ARHA244 Exam 2 | 26 Buildings + Comparison Practice

November 11 exam. First 26 cards cover every underlined work from Lectures 09-17; last 12 practice comparisons. Start with the buildings, then practice explaining differences using purpose, site, plan/light, materials, style and theory.

St Giles Cheadle — Pugin | Cheadle, England | 1841-46. Catholic church for Lord Shrewsbury. Tall spire; colored patterned interior; rood screen separates nave and chancel. Gothic expresses Catholic revival; meaningful ornament enriches useful construction.

Houses of Parliament — Barry with Pugin | Westminster, London | 1836-68. Legislature rebuilt after 1834 fire. Long Gothic riverfront; Lords and Commons linked by Central Lobby; light courts. Medieval imagery conveys national continuity while iron roofs and ventilation serve modern needs.

Oxford University Museum — Deane and Woodward | Oxford | 1855-60. Natural-science museum. Gothic stone exterior; iron-and-glass court; botanical carving by the O'Sheas. Daylight and material specimens teach science. Ruskin influenced it but was not its architect.

Royal Courts of Justice — George Edmund Street | Strand, London | 1873-82; competition 1866-67. Gothic courts organized around a great central circulation hall. Medieval associations give secular law dignity. Street favors legible construction suited to materials and useful invention.

St Pancras Railway Station — George Gilbert Scott; shed engineers Barlow and R M Ordish | London | 1863-76. Midland Railway terminal and hotel. Red-brick Gothic hotel fronts a huge single-span iron shed. Contrast historic commercial image with industrial structure and open, daylit track space.

Red House — Philip Webb; interiors Morris and friends | Bexley Heath, Kent | 1859-60. Morris's home. Exposed red brick, steep roofs, L-shaped plan, orchard garden. Arts and Crafts connects household use, handmade objects, materials and beauty. Webb is architect; Morris is client and interior designer.

Standen — Philip Webb | East Grinstead, Sussex | 1891-94; additions 1898. House for J S Beale. Irregular wings, varied brick and roughcast tower respond to farm estate, garden, family and service functions. Later Arts and Crafts domestic design; distinguish from Webb's earlier Red House.

Leyswood — Richard Norman Shaw | Withyham, Sussex | 1868-69. House for shipping entrepreneur James Temple. Gables, tall chimneys, tower, half-timbering and enclosed garth. Old English vernacular references create picturesque modern domestic architecture. Shaw, not Webb.

Bedford Park — Shaw, Maurice Adams and others; developer Jonathan Carr | Turnham Green, London | 1875-81. Speculative middle-class suburb. Red brick, white joinery, bay windows, gardens and shared amenities. Queen Anne Revival. Marketed suburban lifestyle, not an employer's workers village.

Port Sunlight — W H Lever; William Owen and other architects | Cheshire | begun 1888. Model village for soap workers beside factory. Low-density cottage groups, Tudor-like half-timbering, broad green streets and communal facilities. Health reform also gives employer control over housing and employment.

Familistere at Guise — Godin with E Andre | Guise, France | 1859-80. Built workers' social palace near factory. Brick apartment blocks around glass-roofed courts; access galleries; schools and childcare. Private apartments plus collective comforts. Built adaptation of Fourierist ideas; not Fourier's unbuilt Phalanstere.

Chapelle Expiatoire — Pierre Fontaine | Paris | 1816-24 in handout; inscription says completed 1826. Louis XVIII's memorial at former burial site of Louis XVI and Marie Antoinette. Axial precinct leads to domed classical chapel. Bourbon Restoration, religious atonement and dynastic memory; remains moved to Saint Denis.

Bibliotheque Sainte Genevieve — Henri Labrouste | Paris | built 1843-51; designed 1838-39. Public library. Names inscribed on stone facade; upper reading room has TWO LONG VAULTED AISLES divided by slender iron columns. Side windows and gas lighting support study. Expressive ornament grows from construction and function.

