TOA AMACE Review (PART 1)

architecture

represented by a building whic meets in a satisfactory manner the requirements: Of logical function,Sound construction, beautiful composition

Architectural Theory

the act of thinking, discussing, and writing about architecture.

Architectural Practice

|nvolves doing and making things; Involves the use of actual building materials

General Influences of man

Physical, Emotional, Intellectual

Influences of Nature

Climate, geography, topography, availability of materials

Influences of Man

Social conditions, Man's personality, Man's interests

Emotional Needs (Decorative art)

sculpture, painting, musi, literature

Basic Needs (utilitarian)

Food, clothing shelter, religions, government

Tangible

Materials related to food, clothing, shelter and transportation

Intangible

Information Knowledge of law, medicine and Design

classical

Religious interest, Culture, National love for beauty

classical

BEAUTY AND SIMPLICITY

ROMANESQUE

The Church was the dominating figure

GOTHIC

Religious fervor, Feudal System; CATHEDRAL BUILDING FORTIFIED CASTLES

RENAISSANCE

France & Italy were dominant but dependent — civic; PUBLIC BUILDINGS PALACES

COLONIAL

The New World colonizers brought their art & arch.; DOMESTIC INTIMATE

19TH CENTURY

Industrial Age new Frontiers & New industries

; Transport of goods thru Railroads; Beauty & Business Were incompatible

20TH CENTURY

AUTOMOBILE; Made possible homes away from workplace. Traffic problems

20TH CENTURY

MOVIES & RADIOS; Importation and export of ideas, International standard

20TH CENTURY

COMPLEX SOCIAL SYSTEM: Housing problems recreation & sodal adjustments, Congestion in cities

GREEK (MAN'S PERSONALITY)

Simple & flowing robe: Scholarly & philosophical Refinement. Athletic- focused on the body & health; They build on purity of detail & development of Technical skills.

FRENCH RENAISSANCE (MAN'S PERSONALITY)

A period of Multiplicity of detail in court life, In dress and arch. Complicated social etiquette.; Artificial & Theatrical life. Ornate Arch. Decorated avenues with fountains and Gardens

VICTORIAN (MAN'S PERSONALITY)

An era of omateness but ugly and drab variety. Flowing whiskers, bonnets, Muttonleg sleeves were reflection of the ligsaw ornament and Sheet metal cornices.

CONTEMPORARY (MAN'S PERSONALITY)

Simple Attire for ease of movement for Multiple activities. Knowledge in science and medicineexercise. Plain walls surfaces with lots of windows.

COMMERCE

commercial bldgs, factories, offices, exhibition centers, stores, malls

TRANSPORTATION

automobiles: garages, filling stations, terminals, airplane: airport, steamships: docks and warehouses. Railroads: passenger & freight terminals

EDUCATION

schools, colleges, museums, libraries, research centers, laboratories

REHABILITATION

theaters, dance halls, arenas, golf clubs, hospitals, clinics

Architecture as Response

based on the need for shelter; folk architecture

Architecture as Defense

organized cities / urban planning; defensive architecture

Architecture as an ldeal

aspiration toward utopia; architectural theory first studied; return to classical

Architecture as Fine Art

architecture as an expression of an evolved society; status architecture

PHASES OF DEVELOPMENT

Archaic, Mastery, Decadence

Archaic

Untried hands trying to master new problems, mediums, and expression

Mastery

Relative control over medium; Sureness of technique; classical styles, Medieval, Romanesque, Gothic

Decadence

Designs less structural and more ornate; Experimentation and excess; New forms of expression; Renaissance, Baroque, Art Deco, Art Nouveau, Bauhaus, Modern

CONTEMPORARY MOVEMENT

based upon the desire to allow function & materials to dictate form and style

CONTEMPORARY MOVEMENT

An expression of steel and concrete, new materials interpreted in many ways

GREEK (ARCHITECTURAL MOVEMENT)

Temple and theatre architecture; Post and lintel; Refinement of line, simplicity of detail

ROMAN (ARCHITECTURAL MOVEMENT)

Magnificent temples, palaces, baths with large span and covered with concrete vault

ROMAN (ARCHITECTURAL MOVEMENT)

Builders were tagged as engineers rather than architects

ROMAN (ARCHITECTURAL MOVEMENT)

Buildings were richly ornamented but less fundamental

ROMANESQUE (ARCHITECTURAL MOVEMENT)

Church architecture; Employed round arch and vault to give equilibrium by the adjustment of the thrusts

