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09 Theory of Design > Theory of Design - Part 3of5 Theories from Environmental Psychology > Flashcards

Theory of Design - Part 3of5 Theories from Environmental Psychology Flashcards

1
Q

Architecture is always created perceived and experienced in relation to the self. The self has 4 levels which are:

A

Body/ Gender/ Emotions/ Spirit

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2
Q

The belief that the human being is the most important entity in the universe. The world is perceived according to the values and experiences of the human being.

A

Anthropocentrism

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3
Q

Human qualities are associated with non-human entities/events such as form/values/emotions.

A

Anthropomorphism

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4
Q

Study of measurements of the human body.

A

Anthropometrics

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5
Q

An applied science concerned with the characteristics of people that need to be considered in the design of devices and systems in order that people and things will interact effectively and safely.

A

Ergonomics

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6
Q

Architecture characterized by aggression or extroversion (e.g. Skyscrapers)

A

Masculine Architecture

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7
Q

Architecture characterized by introspection (social and introverted)

A

Feminine Architecture

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8
Q

Architecture characterized by having both masculine and feminine qualities (convertible spaces)

A

Gay Architecture

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9
Q

Architecture characterized by having neither masculine nor feminine qualities (unidentifiable spaces)

A

Androgynous Architecture

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10
Q

Study of spatial separation of people.

A

Proxemics

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11
Q

He described the culturally specific temporal and spatial dimensions that surround people (distance zones).

A

Dr. Edward T. Hall Jr.

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12
Q

Distance Zone: Intimate (Close Phase)

A

0-6in (0m - 0.15m) (half tile)

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13
Q

Distance Zone: Intimate (Far Phase)

A

6in - 1ft 6in (0.15m - 0.45m) (1 and half tiles)

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14
Q

Distance Zone: Personal (Close Phase)

A

1ft 6in - 2ft 6in (0.45m - 0.76m) (2 and half tiles)

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15
Q

Distance Zone: Personal (Far Phase)

A

2ft 6in - 4ft (0.76m - 1.22m) (4 tiles)

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16
Q

Distance Zone: Social (Close Phase)

A

4ft - 7ft (1.22m - 2.13m) (7 tiles)

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17
Q

Distance Zone: Social (Far Phase)

A

7ft - 12ft (2.13m - 3.65m) (12 tiles)

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18
Q

Distance Zone: Public (Close Phase)

A

12ft - 25ft (3.65m - 7.62m) (25 tiles)

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19
Q

Distance Zone: Public (Far Phase)

A

25ft and above (7.62m and above) (25 tiles and above)

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20
Q

Distance Zone: Intimate

A

0 - 1ft 6in (0mm - 0.45m)

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21
Q

Distance Zone: Personal

A

1ft 6in - 4ft (0.45m - 1.22m)

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22
Q

Distance Zone: Social

A

4ft - 12ft (1.22m - 3.65m)

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23
Q

Distance Zone: Public

A

12ft and above (3.65m and above)

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24
Q

The region surrounding a person which they regard as psychologically theirs

A

Personal space

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25
Q

Spaces that encourage people to gather and communicate

A

Sociopetal spaces

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26
Q

Spaces that discourages people to gather and communicate (separates people).

A

Sociofugal spaces

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27
Q

Denotes ownership and/or rights to a place.

A

Territory

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28
Q

Staking claims (of a property) for control (defense against intrusion) or expression of aesthetics.

A

Personalization

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29
Q

Architecture which allows personalization (e.g. low-cost housing allowing homeowners to dress up their houses)

A

Soft Architecture

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30
Q

The ability to control your interactions with others.

A

Privacy

31
Q

4 Kinds of Privacy

A

Solitude/Intimacy/Anonymity/Reserve

32
Q

Privacy: free from observation by others

A

Solitude

33
Q

Privacy: with another person but free from outside world

A

Intimacy

34
Q

Privacy: unknown even in a crowd (e.g. choosing a solo table in a library)

A

Anonymity

35
Q

Privacy: person employs psychological barriers to control unwanted intrusions (e.g. wearing sunglasses or earphones)

A

Reserve

36
Q

The opposite of privacy. Too many people in a space resulting to the feeling of lack of control over the environment. May lead to negative behavior.

A

Social overcrowding

37
Q

Proponent of the Hierarchy of Needs theory

A

Abraham Maslow

38
Q

Maslow’s Hierarchy of Needs: The need for shelter.

A

Physiological

39
Q

Maslow’s Hierarchy of Needs: The need to be safe from physical harm.

