Quizzes 1-10 (Rasmussen)
Facebook West in Menlo Park, CA, designed by Architect Frank Gehry in collaboration with Mark Zuckerberg, represents a. a contemporary vision of ant-hierarchy, transparency and fluidity to foster free-form collaborative work b. a traditional vision of employing organizational strategies derived from computational methods c. a historical vision of geometric order with a series of clearly defined vaults and arches d. a modern vision of transparency and reflection depicted in a high-rise glass and steel frame building form
A
In reference to the title of Ch. 2, what does Rasmussen mean by "solids" and "cavities"? a. solids refer to the "figural material" elements while cavities refer to the spaces seemingly "carved" from material or matter b. solids refer to the large blocks of " limestone " in cathedrals while cavities refer to the " spaces " in the crypt below the central nave c. solids refer to the "architectural" elements in a building while cavities refers to the "non - architectural" elements of a building d. solids refer to the geometric form of the materials while cavities refers to the isometric form of the space
A
Louis Kahn consulted with his friend Luis Barragon who recommended what suggestion to him at the Salk Institute? a. to leave the courtyard between the buildings empty, surfaced only with marble, to create "a façade to the sky" b. to surface the courtyar d between the buildings with indigenous grass es , to create a "great lawn" c. to subdivide the courtyard between the buildings with trees, to create an "orchard" of lime trees d. to fill the courtyard between the buildings with water, to create a large "reflective pond"
A
Rasmussen is critical of the design of contemporary houses in what way? a. that too often light is coming from all directions without any artistic purpose b. that windows are placed symmetrically, discounting for the rotation of the sun c. that skylights are used randomly to make up for light coming from the side d. that light is generally privileged in the east and west direction
A
The Jay Pritzker Pavilion in Chicago, designed by American Architect Frank Gehry in 2004, has a . the ability to synthesize an indoor acoustic environment outdoors through an electronic sound enhancement system b . the space to accommodate a wide range of public events including concerts, public market, fairs and art installations c. the technology to integrate the urban sounds of the city with classical music performed in a concert hall d. the formal attributes to produce sound effects that are reminiscent of early American Jazz composer
A
The Nolli Map of Rome, invented by Italian architect and surveyor Giambattista Nolli in the mi ddle of the 18 th c., a. illustrates the distinction between civic or publicly accessible space in the city from private space within the block b . portrays the location of public art and public sculpture, as opposed to architecture, within the city's his toric walls c . contrasts the natural and vegetal features of the city from the man - made or constructed ones in the urban landscape d . expresses the difference between religious and ornamental historical buildings and secular and minimalist ones
A
The Tugendhat H ouse is known for its a. precision and refined finishes, lack of separation between interior and exterior with its vertical sliding glass windows b. complex geometry and small window openings, as well as its use of high technology in the private spaces of the house c . painterly qualities, use of color and flush surfaces, as well as its color tiled roof and hardwood detailing along its elev ations d. ornament al features , wrought iron window screens, exposed sand stone at its base and white stucco walls above
A
The illusion provided by Rubin's Vase, developed in the early 20th c. by Danish psychologist Edgar Rubin, is a. a demonstration of the "figure-ground distinction" the brain makes during visual perception b. a presentation of the visual distinction between "cavities and masses" on a three-dimensional surface c. a depiction of "visual thickness and thinness" presented on a two-dimensional plane d. an expression of "surfaces and boundaries" that can be perceived simultaneously
A
The long, regulated, repeating rhythm of the building facades lining Rue de Rivoli in Paris, France, is a representation of a . modern urban space b . renaissance urban space c . medieval urban space d . gothic urban space
A
The portico and g reat stairway of Villa Foscari is modeled on a . a small temple - Tempietto del Clitunno , an ancient Christian church that sits along the banks of a river near Trevi, Italy b. a large dome - Cathedral of St. John, a renaissance Christian church near the Apennine mountains in Reggio di Calabria, Italy c . a cubic cross - Basilica del Francesca, a medieval Christian church that rests on ancient ruins in Rome, Italy d . a tiny terrace - Templu m di Florentina, gothic Christian church located near the center of Florence, Italy
