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09 Theory of Design > Theory of Design - Mixed > Flashcards

Theory of Design - Mixed Flashcards

1
Q

Daniel Burnham

A

Make no little plans. They have no magic to stir men’s blood and probably themselves will not be realized. Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will never die, but long after we are gone will be a living thing, asserting itself with ever-growing insistency. Remember that our sons and grandsons are going to do things that would stagger us. Let your watchword be order and your beacon beauty. Think big.

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2
Q

Aesthetic

A

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

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3
Q

Beauty

A

The aggregate of qualities in a person or thing that gives intense pleasure to the senses or deep satisfaction to the mind or spirit whether arising from harmony of form or color, excellence of craft, truthfulness, originality, or other, often unspecifiable property.

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4
Q

Taste

A

Critical judgment, discernment, or appreciation of what is fitting, harmonious, or beautiful prevailing in a culture or personal to an individual.

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5
Q

Tectonics

A

The science or art of shaping, ornamenting, or assembling materials in construction.

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6
Q

Technology(Applied Science)

A

The branch of knowledge that deals with the creation and use of technical methods and materials and their interrelation with life, society and the environment.

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7
Q

Edmund Bacon

A

It’s in the doing that the idea comes.

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8
Q

Point

A

Marks a position in space

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9
Q

Line

A

Connection of two or more points of an infinitely longer path (length, direction, position)

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10
Q

Plane

A

A series of parallel lines or a transparent spatial membrane which can be stretched between two parallel lines (length and width, shape, surface, orientation, position).

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11
Q

Volume

A

Points or vertices where several planes come together. Has length, width and depth, it indicates form, shape, surface, orientation and position in 3D.

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12
Q

Form

A

Is the primary identifying characteristic of volume

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13
Q

3 Transformation of Form.

A
  1. Dimensional; 2. Subtractive; 3. Additive
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14
Q

4 Kinds of Additive Forms.

A
  1. Spatial Tension; 2. Edge to Edge Contact; 3. Face to Face Contact; 4. Interlocking Volumes
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15
Q

Centralized Form

A

A number of secondary forms clustered about a dominant central parent form.

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16
Q

Linear Form

A

A series of forms arranged sequentially in a row.

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17
Q

Radial Form

A

A composition of linear forms extending outward from a central form in a radial manner.

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18
Q

Clustered Form

A

A collection of forms grouped together by proximity or the sharing of a common visual trait.

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19
Q

Grid Form

A

A set of modular forms related and regulated by a three-dimensional grid.

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20
Q

4 Principles of Organization.

A
  1. Space within a Space
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21
Q

Axis

A

A line established by two points in space, about which forms and spaces can be arranged in a regular or irregular manner. An axis must be terminated at both its ends by a significant form or space.

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22
Q

Hierarchy

A

In most, if not all, architectural compositions, real differences exist among their forms and space, reflecting the degree of importance of these spaces, as well as the functional, formal, and symbolic roles they play in the organization.

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23
Q

Datum

A

Refers to a line, plane or volume to which other elements in a composition relate.

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24
Q

Rhythm

A

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

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25
Q

Approach

A

The distant view.

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26
Q

Entrance

A

From outside to Inside.

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27
Q

Configuration of the Path

A

The sequence of spaces.

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28
Q

Path-Space Relationship

A

Edges, nodes, and terminations of the path.

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29
Q

Form of the Circulation Space

A

Corridors, halls, galleries, stairways and rooms.

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30
Q

5 Space organizations

A
  1. Centralized
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31
Q

Categories of Proportion

A
  1. Material
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32
Q

Types of proportion

A
  1. Relative and Absolute
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33
Q

Theories of Proportion

A
  1. Ken
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34
Q

Design Stages

A
  1. Initiation
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35
Q

Design Philosophy

A

A statement of the beliefs, values or viewpoints from which the development of the design solutions take off, They are often formed out of universally held principles and thus become bases for socially desirable design objectives.

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36
Q

Ludwig Mies Van der Rohe

A

Less is more.

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37
Q

Aldo Leopold

A

Ecology is a harmonious relation to land is more intricate and of more consequence to civilization than the historians of progress seem to realize. Civilization is not, as they often assume, the enslavement of a stable and constant earth. It is a state of mutual and independent cooperation between humans, animals, plants and soils, which may be disrupted at any moment by the failure of any of them.

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38
Q

Doxiadis

A

A human settlement is made up of five ekistic elements, which are interactive and independent with each other. These are man, nature, shells, networks and society.

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39
Q

De Stijl

A

Pursuit of social renewal through ideal abstraction; close relationship between architecture and the fine arts; pristine, geometric but more decorative than Bauhaus.

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40
Q

Ethnocentrism

A

Habitual disposition to judge foreign people or groups by the standards and practices of one’s own culture or ethnic group.

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41
Q

Critical Regionalism

A

Factoring in cultural variations and contextual realities.

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42
Q

Eclecticism

A

Free trade and travel resulted to the mixed style of architecture.

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43
Q

Art Nouveau

A

No traces of historical style, use of glass and metal.

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44
Q

International Style

A

Transcends culture and nations.

45
Q

Robert Venturi

A

Less is bore.

46
Q

Modernism

A

Open planning and free of historic detail

47
Q

Academism

A

19th century, also related to Beaux Arts

48
Q

Metabolism

A

1960’s movement in Tokyo about organic architecture.

49
Q

Revivalism

A

Revival of the classical Greek and Roman

50
Q

Arts and Crafts Movement

A

19th century conservative detachment from industrial revolution, proponent of which is William Morris.