A

Security

40
Q

Maslow’s Hierarchy of Needs: The need to be part of the society.

A

Social acceptance/affiliation

41
Q

Maslow’s Hierarchy of Needs: The need to feel good about one’s self.

A

Self-esteem

42
Q

Maslow’s Hierarchy of Needs: The need to realize one’s full potential or achieve one’s dreams.

A

Self-actualization

43
Q

Organization/identificaiton/interpretation of sensory information in order to represent and understand the environment.

A

Perception

44
Q

The mental process by which we acquire knowledge.

A

Cognition

45
Q

Anything that represents (by association/resemblance/convention) or suggests an idea/visual image/belief/action/material entity.

A

Symbol

46
Q

The science of signs and how the mind turns symbols into meanings.

A

Semiotics

47
Q

Theory derived from German term for shape or form. This perception theory tries to understand the laws of our ability to acquire and maintain meaningful perceptions in an apparently chaotic world (distinct from what others perceive).

A

Gestalt Theory of Perception

48
Q

The conditions in the environment affect the way an object is perceived (e.g. The Falling Water is not as pretty during winter).

A

Ecological Theory of Perception

49
Q

Perception theory based on the notion that perception results from acquired but unconscious assumptions about the environment (represented as probabilities of transactions occurring within it). Recognizes the role of experience

A

Transactional Theory of Perception

50
Q

Branch of philosophy that deals with the nature of art/beauty/taste with a view to establish the meaning and validity of critical judgments concerning works of art.

A

Aesthetics

51
Q

Approach to aesthetics derived from personal beliefs or ideas.

A

Speculative Aesthetics

52
Q

Speculative Aesthetics: 2 Approaches

A

Philosophical/ Scientific

53
Q

Philosophical Speculative Aesthetics: 4 Approaches

A

Hermeneutic/ Phenomenological/ Existential/ Political (Marxist)

54
Q

Philosophical Speculative Aesthetics: Interpretation of the environment as a text (We appreciate things if they portray easily understandable story or literature).

A

Hermeneutic

55
Q

Philosophical Speculative Aesthetics: Intuitive insight into relationships of person and environment (We appreciate something just because of our instinct or just because we do).

A

Phenomenological

56
Q

Philosophical Speculative Aesthetics: Creative act and creative artifact (we appreciate uniqueness as opposed to mass produced).

A

Existential

57
Q

Philosophical Speculative Aesthetics: Representation of class struggle

A

Political (Marxist)

58
Q

Scientific Speculative Aesthetics: 4 Approaches

A

Psychoanalytic/ Psychological/ Organismicist/ Formist

59
Q

Scientific Speculative Aesthetics: Creation as chatartic act (chatarsis = outpouring of emotions).

A

Psychoanalytic

60
Q

Scientific Speculative Aesthetics: 2 Types of Psychological approach

A

Mechanistic/ Contextual

61
Q

Scientific Speculative Aesthetics: Psychological approach - stimulation thru single sensation

A

Mechanistic

62
Q

Scientific Speculative Aesthetics: Psychological approach - beauty from everyday/ordinary life/nature

A

Contextual

63
Q

Scientific Speculative Aesthetics: The fusion of body and soul or shell and core (We appreciate something if we are aware of its deeper meaning).

A

Organismicist

64
Q

Scientific Speculative Aesthetics: Expressive value of patterns or forms (We appreciate something if it forms recognizable patterns).

A

Formist

65
Q

Scientific approach to aesthetics.

A

Empirical Aesthetics

66
Q

Empirical Aesthetics: 4 Approaches

A

Information-theory/ Semantic/ Semiotic/ Psychobiological

67
Q

Empirical Aesthetics: Environment as a set of images that act as stimuli (We respond to all the details of the image).

A

Information-theory Approach

68
Q

Empirical Aesthetics: Meaning of environmental elements (We appreciate something if we simple know the meaning).

A

Semantic Approach

69
Q

Empirical Aesthetics: Cultural learned meanings (meanings are not universal but cultural).

A

Semiotic Approach

70
Q

Empirical Aesthetics: Neurophysiological processes of brain.

A

Psychobiological Approach

71
Q

Denotes stable combination of activity and place.

A

Behavior setting

72
Q

The main component of Behavior Setting (what activity).

A

Standing Pattern of Behavior (SPB)

73
Q

Component of Behavior Setting which acts as the physical support (where the activity is conducted).

A

Milieu

74
Q

Micro-behaviors

A

Actones

09 Theory of Design (5 decks)

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