A
Which of the following is "not" one of the five principles of modern architecture as defined in the 1920's by Le Corbusier : a. vertical windows (to frame views) b. free plan (no structural walls) c. roof garden (flat roof) d. columns (to raise above the ground)
A
A unique visual feature of Exeter Library, in Exeter, New Hampshire, designed by Louis I. Kahn, is a. the "thick, textured" concre te walls, small round windows and sloped roof b. the "missing corners" that allow the four brick walls to be free - standing c . the large " exterior canopy " depicting the "primary entrance" to the building d . the "triangular plan" of the building with a central, circular staircase
B
According to Danish Architect, Educator and Writer, Steen Eiler Rasmussen, the difference between architecture and sculpture is a. sculpture's virtuosity b. architecture's utility c. sculpture's plasticity d. architecture's formality
B
According to Rasmussen, 'seeing' is a a. a passive creative activity, characterizing the static relation between the subject (viewer) and the object (artifact) b. an active, creative activity, depicting the dynamic relation between the subject (viewer) and the object (artifact) c. a subjective rational activity, describing the static relation between the subject (viewer) and the object (artifact) d. an objective rational activity, exposing the dynamic relation between the subject (viewer) and the object (artifact)
B
According to Rasmussen, can we hear architecture? a . no, as architecture has the inability to communicate b . yes, as differently shaped rooms and different materials reverberate sound differently c . no, as architecture in its essence is inert, inactive and static, predominantly composed of stone, masonry or wood d . yes, as different sites and landscapes produce different contexts that absorb silence differently
B
Contemporary American Architect Frank Gehry is known for his a. orthodox use of materials and inventive forms b. unorthodox use of materials and inventive forms c. adorned use of terra-cotta tiles on the roof d. unadorned walls and large square windows
B
Exeter Libra ry in New Hampshire, where Mark Zuckerberg stud ied during his junior and senior years of high school , is noted for a. the dramatic concrete circular openings on the exterior that allows daylight to reach back into the center of the building b. the subtle way the exterior columns in the façade become smaller from the bottom of the building to the top c. the delicate use of exterior - grade Indonesian teak to support the concrete parabolic arches in the center of the building d. the striking use of p rimary colors to differentiate the public areas of the building from the private ones used by student
B
Finnish Architect Alvar Aalto (1898 - 1976) is known as a. a brutal minimalist, with b uildings shaped around strong, bold, transparent forms b . an organic modernist, with buildings formed around the life to be lived in them c . an artistic medievalist, with bu ildings designed in accordance with historical precedents d . a rational romanticist, with buildi ngs organized through a clear, artistic logic
B
For architect Louis Kahn, a. materials of the building are less important than the quality of space created in a building b . material construction shoul d be understood, revealed and expressed in the design of a building c . material expression of the building should be concealed, placing more emphasis on the site d. the quality of light in a space is more important than the materials or textures or site features of a building
B
In architect ure, a ccording to Rasmussen, we do not experience color a. all at once , but slowly as a function of , space, light and atmosphere b . independently, but only as one of several characteristics of a certain material c. collectively, but as a personal reflection of how we feel when we experience it d. at night, because color is dependent on ultraviolet light associated with moon light
B
In his design for the Ringsted Town Hall in Copenhagen, Rasmussen designed a. landscape and placement of trees around the building b. the furniture and curtains as well as the building c. the pigment and unique size of the exterior brick on the facade d. the horizontal windows that face a public park across the street
B
In the topsy - turvy world of theater, t he painting of the "Dancers" by artist Edward Degas, depicts stage actors or dancers with lighting a. from the sides b . from below c . from above d. from above and below
B
Innumerable attempts have been made to set architectural proportions analogous to musical scales. What one proportion stand s out? a. quadrilateral section by Hippocrates b. golden section by Pythagoras c. trian gular section by Aristotle d. silver section by Cleomedes
B
