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In the lecture on "Sensual/Visual Form" we discussed the different motives for creating beauty in the buildings we looked at. Which of the following best matches motive and building for some of these examples?
Answer: The motive for the Taj Mahal was "grief"- the mourning for a beloved wife who died young. The motive for the Sydney Opera House was "Nationalism"- the expression of pride in a place and culture.
Which of the following clearly have forms based in Nature/Biology/Organisms (even though they may not have been shown in the lecture on that topic)?
Answer: Foam House, Chapel at Ronchamps, "Dipoli" student union
The U.S. Pavilion at EXPO in Montreal was noted in the lecture on Numbers/Mathematics/Geometry as an example of:
Answer: Geometry used to accomplish significant structure efficiencies in an innovative way OR its spherical form made up of many linear pieces assembles in polygonal modules achieves notable structural feats using pure geometries.
We looked at several buildings in this segment on Form by Le Corbusier. Which of the following is NOT an accurate reflection of comments made on his work in class?
Answer: Le Corbusier's dormitory at Bryn Mawr College is a good example of an intellectual expression of order w three square volumes interlocked at their corners. (Was designed by Louis I. Kahn)
Which of the following best describes sources of form for St. Ignatius Chapter as described in the last lecture of this segment?
Answer: Its combination of rectilinear and fluid forms indicate origins of form both in mathematics/geometry and nature/biology/organisms.
In the chapter on "Rhythm in Architecture" Rasmussen used, as one of his examples, the Glass Show Frank Lloyd Wright designed in San Francisco (which has some elements in common with the Guggenheim Museum by Wright that we looked at in class). Which of the following best describes him observations?
Answer: The space is more geometric than rhythmic. Though composed of rounded and curving forms all related to each other, there is no natural rhythm flowing through them.
In his chapter on "Daylight on Architecture" Rasmussen refers to the light quality in the Chapel at Ronchamps by Le Corbusier which was also shown in class. Which of the following describes the light quality of that buildings interior?
Answer: Daylight is introduced in numerous interesting ways creating an overall effect of shadowed, dimness through indirect lighting. For example, a very thick wall pierced by many openings of unequal sizes casts reflected light into the dim-lit room
In his chapter on "Contrasting Effects of Solids and Cavities" Rasmussen discussed two architects whose work we looked at in class- Borromini, whose work is Baroque, and Frank Lloyd Wright, whose work is modern. What is the point he makes in comparing Frank Lloyd Wright's work to that of Borromini and other Baroque architects?
Answer: Many of Wright's buildings have Baroque traits. He works with contrasting forms, curves which change from concave to convex, and interpenetrating architectural volumes
In class we discussed the villas of Andrew Palladio- especially the Villa Rotunda. Rasmussen makes a number of references to Palladio's work but devotes several pages in particular to his Villa Foscari of which Rasmussen observes:
Similar characteristics as those noted in class- well proportioned rooms which all relate to each other and to the whole in an integral way.
In his chapter of "hearing Architecture" Rasmussen observes which of the following about the relationship between the church design and church music?
Answer: every large church interior has its own voice, its special possibilities, which can produce and accommodate different types of music.
Both in class and in Rasmussen's book Experiencing Architecture, the chapel at Ronchamps was noted as:
Answer: an example of skillful, emotional, and dramatic use of light.
The golden section was discussed both in the chapter on "scale and proportion" in Experiencing Architecture and in the lecture on "visual/sensual form". Which of the following best represents a conclusion that can be drawn from those sources?
Answer: the golden section was used in the Renaissance by architects like leonardo da vinci and in modern times by architects like le corbusier.
In the lecture on "numbers/mathematics/geometry" five motives were described for employing pure geometrics in buildings. Which of the following does not describe a motive noted in that lecture?
Motives of natural emulation as in Antonio Gaudi's airports
(Buildings that were listed: Buckminister Fuller's geodesic dome, Gunnar Asplund's library, Peter Eisenman's houses"
In the lecture on "systems and order" the Kimbell Art Museum in Ft. Worth was noted as the building that
Used a "system" consisted of tube of space created by vaults
In the third class of the six on FORM, which of the following was noted as an explanation for what we mean when we refer to "the architecture of a movie plot" "the architecture of a political campaign" or "the architecture of a certain corporate structure"?
