WEEK 2-3 Flashcards
(118 cards)
1
Q
Originally simply the accepted translation of the Latin term ratiocinatio as used by Vitruvius, a Roman architect-engineer of the 1st century CE to differentiate intellectual from practical knowledge in architectural education, but it has come to signify the total basis for judging the merits of buildings or building projects
A
THEORY OF ARCHITECTURE
2
Q
A framework or a process that helps to answer the meaning and understanding of architecture vocabulary such as the chosen element of architecture.
A
THEORY OF ARCHITECTURE
3
Q
IMPORTANCE OF TOA
A
It sets the basic understanding of design before architect’s design a building into reality
4
Q
a Roman architect-engineer of the 1st century CE to differentiate intellectual from practical knowledge in architectural education, but it has come to signify the total basis for judging the merits of buildings or building projects
A
VITRUVIUS
5
Q
The three-dimensional field in which objects and events occur and have relative position and direction, especially a portion of that field set apart in each instance or for a particular purpose.
A
SPACE
6
Q
SPACE RELATIONSHIPS
A
- SPACE WITHIN A SPACE
- INTERLOCKING SPACES
- ADJACENT SPACES
- SPACES LINKED BY A COMMON SPACE
7
Q
In this type of spatial relationship, the larger, enveloping space serves as a three-dimensional field for the smaller space contained within it
A
SPACE WITHIN A SPACE
8
Q
EXAMPLE OF SPACE WITHIN A SPACE
A
Moore House (California, US; Charles
Moore)
9
Q
results from the overlapping of two spatial fields and the emergence of a zone of shared space
A
INTERLOCKING SPACES
10
Q
EXAMPLE OF INTERLOCKING SPACES
A
- Plan for St. Peter (Second Version. Donato
Bramante and Baldassare Peruzzi) - Villa at Carthage (Tunisia. Le
Corbusier)
11
Q
is the most common type of spatial relationship. It allows each space to be clearly defined and to respond, each in its own way, to specific functional or symbolic requirements.
A
ADJACENT SPACES
12
Q
EXAMPLE OF ADJACENT SPACES
A
- Chiswick House (London, England. Lord Burlington and William Kent)
- Lawrence House (Sea Ranch, California. Moore Turnbull/MLTW.)
13
Q
Three spaces—the living, fireplace, and dining areas—are defined by changes in floor level, ceiling height, and quality of light and view, rather than by wall planes
A
Lawrence House (Sea Ranch, California. Moore Turnbull/MLTW.)
14
Q
The spaces are individualistic in size, shape, and form. The walls that enclose them adapt their forms to accommodate the differences between adjacent spaces
A
Chiswick House (London, England. Lord Burlington and William Kent)
15
Q
Two spaces that are separated by distance can be linked or related to each other by a third, intermediate, space
A
SPACES LINKED BY A COMMON SPACE
16
Q
EXAMPLE OF SPACES LINKED BY A COMMON SPACE
A
One-Half House (John Hejduk)
17
Q
SPATIAL ORGANIZATION
A
- CENTRALIZED
- LINEAR
- RADIAL
- CLUSTERED
- SPACES ORGANIZED AROUND A DOMINANT
SPACE - GRID
18
Q
is a stable, concentrated composition that consists of several secondary spaces grouped around a large, dominant, central space
A
CENTRALIZED
19
Q
EXAMPLE OF CENTRALIZED SPATIAL ORGANIZATION
A
- Taj Mahal (Agra, India)
- Villa Farnese (Caprarola, Italy. Giacomo da Vignola.)
- National Assembly Building (Dacca, Bangladesh. Louis Kahn.)
20
Q
The pattern of circulation and movement within a centralized organization may be radial, loop, or spiral in form. In almost every case, however, the pattern will terminate in or around the central space
A
Taj Mahal (Agra, India)
21
Q
The pattern of circulation and movement within a centralized organization may be radial, loop, or spiral in form. In almost every case, however, the pattern will terminate in or around the central space
A
Villa Farnese (Caprarola, Italy. Giacomo da Vignola.)
22
Q
Consists essentially of a series of spaces. These spaces can either be directly related to one another or be linked through a separate and distinct linear space
A
LINEAR
23
Q
EXAMPLE OF LINEAR SPATIAL ORGANIZATION
A
- Residential Expansion (St. Andrew’s University, Scotland. James Stirling.)
- Lloyd Lewis House (Libertyville, Illinois. Frank Lloyd Wright.)
24
Q
combines elements of both centralized and linear organizations. It consists of a dominant central space from which a number of linear organizations extend in a radial manner
A
RADIAL
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EXAMPLE OF RADIAL SPATIAL ORGANIZATION
- Guggenheim Museum (Bilbao, Spain. Frank Gehry.)