Like Fallingwater in Bear Run, Pennsylvania, Architect Frank Lloyd Wright typically designed the entranceway to his houses a. as a g racious, wide and tall space, filled with native plants, that would step up toward an expansive view b . as a narrow, tight and low space that would open and expand in the interior , often in a diagonal direction c. as a curvilinear space with an integral low reflective pond that expands in a perpendicular direction d. as a stepped space with an extra large door typically adjacent to a large brick fireplace
B
Mt. Angel Library is b est known for its natural light coming from a . below b. above c. the west d. the east
B
One of the most unique features of Notre Dame du Haut by French Architect Le Corbusier is a. the large glass wall facing the Haute Saone mountainside b . the fathom - thick wall pierced by many openings of unequal sizes c . the small oculus in the roof above the alter d . the series of four bell towers that cast long shadows on the wall
B
The ' primary ' visual features of Fallingwater is a. the elongated steel beams that frame the w alls and views to the exterior b. the broad, smooth overhanging and cantilevered terraces on three different levels c . the wide spans of glass that connect the interior with the natural wilderness beyond d . the large central fireplace supporting the two floors and roof of the buildin
B
The De Stijl Movement (1917 - 1931) in art and architecture is characterized by the use of a. monotone colors, hard edges, and complex shapes, such as those by painter Georges Braque and architect Le Corbusier b. primary colors, flat surfaces, and orthogonal composition, such as those by painter Piet Mondrian and architect Gerrit Rie tveld c. complementary colors, deep surfaces, and diagonal lines, such as those by painter Pablo Picasso and architect Renzo Piano d. secondary colors, soft edges, and circular forms, such as those by painter Joan Miro and architect Alvar Aalto
B
The Musee Ando Hiroshige in Tochigi, Japan, designed by architect Kengo Kuma, represents what arch - type of form: a. stereotomic form, an expression of surface b. tectonic form, an expression of construction c. platonic form, an expression of purity d. atomic form, an expression of atmospher
B
The houses in Pessac, France (near Bordeaux ), designed by French architect Le Corbusier were conceived a. in volume, w ith deep cavities akin to the architects of the renaissance b. as colored geometric planes and flat surfaces, intended to divest architecture of its mass and weight c. in plan with thick walls, deep recessed windows and rationally - organized free - standin g piers d. without structural walls or columns or vertical means of suppor
B
The importance of the painting , "Ariadne, Venus and Bacchus" by Jacopo Tintoretto (1576) is that it marks a. the advancement in the scienc e of pigmentation, introducing a new palette and treatment of color b . the change in the visual arts, from a rigid frontal style to a more plastic one with movement and rhythm c . the return of the use of bo ld colors and geometric shapes associated with painting 200 years earlier c. the beginning of using portra it subjects disa ssociated from the power of the church and state
B
The teak wood surfaces surrounding the windows i n the towers along the court of the Salk Institute is characterized by its a . smooth, refined texture b . rough, unfinished texture c. reflective, shiny texture d. painted, flat texture
B
To improve the quality of light and air and public health in the building , a unique d esign feature of Unite d'Habitat ion is a. its "diagonal corridor" that cuts across the width of the building b . its "cross - over" duplex units providing exposure to both east and west c . its "vertical stacking" of three - story units on the south side d. its " checkerboard pattern" of one, two and three story units
B
Villa Foscari is a _____________ and has a ______________ exterior . a. two - story building / red brick b. three - story building / beige stucco c. four - story building / white marble d. five - story building / green granite
B
Villa Garches, designed by Le Corbusier in 1928 and once owned by writer Gertrude Stein, was inspired by a. the geometrical system of the Marseilles Block b. the proportioning system of Villa Foscari c. the scalar system of the Doges Palace d. the mathematical system of Unite d'Habitation
B
What does Rasmussen mean by "one cannot hear whether or not it is good architecture?" a. that acoustics is an art and scie nce and therefore difficult to assess based on a technical performance b. that sound alone is not enough to judge whether a work of architecture is "good architecture" c. that architecture produces man y types and qualities of sound that are difficult to decipher and therefore evaluate d. that sound waves chang e depending on the climate and orientation of the building
B
