JPT THEORY 2023 Flashcards
(199 cards)
1
Q
The art and science of designing and constructing buildings.
A
Architecture
2
Q
The conscience use of skill, craft and creative imagination in the production of what is beautiful, appealing or more than ordinary significance.
A
Art
3
Q
A branch of knowledge dealing with a body of facts or truths obtained by direct observation, experimental investigation, and methodical study systematically arranged and showing the operation of general laws.
A
Science
4
Q
Difference of Architecture and Engineering
A
Architecture is beautiful; Engineering is economical
5
Q
Similarities of Architecture and Engineering
A
Architecture and Engineering is both functional and structurally sound
6
Q
The ordering of the physical environment by means of architecture, engineering, construction, landscape architecture, urban design and city planning.
A
Environmental Design
7
Q
The aspect of architecture and city planning that deals with the design of urban structures and spaces.
A
Urban Design
8
Q
The activity or profession of determining the future physical arrangement and condition of a community, involving an appraisal of the current conditions, and forecast of future requirements, a plan for the fulfillment of these requirements, and proposals for legal, financial, and constructional programs to implement the plan.
A
City Planning
9
Q
The art, business, or profession of planning the design and supervising the execution of architectural interiors, including their color schemes, furnishings, fitting, finishes, and sometimes architectural features.
A
Interior Design
10
Q
The aspect of architecture and interior design that deals with the planning, layout design and furnishing of spaces within a proposed or existing building.
A
Space Planning
11
Q
Applied science: 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.
A
Technology
12
Q
The science of and art or of the arts in general.
A
Technics
13
Q
The science or art of shaping, ornamenting or assembling materials in construction.
A
Tectonics
14
Q
The unifying structure or concept of an artistic work.
A
Architectonics
15
Q
The art and science of applying scientific principles to practical ends in the design and construction of structure, equipment systems.
A
Engineering
16
Q
The science of human social institutions and relationships: specifically, the study of the origin, development, structure, functioning, and collective behavior of organized groups of human beings.
A
Sociology
17
Q
Design Process
Enumerate (Chrono)
A
Initiation → Preparation → Synthesis → Hypothesis → Alternative → Draft → Evaluation → Action → Implement → Re-Evaluation → (back to synthesis)
18
Q
A purposeful activity aimed at devising a plan for changing an existing situation into feature preferred state, especially the cyclical, iterative process.
A
Design Process
19
Q
Identifying a problem and its social, economic, and physical context.
A
Initiation
20
Q
Collecting and analyzing relevant information and establishing goals and criteria, for an acceptable solution.
A
Preparation
21
Q
Discovering constraints and opportunities, and hypothesizing possible alternative solutions.
A
Synthesis
22
Q
Formulating a tentative assumption in order to draw out and test it logical or empirical consequences.
A
Hypothesis
23
Q
One of the propositions or courses of action to be chosen from a set of two or more mutually exclusive possibilities.
A
Alternative
Develop
Modify
Refine
Inflection (bend, angle, or similar change in the shape of a configuration, by means of which a change of relationship to some context.
Transformation (process of changing in form or structure)
24
Q
Development of Architecture
3
A
Arhaic Period
Mastery Period
Decadence Period
25
Saw the grouping of the untried hands in an attempt to master new problems and new media, and an effect to fins an expression for new material.
Archaic Period
## Footnote
See figure page 7
26
Fundamental Desires of a Man
Preservation - through houses, homes
Recognition - desire for prestige through (1) building of cathedrals (2) public buildings
Response to a need
Self-expression - (1) theater (2) museums
27
Marked with the artist becoming too sure of himself and begins to take liberties with his materials. His designs were less structural and were too ornate. It heralds the beginning of the end.
Decadence Period
28
The buildings or art priced during this time show that the designer or artis has discovered how to control his medium and is sure of his technique. This is the height of development.
Mastery Period
29
Architecture Program
## Footnote
Enumerate 6
Pre-design
Schematic Design
Design Development
Construction Documentation
Construction Administration
Post-Design
## Footnote
Post-Design
1. Post occupancy
2. Evaluation
3. User’s Manual
30
Influencing factors relative to the project, acquired through experience or exposure and/or through formal studies of a given field of art or science.
Design Considerations
31
The designer should be able to transform objectives palatable to design.
The transformation of the project objectives into non-traditional innovative design solution.
Design Objectives
32
Immediate tools for designs derived from in-depth studies of design considerations.
Design Criteria
33
Indicates the interrelationship of the various building requirements in terms of time, space, form and function in an abstract form which relates to the design parameters.
