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WorksheetsSPLE 2020 THEORY OF ARCHITECTURE / AR MARVIN TEJADA
Total questions: 90
Worksheet time: 1hrs 8mins
1. Abstract thought or speculation resulting in a system of assumption or principles used in analyzing, explaining or predicting phenomena is called;
a. technology
b. theory
c. concept
d. stimuli
2. This is the conscious use of skill, craft and creative imagination in the production of something beautiful, appealing, or of more than ordinary significance;
a. art
b. science
c. systems
d. technology
3. The following characterizes architectural systems of space, structure and enclosure, except;
a. construction technology, architectural science, art appreciation
b. organizational pattern, relationships, hierarchy
c. qualities of shape, color, texture, scale, proportion
d. qualities of surfaces, edges, and openings
4. The following characterizes architectural systems that are experienced through movement in space and time, except;
a. approach and entry
b. path configuration and access
c. air space and aesthetics
d. sequence of spaces
5. Architectural systems that can be achieved by means of technology through;
a. building utilities
b. specifications
c. construction methods
d. health, safety and welfare
6. When accommodating a program of an architectural systems are as follows except for;
a. historical tradition and precedents
b. socio-cultural factors
c. modern infrastructure
d. user requirements, needs and aspirations
7. Villa Savoye by Le Corbusier is a prime example of pilotis that comprises the basic tenets of this new architectural aesthetic style ;
a. international
b. art-deco
c. avant-garde
d. post-modernism
8. A well-known work of architect Frank Lloyd Wright which features reinforced concrete slabs that defines the horizontality of the floor and roof planes;
a. Guggenheim Museum
b. Falling Water
c. Robbie House
d. Unity Temple
9. Which of the following statement describes an enclosure system;
a. the curved form of the entrance foyer
b. the stair and ramp penetrate and link the three levels
c. four exterior wall planes define a rectangular volume
d. a garden terrace distributes sunlight to the spaces
10. It is the comprehension of the ordered or disordered relationships among the building’s elements and systems, and responding to the meaning they evoke.
a. physical
b. perceptual
c. conceptual
d. structural
11. Which of the following statement is not true;
a. Linear elements express movement across space
b. Linear elements provide support for an overhead plane
c. Linear elements form a three-dimensional structural frame
d. Linear elements serves as a mark in a space
12. A line extended in a direction other than its intrinsic direction becomes a ________. It has length and width but no depth.
a. volume
b. line
c. plane
d. point
13. A prime example of a plane where there are three terraces approached by ramps rise toward the base of the cliffs and the chief sanctuary is cut deep into the rock
a. Mortuary Temple of Hatshepsut
b. S. Maria Novella
c. Scala de Spagna
d. Piazza San Marco
14. The following are supplementary properties of a plane except;
a. shape
b. color
c. surface
d. form
15. It refers to building forms that stand as objects in the landscape;
a. volumetric elements
b. dolmen
c. form articulation
d. caryatid
16. A form can be transformed by the addition of elements to its volume,
a. additive transformation
b. subtractive transformation
c. dimensional transformation
d. physical transformation
17. 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. additive transformation
