Q1: He is one of the most important artists in the whole history of etchings and architectural views.

Also created
almost 700 drawings and more than 1,000 prints. Sample of his works is the Invezione Caprici Di Carceri.
A1: GIOVANNI BATTISTA PIRANESI
S1: Architectural Theory from the Renaissance to the present, Taschen, Page 86

Q2: Indicates a position in space.

A2: POINT
S2: Architecture Form, Space, & Order, Francis D.K. Ching, Page 4

Q3: It was formed in 1960 as an association of young and highly experimental British Architects who, until 1974,
regularly co-operated with each other as a team of dependent artistic personalities. Warren Chalk and and Peter
Cook is a member of the said association.
A3: ARCHIGRAM
S3: Architectural Theory from the Renaissance to the present, Taschen, Page 516

Q4: A rectangle whose sides are proportioned according to the Golden Section is knows as a
_______________.
A4: GOLDEN RECTANGLE
S4: Architecture Form, Space, & Order, Francis D.K. Ching, Page 315

Q5: He was born in Dijon, the son of an artillery officer. In 1616, he made a model of the palais du Luxembourg,
which Salomon de Brosse had been constructing fot the widowed Queen Marie de Medicisince 1615.
A5: PIERRE LE MUET
S5: Architectural Theory from the Renaissance to the present, Taschen, Page 132

Q6: A prehistoric monument consisting of an upright megalith, usually standing alone but sometimes aligned
with others.
A6: MENHIR

S6: Architecture Form, Space, & Order, Francis D.K. Ching, Page 10
Q7: He was born in Paris in 1730, began studying under Jacques-Francois Blondel, and in 1751, he was awarded
the Academys Rome Prize.
A7: MARIE-JOSEPH PEYRE
S7: Architectural Theory from the Renaissance to the present, Taschen, Page 184

Q8: A prehistoric monument consisting of two or more large upright stones supporting a horizontal stone slab,
found especially in Britain and France and usually regarded as a burial place for an important person.
A8: DOLMEN
S8: Architecture Form, Space, & Order, Francis D.K. Ching, Page 26

Q9: A phenomenon of light and visual perception that may be described in terms of an individuals 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.
A9: COLOR
S9: Architecture Form, Space, & Order, Francis D.K. Ching, Page 34

Q10: Who authored the Treatise De re aedificatoria libri decemwhich laid out the most important architectural
theory of early modern times, was not an originally architect but a humanist. He was born in Genoa 1404.
A10: LEON BATTISTA ALBERTI
S10: Architectural Theory from the Renaissance to the present, Taschen, Page 10
Q11: This type of relationship requires that the two forms have corresponding planara sufaces which are parallel
to each other.
A11: FACE-TO-FACE CONTACT
S11: Architecture Form, Space, & Order, Francis D.K. Ching, Page 62

Q12: A series of forms arranged sequentially in a row.

A12: LINEAR FORM
S12: Architecture Form, Space, & Order, Francis D.K. Ching, Page 63

Q13: A horizontal plane located overhead defines a volume of space between itself and the ground plane.
A13: OVERHEAD PLANE
S13: Architecture Form, Space, & Order, Francis D.K. Ching, Page 111

Q14: Palace complex of Akbar the Great, Mogul Emperor of India 1569-1574.
A14: FATERHPUR SIKRI
S14: Architecture Form, Space, & Order, Francis D.K. Ching, Page 114

Q15: It defines the perpendicular edges of a volume of space.

A15: VERTICAL LINEAR ELEMENTS
S15: Architecture Form, Space, & Order, Francis D.K. Ching, Page 135

Q1: It is the ideal plan for reformed industrial city. It stands in clear opposition to the anarchy of Industrial City
sprawl.
A1: CITE INDUSTRIELLE
S1: Architectural Theory from the Renaissance to the present, Taschen, Page 442

Q2: He was one of the most Important Architects in the Veneto region. His treatise, which appeared in 1615,
gained widespread popularity, with the book on column orders quickly emerging as a standard reference work
on the subject in the 17th century.
A2: VINCENZO SCAMOZZI
S2: Architectural Theory from the Renaissance to the present, Taschen, Page 70

Q3: He is the third great Italian expert on Vitruvius in the 16th century. An intellectual patrician and joined the
ranks of the Vitruvius exegetes in Venice Italy.
A3: DANIELE BARBARO
S3: Architectural Theory from the Renaissance to the present, Taschen, Page 54

Q4: His Architectural approach linked in the late modern, technologized New Brutalism with the concept of as
analogous to biology.
A4: KISHO KUROKAWA
S4: Architectural Theory from the Renaissance to the present, Taschen, Page 522

Q5: Aldo Rossis ________________ created a great sensation and it is his first large structure, which was a
subtle violation of functionalist Dogmas. In suburb Milan, is a long, minimalist bars on stilt.
A5: THE ARCADED HOUSE, GALLATERESE 2
S5: Architectural Theory from the Renaissance to the present, Taschen, Page 528

Q6: A solid generated by the revolution of a rectangle about one of its sides. A ________ is centralized about
the axis passing through the centers of its two circular faces.