Chart
34
This phase will include site analysis which will undergo similar endeavor with the site with its influencing parameters being considered.
Flow Chart or Programming
35
An outline of the physical attributes and space requirements in terms of areas and volume, and other technical matters relative to the site and to each building requirements are done.
Technical Space Analysis
36
Basic Parameters of space analysis
Ergonomics, anthropometrics, and the man-made physical constraint within a given space
37
The vertical extension of a building or other construction above the foundation.
Superstructure
38
The exterior framework or walls and roof of a building.
Shell
39
The underlying structure forming the foundation of a building or other construction.
Substructure
40
A group if interacting, interrelated or interdependent things or parts forming a complex or unified whole, esp. to serve a common purpose.
System
41
A. The plan in an architectural composition is the graphic projection of the volume of the building.
B. It is the pattern, dedicated on the requirement of the building of which the elements of the elevation and section arranges.
Nature of the Plan
42
A. The arrangement of units according to practical requirements determined by size, shape, and use of rooms.
B. Arrangement according to the rules of abstract design.
Qualities of the Plan
43
Visible Structure Elements
## Footnote
4
A. Structural Elements
B. Protective Elements
C. Circulatory Elements
D. Decorative Elements
44
Any of various upright constructions presenting a continuous surface and serving to enclose, divide or protect and area.
Wall
45
A rigid, relatively slender structural member designed primarily to support axial, compressive load applied at the member ends.
Columns
46
A rigid structural member designed to carry and transfer transverse loads across space to supporting elements.
Beams
47
Any various upright constructions presenting a continuous surface and serving to enclose, divide or protect an area.
EDIT
Roof
48
Different types of roofs
## Footnote
8
1. Gable
2. Hip
3. Flat
4. Butterfly
5. Truncated
6. Gambrel
7. Mansard
8. Conical
49
A vaulted structure having a circular plan and usually the form of a position of a sphere, so constructed as to exert and equal thrust in all directions.
Dome
50
Different types of Dome
## Footnote
5
1. Segmental
2. Spherical
3. Saucer-shape
4. Pointed
5. Onion-shape
51
The overhead interior surface or lining of a room, often concealing the underside of the floor or roof above.
Ceiling
52
Different Types of Ceiling
## Footnote
3
1. Plain
2. Coffered Ceiling
3. Beam Ceiling
53
One of a number of recessed, usually, square or octagonal panels in a ceiling soffit or vault, also known as caisson, lacunar.
Coffered Ceiling
54
The external upper covering of a building, including the frame for supporting the roofing.
Roof
55
A roof having no slope, or one with only slight pitch so as to drain rainwater.
Flat Roof
56
A preliminary version of a plan
Draft
57
Simulating, testing and modifying acceptable alternatives according to specified goals and criteria.
Evaluation
58
Selecting and implementing the most suitable solution.
Action
59
To ensure the fulfillment of by means of a definite plan or procedure.
Implement
60
Assembling how well an implemented solution in use satisfies the specified goals and criteria.
Re-Evaluation
61
A roof having one more slopes.
Pitched roof
62
A roof sloping downward on two parts from a central ridge so as to form a gable at each end.
Gable Roof
63
The triangular portion of wall enclosing the end of a pitched roof from cornice or eaves to ridge.
Gable
64
A roof having sloping ends and sides meeting at an inclined projecting angle.
Hip roof
65
A roof divided on each side of the ridge into two or more slopes, as a gambrel or mansard.
Curb Roof
66
Roof having on each side a steeper lower part and a shallower upper part.
Mansard Roof
67
A roof having no slopes, each descending inward from the eaves.
Butterfly
68
A roof having a single slope.
Shed Roof
69
A shed roof with the higher end abutting a wall or larger building.
Lean-to
70
A shed roof projecting from the side of a building, as to shelter a door. Also called appentice, pent, pentice.
Penthouse
71
The slope of a roof, commonly expressed in inches of vertical rise per foot of horizontal run.
Pitch
72
The measured height of a sloping roof from the eaves to the ridge.
Rise
73
The horizontal distance from the eaves to the ridge of a sloping roof.
Run
74
A pyramidal hip roof.
Pavilion Roof
75
A roof having a hipped end truncating a gable. Also called jerkinhead, shreadhead.
Hipped Gable
76
A ridged roof divided on each side into a shallower slope above a steeper one.
Gambrel Roof
77
The arris between an upper and lower slope on a gambrel or mansard roof.