b. subtractive transformation
c. dimensional transformation
d. physical transformation
18. It refers to the basic scheme or concept for an architectural design, represented by a diagram,
a. parti
b. fabric
c. pattern
d. composition
19. A plane figure bounded by six sides and having six angles is called,
a. pentagon
b. hexagon
c. nonagon
d. decagon
20. A solid generated by the revolution of a rectangle about one of its sides is called,
a. sphere
b. cone
c. cylinder
d. pyramid
21. Which of the following phases are considered for design?
I. visualization
II. ideation
III. initiation
IV. preparation
V. synthesis
VI. evaluation
VII. action
VIII. re-evaluation
a. I,II, III, IV, V, VI
b. I, II, V, VII, VIII
c. III, IV, V, VI, VII, VIII
d. II,III, IV, VI, VII, VIII
22. It refers to collecting and analyzing relevant information and establishing goals and criteria for an acceptable solution;
a. preparation
b. action
c. ideation
d. evaluation
23. It refers to selecting and implementing the most suitable solution;
a. preparation
b. action
c. ideation
d. evaluation
24. It refers to set of standards, rules or principles in which a judgment or decision may be based;
a. criterion
b. datum
c. model
d. test
25. Separating of a whole into its constituent parts or elements especially as a method of studying the nature of the whole and determining its essential features and their relations;
a. charrette
b. hypothesis
c. synthesis
d. analysis
26. A thought or without reference to concrete reality or a particular instance is called;
a. analogy
b. principle
c. metaphor
d. abstract
27. The systematic classification or study of types according to structural features;
a. prototype
b. typology
c. archetype
d. ectype
28. The original scheme for a design presented in the form of a sketch outlining its specific character, to be developed in detail in later studies;
a. projet
b. scheme
c. idea
d. design concept
29. A _______ marks a position in space having no length, width or depth, therefore it is considered static.
a. volume
b. line
c. plane
d. point
30. This monument denotes the cylindrical shaft that commemorates the victory of Germanic tribes north of Danube river.
a. Obelisk of Luxor
b. Hagia Sophia
c. Column of Marcus Aurelius
d. Menhir
31. Various elements in architecture can be seen as parallel planes that define a field of space, except,
a. a street space formed by the facades of two facing buildings
b. a radial concentric nodes of activity spaces
c. a promenade or alley bounded by rows of trees or hedges
d. a natural topographical form in the landscape
32. A kind of approach which enhances the effect of the perspective on the front facade and form of a building,
a. spiral
b. frontal
c. oblique
d. elliptical
33. This structure in China serves as a portal and a gateway and a link between Forbidden City to the north and the Outer City to the south,
a. Tianamen Square
b. Ningbo Museum
c. Xian Terracotta
d. Qian Men
34. This building designed by architect Robert Venturi denotes a vertical break or separation in the facade which defines the entrance to the building;
a. Vanna Venturi House
b. Dr. Currutchet’s House
c. Morris Gift Shop
d. JFK Memorial
35. An additive form where a number of secondary forms clusters around a dominant central parent form,
a. linear form
b. centralized form
c. radial form
d. clustered form
36. An additive form where a collection of forms grouped together by proximity or the sharing of a common visual trait,
a. linear form
b. centralized form
c. radial form
d. clustered form
37. A Buddhist stupa monument in Indonesia that circumambulating the monument which is a prime example of spiral configuration,
a. Angkor Wat
b. Bagan Temples
c. Borobodur
d. Meenakshi Amman
38. Which of the following conditions can be strategies for relating the form of a building to the space around it?
I. form a wall along an edge of its site and define a positive outdoor space
II. surround and enclose a courtyard or atrium space within its volume
III. enclose a portion of its site as an outdoor room
IV. merge interior space with the private outdoor space of a walled site
a. I, II, III
b. I & IV only
c. all of the above
d. none of the above
39. A type of relationship relies on the close proximity of the forms or their sharing of a common visual trait such as shape, color or material,
a. interlocking volumes
b. spatial tension
c. edge-to-edge contact
d. face-to-face contact
40. Centralized organizations whose forms are relatively compact and geometrically regular can result to the following except.
