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127 Cards in this Set
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Chapter 10 Vocabulary:
1. Site-Specific Art (pg. 197) |
Art that is produced in or for one location and is not intended to be relocated.
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2. Land Art (pg. 198)
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Site-specific work that is created or marked by an artist within natural surroundings.
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3. Ephemeral Art (pg. 205)
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Works that have a temporary immediacy or are built with the recognition that they will disintegrate.
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4. Public Art (pg. 207)
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Works created for public spaces.
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5. Monuments (pg. 210)
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A type of site-specific public art that is intended to preserve the memory of a person or an event.
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6. Stelae (pg. 211)
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A ______ is a series of concrete stone’s placed side by side in rows, they are the same length and width, but vary in height and are placed on slabs which are tilted in different directions, which mark graves, in this case the Jews from the Holocaust. There are no personal effects or bodies here, so it is very somber, symbolizing how the Nazi’s tried not only to kill all Jews, but tried to completely erase any memory of them.
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7. Stele (or Stela)
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An engraved stone slab or pillar that serves as a grave marker.
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Chapter 11 Vocabulary:
1. Architecture (pg. 215) |
The art and science of designing aesthetic buildings, bridges, and other structures to help people meet their personal and communal needs.
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2. Façade (pg. 216)
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A French term for the face or front of a building.
Foundations, roofs, and a variety of interior spaces that must be planned to include complex systems for heating, cooling, lighting, and inner transportation. |
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3. Service System (pg. 216)
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In architecture, mechanical systems that provide structures with transportation, heat, electricity, waste removal, and other services.
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4. Stone Architecture (pg. 216)
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When used as a building material, stone is massive and virtually indestructible.
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5. Kivas (pg. 217)
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Served as Community Centers and Ceremonial Functions.
A circular, subterranean structure built by Native Americans of the Southwest for community and ceremonial functions. |
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6. Adobe (pg. 217)
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Brick that has been dried in the sun rather than fired in a kiln.
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7. Post-and-Lintel Construction (pg. 217)
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Construction in which vertical elements (posts) are used to support horizontal crosspieces (lintels), Stonehenge is an example of this. Also termed “Trabeated Structure.”
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8. Masonry (pg. 218)
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Structure built of stone or brick by a mason.
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9. Arch (pg. 219)
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Architects of stone use this to span distances, which have many functions, including: supporting other structures, such as roofs, and serving as actual and symbolic gateways.
A curved or pointed structure consisting of wedge-shaped blocks that span an open space and support the weight of material above by transferring the load outward and downward over two vertical supports, or piers. |
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10. Bricks (pg. 219)
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Early masonry arches were fashioned from these.
A hard substance made from clay, fired in a kiln or baked in the sun, and used in construction. |
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11. Voussoirs (pg. 219)
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A wedge-shaped stone block used in the construction of an arch.
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12. Centering (pg. 219)
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In architecture, a wooden scaffold used in the construction of an arch.
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13. Keystone (pg. 219)
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In architecture, the wedge-shaped stone placed in the top center of an arch to prevent the arch from falling inward.
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14. Compressive Strength (pg. 219)
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The degree to which a material can withstand the pressure of being squeezed.
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15. Tier (pg. 219)
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A row or rank.
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16. Vault (pg. 220)
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An extended arch.
In architecture, any series of arches other than an arcade used to create space. |
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17. Dome (pg. 220)
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In architecture, a hemispherical structure that is round when viewed from beneath.
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18. Pendentive (pg. 220)
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The use of 4 triangular surfaces to support the dome on a square base, which transfers the load from the base of the dome to the piers at the corners of the square beneath.
In architecture, a spherical triangle that fills the wall space between the 4 arches of a groin vault in order to provide a circular base on which a dome may rest. |
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19. Pier (pg. 220)
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In architecture, a column-like support with a rectilinear rather than cylindrical profile. _____ generally support arches.
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20. Veneer (pg. 221)
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In architecture, a thin layer of high-quality material used to enhance the appearance of the façade of a structure.
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21. Barrel Vault (pg. 220)
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A roofed-over space of tunnel constructed as an elongated arch.
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22. Groin Vault (pg. 220)
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In architecture, a vault that is constructed by placing barrel vaults at right angles so that a square is covered.
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23. Buttressing (pg. 220)
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To support or prop up construction with a projecting structure, usually built of brick or stone; a massive masonry structure on the exterior wall of a building that presses inward and upward to hold the stone blocks of arches in place.