Curb
78
A gable roof in the form of a broad Gothic arch with gently sloping convex surfaces.
Rainbow Roof
79
A roof or ceiling having a semicylindrical form.
Barrel Roof
80
A roof composed of a series of small parallel roofs of triangular cross section, usually asymmetrical with the shorter slope glazed.
Sawtooth Roof
81
An arched structure of stone, brick or reinforced concrete, forming a ceiling ro roof over a hall, room or other wholly or partially enclosed space. (Romanesque gothic)
Vaults
82
Circulatory Elements
1. Openings – (door and windows)
2. Corridors
3. Stairs – (connotes vertical movement)
a. Direct Stairway
b. 2-way stairway
c. 3-way stairway
d. Curved stairway
i. 30-35 degrees – angle of stairs
ii. Treads – 10”-13”
iii. Riser – 6”-7 ¾ “
83
Decorative Elements
A. Mouldings
B. Ornament
84
The ones which crown a group of moldings or a cornice. Direction is usually horizontal. E.g. sigma, recto, cavetto, corona
Terminate
## Footnote
Mouldings
85
uMoldings which are made sturdy in character. The direction is vector. E.g. ovolo, cyna reversa
Supports
## Footnote
Mouldings
86
These concave, convex and flat surfaces which give interest to a composition by reasons of introducing a change of direction between 2 or more important elements.
E.g. torus, scotia, astragal, fillet
Separate
## Footnote
Mouldings
87
No reference to any particular subject or any familiar easily recognized object. It consists of a pleasing, arrangement of geometrical forms to produce a pattern or composition.
Abstract
## Footnote
Ornament
88
No reference to any particular subject or any familiar easily recognized object. It consists of a pleasing, arrangement of geometrical forms to produce a pattern or composition.
Abstract
## Footnote
Ornament
89
Classification of Mouldings
a. Terminate
b. Supports
c. Separate
d. Translate
90
Classification of Ornament
a. Abstract
b. Pictorial
c. Non-pictorial
91
It usually hides less connection with architecture than with some other forms of expression. It tells a story.
Pictorial
## Footnote
Ornament
92
The pictorial decorations why biblical or secular history which are sometimes depicted in the sculpture of the church.
Naturalistic
93
Consists of the simplifications of the design and its reduction to a basic structural pattern which will express the character of the materials to be used.
Conventions
94
Alternative Approach to Decoration
2-Dimensional
3-Dimensional
95
Painted decorations, murals, frescos, mosaics, tiles, marbles, inlays of metals woods.
2-Dimensional
96
Carved, cast or hammered in low or high reliefs sculptures (low relief, in the round, free standing)
3-Dimensional
97
Elements in Organizing Decorative Forms
1. Origin Line
2. Composition
## Footnote
Origin Line:
Straight Line
Curved Line
98
Sturdy, masculine and belongs to architecture with a determined mission to fulfill, however, it has its moods.
Straight Line
99
More subtle than the straight line. It is more graceful and sensitive. It is feminine and represents that architecture which caters to the emotional rather than the physical.
Curved Line
100
1. Within a border
2. Within an area
3. All over pattern
## Footnote
Elements in Organizing Decorative Forms
Composition
101
Expressive Line Symbols
## Footnote
20
1. Bending Upright Line
2. Upward Swirls
3. Rhythmic Horizontals
4. Upward Sprays
5. Diminishing Perspective
6. Inverted Perspective
7. Waterfall
8. Concentric Curves
9. Horizontal Line
10. Vertical Line
11. Rounded Arches
12. Diagonals
13. Pyramid
14. Gothic Arch
15. Rhythmic Curves
16. Spiral Line
17. Expanding Spheres
18. Conducting Diagonals
19. Zigzag Lines
20. Radiation
102
Sadness, weariness, grief
## Footnote
Expressive Line Symbol
Bending Upright Line
103
Aspiration, spiritual, intensity
## Footnote
Expressive Line Symbol
Upward Swirls
104
Laziness, sleepiness, joyous, calm
## Footnote
Expressive Line Symbol
Rhythmic Horizontals
105
Growth, realism, spontaneity
## Footnote
Expressive Line Symbols
Upward Sprays
106
Distance limited, expanse, nostalgia
## Footnote
Expressive Line Symbols
Diminishing Perspective
107
Infinite expanse, expanding space, unhampered freedom
## Footnote
Expressive Line Symbols
Inverted Perspective
108
Gravity, rhythmic descent
## Footnote
Expressive Line Symbol
Waterfall
109
Upward expansion, flowering, movement, buoyancy
## Footnote
Expressive Line Symbols
Concentric Curves
110
Tranquility, immobility
## Footnote
Expressive Line Symbol
Horizontal Line
111
Stability, austerity, dignity
## Footnote
Expressive Line Symbol
Vertical Line
112
Straight, heavy austerity
## Footnote
Expressive Line Symbol
Rounded Arches
113
Instability, mobility
## Footnote
Expressive Line Symbol
Diagonals
114
Stability, dignity, massive strength
## Footnote
Expressive Line Symbol
Pyramid
115
Spiritual uplift, faith, religious hope
## Footnote
Expressive Line Symbols
Gothic Arch
116
Grace, joyousness, youth
## Footnote
Expressive Line Symbol
Rhythmic Curves
117
Genesis, generative forces
## Footnote
Expressive Line Symbols
Spiral Line
118
Good spirits
## Footnote
Expressive Line Symbol
Expanding Spheres
119
War, conflict, hate, confusion
## Footnote
Expressive Line Symbol
Conductive Diagonals
120
Excitement, jagged animation
## Footnote
Expressive Line Symbol
Zigzag Lines
121
Explosion, sudden outburst
## Footnote
Expressive Line Symbols
Radiation
122
Is a process of purposeful visual creation. It fill practical needs and not just realization of personal visions and dreams.