ROMANESQUE (ARCHITECTURAL MOVEMENT)

Direct and vigorous in its arrangement of mass and detail

GOTHIC (ARCHITECTURAL MOVEMENT)

A system of construction, religion and philosophy

RENAISSANCE (ARCHITECTURAL MOVEMENT)

Classical forms were adopted to their needs

RENAISSANCE (ARCHITECTURAL MOVEMENT)

Formal arrangement of churches, villas and palaces

17TH CENTURY

Overhanging second stories, beamed ceilings and narrow windows contributed to the informality of this period

GEORGIAN STYLE

Combined refined, delicate moldings with slender, graceful columns; Style were simple and symmetrical

GREEK REVIVAL

Pleasing fo the eye but were often illogical in regard to function; Style was inflexible to permit an easy adaptation

GOTHIC REVIVAL

Lacked flexible quality of the European Buildings

VICTORIAN

An attempt to bring romance through the medium of architecture and interior decoration during the period of "industrial depression"

Romanesque Revival

Bold and massive details

Renaissance Revival

French chateaux influenced the design of the mansions of the wealthy

Antecedents of the Contemporary

steel, L' Art nouveau, the early modernists

STEEL (Antecedents of the Contemporary)

Speculation of new material and new type of construction revolutionize the character of architectural design

L' ART NOUVEAU (Antecedents of the Contemporary)

Based on a romantic theory that curved natural forms of flowers and animals were more satisfactory than straight line and abstract designs.

THE EARLY MODERNISTS (Antecedents of the Contemporary)

Louis Sullivan and later his student Frank Lloyd Wright waged war against tradition in architecture

Contemporary Reflections

Traditional Eclectics, Romanticists, Traditional Modernists, Non-traditional Modernists

Traditional Eclectics (Contemporary Reflections)

work in any style of the past and their development in the direction of the use of traditional motifs

Romanticists (Contemporary Reflections)

picturesqueness of the medieval

Traditional Modernists (Contemporary Reflections)

give consideration to the use of the building but use historic style as the basis of the design

Traditional Modernists (Contemporary Reflections)

old and new style were merged

Non-traditional Modernists (Contemporary Reflections)

functionalism, form follows function; Use and characteristic of the materials influenced the appearance of the structure

Primary Elements of Form

Point and Line

POint

fixed position in space;

No length, no depth ;

Static; it has no movement

line

Extended point ;

With length, direction, and position;

Joins, links, supports, surrounds, or intersects other visual elements;

Articulate edges and surfaces

characteristics of line

Straight line, vertical, horizontal, diagonal, curved line

Straight line

sturdy, masculine, it belongs to architecture,

Vertical line

expresses the spirit of the Gothic, it is proud and exalted, it is inspiration

horizontal line

represents the horizon of the seascape, it is calm and peaceful, it is repose

diagonal

symbolizes the flight of geese; it is vigorous or even angry, it is action

curved line

more subtle than the straight line. Itis more graceful and sensitive; feminine

Plane

Can have shape, color, pattern, texture, orientation, and position

Plane

Defines the boundaries of a volume

Plane

extended line; with length and width

Shape

primary identifying characteristic of a plane

Primary shapes

circle, triangle, square

Types of plane

base plane, vertical plane, overhead plane

Volume

plane extended in a direction other than its intrinsic direction

Volume

Three dimensions: length x width x depth

Volume

All volumes have: points, lines, and planes

Primary volumes

sphere, cylinder, cube, pyramid, cone

Invisible Structure

The plan is the beginning of the building- it is the foundation.

Visible Structure

Form and Surface Area

Mass

VOLUME, or evidence of the 3" dimension,

Direction

vertical or horizontal in direction

SHAPE

geometric qualities

Surface Area

surface with twodimensions, as the facade of a building.

TEXTURE

surface treatment identified with materials, rough or smooth, etc.

TONE

light and shade caused by openings, projections, etc.

COLOR

inherent or applied colors caused by spectrum hues.

Seven Visual properties of Form

shape, size, color, texture, position, orientation, and visual inertia

shape

The principal identifying characteristic of form; shape results from the specific configuration of a form's surface and edges.

size

The real dimensions of form, its length, width and depth;

color

The hue, intensity and total value of form's surface;

texture

surface characteristics of a form; texture affects both tactile and light-reflective qualities of a form's surfaces

position

A form's location relative to its environment or visual field.

orientation

form's position relative to the ground plane, the compass points or to the person viewing the form.

visual inertia

the degree of concentration and stability of a form;