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Theory of Archi > Theory > Flashcards

Theory Flashcards

Module 2 (Styles, Pritzker, Dictums)

1
Q

a particular or distinctive form of artistic expression characteristic of a person, people, or period

A

Style

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2
Q

derived from the principle of Greek and Roman architecture

A

Classical

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3
Q

prevalent in Spain and Morocco; influences were Mesopotamian brisk and stucco techniques; frequent use of horseshoe arches, Roman columns, and capitals

A

Moorish

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4
Q

emerged from Roman and Byzantine elements; characterized by massive articulated wall structures, arches, and powerful vaults

A

Romanesque

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5
Q

a revolutionary style of construction; emerged from Romanesque and Byzantine forms; balance of forces, with thrusts directed throughout a rigid structural lattice (features were height and light)

A

Gothic

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6
Q

developed during the rebirth of classical art and learning in Europe; characterized using classical orders, round arches, and symmetrical proportions

A

Renaissance

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7
Q

More ornate than Renaissance; lavish of all styles

A

Baroque

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8
Q

the final phase of Baroque; characterized by profuse, semi-abstract ornamentation; associated with lightness, swirling forms, flowing lines; ornate stucco work, and arabesque ornament

A

Rococo

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9
Q

characterized by monumentality, strict use of the orders, and sparing application of ornament

A

Neoclassicism

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10
Q

buildings were treated not only as functional structures but also as sculptural objects

A

Expressionism

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11
Q

fine and applied art style characterized by fluid, undulating motifs, often derived from natural forms.

A

Art Nouveau

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12
Q

style moderne; marked by geometric forms, streamlined and curvilinear forms, sharply defined outlines, and often bold colors.

A

Art Deco

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13
Q

characterized by simple geometric forms, large untextured, often white surfaces, large areas of glass, and general use of steel or reinforced concrete construction.

A

International style

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14
Q

characterized chiefly by the synthesis of technology, craft, and design aesthetics; emphasizes functional design

A

Bauhaus

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15
Q

emphasizes the aesthetic use of basic building processes, especially of cast-in-place concrete, with no apparent concern for visual amenities.

A

Brutalism

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16
Q

reaction against international style and modernism; encourages the use of elements from historical vernacular styles and often playful illusion, decoration, and complexity.

A

Postmodernism

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17
Q

expression of personal freedom; harmony between environment and structure; all forms should express the natural use of materials

A

Organic Architecture

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18
Q

questions traditional assumptions and takes modernist abstraction to an extreme and exaggerates already-known motifs

A

Deconstructivism

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19
Q

the major proponent is Eugene Tsui; a Design that grows and develops based on climatic and ecological elements, as well as advances in technology

A

Evolutionary Architecture

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20
Q

represents plans and drawing for buildings and cities that have never been constructed; pure research or speculation

A

Conceptual Architecture

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21
Q

awarded annually to honor a living architect whose built work demonstrates talent, vision, and commitment which has produced consistent and significant contributions to humanity

A

Pritzker Architecture Prize

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22
Q

referred to as the Nobel Prize for architecture

A

Pritzker Architecture Prize

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23
Q

Founder of Pritzker Architecture Prize

A

Jay A Pritzker, and wife Cindy

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24
Q

“His work demonstrates a combination of the qualities of talent, vision, and commitment that has produced consistent and significant contributions to humanity and the environment”

Williams Tower, Glasshouse, Rothko Chapel, Lipstick building

A

Philip Johnson

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25
Q

sublime act of the poetic imagination. He has created gardens, plazas, and fountains of haunting beauty— metaphysical landscapes for meditation and companionship.”

Casa Barragan, Cuadra San Cristobal, Torres de Satelite

A

Luis Barragan

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26
Q

a prodigy for so many years—as a leader of the great transition from the Modern Movement to the architecture of the New— an architecture that once more has recognized historical roots, once more has close connections with the buildings surrounding it, once more can be called a new tradition”

Seeley Historical Library

A

James Stirling

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27
Q

“An innovator who does not worship innovation for itself, a professional unconcerned with trends, a quiet humble man who conceives and executes great works, a generous man of strictest standards for his own work.

