ART

SCIENCE
ARCHITECTURE
AESTHETICS
BEAUTY
TASTE
ARCH AS SCIENCE
TECHNOLOGY
TECTONICS
ARCH AS AN EXPERIENCE
EDMUND BACON
ARCH AS A PROFESSION
PLAN
ROOF-DOME-CEILING
POINT
LINE
PLANE
VOLUME
FORM
CENTRALIZED FORM
LINEAR FORM
RADIAL FORM
CLUSTERED FORM
GRID FORM
AXIS
SYMMETRY
HEIRARCHY
REPETITION
DATUM
TRANSFORMATION
RHYTHM
IS 1.618

WHITE LINE
BLUE LINE
YELLOW LINE
GREEN LINE
MAGENTA LINE
DESIGN
INITIATION
PREPARATION
PROPOSAL-MAKING
EVALUATION

the conscientious use of skills, crafts

body of facts or truths obtained
art and science of designing and constructing buildings
branch of philosophy that deals with the nature of art beauty and taste
the aggregate of qualities in a person or thing that gives intense
critical judgement, discernment and appreciation of what is fitting
a style or method of building characteristics of a people place or time
applied science: the branch of knowledge that deals with the creation
the science or art of shaping, ornamenting or assembling materials in construction
the conscious art of forming things
its in the doing that the idea comes
the profession of designing buildings and other habitable environments
any of various upright construction, a rigid, relatively slender, orthographic projection
PROTECTIVE ELEMENTS
PRIMARY ELEMENTS OF FORMS
marks a position in space
connections of two or more points, position in 1d
a series of parallel lines, position in 2d
points or vertices where several planes come together, position in 3d
is the primary identifying characteristics of volume
number of secondary forms clustered about a dominant central parent form
a series of forms arranged sequently in a row
a composition of linear forms extending outward
a collection of forms grouped together by proximity
a set of modular forms related and regulated by a three dimensional grid
PRINCIPLES OF ORDER
a line established by two points in space
in most, if not all architectural compositions, real differences
refers to a line, plane, or volume to which other elements in a composition relate
refers to any movement characterized by a patterned recurrence
phi
bodys height
golden section of the white line
golden section of the blue line
golden section of the yellow line
golden section of the green line
the activity of generating proposal
DESIGN STAGES
problem identification
collection and analysis of info
synthesis considerations
based on goals

PHYSIOLOGICAL
SAFETY
LOVE/BELONGING
ESTEEM
SELF-ACTIUALIZATION

DESIGN PHILOSOPHY
DESIGN CONCEPT
LUDWIG MIES VAN DE ROHE
BAUHAUS
DIXIADIS
DE STIJL
ETHNOCENTRISM
CRITICAL REGIONALISM
ECLECTICISM
ART NOUVEAU
INTERNATIONAL STYLE
POST MODERNISM
MODERNISM
ACADEMISM
METABOLISM
REVIVALISM
ARTS AND CRAFT MOVEMENT
FUNCTIONLISM
BRUTALISM
CHINOISERIE
CONSTRUCTIVSM
PURISM
HISTORICISM

AESTHETICS
NATURAL ENVIRONMENTAL
MAN-MADE ENVIRONMENT
SPATIAL
HUMAN DETERMINANTS
BUILDING TECHNOLOGY
LOCAL REGULATIONS

firmitas, utilitas, venustas

first attribute of color
used to represent the basic colors
relative lightness or darkness of color

Maslows hierarchy of needs

breathing food water sex sleep homeostasis excretion
security of body, of employment, of resources, of morality
friendship, family, sexual intimacy
self-esteem, confidence, achievement
morality, creativity, spontaneity

statements of the beliefs, values or viewpoints

consists of initial generalized idea, a germination, a perception
less is more
aimed to unite art and technology under a purified aesthetic
a human settlement
pursuit of social renewal
habitual disposition to judge foreign people
factoring in cultural variations
free trade and travel
no traces of historical style
transcends culture and nations
less is bore by Robert Venturi
open planning and free historic detail
19th century related to art nouveau
1960s movement in Tokyo
revival of the classical Greek and roman
William Morris- conservative detachment from industrial revolution
put emphasis on practical resolution of a building
the use of raw concrete appeared to be unfinished
the influence of Chinese style in western architecture
a Russian movement of geometric shapes
simplicity, proponents of which is le Corbusier
use of past historical styles

DESIGN CONSIDERATIONS
form and composition
natural site considerations
ingress/egress
function and zoning
psychology, anthropo and ergonomics
structural electrical sanitary
land use codes laws ordinance

CYCLES FEEDBACK ITERATION

MARCUS VITRUVIUS POLLIO

HUE
COLOR WHEEL
VALUE OR LIGHTNESS

CHROMA OR SATURATION
PRIMARY COLORS
SECONDARY COLORS
TERTIARY COLORS
RED
ORANGE
YELLOW
GREEN
BLUE
VIOLET
HUE
CHROMA OR SATURATION
VALUE OR LIGHTNESS
TINT
TONE
SHADE
KEY COLOR
COLOR SCHEME
MONO CHROMATIC
COMPLIMENTARY
ANALOGOUS
TRIADIC
ELISHA OTIS

the relative purity or intensity of a color

Red yellow and blue. Colors cannot be mixed
by mixing two primary colors
mixing primary and secondary colors
passion, rage
energy, stimulating
attention, happy
refreshing, sedating
peaceful, conductive to think
sophistication, melancholy
other name for color
intensity or saturation of color
lightness and darkness
color + white
color + grey
color + black
dominant in a color scheme
combinations of colors that harmonize with each other
using one color throughout, utilizing that colors various tints
using two colors that opposites each other
using three colors that are neighboring each other
using three colors that are equal distance apart on the color wheel
elevator