- Canberra (Australia. Walter Burley Griffin)
- Ex. Paris France featuring Arc de Triomphe (France, Napoleon III and Georges-Eugène Haussmann)
- H. F. Johnson House | Wingspread (Wind Point, Wisconsin. Frank Lloyd Wright.)
26
The central space of a radial organization is generally regular in form. The linear arms, for which the central space is the hub, may be like one another in form and length and maintain the regularity of the organization’s overall form.
Guggenheim Museum (Bilbao, Spain. Frank Gehry.
27
A specific variation of a radial organization is the pinwheel pattern wherein the linear arms of the organization extend from the sides of a square or rectangular central space
H. F. Johnson House | Wingspread (Wind Point, Wisconsin. Frank Lloyd Wright.
28
relies on physical proximity to relate its spaces to one another. It often consists of repetitive, cellular spaces that have similar functions and share a common visual trait such as shape or orientation
CLUSTERED
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EXAMPLE OF CLUSTERED SPATIAL ORGANIZATION
- Yeni-Kaplica (Thermal Bath) Bursa, Turkey.
- Palace of King Minos (Knossos, Crete.)
30
Spaces Organized by Geometry
Yeni-Kaplica (Thermal Bath) Bursa, Turkey.
31
EXAMPLE OF SPACES ORGANIZED AROUND A DOMINANT SPACE SPATIAL ORGANIZATION
- Rajarajeshwara Temple (Thanjavur, India.)
- St. Carlo alle Quattro Fontane (Rome. Francesco Borromini.)
32
Spaces Organized within a Spatial Field
Rajarajeshwara Temple (Thanjavur, India.)
33
Spaces Organized by Axial Symmetries
St. Carlo alle Quattro Fontane (Rome. Francesco Borromini.)
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consists of forms and spaces whose positions in space and relationships with one another are regulated by a three-dimensional grid pattern or field
GRID
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EXAMPLE OF GRID SPATIAL ORGANIZATION
- Shodhan House (Ahmedabad, India. Le Corbusier.)
- The Eixample (Barcelona, Spain) Ildefons Cerdà.)
- Eric Boissonnas House | Glass House (New Canaan, Connecticut. Philip Johnson)
36
are treatises which aim at the fulfillment of one principal goal, usually at the cost of other customary goals of building
Thematic theories
37
Overview of the Thematic Theories of Architecture
* Classical
* Middle Ages
* Renaissance
* Structuralist
* Art Nouveau
* Functionalism
* Postmodernism
* Symbolic Architecture
* Ecological Architecture
* 21st Century Architecture
38
Marcus Vitruvius Pollio
Classical
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Medieval (Dark Age) anonymous tradition of trade guilds
Middle Ages
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Alberti, Vignola, Palladio, etc
Renaissance
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Galileo Galilei, Robert Hooke, etc.
Structuralist
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(Personal Style) -Eugene Emmanuelle Viollet-le-Duc, Le Corbusier, etc
Art Nouveau
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Walter Gropius, Louis Sullivan, Modern Architecture, etc.
Functionalism
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Robert Venturi
Postmodernism
45
Author of the oldest research on architecture
MARCUS VITRUVIUS POLLIO
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Wrote an extensive summary of all the theory on construction
MARCUS VITRUVIUS POLLIO
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Had a thorough knowledge of earlier Greek and Roman writing
MARCUS VITRUVIUS POLLIO
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De architectura libri decem
TEN BOOKS ON ARCHITECTURE
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Consists mostly of normative theory of design (based on practice)
TEN BOOKS ON ARCHITECTURE
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A collection of thematic theories of design with no method of combining them into a synthesis
TEN BOOKS ON ARCHITECTURE
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Presents a classification of requirements set for buildings: Durability (Firmitas), Practicality or “Convenience” (Utilitas) Pleasantness (Venustas)
TEN BOOKS ON ARCHITECTURE
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VITRUVIAN RULES OF AESTHETIC FORM
- Based on Greek traditions of architecture
- Teachings of Pythagoras: applying proportions of numbers
- Observations of tuned string of instruments
- Proportions of human body
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vitruvian triad
FIRMITAS, UTILITAS, & VENUSTAS
54
Two plausible reasons can be given foraccording to logical primacy in the
Vitruvian triad to _________. The first is the notion that architecture is essentially the “art of building.” The second is that, since the uses or functions of a building tend to change, the structures serving such functions may be considered as taking logical precedence over them.
FIRMITAS
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Firmness or physical strength secured the building's structural integrity.
FIRMITAS
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The notion that a building is defective unless the spaces provided are adequate and appropriate for their intended usage would seem obvious.
