List of Architects Slide Identification
A.
B.
C.
D.
E.
F.
G.
H.
I.
J.
K.
L.
M.
N.
O.
P.
Q.
R.
S.
Kallman, McKinnell and Knowles
Pietro Belluschi and Pier Luigi Nervi
Le Corbusier
Erik Bryggman
Louis Kahn
H. H. Richardson
Robert Venturi
Ragnar Ostberg
Ralph Erskine
Alvar Aalto
James Stirling
Jose Luis Sert
Charles Moore
Philip Webb
Thomas Jefferson
Michelangelo
David Adjaye
Frank Gehry
No architect noted
List of Building Names for Slide Identification
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4.
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7.
8.
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10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
Stoughton House, Cambridge, Massachusetts
Glessner House, Chicago, Illinois
History Faculty, Cambridge, England
Exeter Library, Exeter, N.H.
Indian Institute of Management, Ahmedabad, India
Baker House Dormitory, M.I.T., Cambridge, Massachusetts
Undergraduate Dormitory, M.I.T., Cambridge, Massachusetts
La Tourette Monastery, Lyon, France
Austin Bergstrom International Airport
Paimio Sanatorium, Paimio, Finland
Library, Viipuri, Finland (now Russia)
Resurrection Chapel, Turku, Finland
Kresge College, University of Santa Cruz, California
Tapiola New Town, Finland
Byker, Newcastle-upon-Tyne, England
Hindu Temples, Khajuraho, India
The Pantheon, Rome
University of Virginia, Charlottesville
Doge’s Palace, Venice
Campidoglio, Rome
Town Hall, Stockholm, Sweden
City Hall, Boston, Massachusetts
St. Mary’s Cathedral, San Francisco
Idea Store, London
Stata Center, MIT, Cambridge, Massachusetts
Crown Fountain, Millennium Park, Chicago
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ARC 308
Larry Speck
Quiz #3
Spring 2009
PART I. IDENTIFICATION (20 points)
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
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______
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______
______
______
Architect
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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
PART II. MULTIPLE CHOICE (30 points)
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.
b.
c.
d.
literal direct communication
literal indirect communication
abstract communication
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.”
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______ 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.
b.
c.
d.
______
plain materials
sensible construction
austerity
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.
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______ 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.
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______ 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.
b.
c.
d.
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.
The coherence in Santa Barbara is not maintained just by “style” but is
fundamentally created by a characteristic relationship between people and
enclosure.
At almost every point in the town one is conscious of being enclosed—of being
next to walls or within spaces with touchable limits.
The walls, open stairways, balconies and arcades are an affirmation that the
public realm is as much to be lived in as the private.
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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?
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2. 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.