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24. Bay (pg. 220)
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In architecture, the area or space spanned by a single unit of vaulting that may be marked off by piers or columns.
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25. Rib (pg. 220)
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In Gothic architecture, a structural member that reinforces the stress points of groin vaults.
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26. Webbing (pg. 220)
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In architecture, a netlike structure that composes that part of a ribbed vault that lies between the ribs.
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27. Gothic (pg. 220)
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A Western European style developed between the 12th and 16th centuries CE, characterized in architecture by ribbed vaults, pointed arches, flying buttresses, and steep roofs.
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28. Pointed Arch (pg. 220)
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An arch that comes to a point rather than curves at the top.
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29. Flying Buttress (pg. 220?)
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A buttress that is exterior to a building but connected in a location that permits the buttress to support an interior vault.
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30. Ottonian (pg. 220)
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Of the period characterized by the consecutive reigns of German kings named Otto, beginning in 936 CE.
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31. Romanesque Style (pg. 220)
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A style of European architecture of the 11th and 12th centuries that is characterized by thick, massive walls, the Latin cross plan, the use of a barrel vault in the nave, round arches, and a twin-towered façade.
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32. Clerestory (pg. 220)
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In a Latin cross plan, the area above the triforium in the elevation of the nave, which contains windows to provide direct lighting for the nave.
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33. Fenestration (pg. 220)
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The arrangement of windows and doors in a structure often used to create balance and rhythm as well as light, air, and access.
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34. Wood Architecture (pg. 221)
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A beautiful and versatile material used for building and sculpture, it is abundant and is a renewable resource. It is relatively lightweight and is capable of being worked on at the site with portable hand tools. It has a variety of colors and grains, and is able to accept paint or to weather nicely. Can be used as a structural element or as a façade, and is often used as both. Although it has drawbacks, in which it warps and cracks, and rots; it is highly flammable, and attracts insects such as termites. Modern technology enhances the stability and strength when used as a building material.
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35. Plywood (pg. 221)
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Sheets of wood that resist warping because they are constructed of layers glued together with the grain oriented in different directions.
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36. Siding (pg. )
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In architecture, a covering for an exterior wall.
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37. Quarry Tile (pg. )
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Reddish brown tile, similar to terra cotta.
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38. Post-and-Beam Construction (pg. 222)
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Construction in which vertical elements (posts) and horizontal timbers (beams) are pieced together with wooden pegs.
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39. Truss (pg. 222)
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A rigid, triangular frame used for supporting structures such as roofs and bridges.
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40. Balloon Framing (pg. 222)
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In architecture, a wooden skeleton of a building constructed from prefabricated studs and nails.
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41. Clapboard (pg. 222)
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In architecture, siding composed of thin, narrow boards placed in horizontal, overlapping layers.
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42. Stick Style (pg. 223)
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Open interiors, a curious interplay of voids, solids, horizontal and vertical lines. Turrets, gables and dormers poke the roof in every direction; trellised porches reinforce a wooden laciness.
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43. Cast-Iron Architecture (pg. 223)
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a
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44. Prefabricate (pg. 224)
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In architecture, to build beforehand at a factory rather than at the building site.
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45. Steel (pg. 225)
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A hard, tough metal composed of iron, carbon, and other metals, such as nickel or chromium.
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46. Steel-Cage Construction (pg. 224)
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A method of building that capitalizes on the strength of steel by piecing together slender steel beams to form the skeleton of a structure.
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47. Steel-Cage Architecture (pg. 225)
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Steel is harder than iron, and is more rust and fire resistant, prefabricated I-Beams have great tensile strength. They resist bending in any direction and are riveted or welded together into steel cages.
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48. Pilasters (pg. 226)
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In architecture, a decorative element that recalls the shape of a structural pier. _________ are attached to the wall plane and project very little. They may have all the visual elements of piers, including base, shaft, capital, and entablature above.
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49. Cornice (pg. 226)
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In architecture, a horizontal molding that projects along the top of a wall or a building; the uppermost part of an entablature.
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50. Modernism (pg. )
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A contemporary style of architecture that deemphasizes ornamentation and uses recently developed materials of high strength.
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51. Postmodernist (pg. )
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A contemporary style that arose as a reaction to Modernism and that returns to ornamentation drawn from Classical and historical sources.
