List of Architects Slide Identification

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List of Architects Slide Identification
A. Kallman, McKinnell and Knowles

B. Pietro Belluschi and Pier Luigi Nervi

C. Le Corbusier

D. Erik Bryggman

E. Louis Kahn

F. H. H. Richardson

G. Robert Venturi

H. Ragnar Ostberg

I. Ralph Erskine

J. Alvar Aalto

K. James Stirling

L. Jose Luis Sert

M. Charles Moore

N. Philip Webb

O. Thomas Jefferson

P. Michelangelo

Q. David Adjaye

R. Frank Gehry

S. No architect noted
List of Building Names for Slide Identification
1. Stoughton House, Cambridge, Massachusetts

2. Glessner House, Chicago, Illinois

3. History Faculty, Cambridge, England

4. Exeter Library, Exeter, N.H.

5. Indian Institute of Management, Ahmedabad, India

6. Baker House Dormitory, M.I.T., Cambridge, Massachusetts

7. Undergraduate Dormitory, M.I.T., Cambridge, Massachusetts

8. La Tourette Monastery, Lyon, France

9. Austin Bergstrom International Airport

10. Paimio Sanatorium, Paimio, Finland

11. Library, Viipuri, Finland (now Russia)

12. Resurrection Chapel, Turku, Finland

13. Kresge College, University of Santa Cruz, California

14. Tapiola New Town, Finland

15. Byker, Newcastle-upon-Tyne, England

16. Hindu Temples, Khajuraho, India

17. The Pantheon, Rome

18. University of Virginia, Charlottesville

19. Doge’s Palace, Venice

20. Campidoglio, Rome

21. Town Hall, Stockholm, Sweden

22. City Hall, Boston, Massachusetts

23. St. Mary’s Cathedral, San Francisco

24. Idea Store, London

25. Stata Center, MIT, Cambridge, Massachusetts

26. Crown Fountain, Millennium Park, Chicago

ARC 308 Quiz #3

Larry Speck Spring 2009

From the attached lists select the appropriate building name and architect for each of the slide pairs shown. Write the number or letter of the description beside the number of the slide pair.
Building Name Architect

______ ______ slide pair #1

______ ______ slide pair #2

______ ______ slide pair #3

______ ______ slide pair #4

______ ______ slide pair #5

______ ______ slide pair #6

______ ______ slide pair #7

______ ______ slide pair #8

______ ______ slide pair #9

______ ______ slide pair #10

Mark the best answer in the space provided to the left of the number.

______ 1. In the lecture on “Meaning,” the temples of Khajuraho were used as an example of

a. literal direct communication

b. literal indirect communication

c. abstract communication

d. extrinsic communication

______ 2. In the second lecture on “Humanism,” downtown Austin was used as an example of several of the eight elements that contribute to the making of a humanistic city. Which of the following was not an observation made in this regard?
a. Mixed-use environments that combine residential, office, retail and entertainment functions in close proximity contribute inevitably to a more “personal/human scale.”

b. Historic buildings that have been preserved downtown contribute to a “sense of human presence.”

c. A “richness in the range of people accommodated” is encouraged by the presence of low cost as well as more expensive eateries.

d. Capital view corridors help preserve a “variety of visual experience” while similar colors of brick and stone help contribute “harmony.”

______ 3. In the first lecture on “Humanism,” six characteristics of humanist buildings were applied to Shaker buildings and furniture and the work of California designer Gustave Stickley. Which of the following is not one of those characteristics?
a. plain materials

b. sensible construction

c. austerity

d. practicality

______ 4. In the lecture on “Architectural Determinism,” we talked about “conforming uses,” “implied uses” and “accommodated uses.” Which of the following best matches one of those terms and an example used to illustrate it?
a. An implied use for a coffin might be to scare people in a horror movie.

b. A conforming use for a “gang” bathroom would be as a social center for making friends and exchanging gossip.

c. An implied use for a coffin might be as a bookshelf to be used while a person is still alive.

d. An implied use for a “gang” bathroom might be a place to have a party.