Architecture is a discipline which inherently requires underlying structure and orders. These are references to underlying systems or strategies in other disciplines
Which of the following best describes values held by Hugo Haering as noted in an early lecture in the semester?
Society depends on individuals. Nature is man's great teacher. Design is an intuitive, spiritual process.
The Parthenon in Athens was described in an early lecture as accurately depicting the values of a culture which was
A refined, sophisticated, ordered culture which had made significant advances in science, mathematics, philosophy, and logic.
In his chapter on "Scale and Proportion" Rasmussen comments on proportional discoveries of Le Corbusier and Leonardo da Vinci (both of whom we've talked about in class.) Which of the following most accurately assesses his observations?
Both Leonardo and Le Corbusier found correspondence between the golden section and proportions in the human body.
In his chapter on "Hearing Architecture," Rasmussen uses the Basilica of St. Peters in Rome (forerunner to the Renaissance cathedral we discussed in class) as an example for acoustical conditions which led to a certain kind of behavior. Which of the following best describes his observations?
Because the reverberation was so long, the priests could not address the congregation in their ordinary voices and so invented a kind of song or change using a "sympathetic note" and a particular cadence.
In discussing rhythm in architecture, Rasmussen seems to favor
Complicated dance-like rhythms with recurring variations on a theme- like the 15th century Venetian rowhouses in Valle dei Preti
Rasmussen uses the Chapel at Ronchamp (which we also viewed in class) as an example of
Daylighting which has an emotional appeal that is based in the shadowed dimness of indirect lighting
In his chapter on "Architecture Experienced as Color Planes," Rasmussen refers to the work of Mies van der Rohe, which was also discussed in class. Which of the following best describes his comments?
He uses the Tujendhat House in Brno as an illustration of right angles, open plan, rectangular shapes, and precise finishes, much like the Farnsworth House.
In the lecture on "Systems and Order" we looked at two distinctly different ordering devices- the "grid" and "linear tubes of space" which of the following is not a match of an ordering device and an example used to illustrate it in that lecture?
The Guggenheim Museum in Bilbao uses a complex, but well-ordered grid to organize its galleries as well as its technical systems.
(buildings that were discussed: Central Beheer Offices, Kimbell Art Museum, Sarabhai House
In the lecture on "Sensual/Visual Form," the point was made that an appreciation of visual beauty may vary from era to era and that an example of a high period of such appreciation would be
Medieval France
In his chapter on "Scale and Proportion" Rasmussen uses as a primary example the Villa Foscari by Palladio. Which of the following best describes his observations about it in relation to Palladio's Villa Rotunda that we looked at in class.
Both are symmetrical and harmoniously proportioned.
Rasmussen looks at several building in Experiencing Architecture by Le Corbusier. Which of the following is not an accurate reflection of comments made on Le Corbusier in the book?
Le Corbusier's Baker House Dorm at M.I.T. has a flowing, sinuous wall on the south face animated by a richly textured "clinker" brick.
In the first few pages of the initial chapter of Experiencing Architecture, Rasmussen discusses the way a group of "youngsters" were experiencing S. Maria Maggiore in Rome when he visited. Which of the following makes an accurate connection between his observations and a similar point made in class?
They were experiencing certain basic elements of architecture "unconsciously," and they learned to play with these elements. The same point was made in class-- that much of our experience of architecture is unconscious.
In the first few pages of his chapter on "Solids and Cavities in Architecture," Rasmussen makes a point about the relationship of nature and designed objects that was similar to the one made in class. Which of the following best describes his observations in this regard?
They various parts of a chair are given the same designations that are applied to human and animal member-- legs, arms, seat, and back. We find natural forms incorporated in many designed objects, not only literally, but also "organically" where they neither resemble nor represent anything specifically found in nature.
