furniture size and placement

A

ways to alter the appearance of a poorly shaped room

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9
Q

using bodily dimensions to establish the dimensions for clearances, countertops, heights of furniture and shelving

A

anthropometry

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10
Q

Consider bodily dimensions, counter, chair, and table heights in regards to ________

A

function

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11
Q

________________________ deals with how one interacts with a space, as well as how color impacts ones emotions and behaviors

A

Environmental psychology

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12
Q

deals with how a design is going to last, as well as it’s social, political, cultural and economic impact on the environment

A

Sustainable design

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13
Q

deals with how one is able to live in the same place for a long time using the same products and services

A

universal design

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14
Q

a designer should always have the ______ present during the meetings with the _________/_______

A

client, architect, builder

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15
Q

function, quality, aesthetic

A

RIDQC design fundamentals

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16
Q

Notice how they interact, what things they agree on, and who makes the decisions

A

working with a couple

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17
Q

relates to the design of a building, pattern, or piece of furniture. The _____ may be described as “clean and straight,” or “curvilinear”
____ is the overall shape that consists of positive space

A

line, form

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18
Q

the eye-pleasing relationship between various parts; the comparison of scale

A

proportion

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19
Q

the comparison of one thing to the size of a human figure; the size of one object in relation to another

A

scale

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20
Q

the spatial dimensions of an object

A

size

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21
Q

the even display of visual weight

A

balance

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22
Q

having the same reflection across an axis

A

symmetry

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23
Q

having different reflections across an axis

A

asymmetry

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24
Q

repetition in shape, color, tone, texture, accents, direction, and orientation. More complex forms include progression, gradation, transition, and radiation

A

rhythm

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25
Q

the focal point for a design; gives more importance or significance to any given part of a design

A

emphasis

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26
Q

the perceived surface of an object; the roughness, smoothness, hardness, or softness of a surface. This can be either tactile, actual, or perceived.

A

texture

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27
Q

Can be either structural (3D) or applied (2D). A design in which lines, shapes, forms and colors are repeated. The thing that is repeated is a motif

A

pattern

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28
Q

use of motifs and patterns to decorate

A

ornamentation

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29
Q

how big something is in comparison to something else

A

relative size

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30
Q

the literal dimension of a space or object

A

absolute size

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31
Q

_____ is used when designers are considering proportion

A

scale

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32
Q

the area in which shapes and forms exist, defined by the walls, floors, and ceiling

A

space

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33
Q

solid forms

A

positive space

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34
Q

the area surrounding solids; using too much of this makes the room feel crowded

A

negative space

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35
Q

1:1.618; the most eye pleasing, invented by the Greeks

A

Phi/Golden Ratio

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36
Q

The _________ was built in Athens, Greece and made use of the Golden Ratio. Formerly a temple on an acropolis, dedicated to Athena. construction began in 447 BC when the empire was at the peak of its power

A

Parthenon

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37
Q

developed a system or proportions using the human figure. the “Vitruvian” man

A

Leonardo da Vinci

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38
Q

20th century designer, ____________ developed a system of proportion using a human figure with a raised arm

A

Le Corbusier

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39
Q

the study of how one interacts with objects in a given space; arranging objects so that people can use them easily and safely

A

ergonomics

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40
Q

heavily textured surfaces are more ______/________

A

casual, informal

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41
Q

smooth, slick surfaces are more ______

A

formal

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42
Q

The Golden Ratio and the Fibonacci Sequence relate directly to ______. Examples: the spirals on the surface of pinecones and pineapples, and the centers of daisies and sunflowers

A

nature

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43
Q

symmetrical, asymmetrical and radial

A

types of balance

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44
Q

the most common reflection is __________, as the central axis is vertical

A

horizontal

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45
Q

if two equal objects are the same distance from the fulcrum

A

symmetrical balance

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46
Q

having two objects different distances from the fulcrum, or having two unequal objects at the same distance from the fulcrum

A

asymmetrical balance

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47
Q

based on a circle with elements arranged around a central point; concentric circles in a floor or textile design

A

radial balance

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48
Q

the gradual change in size while maintaining the exact same shape. i.e. a group of nestling tables

A

progression

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49
Q

color movement from light to dark

A

gradation

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50
Q

the repetition of an architectural element such as a molding

A

transition

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51
Q

the repetition of something around the central point of a circle

A

radiation

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52
Q

refers to the fabrics used in an interior. Sometimes decorative, and can have various patterns

A

furnishing

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53
Q

well-designed rooms have _______, _______, and _____________. A repetitious pattern may give a room a dynamic/rhythmic quality.