What does Rasmussen mean by the title of Ch. 4: " Architecture Experienced as Color Planes "? a. color has the capability of signifying thickness, dep th and shadow b. that three - dimensional forms may often appear visually as completely flat c. experience of color in architecture varies from person to person d. pigmentation is more important architecturally than space or form
B
What does Rasmussen mean when he says, "the Architect composes the music others will play?" a. that the study of architecture is akin to the study of music b. that drawings, like musical notes, are not an end in themselves but a set of instructions c. that materials used in buildings have inherent acoustical qualities d. that constructing a building is an inseparable act from drawing a building
B
What is the 'functional benefit' of the primary form of the B aker House Dormitory at MIT? a. the orthogonal structure of the building, composed of a series of concrete walls that define the inside from outside b . an increase in the quantity of dorm rooms with a direct or oblique view of the Charles River c . the circular organization based on a series of large green courtyards facing the center of campus d. the inclusion of balconies in each dorm room providing direct access to the outdoors
B
Which of the following is "not" one of the fou r strategies for using color, outlined by Rasmussen a . symbolic use - associated with different customs and culture b . function - associated with the purpose or use of different spaces in a building c. processing nature - associa ted with technology and the transformation of raw materials d. site - associated with the locale and place of a building
B
A rtists Lehmeier & Rissland transform the old town of Tallinn into a. a sound tunnel that allows musi cians to conduct experimental compositions b. an urban horn that is capable of funneling and amplifying the sounds of the city c. a new type of public tour exploring the sonic effects possible within the cityscape d. an elevated amphitheater that allows one to hear musical scores from below
C
According to Rasmussen, color a. can make a weak , non - functioning , poorly - designed building beautiful and prized b. has little to do with the success or failure or value of a work of architecture c. can make an building seem lighter or heavier, large or small , near or distant, cool or warm d. has an illusionary character that can not always be trusted depending on the quality of daylight
C
According to Rasmussen, we continually find the same t wo tendencies in architecture. T hey are: a. the irregular form of the tree (emphasizing nature) and the plastic form of sculpture (emphasizing shape) b . th e irregular form of the cloud (emphasizing change ) and the stable form of the mountain (emphasizing permanence ) c . the rough form of the basket (emphasizing structure) and the smooth form of a clay vessel (emphasizing surface) d. the course form of an oil painting (emphasizing texture) and the liquid form of music (emphasizing tone)
C
According to Rasmussen, the impression of a work of art depends not only on the work of art itself, but to a great extent a. on the spatial proportions, ambiance, lighting and character of the environment b. on the hardness or softness of the building materials, acoustical properties and color c. on the observers susceptibility, mentality, education and his/her entire environment d. on the color, character and sense of order and clarity of the space in which it is viewed
C
According to Rasmussen, which of the following is not an example of "effective visual contrast" a. dark and light b. thin and thick c. marble and slate d. concave and convex
C
According to Rasmussen, which of the following is ' not ' true? a. light (natural or artificial) is of decisive importance in experiencing architecture b. moving a window can utterly transform the character of an entire room c . the quality of light is less important than the quantity of light d. daylight is constantly changing and cannot be controlled by an architect
C
At the start of his chapter on c olor, Rasmussen distinguishes the difference between painting and architecture in what way? a. when a building is monochromatic, it appear s to be more akin to photography than painting b . when a building is polychromatic, its value grows much like a late - 19 th c. painting does by Re noir, Monet or Picasso c. when a painting loses its color it no longer exists as a work of art, which is not true of architecture d. when the c olor pig ment in a painting becomes more vibrant and saturated over time, it becomes more valuable
C
Exeter Library demonstrates an example of a "modern interpretation" of a. renaissance architecture as a spatial art b . baroque architecture as a fluid art c . gothic architecture as structural art d . medieval architecture as an ornamental art
C
Fuentes de Los Amantes, in Los Clubes, Mexico, completed in 1966 by Mexican archite ct Luis Barragon, is characterized by its a. platonic form and polygonal geometries b. tectonic form and layering of materials c. stereotomic form and use of bold colors d. mechanical form and integrated fasteners