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52. Reinforced Concrete Architecture (Reinforced Concrete) (pg. 226)
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Concrete that is strengthened by steel rods or mesh. Same as ferroconcrete.
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53. Ferroconcrete (pg. 226)
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(Same as Reinforced Concrete) Concrete that is strengthened by steel rods or mesh.
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54. Naturalistic Style (pg. 227)
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A style prevalent in Europe during the 2nd half of the 19th century that depicted the details of ordinary life.
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55. Steel Cable (pg. 228)
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A strong cable composed of multiple intertwined steel wires.
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56. Steel-Cable Architecture (pg. 228)
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Used often and recently in bridges, many parallel wires of steel cables share the stress, and since it is flexible, it allows the roadway to sway, within limits, in response to changing weather and traffic conditions.
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57. Shell Architecture (pg. 231)
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To enclose spaces with relatively inexpensive shell structures, masonry domes have been replaced by lightweight shells, which are frequently flatter and are capable of spanning greater spaces. Shells have been constructed from reinforced concrete, wood, steel, aluminum, and even plastics and paper.
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Chapter 12 Vocabulary:
1. Craft (pg. 237) |
a
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2. Ceramics (pg. 238)
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The art of creating baked clay objects, such as pottery and earthenware.
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3. Pottery (pg. 238)
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Pots, bowls, dishes, and similar wares made of clay and hardened by heat; a shop at which such objects are made.
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4. Kiln (pg. 238)
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An oven used for drying and firing ceramics.
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5. Throwing (a pot) (pg. 239)
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In ceramics, the process of shaping that takes place on the potter’s wheel.
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6. Coiling (pg. 239)
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A pottery technique in which lengths of clay are wound in a spiral fashion.
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7. Glaze (pg. 240)
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In painting, a semitransparent coating on a painted surface that provides a glassy or glossy finish. In ceramics, a hard, glossy coating formed by applying a liquid suspension of powdered material to the surface of a ware, which is then dried and fired at a temperature that causes the ingredients to melt together.
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8. Bisque Firing (pg. 240)
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In ceramics, a preliminary firing that hardens the body of a ware.
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9. Vitrify (pg. 240)
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To become hard, glassy, and nonporous.
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10. Nonporous (pg. 240)
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Not containing pores and thus permitting the passage of fluids.
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11. Abstract Expressionism (pg. 242)
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A style of painting and sculpture of the 1950’s and 1960’s in which artists expressionistically distorted abstract images with loose, gestural brushwork.
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12. Wares (pg. 242)
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Pottery or porcelain; a good to be sold by a merchant.
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13. Earthenware (pg. 242)
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Reddish tan, porous pottery fired at a relatively low temperature (below 2000°F)
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14. Terra Cotta (pg. 242)
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A hard, reddish brown earthenware used in sculpture and pottery; usually left unglazed.
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15. Stoneware (pg. 242)
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A ceramic that is fired at 2,300°F – 2,700°F. The resulting object is usually gray but can be tan or reddish. Stoneware is nonporous or slightly porous and is used in dinnerware and ceramic sculpture.
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16. Porcelain (pg. 243)
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A hard, white, translucent, nonporous clay body. The bisque is fired at a relatively low temperature and the glaze at a high temperature.
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17. China (pg. 243)
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Whitish or grayish porcelain that rings when struck.
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18. Glass (pg. 244)
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19. Natron (pg. 244)
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An alkali used to embalm the dead; was how glass was discovered, if heated on a fire and mixed with sand, glass will form.
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20. Silica (pg. 244)
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A hard, glossy mineral compound of silicon and oxygen.
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21. Fiberglass (pg. 244)
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Fine spun-glass filaments that can be woven into textiles.
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22. Glassblowing (pg. 244)
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The art of shaping molten glass into glass objects by blowing air through a tube.
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23. Engraving (pg. 245)
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Cutting; in printmaking, an intaglio process in which plates of copper, zinc, or steel are cut with a burin and the ink image is pressed onto paper.
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24. Flint Glass (pg. 248)
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A hard, bright glass containing lead oxide.
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25. Sandwich Glass (pg. 248)
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From the town of ________, Massachusetts, a 19th century glass was pressed into molds to take on the appearance of a cut pattern. Common home decorations included pieces shaped as cats, dogs, hens, and ducks.
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26. Art Nouveau (pg. 248)
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A highly ornamental style of the 1890’s characterized by floral patterns, rich colors, whiplash curves, and vertical attenuation (French for “new art”).