A

texture, pattern, ornamentation

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54
Q

Designers use pattern to add _____________ to a space

A

visual weight

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55
Q

How much an object attracts attention

A

visual weight

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56
Q

__” is best for traffic patterns

A

36

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57
Q

In a living room, between _ and __ feet is a comfortable range of distance for conversation. If larger numbers of people will be occupying the space on a regular basis, consider seating in separate groupings, possibly movable seating.

A

4, 10

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58
Q

This means made of carefully selected components and appropriate materials

A

quality

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59
Q

pleasing to the eye

A

aesthetically pleasing

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60
Q

Discovered that ratios that best serve our human needs lie between 1:1 and 2:1

A

The Greeks

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61
Q

The ___________ has impacted many buildings, ancient and modern

A

Golden Ratio

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62
Q

the “mirror” effect, or when an object is identical on either side when divided by an axis

A

bi-lateral symmetry

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63
Q

The most used materials for structural soundness and interior enhancement are ____, _______, ______, _____, _______, _______

A

wood, masonry, metals, glass, plastic, hybrids

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64
Q

________ is a wet combination of cement, aggregate (fine sand or coarse gravel), and water. Is strong enough for walls and columns, but has to be reinforced with steel bars to form flooring

A

Concrete

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65
Q

______ is a dry mix of chalk and clay ground into fine particles, then mixed with gypsum and water to form a paste that hardens

A

cement

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66
Q

the ________ of concrete is primarily determined by the ratio of water to cement. The less water, the better

A

strength

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67
Q

coarse and fine aggregates mixed together to form concrete is called ___-__ __________

A

all-in aggregate

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68
Q

Introduced at the beginning of the 20th C. Made by removing some of the carbon content of Iron. Dipped in non-flammable materials and coated in zinc to prevent corrosion

A

Steel

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69
Q

Conifer trees, for example pine, used for rough carpentry or joinery; carcass woods; cedar, redwood, fir, spruce, larch, and hemlock

A

Softwoods

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70
Q

Deciduous trees; denser than pine; oak, ash, beech, birch, elm, maple, poplar, sycamore, walnut, mahogany, rosewood, cherry, and teak

A

Hardwoods

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71
Q

Most timber used in interiors is required to have _ to __ percent moisture content (MC). __ percent is substantial for exteriors and roofing

A

8, 15, 18

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72
Q

The area of wood paneling on the lower part of the walls. Typically made of hardwood if custom, otherwise made of a softwood

A

Wainscoting

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73
Q

Different than plywood, made of hardwood and softwood fibers, solidified into a strong, smooth material.

A

Medium Density Fiberboard (MDF)

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74
Q

Used for exterior walls and flooring. Similar to particle board, this is layered in a specific pattern and made into a strong material (as strong as plywood)

A

Oriented Strand Board (OSB)

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75
Q

wood polish brings out the _____, _____, and _______

A

grain, color, texture

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76
Q

_____________________, consider stock sizes, effective seasoning (drying), strength, defects,
workability, fire grading, resistance to worm, fungi and decay, color before and after weathering and the process involved in laying, sealing, polishing and painting the wood in question

A

When evaluating woods

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77
Q

used structurally and decoratively in buildings and interiors. used for furniture, floors, walls, and screens.

A

bamboo

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78
Q

used for furniture. comes from a tall grass.

A

cane

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79
Q

is used in its pure form and also used in composites. comes from the bark of the evergreen oak

A

cork

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80
Q

rabble, fieldstone, ashlar and travertine are examples of this. It is often used for structure and décor. Long-lasting and enduring. Public buildings in DC are examples of enduring legacy

A

masonry

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81
Q

sedimentary, igneous, and metamorphic

A

types of rock/stone

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82
Q

rock that solidify from a molten state. Example: Granite (durable but not fireproof)
the green color comes from black mica, and the pink, buff (golden/yellow), red, brown, and grey are from white feldspar

A

Igneous rock

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83
Q

formed from highly pressurized sand, silt, fossil, and animal debris. Limestone is the most common example. Sealant makes it usable in the kitchen. Travertine is a form of Limestone.