A6: CYLINDER
S6: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 46

Q7: Spaces grouped by proximity or the sharing of a common visual trait or relationship.

A. RADIAL ORGANIZATION
B. CLUSTERED ORGANIZATION
C. LINEAR ORGANIZATION
D. CENTRALIZED ORGANIZATION

A7: B.
S7: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 207

Q8: A line, plane, or volume that, by its continuity and regularity, serves to gather, measure, and organize a
pattern of forms and spaces.

A. HIERARCHY
B. RHYTHM
C. DATUM
D. SYMMETRY

A8: C
S8: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 351

Q9:

It is an ancient Incan City established c.1500 in the Andes Mountains on a saddle between two peaks, 8000 ft.
Above the Urubamba River in south-central Peru.

A9: Machu Picchu

S9: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 20

Q10: The degree of concentration and stability of a form. The visual inertia of a form depends on its geometry
as well as its orientation relative to the ground plane, the pull of gravity, and our line of sight.

A. VISUAL INERTIA
B. POSITION
C. ORIENTATION

A10: A
S10: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 35
Q11: The Buddhist stupa monument built A.D. 750-850 in the Indonesian province of central Java. In
circumambulating the monument, pilgrims passed walls ornamented with reliefs illustrating the life of Buddha
and the principles of his teaching.

A11: Borobodur
S11: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 285

Q12: Refers to the measurement of the size and proportions of the human body.

A12: ANTHROPOMETRY
S12: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 338

Q13: ______________ in architecture is based on the dimensions and proportions of the human body.

A13: HUMAN SCALE

S13: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 344

Q14: A form can be transformed by altering one or more of its dimensions and still retain its identity as a
member of a family of forms.

A. SUBTRACTIVE TRANSFORMATION
B. DIMENSIONAL TRANSFORMATION
C. ADDITIVE TRANSFORMATION

A14: B. DIMENSIONAL TRANSFORMATION

S14: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 54

Q15: It refers to the manner in which the surfaces of a form come together to define its shape and volume.

A15: ARTICULATION
S15: Architecture: Form,Space, & Order, Francis D.K. Ching, 4th edition, Page 85
ORDERING PRINCIPLES

Order without diversity can result in monotony or boredom; diversity without order can produce chaos. The
following ordering principles are seen as visual devices that allow the diverse forms and spaces of a building to
co-exist perceptually and conceptually within an ordered and unified whole.

1. Axis 2. Symmetry 3. Hierarchy 4. Rhythm/repetition 5. Datum 6. Transfromation

Axis

A line established by two points in space and about which forms and spaces can be arranged in a regular or
irregular manner. Although imaginary and not visible, an axis is a powerful dominating regulating device. It
implies symmetry and demands balance. The specific disposition of elements about an axis will determine
whether the visual force of an axial organization is subtle or overpowering, loosely structured or formal,
picturesque or monotonous.

An axis is essentially a linear condition. It has qualities of length and direction. It induces movement and views
along its path. For its definition, an axis must be terminated at both of its ends. The terminating elements can
be any of the following: 1. points in space established by vertical linear elements or centralized building forms;
2. vertical planes, such as a symmetrical building faade, preceded by a forecourt; 3. well-defined spaces,
generally centralized or regular in form; 4. gateways that open outward toward a view or vista beyond.

The notion of axis can be reinforced by defining edges along its length. An axis can be established by a
symmetrical arrangement of forms and spaces.

Symmetry

The balanced distribution of equivalent forms and spaces about a common line (axis) or point (center). A
symmetrical condition cannot exist without implying the existence of an axis or center about which it is
structured.

Two types of symmetry: 1. Bilateral symmetry refers to the balanced arrangement of equivalent elements
about a common axis. 2. Radial symmetry consists of equivalent elements balanced about two or more axes
intersect at a central point.

An entire building organization can be made symmetrical. Or a symmetrical condition can occur in only a
portion of the building, and organize an irregular pattern of forms and spaces about itself. The regular,
symmetrical condition itself can be reserved for significant or important spaces in the organization.

Hierarchy

Hierarchy is the articulation of the importance or significance of a form or space by its size, shape, or
placement relative to the other forms and spaces of the organization. The principle implies that in most
architectural compositions, real differences exist among their forms and spaces. These differences reflect the
degree of importance of these forms and spaces, and the functional, formal, and symbolic roles they play in
their organization.

Hierarchy can be achieved by endowing the form or shape with: exceptional size; a unique shape; or a
strategic location.
Datum

A line, plane, or volume that, by its continuity and regularity serves to collect, gather and organize a pattern of
forms and spaces.

To be an effective ordering device, a datum line must have sufficient visual continuity to cut through or bypass
all of the elements being organized. If planar or volumetric in form, a datum must have sufficient size, closure,
and regularity to be seen as a figure that can embrace or gather together the elements being organized within
its field.