C
Gothic architecture is an expression of its a. stained glass windows and oversized doors b. concrete materials and steel reinforcement c. structure and construction d. voluminous spaces and scary gargoyle
C
Historically, sculpture and architecture were a. studied at different academies b. sequentially introduced during construction c. part of an integrated whole d. distinct disciplines in the arts
C
In 1914 - 15, Swiss - born Architect Le Corbusier embarked on a seminal theoretical and spatial study of " structure" known as a. Casa de Metal b. Hotel Beton Arme c. Maison Dom - ino d. Haus aus Glas
C
In 1950, "Modular Man" and the concept of the "module" as a proportioning system was a. an ancient code of dimensions and proportions based on "celestial pattern s" b. a series of sacred mathematical numbers based on "religious beliefs" c. a new system of proportions based on "the golden section" and "the actions of human beings" d. an arithmetic formula derived from "classical musical notation"
C
On what basis does Rasmussen critique the design of the National Institute of Life Insurance of 1509 by Architect Ferdinand Meldahl? a the poor handling of limestone at the entrance of the building b. the proportions of the double-arched windows c. as a meaningless copy of an historical style d. as a building way ahead of its time and place, culturally speaking
C
Palazzo Massimo alle Colonne in Rome, designed by Baldas sare Peruzzi in 1536, is characterized by its a . flat /straight , rusticated façade with deep openings along the back side of the building , adjacent to a gothic church b. concave façade opposite an ad jacent piazza or square with ornamental triangular windows covered with metal grating c. convex façade following the curve of the street and an open l oggia or deep cavity with pairs of columns on the ground floor d. deep, circular windows along the base of the building and its three - story columns that rise to support a large cornice
C
Rasmussen distinguishes the ' visual character ' of the city of Rome from the city of Venice as follows: a. Venice is understood as a ' clearly defined center' and Rome as an 'array of solids and voids' b. Venic e is understood as a ' densely fragmented space ' and Rome as a 'sporadic geometric arrangement' c . Rome is understood as a 'richly sculpted block' and Venice as a 'collection of colored surfaces' d. Rome is understood as a 'thickly congested form' and Venice as an 'archipelago of small islands'
C
Rasmussen makes reference to the paintings of Johannes Vermeer , such as The Milkmaid (1658), because a. the subjects of his paintings were typically hardworking middle - class Dutch citizens, such as kitchen maids and postal carriers b. the disposition of figures and objects were geometrically organized by the direction and reflection of the rear daylight c. he worked experime ntally with the problems of natural light, giving a sense of space to a room, and light and color to the shadows d. the collage of color in the background of his paintings illustrated the daylighting effects of Dutch farms and landscapes
C
Rasmussen references two projects designed by French architect Le Corbusier in Ch. 5 that can be characterized as follows : a. a diagonal plan and a cubic section b . a horizontal suburb and a horizontal house c . a vertical villa and a vertical garden city d. a historical villa and a modern condominium
C
The 20 th c. houses in Pessac are similar to the 14 th c. Doges Palace in what way ? a. scale, proportion and use of dimension s b . material , details and use of technology c. flatness, lightness and use of color d. geometry, order and use of diagonal
C
The "entasis" is a. an opening in the middle of a column b. a slight concave curve in the shaft of a column c. a slight convex curve in the shaft of a column d. an entrance in the center of a classical buildin
C
The Hill House by Johnston Marklee is an example of a. platonic form and use of bold charismatic colors b. tectonic form and use of l arge metallic materials c. stereotomic form and use of white smooth stucco d. mechanical form and use of integrated fasteners
C
The Tugendhat House in Brno, Czech Republic, was designed by a. Georges Braque in 1938 b. Louis I. Kahn in 1934 c. Mies van der Rohe in 1930 d. Le Corbusier in 1926
C
The Vil l a Savoye by Le Corbusier , completed in 1929, is an exampl e of using a. a multiplicity of colors b. a saturation of a single color c . an absence of color d . an orderly use of color
C
The architecture of St. Thomas Church of the 12 th c. in Le ipzig, Germany, served as the "home studio " for composing music for artist a. George Frederic Handel b . Wolfgang Amadeus Mozart c . Johann Sebastian Bach d . Ludwig van Beethove
C