At the beginning of his chapter on Rhythm in Architecture: Rasmussen notes that "the architect is usually forced to create a regular method of subdivision in his composition on which so many artisans will have to work together." Which of the following best describes his attitude toward the "absolutely regular repetition of the same elements" that often results from this?
This represents a classic example of man's special contribution to nature but only in the order man seeks to create
In his chapter on "Scale and Proportion" Rasmussen uses as a primary example the Villa Foscari by Palladio. Which of the following best describes his observations about it in relation to Palladio's Villa Rotunda that we looked at in class?
Both are symmetrical and harmoniously proportioned.
Rasmussen uses the Leonardo da Vinci drawing of the ideal man (which we discussed at length in class) as an illustration in his chapter on "Scale and Proportion:, comparing and contrasting it with a similar drawing of a man by Le Corbusier called Le Modulor. Which of the following is an observation he makes about them?
Le Corbusier, like Leonardo found proportional relationships in the human body in the golden section that inspired his work.
In the lecture on "Nature/Biology/Organisms" as sources of form we discussed several contexts from which organic forms can be grown. Which of the following is the best pairing of an example we looked at as the provocation of organic form we discussed for it in class?
Casa Mila in Barcelona grows from a very sensitive response to the geography, climate and character of its region.
We looked at two Guggenheim museums in this segment of the course-- one in New York and one in Bilbao, Spain. Which of the following best describes observations made about them?
The Guggenheim in New York is an example of form drawn from Mathematics/Geometry while the Guggenheim in Bilbao draws from Nature/Biology/Organisms for it's sources of form.
Which of the following best describes Antonio Gaudi's inspiration for forms as noted in the lecture on "Nature/Biology/Organisms"?
(all of the above); As a keen observer of landscape, Gaudi was inspired by the shape of mountains (like Montserrat) and other landforms. Gaudi drew forms from the coastal condition of his region-- the shapes of rocks eroded by the sea, the rhythms of waves and the shapes of the shoreline, Gaudi actually mimicked rather literally some forms in the nature he admired (like the delicate seaweed or some particular lizard-like creatures) for details in his buildings
We looked at several buildings in this segment on FORM by Le Corbusier-- either in Rasmussen's book or in class. Which of the following is an accurate reflection of comments made on his work?
Le Corbusier's Chapel at Ronchamps represents a very sophisticated and beautiful light in architecture
In the final lecture of this segment we discussed the Jewish Museum in Berlin. Which of the following best describes its use of "Numbers/Mathematics/Geometry"?
The garden, made of piers in a 7x7 grid acknowledges both a special number 48 (noting 1948 when Israel was founded) plus one separate column in the center
In the lecture on "Order and Systems," we discussed the grid as an ordering device that has been very influential in the development of Savannah, Georgia. Which of the following is not an observation made about the Savannah plan?
The grid responds to the very strong local topography. Bluffs frame the town and a hill acts as a focal point in the center of the city.
In an early lecture of the course an architectural design problem was compared to an indeterminate equation in mathematics to make the point that:
Even with all of the hard data- climate, site, topography, soil conditions, activities, organization, economics, technology, etc- known, there is not a single determinate solution to the problem.
In several class sessions we referred to Gothic cathedrals with their long central nave designed for processions. Which of the following is an observation Rasmussen makes about these spaces in his chapter on "Rhythm in Architecture"
From pillar to pillar, from arch to arch, from vault to vault, the eye follows the great, solemn rhythm through the Gothic church. Like the tones of the organ, individual bays carry on and on obtaining meaning in their rhythmic relation to each other.
Which of the following was a point made in class about Rasmussen's book in general?
Rasmussen is a sensualist. He revels in timeless human sensory reaction to color, texture, light, proportion, etc.
Which of the following best describes observations about both paintings and building made in class in the first two lectures of the "Form" segment of the course?
The "Odalesque" by Jean Auguste Ingres and the Sydney Opera House address our senses. "Olympia" by Manet and the Centre Pompideau address our intellect.
The main interior space of S. Carlo alla Quattro Fontane was described in the lecture on "Intellectual and Artistic Expression" as:
An ambiguous combination of nave and nodal forms from prior eras.