a. establishing a repetitive set of field reference points
b. establish points or places in space
c. terminate axial conditions
d. serve as an object-form within a defined field or volume of space
41. This color scheme takes one color and matches it with the two colors adjacent to its complementary color;
a. split complementary
b. triadic
c. analogous
d. double complementary
42. It refers to the direction of a form relative to the ground plane, the compass points, other forms or the person viewing the form,
a. position
b. orientation
c. visual inertia
d. articulation
43. It refers to the degree of concentration and stability of the form,
a. position
b. orientation
c. visual inertia
d. articulation
44. The Milwaukee Art Museum in USA is a the work of this reknown architect;
a. Wang Shu
b. Santiago Calatrava
c. Bjarke Ingels
d. Rem Koolhas
45. This work of the architect Eric Mendelsohn features rounded corners which expresses continuity of surface, compactness of volume and softness of form;
a. The Louvre
b. Falling Water
c. Torre Agbar
d. Einstein Tower
46. The principal courtyard of an Italian palazzo is called;
a. atrium
b. pavilion
c. cortile
d. piazza
47. Villa Garches in France is the work of this reknown architect;
a. Christopher Wren
b. Mario Botta
c. Le Corbusier
d. Walter Gropius
48. The visual properties of form are as follows, except;
a. size
b. texture
c. line
d. color
49. The physical dimension of length, width and depth of a form is called,
a. scale
b. figure
c. proportion
d. size
50. It refers to the degree by which color differs from a gray of the same lightness or brightness;
a.hue
b. chroma
c. tint
d. shade
a. Seagram Building, New York City, 1956-58, Mies van de Rohe
b. Tensile Structure, Cologne, Germany, 1957, Frei Otto
c. Kaufman Desert House, California, 1946 Richard Neutra
d. Merchant’s National Bank, Grinnell, Iowa, 1914 Louis Sullivan
e. Notre Dame du Haut, Ronchamp, France, 1950-55, Le Cobursier
a. Seagram Building, New York City, 1956-58, Mies van de Rohe
b. Tensile Structure, Cologne, Germany, 1957, Frei Otto
c. Kaufman Desert House, California, 1946 Richard Neutra
d. Merchant’s National Bank, Grinnell, Iowa, 1914 Louis Sullivan
e. Notre Dame du Haut, Ronchamp, France, 1950-55, Le Cobursier
a. Seagram Building, New York City, 1956-58, Mies van de Rohe
b. Tensile Structure, Cologne, Germany, 1957, Frei Otto
c. Kaufman Desert House, California, 1946 Richard Neutra
d. Merchant’s National Bank, Grinnell, Iowa, 1914 Louis Sullivan
e. Notre Dame du Haut, Ronchamp, France, 1950-55, Le Cobursier
a. Seagram Building, New York City, 1956-58, Mies van de Rohe
b. Tensile Structure, Cologne, Germany, 1957, Frei Otto
c. Kaufman Desert House, California, 1946 Richard Neutra
d. Merchant’s National Bank, Grinnell, Iowa, 1914 Louis Sullivan
e. Notre Dame du Haut, Ronchamp, France, 1950-55, Le Cobursier
a. Seagram Building, New York City, 1956-58, Mies van de Rohe
b. Tensile Structure, Cologne, Germany, 1957, Frei Otto