A

sedimentary rock

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84
Q

This is a form of sedimentary rock. It can be used for fireplace and hearth design because it is heat resistant.

A

Sandstone

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85
Q

this type of rock is a combination of sedimentary and igneous rock formed under pressure, heat, and/or moisture. Marble and Slate are examples. Marble is maintained by a yearly spraying of plastic lacquer or acetate. Slate is fire resistant

A

metamorphic rock

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86
Q

_______________________________, ask your suppliers about density, strengths, fire class, damp-proof requirements, thermal and acoustical values, recommendations for use and suitable mortars and application.

A

When considering natural stones

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87
Q

A mixture of copper and zinc. Is used for decorative trimmings, doors, fittings and hardware

A

Brass

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88
Q

a mixture of tin and copper. darker and redder than brass.

A

bronze

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89
Q

a soft non-magnetic metal made from bauxite (box-ite). In the 1920s it was used for ornamental grilles, railings, meshwork, chain curtains, screens, panels, wall and acoustic tiles, Venetian blinds, and outdoor furniture. Different finishes include scratching, sand-blasting, embossing, polishing, electrochemical and anodized finishes that produce metallic colors

A

aluminum

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90
Q

the metal most associated with the modern interior. non-magnetic and oxidation resistant. used in stainless steel (10%).

A

Chromium (chrome)

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91
Q

a blend of highly alloyed steel and chromium. it is resistant to heat, oxidation and corrosion. it a strong material and is easy to manufacture.

A

stainless steel

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92
Q

used in a limited amount in the modern interior. they are elegant materials and used for decorative finishes. One is used extensively for mirrors. These metals along with many others come in a variety of finishes: roughing, burnishing, sand-blasting,
and hammering for example

A

Gold and Silver

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93
Q

use of this material reduces consumption of wood

A

Masonite

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94
Q

woodchips and sawdust pressed together and bonded with an adhesive to form a wood alternative

A

particleboard

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95
Q

products that give off fumes over time

A

off-gassing

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96
Q

a condition linked with the health and wellness of people who spend a significant amount of time in a particular building. no specific illness can be identified. Ways this can be prevented: increase ventilation and air distribution, removal of the source, air cleaning from air filters and gardens, legislation

A

sick building syndrome

97
Q

consider the functional criteria, their aesthetic, and their economic impact. also consider where it will be used: walls, doors, windows, columns, floors, ceilings, steps and stairways.

A

evaluating materials

98
Q

Consider what the role ________ has in the overall design of the room. Should it fade into the background or be a focal point of the room? This should flow with the other areas of the house. This must be beautiful and functional. Should be at least __% of the budget

A

flooring, 30

99
Q

flooring comes in three categories: ____, _________, and ____ flooring

A

soft, resilient, hard

100
Q

Soft flooring are _______ and ____ made of natural and/or synthetic fibers

A

carpets, rugs

101
Q

Resilient flooring is ____, ____, ______, _______, ________, _______, and _____.

A

wood, cork, rubber, leather, linoleum, asphalt, vinyl

102
Q

hard flooring is _____, _____, _________, ____________, ____________, ________, and _______

A

stone, brick, porcelain, ceramic tile, mosaic tile, concrete, terrazzo

103
Q

the surface of the carpet beneath your feet

A

face fiber

104
Q

Some carpet is glued to the floor, while others require good quality padding or ____________ to ensure that the carpet lasts long

A

underlayment

105
Q

carpet is made by the ____, ranging from 27 inches to more than 18 feet. Carpet woven on a loom that is wider than 6’ is known as _________.

A

yard, broadloom

106
Q

most carpets and rugs are either ______ or _____. Today woven carpet is available in 30’ widths, and tufted carpet in 18’ widths, with __’ being the standard width.

A

tufted, woven, 12

107
Q

The carpet nap is also called the carpet ____.