______ 5. In the lecture on “Designation and Organization of Use,” we looked at the Glessner House by H. H. Richardson. Which of the following best describes observations made about it?
a. It is a loose collection of rooms with each reflecting the character of its function. This informal composition and variety is expressed on the façade of the house.

b. It is a strong stone building made of craggy rocks very similar in appearance to Ames Gatelodge we saw earlier in the semester. Both are reflections of Richardson’s signature style.

c. It has a zone in the back of the house that is for servants, including a separate entry off the street, a stable, a kitchen and a butler’s pantry.

d. It is built tight to the rear property line on two sides but has a looser collection of forms facing the street.

______ 6. In the “Epilogue” chapter of The Place of Houses, there is a thorough description of the Moore/Andersson compound here in Austin (one of several of Charles Moore’s own homes illustrated in the book). Which of the following is not an observation made there?
a. It is an example of a thoroughly undistinguished suburban house bordered by a freeway that was transmuted into a marvelous assembly of different spaces.

b. It embraces its site with a curved wall and fits unobtrusively into the general character of the neighborhood.

c. It is a crisp, clean modern statement that demonstrates Moore’s less-is-more aesthetic (sometimes dubbed “Less is Moore”).

d. It is a compound of buildings housing various functions centered on a pool.

______ 7. In their chapter on “The Order of Dreams,” the authors of The Place of Houses use Fallingwater by Frank Lloyd Wright (which we also looked at in class earlier in the semester) as an example. Which of the following is not a description of their observations about it?

a. The house captures and intensifies the natural ledging of rock and cave with smooth concrete bridges crossing the crevice, darting up the hill, and balancing over the falling stream.

b. This house, like many others, includes reference to the traditional mythic elements of colonnades, peaked roofs and a heavy base.

c. The house itself is a place to be explored as fully as the forested and craggy site which it extended.

d. Though dramatically different in appearance, the house is, at a deeper level, actually like the place that it is in.

______ 8. In their chapter titled “Ours,” the authors of The Place of Houses describe several houses they designed in their own practice. Which of the following is not an observation they make about these houses?
a. They represent the belief that houses must, separately, be the center of the world for their inhabitants, yet carefully related to the larger place in which they belong.

b. The one compelling similarity between them is that they are individual, special both to the people they were designed for and to the place they were located.

c. Many of the clients had large, elastic budgets, and all of them had splendid, picturesque or at least challenging sites.

d. They incorporate the architects’ belief that the image of “house” holds great power over the human mind, and that a house should seem the most important place in the world for its inhabitants.

______ 9. Which of the following is not a description of the condominiums at Sea Ranch (which we also looked at in class) as observed by the authors of The Place of Houses?
a. The condominium building was the initial attempt, in the larger development, to assert individual privacy over a community.

b. At once a castle, a compound and a promontory, the condominium building is a concentration of dwellings bunched together in the teeth of the wind.

c. Every dwelling is composed of a single great room with an outer structure built of large, rough pieces of wood.

d. Each dwelling is different to suit the particular position on the site or to provide auxiliary sleeping rooms, galleries or solaria.

______ 10. Which of the following is not a description of the town of Santa Barbara as observed by the authors of The Place of Houses?
a. The town still has an apparent coherence that owes nearly everything to the deliberate imposition of an English Tudor style on its main streets and public buildings when they were rebuilt after the earthquake of 1955.

b. The coherence in Santa Barbara is not maintained just by “style” but is fundamentally created by a characteristic relationship between people and enclosure.

c. At almost every point in the town one is conscious of being enclosed—of being next to walls or within spaces with touchable limits.

d. The walls, open stairways, balconies and arcades are an affirmation that the public realm is as much to be lived in as the private.

PART III. ESSAYS (50 points)

        1. In their discussion of Edgartown and Santa Barbara, the authors of The Place of Houses are particularly concerned with those characteristics which make a place, “not just a collection of separate things, but something memorable in itself.” They bring up issues of architectural continuity/homogeneity/consistency. Compare and contrast two areas of the campus—the area between Inner Campus Drive and 21st St. and between Guadalupe and Speedway on the one hand, and the area between 21st St. and MLK and between University Avenue and San Jacinto on the other hand—in terms of their character as a place. What buildings are most contributive to the making of a coherent character? What buildings, if any, are detrimental to such a character?

  1. In class we discussed eight characteristics of neighborhoods/communities which contribute toward making humane environments at a larger scale. Compare and contrast the humaneness of the West Mall and 21st between University Avenue and San Jacinto using at least five of these criteria. Concentrate on analysis of what environmental features contribute to the making of a humane environment rather than simply on a description of the two spaces.

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