Knights of Columbus Building

A

Kevin Roche

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28
Q

His work over the past forty years includes not only palaces of industry, government and culture, but also moderate and low-income housing. His versatility and skill in the use of materials approach the level of poetry

John Kennedy Library, OCBC Center, Bank of China

A

Ieoh Ming Pei

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29
Q

American abstract artist and architect; make use of color white; “We honor “” for his single-minded pursuit of the essence of modern architecture. He has broadened its range of forms to make it
responsive to the expectations of our time.

High Museum of Art, The Atheneum

A

Richard Meier

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30
Q

he mingles bold shapes and colors with an exquisite refinement of detail and never fears to bring together the richest of ancient marbles and the latest in plastics

Haas House, Abteiberg Museum

A

Hans Hollein

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31
Q

Born into a family of architects, both expressionist, and post-Bauhaus architect; “He has taken care to see that the elements in his work which suggest the past also bear witness to his ready acceptance, whether in the design of churches, town halls, public housing, or office buildings, of the latest
and best in our contemporary technology.”

Pilgrimage church

A

Gottfried Bohm

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32
Q

Most significant architect of 20th century combining traditional japanese styles with modernism; arrives at shapes that lift our
hearts because they seem to emerge from some ancient and dimly remembered past and yet are breathtaking of today

Yoyogi National Stadium, St. Mary’s Cathedral

A

Kenzo Tange

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33
Q

his forty years of designing masterpieces of modern architecture demonstrate an understanding of contemporary technology and materials that is unsurpassed.

Lever House

A

Gordon Bunshaft

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34
Q

There is a moment in a nation’s history when one individual captures the essence of that culture and gives it form.

National Congress, Cathedral of Brasilia, Niteroi Contemporary Art Museum

A

Oscar Niemeyer

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35
Q

“His sometimes controversial, but always arresting body of work, has been variously described as iconoclastic, rambunctious, and impermanent, but the jury, in making this award, commends this restless spirit

Walt Disney Concert hall, Guggenheim Museum, Biomuseo

A

Frank Gehry

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36
Q

Italian architect and designer who accomplished the unusual feat of achieving international recognition in four distinct areas: theory, drawing, architecture and product design.

San Cataldo Cemetery

A

Aldo Rossi

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37
Q

has expanded and redefined the limits of the art of architecture in this century

The Venturri House, Guild House

A

Robert Venturi

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38
Q

a joy to the senses and uplifts the spirit. Each line and curve is placed with skill and sureness. Like the early Modernists, his shapes, molded by light, have a deceptive simplicity about them, they are honest

Ibere Camargo Foundation, Bouca Housing

A

Alvaro Siza Vieiria

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39
Q

a modernist who has fused the best of both eastern and western cultures to create an architecture representing the age-old qualities of his native country

Four World trade center, National Museum of Modern Art

A

Fumihiko Maki

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40
Q

is a prominent member of a new generation of French architects who have incorporated the lessons of the Beaux Arts into an exuberant collage of contemporary architectural idioms, at once bold, colorful, and original.

Philharmonie Luxembourg

A

Christian de Portzamparc

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41
Q

an assemblage of artistically composed surprises in space and form. There is never a predictable moment as one moves through his buildings.

Church of the Light, Church on the water, Naoshima Contemporary Art Museum

A

Tadao Ando

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42
Q

a writer and critic, devoting almost as much time to education as he does to design, he further shapes the future of architecture with his words

Museum of Roman Art, Kursaal Congress, Cathedral of Our Lady of the Angel

A

Rafael Moneo

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43
Q

is a fascinating and exciting combination of modern forms tempered by the Scandinavian tradition and culture from which it springs

Norweigan Pavillion, Nordic Pavillion, Hedmark Museum

A

Sverre Fehn

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44
Q

that rare melding of art, architecture, and engineering in a truly remarkable synthesis, making his intellectual curiosity and problem-solving techniques as broad and far-ranging as those of earlier masters of his native land

Pompidou Center, Menli Collection, Pinacoteca Giovanni e Marella

A

Renzo Piano

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45
Q

pursuit of the art and science of architecture has resulted in one building triumph after another, each one in its own way, unique.