A

pile

108
Q

when selecting carpet, consider natural vs synthetic, the ____, __________, ___________, ___-______, _________, and _______________

A

cost, durability, fire safety, off-gassing, allergies, stain resistance

109
Q

Authentic Oriental rugs that are hand-knotted using either the Persian knot (Senneh) or the Turkish knot (Ghiordes)

A

traditional handmade rugs

110
Q

quality rugs are determined by the types of ____ used and the number of cords and _____ per square centimeter. Modern rugs are usually 16-35 per centimeter, the more per centimeter, the thicker the pile and clearer the pattern

A

dyes, knots

111
Q

Oriental Rugs come in 6 categories: _______, ______ (Dhurrie), ________, _________, _______, and _______

A

Persian, Indian, Turkmen, Caucasian, Turkish, and Chinese

112
Q

woven with geometric designs, deep red color, and have webbed fringes at the ends. made of wool or cotton

A

Turkmen Rugs

113
Q

have intricate patterns, bi-lateral symmetry, muted colors or soft pastels, include floral and human/animal motifs, are fringed on both ends. made of wool, cotton, or silk

A

Persian Rug

114
Q

Have geometric patterns, colorful pastel hues, made of cotton, wool, jute, silk, or a combination.

A

Indian/Dhurrie Rugs

115
Q

have bold geometric patterns made in primary colors

A

Caucasian Rugs

116
Q

Also called Anatolian rugs, these are hand-woven and made of either wool or cotton and dyed with natural dyes. tied with symmetrical knots (Ghiordes)

A

Turkish Rugs

117
Q

cut-pile velvet, background color beige, yellow or coral, designs are often blue, often depict nature scenes/motifs

A

Chinese Rugs

118
Q

Named after an English town. The yarn is woven into the backing. Machine-made. The weaving technique is now obsolete. It can come in a variety of colors and designs.

A

Axminster Rug

119
Q

A non-pile rug from Eastern Europe, with natural motifs (flowers, animals). the ends of the yarn is woven in so that the pattern is reversible

A

Kilim

120
Q

made from an adaptation of the Jacquard loom and have a variety of textures. limited to 5 or 6 colors. the density and quality determined by the number of rows per square inch (warp lines)

A

Wilton Carpet

121
Q

Polypropylene. A type of polyester. used in upholstery. found in indoor-outdoor rugs and is commonly used because it is stain, mildew, and insect resistant

A

Olefin

122
Q

______ carpet is made by adding yarn to a backing, usually coated with latex, then laminated to a second backing for stability. 95 percent of carpets are made like this.

A

tufted

123
Q

when the rug pile is cut at different lengths to produce a pattern

A

random shear

124
Q

_____ can be monofilaments, multifilament, spun, twisted, plied, slub and stretch. Are continuous strands or threads made from fiber

A

yarn

125
Q

the yarn that runs lengthwise. needs to be as strong as the weft

A

warp

126
Q

the yarn that runs across the warp

A

weft

127
Q

fabrics that are woven

A

textiles

128
Q

also called plain weave. uses two elements. simple over-and-under interlace

A

taffeta

129
Q

has a simple two-and-two interlace. Canvas and Duckcloth are examples

A

basket weave

130
Q

a third element is added to this type of weave. it protrudes from the basic weave and created the pile. Plush, corduroy, velour and velvet are examples

A

pile weave

131
Q

a weaving technique that appears quilted or padded. can be handmade or made on a Jacquard loom.

A

matelassé (mat-uh-lass-ay)

132
Q

the loom is used to create small geometric patterns. Similarly, the fabric of the same name is created on Jacquard looms today

A

Dobby

133
Q

most fabrics go through two _________ processes, standard and preliminary. This prepares the fabric for sale

A

Finishing

134
Q

when the fabric is pressed between two weighted, heated rollers

A

calendaring

135
Q

coating a fabric with wax, shellac or resin before calendaring to give it a polished luster finish like chintz

A

Glazing

136
Q

rubbing the surface of the fabric with felt to give the pile a plush look

A

polishing

137
Q

controlled shrinkage of a fabric. makes it thicker. eliminates oils and dirt

A

fulling

138
Q

coating the fabric with acrylic latex to reduce seam fraying, and abrasion resistance (pile fraying prevention)

A

back coating

139
Q

fabrics taken directly off the loom. undyed. an efficient way of producing solid colored fabric

A

Greige (gray-juh) goods

140
Q

an efficient way of dying solid color fabrics

A

piece dyeing

141
Q

when the yarn is stirred in a large vat by hand. used to produce single or multicolor yarns. Medium tones are chosen in areas where bright light will cause fading