c. Kaufman Desert House, California, 1946 Richard Neutra
d. Merchant’s National Bank, Grinnell, Iowa, 1914 Louis Sullivan
e. Notre Dame du Haut, Ronchamp, France, 1950-55, Le Cobursier
a. S. Andrea Mantua, Italy 1472-94, Leon Battista Alberti
b. Fukuoka Sogo Bank, Saga Branch, 1971 Arata Isozaki
c. Everson Museum, Syracuse, New York, 1968, I.M. Pei
d. Sydney Opera House, Australia 1973, Jorn Utzon
e. Taliesin West, Phoenix, Arizona, 1938, Frank Lloyd Wright
a. S. Andrea Mantua, Italy 1472-94, Leon Battista Alberti
b. Fukuoka Sogo Bank, Saga Branch, 1971 Arata Isozaki
c. Everson Museum, Syracuse, New York, 1968, I.M. Pei
d. Sydney Opera House, Australia 1973, Jorn Utzon
e. Taliesin West, Phoenix, Arizona, 1938, Frank Lloyd Wright
a. S. Andrea Mantua, Italy 1472-94, Leon Battista Alberti
b. Fukuoka Sogo Bank, Saga Branch, 1971 Arata Isozaki
c. Everson Museum, Syracuse, New York, 1968, I.M. Pei
d. Sydney Opera House, Australia 1973, Jorn Utzon
e. Taliesin West, Phoenix, Arizona, 1938, Frank Lloyd Wright
a. S. Andrea Mantua, Italy 1472-94, Leon Battista Alberti
b. Fukuoka Sogo Bank, Saga Branch, 1971 Arata Isozaki
c. Everson Museum, Syracuse, New York, 1968, I.M. Pei
d. Sydney Opera House, Australia 1973, Jorn Utzon
e. Taliesin West, Phoenix, Arizona, 1938, Frank Lloyd Wright
a. S. Andrea Mantua, Italy 1472-94, Leon Battista Alberti
b. Fukuoka Sogo Bank, Saga Branch, 1971 Arata Isozaki
c. Everson Museum, Syracuse, New York, 1968, I.M. Pei
d. Sydney Opera House, Australia 1973, Jorn Utzon
e. Taliesin West, Phoenix, Arizona, 1938, Frank Lloyd Wright
a. Fujisawa Municipal Gymnasium, Japan 1984
b. Torre Agbar, Barcelona, Spain 2005
c. Guggenheim Museum, Bilbao Spain, 1997
d. Tate Modern, London UK 2003
e. Lloyd’s Building, London, UK 1986
NAME THE ARCHITECT DESIGNER
f. Frank Gehry
g. Richard Rodgers
h. Jean Nouvel
i. Jacques Herzog & Pierre de Meuron
j. Fuhimiko Maki
a. Fujisawa Municipal Gymnasium, Japan 1984
b. Torre Agbar, Barcelona, Spain 2005
c. Guggenheim Museum, Bilbao Spain, 1997
d. Tate Modern, London UK 2003
e. Lloyd’s Building, London, UK 1986
NAME THE ARCHITECT DESIGNER
f. Frank Gehry
g. Richard Rodgers
h. Jean Nouvel
i. Jacques Herzog & Pierre de Meuron
j. Fuhimiko Maki
a. Fujisawa Municipal Gymnasium, Japan 1984
b. Torre Agbar, Barcelona, Spain 2005
c. Guggenheim Museum, Bilbao Spain, 1997
d. Tate Modern, London UK 2003
e. Lloyd’s Building, London, UK 1986
NAME THE ARCHITECT DESIGNER
f. Frank Gehry
g. Richard Rodgers
h. Jean Nouvel
i. Jacques Herzog & Pierre de Meuron
j. Fuhimiko Maki
a. Fujisawa Municipal Gymnasium, Japan 1984
b. Torre Agbar, Barcelona, Spain 2005
c. Guggenheim Museum, Bilbao Spain, 1997
d. Tate Modern, London UK 2003
e. Lloyd’s Building, London, UK 1986
NAME THE ARCHITECT DESIGNER
f. Frank Gehry
g. Richard Rodgers
h. Jean Nouvel
i. Jacques Herzog & Pierre de Meuron
j. Fuhimiko Maki
a. Fujisawa Municipal Gymnasium, Japan 1984
b. Torre Agbar, Barcelona, Spain 2005