Commerzbank Headquarters, St Mary Axe, Apple Park, HSBC Building

A

Norman Foster

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46
Q

an architect whose ideas about buildings and urban planning made him one of the most discussed contemporary architects in the world

Seattle Central, Netherlands Dance Theater

A

Rem Koolhaas

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47
Q

combines the artistry of an age-old profession with the fresh approach of a new century’s technical capabilities

Elbe Philharmonic Hall, Prada Store, VitraHaus, Beijing National Stadium, 1111 Lincoln Road

A

Jacques and Pierre De Meuron

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48
Q

Although his works have sometimes been described as a synthesis of Mies van der Rohe and the native Australian wool shed

Marie Short House, Fredericks House

A

Glenn Murcutt

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49
Q

is an architect whose roots extend back into history—touching on the Mayan, Chinese and Japanese, Islamic cultures

Sydney Opera House, Bagsvaerd Church

A

Jorn Utzon

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50
Q

They share a certain fearlessness in their work, and both are unafraid of the risk that comes inevitably with their respective vocabularies of bold visionary forms

A

Zaha Hadid

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51
Q

They share a certain fearlessness in their work, and both are unafraid of the risk that comes inevitably with their respective vocabularies of bold visionary forms

Galaxy Soho, Jockey Club, Vitra Fire station, Dongdaemun Design plaza, Heydar Aliyev

A

Zaha Hadid

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52
Q

an authentic addition to the tradition of innovative, exciting architectural talent that flourishes on the West Coast

Diamond Ranch Highschool, Graduate House (UT)

A

Thom Mayne

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53
Q

inspired by the principles and language of modernism, as well as through his bold use of simple materials, has over the past six decades produced buildings with a deep understanding of the poetics of space

Chapel of Saint Peter, Brazilian Museum

A

Paulo Mendes da Rocha

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54
Q

His fascination with technology is not merely for artistic effect, but more importantly, it is a clear echo of a building’s program and a means to make architecture more productive for those it serves.

Pompidou Center, Millenium Dome

A

Richard Rogers

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55
Q

has pushed architecture’s discourse and praxis to new limits. His inquisitive and agile mind propels him to take risks in each of his projects, which, regardless of varying degrees of success, have greatly expanded the vocabulary of contemporary architecture.

Torre Agbar, One Central Park, Philharmonie de Paris, 100 11th Avenue, Fondation Cartier, Samsung Museum of Art

A

Jean Nouvel

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56
Q

His buildings have a commanding presence, yet they prove the power of judicious intervention, showing us again and again that modesty in approach and boldness in the overall result are not mutually exclusive. Humility resides alongside strength

Therme Vals, Kunsthaus Bregenz, Bruder Klaus Field

A

Peter Zumthor

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57
Q

Their approach is fresh, always offering new possibilities… They use common, everyday materials while remaining attuned to the possibilities of contemporary technology

Rolex learning center, 21st century museum of contemporary art

A

SANAA, Kazuyo Sejima and Ryue Nishizawa

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58
Q

buildings weave together complex references to the characteristics of the region, landscape, site, and wider architectural history. Often simple geometries are underlined through the interplay of solid and void or light and shadow

Paulo Rego Museum, Cantareira Building

A

Eduardo Souto de Zamora

59
Q

a commanding and even, at times, monumental presence, while functioning superbly and creating a calm environment for life and daily activities

Ningbo History Museum, Vertical Courtyard apartments, Ceramic House

A

Wang Shu

60
Q

He has gradually developed and perfected a personal architectural syntax, which combines structural and technical ingenuity with formal clarity