A

yarn dyeing

142
Q

using pleasing, balanced colors that work together to give visual pleasure. a ratio of 3.5:6.5

A

color harmony

143
Q

a characteristic of light. the ability of different wavelengths to be received by the receptors in the eye, further transmitting that information to the brain

A

color

144
Q

red, orange, yellow, blue, indigo and violet (blue and violet are on similar wavelengths so they are also called purple). red has the longest wavelength and violet the shortest

A

the light spectrum/ rainbow

145
Q

varying degrees of black and white that can be seen by the eye

A

tonal quality

146
Q

Red, Blue and Yellow. they cannot be created by mixing other colors. a pure color

A

The Subtractive Primaries

147
Q

created by mixing two subtractive primary colors. Orange, Green, Purple

A

Secondary

148
Q

has an infinite number of color variations, focusing on three characteristics: hue, value, and chroma

A

The Munsell System

149
Q

the more neutralized colors of the color scheme should cover the larger areas

A

the law of chromatic distribution

150
Q

describes the effect adjacent areas of color have on one another. also refers to the effect the size of the contrasting colors. a light color may appear darker when it is contrasted with another darker color.

A

simultaneous contrast

151
Q

warm colors that appear like they are closer. use these to make a high ceiling seem closer and a room cozier.

A

advancing colors

152
Q

cool colors that appear like they are moving away. use these on a ceiling or walls that are close.

A

receding colors

153
Q

the rougher a texture the darker its color will appear. a smooth texture will appear lighter

A

the texture and nature of surfaces

154
Q

different colors in _____ areas ___ when seen at a distance. Always look at your textiles and wallpapers from a distance to discern the changes in color

A

small, mix

155
Q

when an object or textile looks one color in one light and another color in a different light

A

metameric shift

156
Q

mortise-and-tenon, tongue and groove, pegging, and dovetail joints

A

joining techniques

157
Q

surface decoration using geometric shapes that fit together (geometric inlays)

A

parquetry

158
Q

usually depicts nature scenes inlaid in the surface (representational inlays)

A

marquetry

159
Q

paint is applied directly to wet plaster creating a durable surface, a technique we associate with the Sistine Chapel,

A

fresco

160
Q

by 600s BCE this culture spread throughout the eastern Mediterranean through conquest, especially during the time of Alexander the Great. Used the post and lintel system in architecture

A

Greeks

161
Q

the Greco-Roman period of history. between 8th century BCE and 6th century AD (from Homer’s the Iliad/Odyssey to the collapse of the HRE)

A

Classical Period (Antiquity)

162
Q

753 BCE-476 BCE. imported goods from all over their empire. developed a taste for luxury and the arts. this culture imitated Greek culture throughout the eastern Mediterranean before the birth of Christ.

A

the Romans

163
Q

term used to describe something “of enduring value” (pertaining to the Greco-Roman era). a car, a suit, or the lines of a sofa can be this.

A

classic

164
Q

the term used to describe a certain aesthetic during the Greco-Roman era; “our sense of the beautiful.”

classical revival: where the _________ aesthetic influenced different periods in history i.e. the Renaissance, the Enlightenment, the Neo-Classical period

A

Classical

165
Q

someone with knowledge in multiple subjects; the ideal Greek male

A

polymath

166
Q

the simpler, more masculine style column, with an abacus (large square block) placed on top. it has no base at the bottom. this column sits directly on the platform

A

doric

167
Q

this style column is less heavy, more feminine. has scrolls at the top.

A

ionic

168
Q

the most elaborate style column. The Romans favored this style

A

Corinthian

169
Q

this style chair was made as early as 5th c. BCE. it was depicted in Greek pottery and sculpture. splayed legs, curved back and backrest.

A

klismos

170
Q

the Greeks used this for dining and sleeping

A

Kline

171
Q

considered the finest Roman building. not very large. was a temple to the gods, and it stands in great condition despite wars and modern air quality and climate.

A

the Pantheon

172
Q

a roofed interior courtyard or skylight covered space surrounded by a building. they were common in ancient Roman dwellings, providing light and air to the interior

A

atrium/atria

173
Q

designed by Romans, became models for Christian churches

A

Basilica

174
Q

Late 1400s-mid 1500s. The search for excellence produced many feats of the Renaissance. Designers were treated with great dignity and respect by patrons.

