:) Flashcards

(37 cards)

1
Q

What are the influences on architecture?

A

General influences, Influences of Nature, Influence of Man

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2
Q

What are the general influences of man?

A

Needs of man and Activities of Man

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3
Q

What are the needs of man

A

Physical needs, Emotional needs, Intellectual needs

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4
Q

food, shelter, clothing, livelihood, and other basic needs

A

Self-preservation

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5
Q

for the population to increase and continue in existence.

A

reproduction

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6
Q

What are the activities of man

A
  • DESIRE FOR PRESERVATION
  • DESIRE FOR RECOGNITION
  • DESIRE FOR RESPONSE
  • DESIRE FOR SELF-EXPRESSION
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7
Q

This affects the habits and temperaments
of people

A

Climate

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8
Q

plans are more open and often include courts or patios.

A

Warmer climate

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9
Q

more compact in arrangement.
The severe cold winds are avoided by providing a cover from portion of the building to the other.

A

Colder climate

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10
Q

The general terrain or contour of the
the surface of an area.

A

Topography

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11
Q

Since architecture is the most permanent
and cumulative reflection of the social
structure of a certain period, the interests
of the people dictate the type and
appearance of its buildings.

A

Social Conditions

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12
Q

In this setting, the man’s personality
reflects what his interest is from the type of house that he prefers to live in. This
influence is even more magnified when
you are dealing with residential clients.

A

Mans personality

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13
Q

refers to the size of something compared to a reference standard or to the size of something else
(like a human being).

A

scale

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14
Q

refers to the proper and harmonious
relation of one part to another or to the whole.

A

proportion

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15
Q

a mathematically-based proportioning system used by ancient civilization including the Greeks and Romans
as well as by modern designers, most notably the French-Swiss architect Le Corbusier.

A

golden section

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16
Q

used by the Greeks and Romans
of ancient antiquity represented the perfect expression of beauty and harmony. They were not based on a
fixed unit of measurement, but rather on the proportioning of the parts to the whole.

A

classical orders

17
Q

believing that their buildings had to belong to a higher order, returned to the Greek mathematical system of proportions. Just as Greeks thought music to be the geometry translated in
sound, the Renaissance architects thought that architecture was mathematics translated into spatial
units. They applied the proportioning system developed by Pythagoras (which was based on musical scale), and developed a progression of ratios
that formed the basis of their architecture. These proportions manifested themselves not only in the
dimensions of a room or façade, but also in the relationship of spaces in the plan.

A

Renaissance Theories

18
Q

was made famous by the French-Swiss architect Le Corbusier. Based on
the measuring concepts used by the Ancient Greeks, Egyptians and other high civilizations, the Modulor uses the mathematical proportions of the human body as a point of reference. The Modulor combines the aesthetic dimensions of the Golden Section and
Fibonacci numerical series with the scale of the human body. He developed this system for the serial production of standard furnitures and for determining
the lengths, heights and widths of inner spaces.

19
Q

is a traditional Japanese unit of length. It originally designated the interval between two columns and it was standardized later for residential architecture. Ken
was used as the absolute measurement for the construction of buildings and as an aesthetic module that ordered the structure, materials and space of
Japanese architecture.

20
Q

Traditional Japanese floor mat

21
Q

refers to the size and proportions of the
human body.

A

Anthropometry

22
Q

The placement or arrangement of visual
elements

23
Q

is the opposition or dissimilar elements in a work of design to intensify each element’s properties and produce a more dynamic expression.

24
Q

In order for a shape to be interesting there must be variety or contrast. Square and circular areas may create a diversified interest.

A

Contrast of Form

25
may vary with reference to direction. It is possible to have a horizontal line opposing a vertical or diagonal lines may form a composition.
Contrast of Line
26
Deals with objects which may have the same shape and direction but may vary in size. If this change in size is gradual and uniform, the result is called gradation.
Contrast of Size
27
may be secured by contrast of texture, openings, or planes.
contrast of tone
28
Creates a state of equilibrium of the visual forces as well as feeling of stability in the composition.
balance
29
most elementary means of organizing forms and spaces in architecture.
axis
30
the easiest and simplest kind of balance in which the elements are arranged in precisely
centralized
31
Characterized by an arrangement where all the parts radiate from a center like the spokes in a wheel.
radial
32
what we call informal balance, this is when the elements on each side differ in shape but still are in visual equilibrium.
asymmetrical balance
33
what we call picturesque. This type of balance is more on the complete adaptation to its surroundings.
gravitational balance
34
movement, the repetition, and the spacing in architecture.
rhythm
35
if equally spaced windows are introduced on the unbroken wall, then regular repetition is present.
unaccented rhythm
36
if the openings or details are arranged in such a manner that some are more important than others, then the eye grasps the significance of this relationship and pauses longer in contemplating the larger elements.
accented rhythm
37