Sendai Mediatheque, International Museum of the Baroque Puebla

A

Toyo Ito

61
Q

The lessons of his pioneering work in the field of lightweight structures that are adaptable,
changeable and carefully use limited resources are as relevant today as when they were first proposed over 60 years ago

A

Munich Olympic, Tuwaiq Palace

62
Q

the outstanding architect who, for twenty years, has been responding with creativity and high-quality design to extreme situations caused by devastating natural disasters

Centre Pompidou, Cardboard Cathedral, Paper Dome

A

Shigeru Ban

63
Q

his commitment to social housing. Since 2000 and the founding of ELEMENTAL, he and his collaborators have consistently realized works with clear social goals.

UC Innovation Center, Quinta Monroy Housing, Villa Verde Housing

A

Alejandro Aravena

64
Q

have a strong sense of place and are powerfully connected to the surrounding landscape. This connection comes from understanding – history, the natural topography, customs and cultures, among other things – and observing and experiencing light, shade, colors and the seasons.

Rural House, La Lira Theatre, Soulages Museum

A

RCR Arquitectes (Rafael Aranda, Carme Pigem, and Ramon Vilalta)

65
Q

He has been practicing the art of architecture, demonstrating substantial contributions to humanity, for over 60 years.

Premabhai Hall, Sangath Architects Studio, Aranya Low-Cost Housing

A

Balkrishna Doshi

66
Q

known as a versatile, influential, and truly international architect; became the first Japanese architect to forge a deep and long-lasting relationship between East and West.

MOMA, Art Tower Mito, Qatar National Convention Center

A

Arata Isozaki

67
Q

have practiced architecture together for forty years in a way that clearly reflects the objectives of the Pritzker Prize: to recognize the art of architecture and consistent service to humanity as evidenced through a body of built work

Univeristy Campus UTEC, Loreta Community School

A

Yvonne Farell and Shelley McNamara

68
Q

reflects architecture’s democratic spirit. Through their ideas, approach to the profession, and the resulting buildings, they have proven that a commitment to a restorative architecture that is at once technological, innovative, and ecologically responsive can be pursued without nostalgia.

Latapie House, 129 Housing, 53 Units

A

Anne Lacaton and Jean Philippe Vassal

69
Q

has found brilliant, inspiring and game-changing ways to answer these questions over the last decades. His cultural sensitivity not only delivers social and environmental justice, but guides his entire process, in the awareness that it is the path towards the legitimacy of a building in a community

Gando Primary School, Opera Village, Serpentine Pavillion, Sarbale ke

A

Francis Kere

70
Q

Classic not by style but by being faithful to a responsibility towards the act and to the art of building, faithful to the three essential Vitruvian qualities: firmitas, utilitas, venustas (strength, usefulness, beauty).

Rover and Rowing Museum, America’s cup building, BBC Scotland Headquarters, Morland Mixite Capital, Amorepacific headquarters, Procuratie Vecchie

A

Sir David Alan Chipperfield

71
Q

“A harmonious design requires that nothing be added or taken away”

A

Vitruvius

72
Q

“A house is a machine for living in”

A

Le Corbusier

73
Q

“A house is a machine for living in”

A

Le Corbusier

74
Q

“Architecture is the learned game, correct and magnificent, of forms assembled in the light”

A

Le Corbusier

75
Q

“For the first time perhaps, the pressing problems of architecture were solved in a modern spirit. Economy, sociology, aesthetics: a new solution using new methods.”

A

Le Corbusier

76
Q

“Less is more”

A

Mies van der Rohe

77
Q

“Architecture is the will of an epoch translated into space”

A

Mies van der Rohe

78
Q

“Economic, technical and cultural conditions have change radically”

A

Mies van der Rohe

79
Q

“Form is not the aim of our work, only the result”

A

Mies van der Rohe

80
Q

“Less is a bore”

A

Robert Venturi

81
Q

“Architecture is the art of how to waste space”

A

Philip Johnson

82
Q

“Form follows function”

A

Louis Sullivan

83
Q

“The mother art is architecture. Without an architecture of our own, we have no soul of our own civilization.”