The art museum in Bregenz, Austria, designed by Swiss architect Peter Zumthor , is composed of a. a n ir regular pattern of metal panels that are separated enough to allow indirect daylight to reach the gallery floor b. an irregular distribution of regional terra cotta tiles that blocks direct daylight to protect the artwork in the gallery spaces c . an intricate surface of walnut panels with small holes that permi ts daylight to gently filter through the interior gallery d . a regular grid of vertical sandblasted glass panels that softly illuminates the gallery spaces through the interior ceiling
C
The difference between Sangallo's city gate at Porto di Santo Spirito and Michaelangelo's gate at Porto Pia (both in Rome) is a. a visual sense of "agitation and abruptness" by Sangallo vs. "stillness and flatness" by Michaelangelo b. a visual sense of "linearity and rigidness" by Sangallo vs. "roundedness and curvature" by Michaelangelo c. a visual sense of "balance and harmony" by Sangallo vs. "drama and restless ness" by Michaelangelo d. a visual sense of " confusion and play" by Sangallo vs. "minimalism and quietude" by Michaelangelo
C
The floor plan of the Baker Dormitory has been described as a system of "flexible standardization." What does Rasmussen mean? a. that standardization is impossible to achieve b ecause no two things are exactly identical b. that the dorm rooms are inte rchangeable, from single rooms to double rooms, by simply removing partitions c. that there is variation within the regular order of dorm rooms due to the differences produced by the curvilinear form d. that the layout of the dorm room s are rigid and inflexible but highly cost effective due to its repetitive nature
C
The front por tico or porch of Villa Foscari by Italian architect Andrea Palladio in the 16 th c. is elevated one - story off the ground. Why? a. Because the views from this height enabled one to see across the valley to the city of Venice b . Because the visual effect produces a sense of grandeur and nobility c. Because of its adjacency to the Brenta Canal and the concern for flooding d. Because of the requisite proportional system between t he base and top of the building
C
Through architecture and its reflective qualities, according to Rasmussen, sound has the capacity to a. present limited notes on the musical scale b. orient us in one of the four cardinal directions c. give u s an impression of form and material d. create a cacophony of motionless vibrations
C
What does Rasmussen consider to be the ' artful quality' of the Baker House Dormitory at MIT by Alvar Aalto? a. the concrete, orthogonal cube b . the vertical, steeple - like towers c . the sinuous , undulating curve d. the circular , interior gardens
C
What does Rasmussen mean whe n he asks, "What is the rhythm of this place and time?" a. That the systematic pattern of sounds has the capacity to define the character and tone of a place. d. That music venues such as co ncert halls are central to the life and vitality of any great city. c . That different places at different periods throughout history have different and unique visual rhythms of their own. d . That rhythm in architecture has essentially been the same across time and place.
C
What is the 'primary' significance of the detail between a glass window wall and one of the layered stone piers of Fallingwater? a. to contrast the smooth surface of glass with the rough finish of the stone b. the importance to materially distinguish between inside and outside of the house c. to establish a seamless visual relationship between architecture and nature d . the attention to structure in order to prevent the non - tempered glass from breaking
C
Why does Rasmussen contrast the medieval section of Rome with the Quirinal Palace? a. to compare richly decorated and colorful stained glass with large standard clear plate glass b. to characterize the ancient history of renaissance architecture with its baroque , undulating rhythms c. to demonstrate historic, variegated rhythms from more modern, rational and undeviating ones d. to depict the timeliness of the spherical stone forms in central Rome across nearly nine centuries
C
According to Rasmussen, the task of the architect is a. to design with skill and craft for persons of little means b. to create harmony and beauty in the public realm c. to work from nature's designs to create harmonic proportions d. to bring order and relation into human surroundings
D
Central St. Giles in London , England, designed by Renzo Piano Building Workshop in 2010, uses color a. to connect the various parts of the building and to give a sense of vibrancy to the interiors b. to differentiate the office use from the residential and hotel use of the building c. to divide the ground floor retail spaces from the office and commercial spaces above d. to break down the building mass and to visually enliven or activate the urban neighborhood
D