Rhythm / Repetition

Rhythm refers to the regular or harmonious recurrence of lines, shapes, forms or colors. It incorporates the
fundamental notion of repetition as a device to organize form and spaces in architecture. The principle refers to
the use of recurring patterns and their resultant rhythms to organize a series of forms or spaces. Elements
need not be perfectly identical to be grouped in a repetitive fashion. They may share a common trait, a
common denominator, allowing each element to be individually unique yet belong to the same family.

Physical traits by which forms and spaces can be organized in a repetitive fashion are: 1. Size 2. Shape 3.
detail characteristics

Transformation

The principle that an architectural concept or organization can be retained, strengthened and built upon
through a series of discrete manipulation and transformation.

Reference:

Ching, F.D.K. (1979). Architecture: form space and order. Van Nostrand Reinhold Company Inc.
TERRITORIALITY, PERCEPTION OF SPACE AND PROXEMICS

TERRITORIALITY

Territoriality, a basic concept in the study of animal behavior, is defined as behavior by which an organism
characteristically lays claim to an area and defends it against members of its own species.

Functions Of Territoriality:

1. the propagation of species by regulating density 2. provides a frame in which things are done places to
learn, places to play, safe places to hide 3. coordinates the activities of the group 4. keeps communicating
distance 5. offers protection from predators 6. proper spacing for the preservation of the species and the
environment.

Spacing Mechanisms In Animals: 1. flight distance and critical distance between different species. 2.
personal distance and social distance interaction between members of the same species.

PERCEPTION OF SPACE

Mans sense of space is closely related to his sense of self, which is in an immediate transaction with his
environment. Man can be viewed as having visual, kinesthetic, tactile, and thermal aspects of his self which
may be either inhibited or encouraged to develop by his environment.

Visual and Auditory Space

Perception of space based on the amount and type of information gathered by the eyes and the ears. A great
amount space can be probed by these two receptor systems. Visual information tends to be less ambiguous
and more focused than auditory information.

E.g. The Japanese screen visually in a variety of ways but are perfectly content with paper walls as acoustic
screens. The Germans and the Dutch depend on thick walls.

Olfactory Space

Perception of space based on the use of the olfactory receptors: the nose. Smell evokes much deeper
memories than either vision or sound. Olfaction provide a sense of life; the shifts and transitions not only help
to locate one in space but add zest to daily living.

E.g. The Americans extensive use of deodorants and suppression of odor in public places results in a land of
olfactory blandness and sameness. In the typical French town, one may savor the smell of coffee, spices,
vegetables, clean laundry, and the characteristic odor of outdoor cafes.
Thermal Space

With the skin as a major sense organ, humans are able to perceive heat and cold. Man is well equipped both
to send and receive messages as to his emotional state by means of changes in skin temperature in various
parts of the body. Temperature has agreat deal to do with how a person experiences crowding.

Tactile Space

Texture is appraised and appreciated almost entirely by touch, even when it is visually presented. It is the
memory of tactile experiences that enables us to appreciate texture.

The Anthropology of Space

Fixed-Feature Space

Ones territory is every sense marked by visual, vocal and olfactory signs. Man has created material
extensions of territoriality as well as visible and invisible territorial markers.

One of the basic ways of organizing the activities of individuals and groups. It includes material manifestations
as well as the hidden, internalized designs that govern behavior as man moves about on this earth. (e.g.
buildings)

It is the mold into which a great deal of behavior is cast. We shape our buildings and they shape us. (Sir
Winston Churchill)

Semifixed-Feature Space

Sociofugal spaces tend to keep people apart. Sociopetal spaces tend to bring people together.

There should be flexibility and congruence between design and function so that there is a variety of spaces,
and people can be involved or not as the occasion and mood demand.

PROXEMICS
Proxemics describes the measureable distances between people as they interacted. They are body spacing
and posture that are unintentional. Social distance between people is reliably correlated with physical
distance, and described four distances:
1. intimate distance for embracing, touching or whispering (15-45 cm, 6-18 inches)
2. personal distance for interactions among good friends (45-120 cm, 1.5-4 feet)
3. social distance for interactions among acquaintances (1.2-3.5 m, 4-12 ft)
4. public distance used for public speaking (over 3.5 m, 12 ft)
According to Edward T. Hall (Hidden Dimension) different cultures maintain different standards of personal
space. In Latin cultures, for instance, those relative distances are smaller, and people tend to be more
comfortable standing close to each other; in Nordic cultures the opposite is true. Realizing and recognizing
these cultural differences improves cross-cultural understanding, and helps eliminate discomfort people may
feel if the interpersonal distance is too large ("stand-offish") or too small (intrusive). Comfortable personal
distances also depend on the social situation, gender, and individual preference.

Reference:

Ching, F.D.K. (1979). Architecture: form space and order. Van Nostrand Reinhold Company Inc.

Hall, E.T. (1969). The hidden dimension. Anchor Books, Double Day & Company Inc. New York.