c. Guggenheim Museum, Bilbao Spain, 1997
d. Tate Modern, London UK 2003
e. Lloyd’s Building, London, UK 1986
NAME THE ARCHITECT DESIGNER
f. Frank Gehry
g. Richard Rodgers
h. Jean Nouvel
i. Jacques Herzog & Pierre de Meuron
j. Fuhimiko Maki
a. Cathedral of Brasilia, Brazil 1970
b. Marina Bay Sands, Singapore 2010
c. Salk Institute for Biological Studies, San Diego, California 1962
d. Bank of China Tower, Hongkong 1990
e. The Gherkin, London, England 2003
NAME THE ARCHITECT DESIGNER
f. I.M. Pei
g. Louis Kahn
h. Oscar Niemeyer
i. Norman Foster
j. Moshe Safdie
a. Cathedral of Brasilia, Brazil 1970
b. Marina Bay Sands, Singapore 2010
c. Salk Institute for Biological Studies, San Diego, California 1962
d. Bank of China Tower, Hongkong 1990
e. The Gherkin, London, England 2003
NAME THE ARCHITECT DESIGNER
f. I.M. Pei
g. Louis Kahn
h. Oscar Niemeyer
i. Norman Foster
j. Moshe Safdie
a. Cathedral of Brasilia, Brazil 1970
b. Marina Bay Sands, Singapore 2010
c. Salk Institute for Biological Studies, San Diego, California 1962
d. Bank of China Tower, Hongkong 1990
e. The Gherkin, London, England 2003
NAME THE ARCHITECT DESIGNER
f. I.M. Pei
g. Louis Kahn
h. Oscar Niemeyer
i. Norman Foster
j. Moshe Safdie
a. Cathedral of Brasilia, Brazil 1970
b. Marina Bay Sands, Singapore 2010
c. Salk Institute for Biological Studies, San Diego, California 1962
d. Bank of China Tower, Hongkong 1990
e. The Gherkin, London, England 2003
NAME THE ARCHITECT DESIGNER
f. I.M. Pei
g. Louis Kahn
h. Oscar Niemeyer
i. Norman Foster
j. Moshe Safdie
a. Cathedral of Brasilia, Brazil 1970
b. Marina Bay Sands, Singapore 2010
c. Salk Institute for Biological Studies, San Diego, California 1962
d. Bank of China Tower, Hongkong 1990
e. The Gherkin, London, England 2003
NAME THE ARCHITECT DESIGNER
f. I.M. Pei
g. Louis Kahn
h. Oscar Niemeyer
i. Norman Foster
j. Moshe Safdie
IDENTIFY THE ARCHITECT
a. Arata Isozaki, Japanese
b. Balkhrisna Doshi, Indian
c. Rem Koolhaas, Dutch
d. Frank Gehry, Canadian US
e. Wang Shu, Chinese
YEAR PRITZKER PRIZE AWARDEE
f. 2018
g. 2012
h. 1989
i. 2000
j. 2019
IDENTIFY THE ARCHITECT
a. Arata Isozaki, Japanese
b. Balkhrisna Doshi, Indian
c. Rem Koolhaas, Dutch
d. Frank Gehry, Canadian US
e. Wang Shu, Chinese
YEAR PRITZKER PRIZE AWARDEE
f. 2018
g. 2012
h. 1989
i. 2000
j. 2019
IDENTIFY THE ARCHITECT
a. Arata Isozaki, Japanese
b. Balkhrisna Doshi, Indian
c. Rem Koolhaas, Dutch
d. Frank Gehry, Canadian US
e. Wang Shu, Chinese
YEAR PRITZKER PRIZE AWARDEE
f. 2018
g. 2012
h. 1989
i. 2000
j. 2019
IDENTIFY THE ARCHITECT
a. Arata Isozaki, Japanese
b. Balkhrisna Doshi, Indian
c. Rem Koolhaas, Dutch
d. Frank Gehry, Canadian US
e. Wang Shu, Chinese
YEAR PRITZKER PRIZE AWARDEE
f. 2018
g. 2012
h. 1989
i. 2000
j. 2019
IDENTIFY THE ARCHITECT
a. Arata Isozaki, Japanese
b. Balkhrisna Doshi, Indian
c. Rem Koolhaas, Dutch
d. Frank Gehry, Canadian US
e. Wang Shu, Chinese
YEAR PRITZKER PRIZE AWARDEE
f. 2018
g. 2012
h. 1989
i. 2000
j. 2019
