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Theory of Architecture > LECTURE 4 & 5 > Flashcards

LECTURE 4 & 5 Flashcards

1
Q

The placement or arrangement of visual elements

A

COMPOSITION

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2
Q

ONE OF THE PRINCIPLES OF COMPOSITION

A

CONTRAST

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3
Q

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

A

CONTRAST

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4
Q

It creates a visual variety, excitement and interest to the building and can be achieved in one building or a group of buildings on the scale of a streetscape.

A

CONTRAST

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5
Q

TYPES OF CONTRAST

A
  • CONTRAST OF FORM
  • CONTRAST OF LINE
  • CONTRAST OF SIZE
  • CONTRAST OF TONE
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6
Q

shape and mass

A

CONTRAST OF FORM

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7
Q

direction and type

A

CONTRAST OF LINE

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8
Q

In order for a shape to be interesting there must be variety or contrast.

A

CONTRAST OF FORM

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9
Q

Lines may vary with reference to the direction

A

CONTRAST OF LINE

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10
Q

(TRUE OR FALSE)
It is possible to have a horizontal line opposing a vertical or diagonal lines may form a composition.

A

TRUE

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11
Q

Deals with objects that may have the same shape and direction but may vary in size

A

CONTRAST OF SIZE

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12
Q

If this change in size is gradual and uniform, the result is called?

A

GRADATION

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13
Q

(TRUE OR FALSE)
If contrasting bulks are combined, it is possible that the resulting composition may be interesting and satisfying.

A

TRUE

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14
Q

If form is more properly conceived in three dimensions, the architectural result is?

A

MASS OR VOLUME

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15
Q

Tone may be secured by contrast of texture, openings, or planes

A

CONTRAST OF TONE

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16
Q

PURPOSE OF CONTRAST IN DESIGN

A
  • Avoid monotony
  • Create diversified effect
  • Give emphasis and thus hold attention
  • Produce variety
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17
Q

METHODS IN PRODUCING CONTRAST IN DESIGN

A
  • Combine elements in different characteristics
  • One element dominating others to give
    emphasis or interest
  • Variations in materials, form, sizes, directions, color and other qualities
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18
Q

Creates a state of equilibrium of the visual forces as well as feeling of stability in the composition.

A

BALANCE

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19
Q

The foundation upon which arrangement, harmony, and adjustment of weights, tones, values, and others are developed.

A

BALANCE

20
Q

It satisfies the eye with reference to the relative importance of the various parts of the design.

A

Proper Balance

21
Q

The most elementary means of organizing forms and spaces in architecture

A

AXIS

22
Q

It is a line established by two points in space and about which forms and spaces can be arranged in a regular or irregular manner.

A

AXIS

23
Q

They are used to communicate the three spatial dimensions.

A

X, Y, and Z axis coordinates

24
Q

THREE TYPES OF BALANCE IN THE STUDY OF
COMPOSITION

A
  • Symmetrical Balance
  • Asymmetrical Balance
  • Gravitational Balance
25
Q

the easiest and simplest kind of balance in which the elements are arranged in precisely the same manner on either side of a central axis or line.

A

CENTRALIZED

26
Q

3 TYPES OF SYMMETRICAL BALANCE

A

CENTRALIZED, FORMAL, & RADIAL

27
Q

At first glance, the elements on one side of the central axis appear to be identical with those on the opposite side, but upon closer examination, it is found that such is not the case.

A

FORMAL

28
Q

The general mass and grouping of parts may be similar, but there are dissimilarities in plan, elevation, or details

A

FORMAL

29
Q

The volumes of the balancing units may correspond, but there may exist a difference in their shapes and surface treatments

A

FORMAL

30
Q

Characterized by an arrangement where all the parts radiate from a center like the spokes in a wheel.

A

RADIAL

31
Q

informal balance

A

ASYMMETRICAL BALANCE

32
Q

this is when the elements on each side differ in shape but still are in visual equilibrium.

A

ASYMMETRICAL BALANCE

33
Q

picturesque

A

GRAVITATIONAL BALANCE

34
Q

This type of balance is more on the complete
adaptation to its surroundings.

A

GRAVITATIONAL BALANCE

35
Q

This type of composition is often far removed from conscious composition.

A

GRAVITATIONAL BALANCE

36
Q

It is the opposite of a symmetrical composition.

A

Picturesqueness

37
Q

It is a quality which is not composed but freely results from time and the forces of nature

A

Picturesqueness/Gravitational Balance

38
Q

The movement, the repetition, and the spacing in architecture.

A

RHYTHM

39
Q

TWO KINDS OF RHYTHM

A

UNACCENTED RHYTHM & ACCENTED RHYTHM

40
Q

if equally spaced windows are introduced on the unbroken wall, then regular repetition is present.

A

Unaccented Rhythm

41
Q

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

A

Accented Rhythm

42
Q

refers to the regular or harmonious recurrence of lines, shapes, forms, or colors

A

RHYTHM

43
Q

It incorporates the fundamental notion of repetition as a device to organize forms and spaces in architecture.

A

RHYTHM

44
Q

Rhythm is ____________. It must be directed and controlled.

A

ORGANIZED MOVEMENT

45
Q

(TRUE OR FALSE)
If unrelated noises occur, such as the din of the factory, there is no organization and hence no rhythm.

A

TRUE

46
Q

RHYTHM MAY BE ONE OF THE FOLLOWING (GIVE FOUR)

A

Rhythmic use of color
Rhythmic use of line
Rhythm of motion
Rhythm of direction

47
Q
A

Theory of Architecture (7 decks)

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