Design
123
Tackled not individually, but together. These elements determine the ultimate appearance and contents of a design.
Elements of Design
124
Elements of Design
a. Conceptual Elements
b. Visual Elements
c. Relational Elements
d. Practical Elements
125
Are not visible; they do not actually exist but seem to be present – if they are really there, they are no longer conceptual.
Conceptual Elements
126
Conceptual Elements
1. Point
2. Line
3. Plane
4. Volume
127
Indicates position – it has no length or width and does not occupy any area of space.
Point
128
Has position and direction – it has length but no width as it is bound by point.
Line
129
Has a position and direction – it has length and width, but no thickness, and is bound by lines.
Plane
130
Has a position in space – it has length, width and thickness, and is bound by planes.
Volume
131
Form the most prominent part of a design because they are what we can actually see. When conceptual elements become visible, they have shape, size, color, and texture.
Visual Elements
132
Visual Elements
1. Shape
2. Size
3. Color
4. Texture
133
Anything that can be seen. Main identification in one’s perception.
Shape
134
Relative if one describes it in terms of bigness or smallness, but it is also physically measurable.
Size
135
A shape is distinguished from its surroundings because of ---.
Color
136
Refers to the surface characteristics of a shape.
Texture
137
This group of element governs the placement and interrelationship of the shapes in a design. Some are to be perceived (direction and position); some are to be felt (space and gravity).
Relational Elements
138
Relational Elements
1. Direction
2. Position
3. Space
4. Gravity
139
--- of a shape depends on how it is related (1) to the observer, (2) to the frame that contains it, or (3) to other shapes nearby.
Direction
140
--- of a shape is judged by its relationship to the frame or the structure if the design.
Position
141
Shapes of any size occupy ---. Thus, this can be occupied or left blank. It can also be flat or illusory to suggest depth.
Space
142
The sense of this is not visual but psychological. As pulled by earth’s ---, one tends to attribute heaviness or lightness, stability or instability to individual shapes or groups of shapes.
Gravity
143
The practical elements underlie the content and extension of a design. They are the seeds of design theory.
Practical Elements
144
When a shape is derived from nature or the man-made world, it is representational. It may be realistic, stylized, or near-abstract.
Representation
145
Practical Elements
1. Representation
2. Meaning
3. Function
146
Present when the design conveys a message.
Meaning
147
Present when a design is to serve a purpose.
Function
148
Inclusive term that has several meanings. It may refer to an external appearance that can be recognized, as that if a chair or the human body that sits in it.
Form
149
The characteristic outline or surface configuration of a particular form. The principal aspect by which we identify and categorize forms.
Shape
150
The physical dimensions of length, width, and depth of a form.
Size
151
A phenomenon of light and visual perception that may be described om terms of an individual’s perception of hue, saturation, and tonal value. It is the attribute that most clearly distinguishes a form from its environment. It also affects the visual weight of a form.
Color
152
The visual and especially tactile quality given to a surface by the size, shape, arrangement, and proportions of the parts. Also determines the degree to which the surfaces of a form reflect or absorb incident light.
Texture
153
All the visual elements constitutes what is generally called ---, which is the primary concern in every inquiry into the visual language. A shape of definite size, color, and texture.