UTILITAS
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Utility provided an efficient arrangement of spaces and mechanical systems to meet the functional needs of its occupants
UTILITAS
58
This Latin term for “beauty” (literally, the salient qualities possessed by the goddess Venus) clearly implied a visual quality in architecture that would arouse the emotion of love
VENUSTAS
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but it is of interest to note that one of the crucial aspects of this problem was already anticipated by Alberti in the 15th century, as is made clear by his substitution of the word ___________ (“pleasure”) for Vitruvius’s more anthropomorphic term venustas.
amoenitas
60
the aesthetic quality associated with the goddess Venus, imparted style, proportion, and visual beauty
VENUSTAS
61
No documents
MIDDLE AGES THEORIES
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No person can be attributed for theories MONASTERY INSTITUTIONS
MIDDLE AGES THEORIES
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Most documents retrieved from the Middle Ages
MIDDLE AGES THEORIES
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However, archives contain only few descriptions of buildings
MIDDLE AGES THEORIES
65
Described only as “according to the traditional model”
MIDDLE AGES THEORIES
66
“There’s no accounting for tastes” was the rule of thumb
MIDDLE AGES THEORIES
67
DEVELOPMENT OF BUILDING STYLE
- With hardly or no literary research present
- Villard de Hannecourt’s “sketchbook” in 1235
- Rotzer’s Booklet on the right way of making pinnacles
- Only through guidance of old masters
- Tradition binding and precise in close guilds of builders
68
In 1418, a copy of the Vitruve was found among the manuscripts of the Monastery of St. Gallen. The word about the manuscript spread fast to the circles of architects in Italy and was soon met with enthusiasm
THE RENAISSANCE
69
Person in charge of constructions commanded by Pope
LEON BAUTISTA ALBERTI
70
He wrote Della Pittura (On Painting) where it included Brunelleschi’s theories of perspective and De Re Aedificatoria (On Building), the first architectural treatise of the Renaissance.
LEON BAUTISTA ALBERTI
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On Painting
Della Pittura
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On Building
De Re Aedificatoria
73
The book was influenced by Vitruvius’ The Ten Books of Architecture.
LEON BAUTISTA ALBERTI
74
One of the greatest works of the theory of architecture
LEON BAUTISTA ALBERTI
75
BUILDINGS OF LEON BAUTISTA ALBERTI
- San Maria Novella, (1404-1472)
- The Palazzo Rucellai (1446-1451)
- Basilica of Sant 'Andrea, (1472- 94)
76
He published “Regole generall di architectura”
SEBASTINO SERLIO
77
The first book to be published in 1537, the General Rules of Architecture, was conceived as the fourth part within the series. In this book, Serlio describes the five different architectural orders in which to build (Tuscan, Doric, Ionic, Corinthian and Composite) and explains which types of materials and ornaments can be used within each order
Regole generall di architectura
78
He published “Regola delle cinque ordini'
GIACOMO BAROZZI DA VIGNOLA
79
The Five Orders of Architecture
Regola delle cinque ordini
80
Concise, facts and easily applicable rules of the five column systems
“Regola delle cinque ordini” / The Five Orders of Architecture
81
Based his design instructions on four things:
1) the idea of Pythagoras that the proportions of small integers meant harmony
2) the proportions and other instructions provided by Vitruve
3) the example set by earlier buildings and
4) general good taste, whatever that meant when interpreted by each writer
“Regola delle cinque ordini” / The Five Orders of Architecture
82
He published Quattro libri dell’architectura
ANDREA PALLADIO
83
The Four Books of Architecture
Quattro libri dell’architectura
84
"Quattro libri dell’architectura” The Four Books of Architecture
* Orders of architecture
* Domestic architecture
* Public buildings
* Town planning
* Temples
85
The Father of modern picture books of architecture
ANDREA PALLADIO
86
Numerals on the plans give widths and lengths of rooms and heights. It was the most coherent system of proportions in the Renaissance.
ANDREA PALLADIO
87
One of French theorist who are critical of Italian
PHILIBERT DE L’ORM
88
Prove that Pantheon’s Corinthian columns had 3 different proportions
PHILIBERT DE L’ORME
89
Rejected the doctrine of absolute beauty of
measures
PHILIBERT DE L’ORME
90
Mindful that French architectural requirements differed from Italian, and respectful of native materials, he founded his designs on sound engineering principles. He assimilated the orders of classical architecture and mastered their use; but being a man with an independent, logical turn of mind and a vigorous personality, he fused the orders with a delicacy of invention, restraint, and harmony characteristic of purest French classicism.
PHILIBERT DE L’ORME
91
From times immemorial, available building materials and tools have determined or at least modified building forms, as can be seen in many surviving examples of vernacular architecture which have been created without the help of architects or theory.