Avenue des Champs Elysees — Haussmann under Napoleon III; Hittorff at Etoile | Paris | transformation 1853-70; Etoile 1854. Existing monumental axis transformed, not invented. Central road, trees, side drives and sidewalks; coordinated frontages. Circulation, imperial display, commerce, infrastructure and displacement belong in analysis.

Bois de Boulogne — Haussmann administration, Alphand and landscape team | western Paris | remade 1853-58; given to city 1852. Public park adapted from hunting forest. Curving routes, woods, lakes and changing views. Picturesque nature depends on concrete basins, pipes and water engineering; recreation and nearby property values are linked.

Palais de Justice Criminal Courts wing — Joseph Louis Duc and Honore Daumet | Ile de la Cite, Paris | 1852-69; external stair 1875. Classical west facade, giant engaged columns, broad stair and justice sculpture. Hall distributes court circulation; exterior stone members buttress vaults. Structure and allegory make judicial authority legible.

Bibliotheque Nationale Salle des Imprimes — Henri Labrouste | rue Richelieu, Paris | 1859-68. NINE DOMES with circular skylights on slender iron columns. Separate iron-and-glass stacks serve reading room. Diffuse top light, painted trees and sky, expressive industrial construction. Not Sainte Genevieve's two long aisles.

Paris Opera — Charles Garnier | Paris | designed 1861-62; opened January 1875. Napoleon III's national opera and elite social stage. Lavish classical facade, grand marble stair, foyers, auditorium and stage. Movement lets crowds see and be seen. Garnier values feeling and sensory pleasure beyond utility; opened after Second Empire fell.

Magasins du Bon Marche — Laplanche; L C and L A Boileau; Moisant and Eiffel as iron makers | Left Bank, Paris | building 1869-76; store founded 1852. Department store with skylit courts, open sales floors and elevated iron bridges. Circulation and daylight encourage looking, moving and buying. Eiffel did not design the whole store.

Alte Pinakothek — Leo von Klenze | Munich | 1826-36; designed 1823-24. Ludwig I makes Wittelsbach paintings publicly accessible. Long Renaissance-related gallery; rooms organize schools and masters. Royal collecting becomes civic education. Plan and light serve viewing. Painting museum, not the Glyptothek sculpture museum.

Bavarian Court and State Library — Friedrich von Gartner | Ludwigsstrasse, Munich | 1832-43. Royal library and state archives for Ludwig I. Long round-arched facade and monumental stair. Rundbogenstil means round-arch style; materially grounded historical design. Gartner, not Klenze or Labrouste.

Dresden Opera House — Gottfried Semper; rebuilding with Manfred Semper | Dresden | 1835-41 in handout; rebuilt 1871-78 after 1869 fire. Court theater. Curved audience-front, surrounding circulation and separate stage volume. Exterior expresses internal functions and fits urban ensemble. Distinguish original and rebuilt versions.

Dresden Art Gallery — Gottfried Semper | Zwinger, Dresden | 1847-54 in handout. Royal paintings in public cultural institution. Long Renaissance-related building closes Zwinger court; central passage and upper rotunda; galleries to either side. Site, collection order and symbolic hierarchy work together. Not Munich's Alte Pinakothek.

Vienna Rathaus — Friedrich von Schmidt | Ringstrasse, Vienna | 1872-83. City hall. Gothic central tower, pinnacles and arcades; brick with limestone decoration. Courtyards organize administration; grand stairs and banquet rooms represent civic life. Gothic evokes municipal history. Not a cathedral or Parliament.

Austrian National Parliament — Theophil von Hansen | Ringstrasse, Vienna | 1871-84 in handout. Imperial Council. Greek temple front, Corinthian columns and Athena fountain. Two chambers flank central hypostyle hall. Classicism invokes ancient civic ideals within constitutional monarchy. Athena added 1896-1902; London Parliament is Gothic.