A

Frank Lloyd Wright

84
Q

“An idea is a salvation by imagination”

A

Frank Lloyd Wright

85
Q

Space is the breath of art

A

Frank Lloyd Wright

86
Q

“A great architect is not made by way of a brain nearly so much as he is made by way of a cultivated, enriched heart.”

A

Frank Lloyd Wright

87
Q

“Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity.”

A

Frank Lloyd Wright

88
Q

“We shape our buildings, thereafter they shape us”

A

Winston Churchill

89
Q

“The first principle of architectural beauty is that the essential lines of construction be determined by a perfect appropriateness to its use”

A

Gustave Eiffel

90
Q

“When I am asked what I believe in, I say that I believe in architecture. Architecture is the mother of the arts. I like to believe that architecture connects the present with the past and the tangible with the intangible.”

A

Richard Meier

91
Q

“A museum is a place where one should lose one’s head”

A

Renzo Piano

92
Q

“The dialogue between client and architect is about as intimate as any conversation you can have because when you’re talking about building a house, you’re talking about dreams.”

A

Robert A.M Stern

93
Q

“As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown.’

A

Norman Foster

94
Q

“Architecture is an expression of values”

A

Norman Foster

95
Q

“Our ultimate goal, therefore, was the composite but inseparable work of art — the great building — in which the old dividing line between monumental and decorative elements would have disappeared forever.”

A

Walter Gropius

96
Q

“Architecture begins where engineering ends”

A

Walter Gropius

97
Q

“Architecture should speak of its time and place but yearn for timelessness.”

A

Frank Gehry

98
Q

“98% of what gets built today is shit.”

A

Frank Gehry

99
Q

“Every building is by nature a sculpture. Sculpture is a three-dimensional object and so is a building.”

A

Frank Gehry

100
Q

“My work is not about ‘form follows function’, but ‘form follows beauty’ or, even better, ‘form follows feminine.”

A

Oscar Niemeyer

101
Q

“You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.”

A

Tadao Ando

102
Q

“ I do not believe architecture should speak too much. It should remain silent and let nature, in the guise of light and wind, speak.”

A

Tadao Ando

103
Q

“Architecture is not based on concrete and steel and the elements of the soil. It’s based on wonder.”

A

Daniel Libeskin

104
Q

“When I’m working on a problem, I never think about beauty. But when I’ve finished, if the solution is not beautiful, I know it’s wrong.”

A

R. Buckminister Fuller

105
Q

“Architecture arouses sentiments in man. The architect’s task, therefore, is to make those sentiments more precise.”

A

Adolf Loos

106
Q

“Supply and demand regulate architectural form”

A

Adolf Loos

107
Q

“Designs of purely arbitrary nature cannot be expected to last long.”

A

Kenzo Tange

108
Q

“Architecture is really about well-being. I think that people want to feel good in a space… On the one hand, it’s about shelter, but it’s also about pleasure.”

A

Zaha Hadid

109
Q

“Recognizing the need is the primary condition for design.”

A

Charles Eames

110
Q

“When we build, let us think that we build forever.”

A

John Ruskin

111
Q

“The architecture we remember is that which never consoles or comforts us.”

A

Peter Eisenman

112
Q

“I am looking for ways of conceptualizing space that will place the subject in a displaced relationship because they will have no iconographic reference to traditional forms of organization. That is what I have always been trying to do, to displace the subject, to oblige the subject to reconceptualize architecture.”

A

Peter Eisenman

113
Q

“To me the drawn language is a very revealing language: one can see in a few lines whether a man is really an architect.”

A

Eero Saarinen

114
Q

“Always design a thing by considering it in its next larger context – a chair in a room, a room in a house, a house in an environment, an environment in a city plan.”