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27. Fiber (pg. 249)
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A slender, threadlike structure or material that can be woven.
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28. Weaving (pg. 250)
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The making of fabrics by the interlacing of threads or fibers, as on a loom.
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29. Warp (pg. 250)
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In weaving, the threads that run lengthwise in a loom and are crossed by the weft or woof.
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30. Weft (pg. 250)
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In weaving, the yarns that are carried back and forth across the warp. Also called Woof.
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31. Woof (pg. 250)
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Same as Weft. In weaving, the yarns that are carried back and forth across the warp.
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32. Plain Weave (pg. )
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A weave in which the woof thread passes above one warp fiber and below the next.
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33. Satin Weave (pg. 250)
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A weave in which the woof passes above and below several warp threads at a time.
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34. Twill Weave (pg. 250)
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A weave with broken diagonal patterns.
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35. Pile Weave (pg. 250)
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A weave in which knots are tied, then cut, forming an even surface.
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36. Loom (pg. 250)
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A machine that weaves thread into yarn or cloth.
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37. Embroidery (pg. 250)
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The art of ornamenting fabric with needlework.
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38. Tie-Dying (pg. 250)
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Making designs by sewing or tying folds in cloth to prevent a dye from reaching certain areas.
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39. Batik (pg. 250)
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The process of making designs in cloth by waxing fabric to prevent dye from coloring certain areas; a cloth or design made in this way.
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40. Basketry (pg. 251)
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The craft of making baskets.
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41. Metalwork and Jewelry (pg. 251)
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The refining and working of metals has been known for thousands of years. Iron and its alloys have been used to fashion horseshoes and arrowheads and, more recently, kitchen utensils and furniture.
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42. Stainless Steel (pg. 251)
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Steel that has been alloyed with chromium or other metals to make it virtually immune to corrosion.
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43. Brass (pg. 251)
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A yellowish alloy of copper and zinc.
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44. Enamel (pg. 251)
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To apply a hard, glossy coating to a surface; a coating of this type.
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45. Emboss (pg. 251)
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To decorate with designs that are raised above a surface.
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46. Griffins (pg. 254)
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A mythical creature with the body and back legs of a lion, and the head, talons, and wings of an eagle.
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47. Wood (pg. 255)
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Has only to be cut and carved to form a functional object, as opposed to glass, metal, and clay.
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48. Design (pg. 256)
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The combination of the visual elements of art according to such principles as balance and unity.
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49. Industrial Design (pg. 256)
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The planning and artistic enhancement of industrial products.
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50. Product Design (pg. 258)
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Many contemporary _______ ______ follow the formula of “form follows function” as Louis Sullivan stated.
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51. Object (pg. )
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52. Form and Function (pg. 258)
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Form – The totality of what the viewer sees in a work of art; a product of the composition of visual elements.
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53. Ergonomics (pg. 258)
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The applied science of equipment design intended to minimize discomfort and maximize performance of the user.
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54. Graphic Design (pg. 260)
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Design for advertising and industry that includes design elements such as typography and images for communication purposes.
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55. Typography (pg. 260)
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The art of designing, arranging, and setting type of printing.
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56. Layout (pg. 261)
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A way of organizing the design elements in a printed work such as a poster, book, or magazine.
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57. Logo (pg. 263)
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A distinctive company trademark or signature (short for “logogram” or “logotype”).
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58. Web Design (pg. 263)
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Has 2 key tasks, the technical and programming aspect (how users click around on the page, how hot links to other pages/sites are established, and how to insert still images or animated clips and sound); the other is encompassing art and design (visually please and excite the visitor of the page).
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59. Fashion Design (pg. 265)
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60. Haute Couture (pg. 266)
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French term for “high fashion” usually made-to-measure for individual customers from expensive materials combined with meticulous stitching, detail work, and finishing.
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61. Mass Market Apparel (pg. 266)
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Designed for ordinary consumers to be more universal in style and more affordable in price.
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62. Ready to Wear (pg. 266)
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Use high-quality fabrics, and the workmanship is careful and complex, this category of fashion is in between haute couture and mass-market fashion.
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63. Urban Design (pg. 268)
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The attempt to give form, in terms of both beauty and function, to entire areas or to whole cities. The focus is on the massing and organization of buildings and on the spaces between them, rather than on the design of individual structures.
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