For architect Alvar Aalto, a. form follows concept, where the "idea" of the building is the primary generator of form b. form follows economics, wh ere the "primary costs" of the building determines the form c. function follows form, where the " artistic shape" of the project is determined first and then filled with a particular use d. form follows function, where the "utility and use" of the buildin g drives the form of the project
D
Gothic Architecture (12 - 16 th c.) emphases __________ while Renaissance Architecture (14 th - 17 th c.) emphasizes ___________. a. technology / site b. program / materials c. context / religion d. structure / space
D
In the architectural form of the early Christian churches or basilicas, with thei r large spaces, mosaic floors, stone walls, and marble columns, a. speaking from the pulpit reverberated across the space enabling congregants in the rear of the church to hear sermons clearly b. organ music was difficult to decipher and comprehend due to the long reverberation time between musical notes c . choirs were positioned in the middle of the church to enable a uniform distribution of sound throughout the space d . text/speech transformed into a more rhythmic (musical) manner of speaking in orde r to communicate to the congregatio
D
In line with the "symbolic use" of color, t he log - houses in rural districts in Norway and Sweden are often painted a a. deep green b . deep blue c . deep brown d . deep red
D
In regard to the long history of art, the significance of Cubism is how a. the artist attempts to reinterpret the historical past of one - point perspective through the use of modern forms b. the artist carefully works with great precision on the canvas with the use of hand - held mechanical tools c. the artist uses color and geometry to cr eate a sense of perspective, depth and shadow d. the artist depicts the subject from a multitude of viewpoints to represent it in a greater context
D
In the classic 'modern' Glass House of 1949, in New Haven, Connecticut, designed by architect Philip Johnson, a. the Chinese division of the house has been turned inside out in order to maximize the views b. the Australian house of light - framed wood poles has been grounded to the local topography c. the Swedish arrangement of thick wood walls has been altered in light of the northeastern winters d. the Japanese house of wood and paper has been transferred to one of steel and glasS
D
In the context of today's reading and lecture, an anechoic chamber represents a. an equitable distribution of sound waves for harmonious purposes b. a large symphonic hall for visiting artists to experiment musically c. a salon for musicians to perform intimate pieces of music d. an absence of boundary, an absence of architecture
D
In the final pages of his book "Exper iencing Architecture," Rasmussen concludes a . the joy of spatial and material variation in combination with thermal and acoustic delight defines the art of "high archite cture" b . the life of an architect must be someone who is engaged in the life of the city and the people who inhabit it c . that architecture is the domain of the educated, of the learned, as it requires an "intellect ual mind" to interpret art and beauty d . if we are open to impressions and sympathetically inclined, architecture will "open up and reveal its true essence" to u
D
On the whole, according to Rasmussen, architects use color s a. to differentiate the built world from the unbuilt or natural world b . to ma ke buildings more attractive, u ser - friendly and easy to identify c . that are fashionable for its time, which varies over the decades and centuries d. accustomed to the places and mat erials we see around us
D
One of the disti nguishing features of the main level or "piano nobile' of Villa Foscari is a. the central cubic - formed hall and spherical dome at the top b. the linear, barrel - vaulted space at the entrance c. the circular - shaped living room near the rear of the house d. the cruciform - shaped great hall on the main level
D
Prometeo Musical Space, designed by Italian architect Renzo Piano in 1984, is a demonstration of how a. architecture serves as a "tool," with stage components that mechanically secure v arious parts of the structure b. architecture serves as a "device," with the ability to self - correct acoustical sounds through electronic sensors c. architecture serves as a "strategy," with permanent sound installations that offer uniform acoustical characteristics d. architecture serv es as an " instrument, " with interchangeable wood panels of different lengths that reflect sound differently
D
Rasmussen makes reference to 'Bauhaus Dessau' designed by Walter Gropius as an example of the textural effects produced by a. the collage of hard shiny materials and multiple groups of soft rough materials b. the irregular repetition of long - span concrete trusses and circular tubes c. the monolithic light - colored wood post and beam and stained glass infill d. the light smooth walls and large areas of glass and modern steel frame filigree