Hofburg Theater Burgtheater — Gottfried Semper and Carl von Hasenauer | Ringstrasse, Vienna | 1874-88. Imperial theater for SPOKEN DRAMA. Rounded front and projecting staircase wings; reception rooms and grand boxes support court ceremony. Opposite Rathaus. Internal use shapes massing. Not Vienna Opera House.

Compare London and Vienna Parliaments

Both use historical architecture to represent modern legislatures. London: Gothic, national medieval continuity, Thames and Westminster context, Barry and Pugin, Central Lobby. Vienna: Greek civic ideals, Ringstrasse, Hansen, central hypostyle hall. Compare patronage, site, two chambers, circulation and political meaning.

Compare the two Labrouste libraries

Sainte Genevieve: two long vaulted aisles, central iron row, side windows, upper reading room, inscribed facade, gas lighting. Nationale: nine domed bays, skylights, separate iron-and-glass stacks. Both make structure expressive and fit modern study; their plans and light differ.

Compare Port Sunlight and Guise

Both reform workers housing near factories. Port Sunlight: Lever, cottage families, green streets, low density, village imagery. Guise: Godin, apartments, glazed shared courts and galleries, collective amenities. Explain privacy, social contact, weather-protected circulation and employer/reformer control.

Compare Bedford Park and Port Sunlight

Similar picturesque houses serve different economics. Bedford Park: Carr's speculative middle-class suburb with transport access. Port Sunlight: Lever's factory-linked workers village. Compare who pays, who lives there, amenities, density and control; attractive cottages do not imply identical social purpose.

Compare the London and Paris courts

Street's Royal Courts: Gothic great hall and medieval associations. Duc and Daumet's Palais de Justice wing: severe classicism, structural engaged columns and justice allegories. Both organize judicial circulation and convey authority; use plan, structure and imagery to explain different meanings.

Compare Oxford Museum and Sainte Genevieve

Both use iron for modern knowledge institutions. Oxford: glazed central exhibition court, naturalistic carving, geological materials and Ruskinian worker creativity. Sainte Genevieve: long two-aisled reading hall, side light, inscribed catalogue and Labrouste's expressive construction.

Compare Red House and Leyswood

Both adapt vernacular history to modern houses. Red House: Webb for Morris, red brick, L-plan and orchard, craft and everyday life. Leyswood: Shaw for Temple, half-timbering, high chimneys, garth and elaborate picturesque skyline. Compare client, site, room grouping and materials.

Compare Paris Opera and Bon Marche

Both design movement and looking. Opera: grand stair, foyers, luxury and elite social display. Bon Marche: skylit sales courts, iron bridges and shopping circulation. Compare patrons, users, light, routes, structure and behavior rather than facade alone.

Compare Alte Pinakothek and Dresden Art Gallery

Both turn royal paintings into public culture. Klenze's long museum belongs to expanding Munich; Semper's gallery completes Dresden's Zwinger. Compare room sequences, collection schools, central spaces, lighting, historical style and the monarchy's educational claim.

Compare Dresden Opera and Burgtheater

Both link theater massing to internal functions. Dresden: curved auditorium front and separate stage. Vienna Burgtheater: prominent stair wings and reception spaces for court ceremony; spoken drama. Compare circulation, patronage, urban ensembles and historical forms. Name Semper and Hasenauer at Vienna.

Compare Vienna Rathaus and Parliament

Same Ringstrasse, different institutions and historical styles. Rathaus: Schmidt, Gothic municipal identity, tall tower, administrative courts. Parliament: Hansen, Greek civic ideals, paired chambers and hypostyle hall. Explain how style identifies function within a shared urban project.

Compare Champs Elysees and Bois de Boulogne

Both belong to Paris modernization and depend on movement, infrastructure and property values. Champs: straight axis, long views, traffic zones and coordinated fronts. Bois: curves, wooded views, engineered lakes and recreation routes. Discuss sanitation, display, access and social consequences.