51
Q

Functionalism

A

Put emphasis on practical resolution of a building’s needs; free plan, no dominant facade white walls.

52
Q

Brutalism

A

The use of raw concrete appeared to be unfinished.

53
Q

Chinoiserie

A

The influence of Chinese style in Western architecture.

54
Q

Constructivism

A

A Russian movement of geometric shapes and use industrial materials

55
Q

Purism

A

Simplicity, proponent of which is Le Corbusier

56
Q

Historicism

A

Use of past historical styles.

57
Q

Organic Architecture

A

Style based on natural growth from the environment.

58
Q

Bauhaus Movement

A

Rational design where art and technology are united

59
Q

Corporatism

A

The business of architecture focuses on proficiency of the process and product of architecture.

60
Q

Deconstructivism

A

Proponent of which is Jacques Derrida, breaking the norms of a box.

61
Q

Physiological

A

Maslow’s Hierarchy of Needs:

62
Q

Safety

A

Maslow’s Hierarchy of Needs:

63
Q

Love/Belonging

A

Maslow’s Hierarchy of Needs:

64
Q

Esteem

A

Maslow’s Hierarchy of Needs:

65
Q

Self-actualization

A

Maslow’s Hierarchy of Needs:

66
Q

Persian

A

Character: Light and Airy Magnificence

67
Q

Greek Architecture

A

Character: Simplicity & Harmony

68
Q

Marcus Vitruvius Pollio

A

Firmitas, Utilitas, Venustas

69
Q

Roman Architecture

A

Character: Vastness and Magnificence

70
Q

Romanesque Architecture

A

Character: Sober and Dignified

71
Q

Gothic Architecture

A

Character: Lofty & Aspiring Quality, Structural Honesty, Economy in Materials

72
Q

Renaissance Architecture

A

Character: Use of classic Roman orders, Dignity & Formality achieved through symmetry

73
Q

Renaissance Buildings

A

Tend to have a square, symmetrical appearance with central columns and windows, arches supported by piers or columns, decorated flat ceilings and domes.

74
Q

Leon Battista Alberti

A

Developed a clever system of classical pilasters and architraves which could be superimposed on any earlier smooth surface called, “ornamentum”

75
Q

Andrea Palladio

A

Father of modern picture books of architecture.

76
Q

Philibert de l’orme

A

NAME?

77
Q

Baroque Architecture

A

A European style of architecture of the 17th and 18th centuries.

78
Q

Rococo Style

A

Not a style in its own right, but is the last phase of the Baroque. Prominent in early 18th century France, Rococo developed from Baroque as a reaction to the heavy, opulent aesthetic, and instead was more light, playful and graceful. Placed emphasis upon asymmetry, curves and natural forms (such as tree branches, clouds, flowers or seashells), and detailing was frequently highlighted in gold

79
Q

Anthropocentrism

A

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.

80
Q

Anthropomorphism

A

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

81
Q

Anthropometrics

A

Study of measurements of the human body

82
Q

Ergonomics

A

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.

83
Q

Atomists

A

Man is part of the universe. The elements making up man are the same elements making up the whole universe.

84
Q

Sophists

A

Man is the source of all measurements for all things; man is a free entity who can chart his own direction.

85
Q

Medieval/Christian Theologians

A

Man has no power over the laws of the universe.

86
Q

Vitruvius

A

He denounced that a building should reflect measurements and proportions of the human body.

87
Q

Alberti

A

There is humanism in architecture. The concept of beauty is based in order of numbers and Euclidean geometry.

88
Q

Soft Architecture

A

The building or environment can be personalized without damage to them or without difficult surgery.

89
Q

Personalization and Personalized Space

A

Manifestation of desire for control and an expression of aesthetic taste as well as an effort to make environment fit activity better.

90
Q

Territory

A

A delimited space that a person or a group of persons uses and defends as an exclusive preserve.

91
Q

Privacy

A

The ability of individuals or group of individuals to control their visual, auditory, and olfactory interactions with others. The ability to control interactions to have options and to achieve the desired level of interaction.

92
Q

Solitude

A

The state of being free from observation by others

93
Q

Intimacy

A

The state of being with another person but free from the outside world.

94
Q

Anonimity

A

The state of being unknown even in a crowd.

95
Q

Reserve

A

The state in which a person employs psychological barriers to control unwanted intrusions.

96
Q

1-18 inches

A

Intimate level of space

97
Q

18-48 inches

A

Personal level of space

98
Q

4-12 feet

A

Social level of space

99
Q

12 or more feet

A

Public distance

100
Q

Marcus Vitruvius Pollio

A

Documented architectural theory in the first book in architecture.

101
Q

Complimentary

A

Two colors that are opposite in the color wheel, such as red and green or violet and yellow.

102
Q

7.85 times the height of the person’s head

A

Local adaptation of Le Corbusier’s modulor suggests that the human height with shoe heel allowance is equal to _____.

103
Q

Leonardo Da Vinci

A

The Vitruvian Man, a nude male in 2 superimposed positions with arms and legs apart was drawn by _____.

104
Q

Fibonacci

A

A numerical series where each number is the sum of the preceding two numbers in the sequence

105
Q

Golden Section

A

A modular system of interrelated proportions based in the human body and the golden ratio.

106
Q

Protective

A

The roof, dome, and ceiling are main examples of which elements of architecture?

107
Q

Vitruvius

A

Author of the Ten Books of Architecture.

108
Q

Golden Rectangle

A

A rectangle whose sides are proportioned to the ratio of 1.618 between two sections.

109
Q

Articulation

A

The manner in which the surfaces of a form come together to define its shape and volume.

09 Theory of Design (5 decks)

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