D
Rasmussen's friend, Edmund Bacon, influenced the urban growth and renewal of which American City: a. Boston, MA b. New York, NY c. Washington, DC d. Philadelphia, PA
D
T he "visual attributes" of the Doges Palace in Venice, Italy, include a. the floating wood roof inspired by the gondolas navigating throughout the city and between the cities walls b. the marching marble columns near the roof of the building and the solid stone base with selective openings below c. the decorated brick pattern along the base of the building and the expansive smooth, yellow stucco walls above d. the white and red check ered stone pattern on the upper walls and the delicate stone tracery of the repetitive columns below
D
The interior of the Church of Marco Canveses, designed by Portuguese architect Alvar o Siza in 1996, comprises a. a tectonic form, with its concrete panelized wall system b. a geometric form, with its rational organization of walls and columns c . a mechanic form, with it s numerous mobile parts d. a stereotomic form, with its smooth form white walls
D
The Stone House in Tavole, Italy b y Swiss Architects Herzog & de Meuron is a good example of a. the use of the materials of the site as a resource for the conception and construction of the project b. the juxtaposition of Eucli dian geometry expressed in the structure and organic layering of stone in the making of the wall c. "minimalist architecture" as a function of the box - like form, the unadorned window openings and nondescript building corners d. all of the above
D
The art museum in Bregenz, Austria, designed by Swiss architect Peter Zumthor , is composed of a. a n ir regular pattern of metal panels that are separated enough to allow indirect daylight to reach the gallery floor b. an irregular distribution of regional terra cotta tiles that blocks direct daylight to protect the artwork in the gallery spaces c . an intricate surface of walnut panels with small holes that permi ts daylight to gently filter through the interior gallery d . a regular grid of vertical sandblasted glass panels that softly illuminates the gallery spaces through the interior ceiling
D
The concrete walls of the Salk Institute are an expression of a. stereotomic form, due to the porous and fluid nature of concrete, consisting of water, sand and aggregate b . stereotomic form, due to the visual monolithic form of the walls throughout the building complex c . tectonic form, due to the visual expression of exposed steel and horizontal wood screens d . tectonic form, due to the visual expression of its construction, such as its panel joints and snap ties
D
The similarity between the Trevi Fountain in Rome , Italy and Fallingwater in Bear Run, Pennsylvania is a . the application of small, deep cavities and thick masses that sensitively respond to its urban context b . the placid waters at the base of each building structure that encircles a series of historical sculptures c . the visual and perceptual emphasis on verticality , ornamental features and use of primary colors d. the strategic use of juxtaposition, contrasting rough, natural and organic forms with smooth, refined rational form
D
To protect residents from the harsh sunlight prevalent in Marseilles, a city by the sea, Le Corbusier incorporated a. a set of vertical operable shades b . an umbrella like structure that cantilevers off the façade c. an open pair of large, fixed horizontal louvers d . a brise - soleil which functions as small terraces
D
What does Rasmussen mean by: "a campfire on a dark night forms a cave of light circumscribed by a wall of darkness" a. that caves produce effective contrasts between inside and out b. that the heat from the sun can be "mitigated by the coolness of night" c. that the moon produces "as much light as a sunlit day" d. that light alone can create "the effect of enclosed space
D
What does Rasmussen mean when he says, "architecture is indivisible"? a. that architecture must be visual, because drawings represent the instructions set by architects b. that architecture must be complex, thus requiring architects to be well versed in mathematics c. that architecture must be collaborative, cultivating inseparable relationships between people and place d. that architecture must be experienced, because the whole (of architecture) is greater than the sum of its part
D
What is the visual and formal similarity between the Gift Shop in San Francisco and the Guggenheim Museum in New York ? a . diagonal and triangular form b . obtuse and fractal form c . orthogonal and rectilinear form d . circular and spiral form
D
When an architect judges a building, its __________________ is only one of several factors. a. composition b. relation to place c. appearance d. all of the above
D
Which historic Italian "porto" or "gate" is located closer to the Vat ican in Rome? a. Porto Maggiore b. Porto Pia c. Porto Portese d. Porto di Santo Spirito
D