Form
154
The way form is created, constructed, or organized along with other forms is often governed by a certain discipline which is called ---.
Structure
155
A form is recognized as a --- because it is small. Thus, the main characteristics of a point are (1) its size should be comparatively small, and (2) its shape should be rather simple.
Form as Point
156
A --- generally conveys the feeling of thinness. A form is recognized as a --- because of two reasons: (1) its width is extremely narrow, and (2) its length is quite prominent.
Form as Line
157
Three aspects that should be considered in a line
1. The overall shape
2. The body
3. The edges
158
Have a variety of shapes, which may be classified as follows: geometric, organic, rectilinear, irregular, hand-drawn
Form as Plane
159
Constructed mathematically
## Footnote
Planar forms’ variety of shapes
Geometric
160
Bounded by free curves, suggesting fluidity and growth.
## Footnote
Planar forms’ variety of shapes
Organic
161
Bound by straight lines which are not related to one another mathematically.
## Footnote
Planar forms’ variety of shapes
Rectilinear
162
Bound by straight and curved lines which are not related to one another mathematically.
## Footnote
Planar form’s variety of shapes
Irregular
163
Calligraphic or created with the unaided hand
## Footnote
Planar form’s variety of shapes
Hand-Written
164
Determined by the effect of special processes or materials, or obtained accidentally.
## Footnote
Planar form’s variety of shapes
Accidental
165
--- is completely illusory and demands a special spatial attention.
Form as Volume
166
Is generally seen as occupying space, but it can also be seen as blank space surrounded by occupied space.
Form
167
When form is perceived as occupying space, it is called ---.
Positive Form
168
When perceived as blank space surrounded by occupied space, it is called ---.
Negative Form
169
Is commonly referred to as the figure on the ground.
Form
170
Forms remain separate from each other although they may be very close together.
Detachment
171
If forms are moved closer, they began to touch but still maintain their individuality.
Touching
172
If forms are moved still closer, one crosses over, and appears to remain above the other.
Overlapping
173
Same as overlapping, but the forms appear transparent; there is no obvious above-and-below relationship between them.
Interpenetration
174
Same as overlapping, but the forms are joined together and become a new, bigger form.
Union
175
When an invisible form crosses over a visible form, the result is ---. May be regarded as the overlapping of a negative form on a positive form.
Subtraction
176
Same as interpenetration, but only the portion where the forms cross over each other is the visible, which result in a new, smaller form.
Intersection
177
When two forms move totally closer, they coincide; the two forms become one.
Coinciding
178
Indicates a position in space.
Point
179
A point extended becomes a
Line
180
Properties of line
1. Length
2. Direction
3. Position
181
A line extended becomes a
Plane
182
Properties of Plane
1. length and width
2. shape
3. surface
4. orientation
5. position
183
A plane extended becomes a
Volume
184
Properties of Volume
1. length, width, and depth
2. form and space
3. surface
4. orientation
5. position
185
is the simplest method in designing, using the same form than once. Sense and harmony is normally associated with the repetition discipline.
REPETITION OF FORMS
186
Repetitive shapes can have different sizes, color, shapes, etc.
Repetition of Shape
187
Repetition of size is possible when the shapes are repetitive or very similar.
Repetition of size
188
All the forms are of the same color but their shapes and sizes may vary.
Repetition of Color
189
Forms of the same texture may vary in shape, size, or color.
Repetition of Texture
190
Forms show definite sense of direction without the slightest ambiguity.
Repetition of Direction
191
This has to do with how forms are arranged in connection with structure.
Repetition of Position
192
All forms can occupy space in the same manner.
Repetition of Space
193
Gravity is too abstract an element to be used repetitively.
Repetition of Gravity
194
Most designs have a --- - --- is to govern the positioning of forms in a design. --- generally imposes order and predetermines internal relationships of forms, one may create a design without consciously thinking of structure, but --- is always present when there is organization.
Structure
195
Consists of structural lines which are constructed in a rigid, mathematical planner.
Formal Structure
196
Various types of formal structure.
1. Repetition
2. Gradation
3. Radiation
197
Usually quite regular, but slight irregularity exists. It may or may not consist of structural lines to determine the arrangement of unit forms.
Semi-formal structure
198
Does not normally have structural lines. Organization is generally free and indefinite. Contrast is normally associated or used in the design.
Informal Structure
199
The basic grid is the most frequently used in repetition structures. It consists of vertical and horizontal lines crossing over each other, resulting in a number of square subdivisions of the same size.
The Grid