CONSTRUCTION THEORY
92
THEORY BY VIRTUVE
SEMI-CIRCULAR VAULT
93
was known to ancient Romans, while its theory was still in rudimentary level as Vitruve has only one sentence to say about it: "When there are arches ... the outermost piers must be made broader than the others, so that they may have the strength to resist when the wedges, under the pressure of the load of the walls, begin to ... thrust out the abutments (VI:VII:4).”
SEMI-CIRCULAR VAULT
94
No written documents survived about theories or models to describe the magnificent vaults of medieval cathedrals
CONSTRUCTION THEORY: MIDDLE AGES
95
In antiquity and in the Middle Ages, architects designed not only the layout and decoration but also the construction and stability of the buildings. Architects were also in charge of the construction work itself.
CONSTRUCTION THEORY: MIDDLE AGES
96
From Alberti onwards, architects tended to specialize in the "disegno" of buildings, i.e., the design of the exterior and the layout of the buildings. Therefore, the mechanics of materials and construction started to become a field of study of its own.
CONSTRUCTION THEORY: RENAISSANCE
97
The methods of creating mathematical models and verifying them through experiments were adopted from Francis Bacon (1561-1626) and Galileo Galilei (1564-1642).
CONSTRUCTION THEORY: RENAISSANCE
98
Galilei himself already put the method to practice in the field of construction in his work Discorsi e dimostrazioni matematiche intorno a due nuove scienze (1638). Our modern construction theory is a direct successor of the theory on the solidity of constructions presented in it. Unfortunately, the research of constructions was detached from the rest of architectural theory for centuries, and even a separate guild of engineers was created.
CONSTRUCTION THEORY: RENAISSANCE
99
The name "engineer", which comes form the Latin word _________ = "genius" or "a product of genius", "invention", had already been used
ingenium
100
Now this word was adopted by Marquise de Vauban when he founded a building department, Corps des ingénieurs, in the French army, in 1675. In that time, it was usual for military engineers to design castles, town plans and even churches.
engineer
101
The first theorist who set out to create a totally new system of architectural forms independent of antiquity
EUGÈNE VIOLLET-LE-DUC
102
In Eugène ViolletleDuc's book, he states that,
"what we call taste is but an involuntary process of reasoning whose steps elude our observation". "Authority has no value if its grounds are not explained “
Entretiens sur l'architecture
103
The foundation of modern architecture
EUGÈNE VIOLLET-LE-DUC
104
Did not create a timeless architectural style himself, he showed others the philosophical foundation and method that they could use to develop even radically new form language
EUGÈNE VIOLLET-LE-DUC
105
was another important writer that inspired young architects to create new formal styles. He studied the methods of exploiting an eternal source of architectural forms: nature and especially the forms of plants.
OWEN JONES
106
The result of his studies became the first design instruction on the use of ornaments originating in nature: Grammar of Ornament (1856). One of its 37 rules (no 13) states that "flowers or other natural objects should not be used as ornaments", instead acceptable are "conventional representations founded upon them sufficiently suggestive to convey the intended image to the mind, without destroying the unity of the object they are employed to decorate.”
OWEN JONES
107
After the Gothic style, the first architectural style independent of the tradition of antiquity in Europe.
ART NOUVEAU
108
Its origins included the philosophy of Viollet-le-Duc and the rules and examples of Owen Jones, but no considerable theoretical research was done by the creators of this style. It may even be that, because of the world war, the hegemony of "Jugendstil" became so short that people never got as far as to do research.
ART NOUVEAU
109
The example set by Art Nouveau encouraged some of the most skillful architects of our century to create their private form languages. The first of these was _____________, who also presented a short-written foundation to his system of proportions (based on the Golden Section) in the book Modulor (1951). Its fundamental perceptive psychology base was presented already 1923 in the book Vers une architecture
LE CORBUSIER
110
Architecture is a brilliant, orthodox and original jigsaw puzzle of masses combined in light. Our eyes were created to see the forms in light; light and shadow reveal the forms. Cubes, cones, balls, cylinders, and pyramids are primary shapes that light so excellently reveals; the picture they give to us is clear and perspicuous without indecision. That is why they are beautiful forms.
Vers une architecture
111
Five points of Architecture
1926, Le Corbusier
112
Five points of Architecture (1926, Le Corbusier)
1. "Pilotis"
2. "free plan"
3. "free façade"
4. "long horizontal sliding window"
5. "roof garden"
113
columns elevating the building body off the ground
Pilotis
114
achieved through the separation of the load-bearing columns from the walls subdividing the space
free plan
115
the corollary of free plan in
the vertical plane
free façade
116
fenêtre en longeur
long horizontal sliding window
117
restoring, supposedly, the area of garden used up by the house
roof garden
118