A

Eliel Saarinen

115
Q

“A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured.”

A

Louis Kahn

116
Q

“Design is not making beauty, beauty emerges from selection, affinities, integration, and love.”

A

Louis Kahn

117
Q

“The essential element in architecture is the manipulation of space. It is this essence which separates it from all other arts.”

A

Paul Rudolph

118
Q

“Architecture is a dangerous mixture of power and impotence.”

A

Rem Koolhaas

119
Q

“Ornamentation has been, is, and will be polychrome. Nature does not present us with an object in monochrome, totally uniform with respect to color – not in vegetation, not in geology, not in topography, not in the animal kingdom. Always the contrast of color is more or less lively, and for this reason, we must color wholly or in part every architectural element.”

A

Antoni Gaudi

120
Q

“I am always searching for more light and space.”

A

Santiago Calatrava

121
Q

“I believe that the material doesn’t need to be strong to be used to build a strong structure. The strength of the structure has nothing to do with the strength of the material.”

A

Shigeru Ban

122
Q

“For me, the excitement in architecture revolves around the idea and the phenomenon of the experience of that idea. Residences offer almost immediate gratification. You can shape space, light, and materials to a degree that you sometimes can’t in larger projects.”

A

Steven Holl

123
Q

“There is a rumor that I can’t draw and never could. This is probably because I work so much with models. Models are one of the most beautiful design tools, but I still do the finest drawings you can imagine.”

A

Jorn Utzon

124
Q

“Make no little plans; they have no magic to stir men’s blood. Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with evergrowing insistence

A

Daniel Burnham

125
Q

“Building art is a synthesis of life in materialized form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.”

A

Alvar Aalto

126
Q

“My passion and great enjoyment for architecture, and the reason the older I get the more I enjoy it, is because I believe we - architects - can affect the quality of life of the people.”

A

Richard Rogers

127
Q

“Each new situation requires a new architecture.

A

Jean Nouvel

128
Q

“Architecture aims at eternity.”

A

Christopher Wren

129
Q

“There will never be great architects or great architecture without great patrons.”

A

Edwin Lutyens

130
Q

“Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand.”

A

Toyo Ito

131
Q

“In any architecture, there is an equity between the pragmatic function and the symbolic function.”

A

Michael Graves

132
Q

“What surprises me most in architecture, as in other techniques, is that a project has one life in its built state but another in its written or drawn state.”

A

Aldo Rossi

133
Q

“The purpose of architecture is to create an atmosphere in which man can live, work, and enjoy.”

A

Minoru Yamasaki

134
Q

“Architecture is a visual art, and the buildings speak for themselves.”

A

Julia Morgan

135
Q

“Profit and bottom line, the contemporary mantra, eliminates the very source of architectural expression.

A

Arthur Erickson

136
Q

“Architecture is the design of space, both interior and exterior. So, it’s much more closely related to dance than it is to painting or sculpture.”

A

Bruce John Graham

137
Q

“Architecture is not a private affair; even a house must serve a whole family and its friends, and most buildings are used by everybody, people of all walks of life. If a building is to meet the needs of all the people, the architect must look for some common ground of understanding and experience.”

A

John Portman

138
Q

“The great thing about being an architect is you can walk into your dreams.”

A

Harold Wagoner

139
Q

“Architecture is an art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well-being”

A

Luis Barragan

140
Q

“If a building becomes architecture, then it is art.”

A

Arne Jacobson

141
Q

“Tradition is a challenge to innovation”

A

Alvaro Siza

142
Q

“Architecture is much more than a profession; It’s a discipline.”

A

Odile Decq

143
Q

“Architecture isn’t just about creating new buildings, sometimes it’s about returning what’s already there.”

A

John Pawson

144
Q

“Living architecture is that which faithfully expresses its time. We shall seek it in all domains of construction.”

A

August Perret

Theory of Archi (3 decks)

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