A

High Renaissance

175
Q

an example of secular architecture. A townhome to Italy’s ruling families of individual states and provinces.

A

palazzo

176
Q

a country house

A

villa

177
Q

a mix of crushed marble and concrete

A

terrazzo

178
Q

painting on wet plaster that has slightly dried. the most expensive form of decoration for ceilings and walls during the Renaissance period. status symbol.

A

fresco

179
Q

a Renaissance architect who worked in Venice, who wrote a series of essays, “The Four Books of Architecture,” on design, providing instruction and illustration.

A

Andrea Palladio

180
Q

“bizarre” or “ugly,” 1600s-1700s. mixture of illusion, light, color, and movement, meant to impress and overwhelm the occupants. Characterized by contrasts between light and dark (often dark), emphasis on movement, grand scale and sense of drama. Associated with Louis XIV. this style was backlash against the rationalism of the Classical style.

A

Baroque

181
Q

Influenced by Neo-Classical styles, straight lines and rectilinear forms. similar legs to Hepplewhite. the rear legs continue into the chair back. ornamental splats often shaped like vases. made of mahogany

A

Sheraton

182
Q

lighter and more airy than Baroque. pastel colors and nature motifs (cockleshell motif). Symbolism. Asymmetry. Frivolity as a theme. associated with Louis XV

A

Rococo

183
Q

Revival of the classicism of the Greco-Roman era and the Renaissance. Simpler design and straight lines. Fine materials and rare woods like mahogany and ebony were used. Associated with Louis XVI

Art: Characterized by clean lines and form, patriotic themes, scientific ideals over religion, and Classical subject matter.

A

Neo-Classical

184
Q

gold leaf fused with brass

A

ormolu

185
Q

chairs noted for their curved lines and a splat back, cabriole legs and club foot. Smaller, lighter, and more comfortable than its predecessors. also called fiddleback

A

Queen Anne

186
Q

classic, French, Chinese, and Gothic influences. popular during the mid 18th c. some have cabriole legs, other, later chairs have straight legs. pierced splats. made of mahogany

A

Chippendale

187
Q

elegant straight lines, slender legs that have a spade or thimble foot. the chair back is curved in an oval, heart, or shield pattern. made of mahogany

A

Hepplewhite

188
Q

early 19th c. exudes characteristics of Egyptian, Chinese and Moorish designs. Reflects the 19th c. age of imperialism (military force).

A

Regency Style

189
Q

this style emerged to celebrate the rise of democracy, by evoking the characteristics of Classical Athens. US.. version of Neo-Classical style

A

Federal

190
Q

revival of Greek architecture. Interiors included Greek accents, vase painting and architectural elements.

A

Greek Revival

191
Q

Revival of Gothic style as a rebellion against the Neo-Classical style in 1800s Europe

A

Neo-Gothic

192
Q
  1. AN English design reformer. he and his company led the Arts and Crafts Movement, a movement against the misuse of materials & machine-made furniture, instead championed high-quality craftsmanship
A

William Morris

193
Q

asymmetrical and exudes nature motifs (flower and insect), vines, and natural curving lines,

A

Art Nouveau

194
Q

an Art Nouveau architect who made the style popular in Barcelona

A

Antoni Gaudi

195
Q

1848-1933. The U.S. Art Nouveau movement was led by _____________. He was a part of the Tiffany Jewelry Family, and invented Tiffany Lamps

A

Louis Comfort Tiffany

196
Q

Also part of the U.S. Art Nouveau Movement. used steel-frame construction, glass, and nature motifs, for his designs. Coined the mantra “form follows function” for modern design.

A

Louis Sullivan

197
Q

One of the pioneers of Modernism. Designed buildings, furniture, lighting, and rugs. had the idea of unifying the exterior of the house with the interior, and the building with the natural setting (surroundings). used nature motifs

A

Frank Lloyd Wright

198
Q

This style uses plain surfaces and straight lines, rejecting the flowing forms of Art Nouveau. Becomes a trend throughout Europe. Interiors were austere and unornamented, and were mostly black, white, neutrals, and primary colors

A

Bauhaus

199
Q

Said “Less is More.”

A

Ludwig (Ludvig) Mies (MEES) van der Rohe

200
Q

This style has decorative motifs including sunbursts, zigzags, stair and waterfall patterns. Its name is from the 1925 Exposition Internationale des Arts Decoratifs et Industriles Modernes in Paris. Handmade furniture and craftsmanship was on display.

A

Art Deco

201
Q

This movement is known for designing classically inspired buildings in a more simplified, less ornamented way, called Stripped Classicism. very eclectic style

A

Beaux-Arts

202
Q

borrowing or blending from many sources

A

eclecticism

203
Q

a pioneer in interior decorating (the first). worked for wealthy New Yorkers.

A

Elsie de Wolfe

204
Q

70s and 80s. Late Modernism, High Tech, and Deconstructivism, are sub-styles of this era of design. Many designs transform traditional and classical designs. no ornamentation. purposely absurd.

A

Post-Modernism

205
Q

1980s. looks “deconstructed.” It is based on the appearance that many elements have been ripped apart and put back together. Frank Gehry and the Guggenheim Museum Bilbao

A

Deconstructivism

206
Q

These designers associate the industrial/machine age with Modernism. Their designs are impacted by technology. Futuristic

A

High Tech

207
Q

(1632-1656) Built in Agra, India. It was built as a mausoleum by Shah Jahan (Mughal sultan) for his wife Mum-Taz Jahan. The gardens represent paradise

A

Taj Mahal

208
Q

electric lighting is __________________

A

artificial lighting

209
Q

daylight is _______________

A

natural lighting

210
Q

light source shining directly into a person’s eyes

A

direct glare

211
Q

light reflecting on a shiny surface such as a tv screen

A

indirect glare

212
Q

having enough light in order to see the space

A

visibility

213
Q

lighting that is used to allow someone to function in the space. could be a single fixture in the center of the room. This does not define shape, form, or texture

A

general lighting

214
Q

dim light (candlelight) makes a space intimate and cozy while bright light energizes and stimulates, giving a very active/alert mood.

A

mood determination

215
Q

brightly lit areas in a dim space can draw focus toward one area and away from another

A

focal point determination

216
Q

lighting that is required to ensure safe movement in a space

A

utility lighting

217
Q

lighting intended to aid the person in doing certain tasks in the space

A

task lighting

218
Q

groups of lighting working together, which allows flexibility, since different sources of small wattage are more useful than a single source of high wattage.

A

layering light

219
Q

light that sets the mood for the room

A

ambient layer lighting

220
Q

illuminates architectural features and sometimes displays

A

focal layer lighting

221
Q

concentrated light aimed at the center of an item on display. used interchangeably with focal lighting

A

accent lighting

222
Q

Is provided by floor lamps, undercabinet lights, desk and table lamps, or a down light such as a canned or recessed fixture.

A

Task layer lighting

223
Q

is used to send light upwards towards the ceiling, providing indirect lighting.

A

up lighting

224
Q

a technique used to light a wall using narrow lights in a narrow trough (troff) close to the wall

A

wall grazing

225
Q

places a continuous light source at the joint of the wall and ceiling

A

slot outlining

226
Q

the amount of light that strikes a surface.

A

illumination

227
Q

a unit that describes light intensity or how much light is emitted from a source.

A

candlepower

228
Q

is equal to one candlepower, or the level of light delivered to a surface one foot away from a standard-size candle

A

candela

229
Q

lighting fixtures. devices that include a lamp holder, a means of electrification and support for that device.

A

luminaries

229
Q

the direction of the light emitted

A

light distribution

230
Q

lamps that generate light when electric current heats up the lamp filament. tungsten

A

incandescent

231
Q

a type of incandescent lamp that give off a whiter light and they last longer. 2k-10k hours vs your standard incandescent (750-1k hrs)

A

halogen

232
Q

an electrical component that starts the lamp and regulates the electric power flow to the lamp

A

Ballast

233
Q

light emitting diode. have high output with lower power consumption

A

LED

234
Q

___________ are either functional or aesthetically pleasing

A

accessories

235
Q

the designer’s written orders to a supplier/vendor

A

Purchase order

236
Q

a second order that is sent to the supplier/vendor with the original purchase order number indicating a change is being made

A

change order

237
Q
A

Greek architectural elements