The Architecture of Happiness (1-3)
A unique feature of the main staircase that leads to the "piano noble" or primary level in the Maison der Verre is
all of the above
The Barcelona Pavilion, designed by German Architect Mies Van der Rohe for the 1929 World Exposition is
an "exhibition" itself
For author Alain de Botton, "beauty" - once the central task of architect - is today
a private imperative at the whim of the interests of individual desingers and their preferences
According to Alain de Botton, for over a 1,000 discontinuous years in the history of the West, a "beautiful building" was synonymous with a
classical building, with its symmetrical order, white columns and large portico
One of the revealing characteristics found in the plans f the Maison der Verre is
the excessive number of doors and door types, and stair types throughout the three story house
The Barcelona Pavilion is comprised of
marble walls, chrome-plated steel columns and a flat roof
The "concept" for Villa Savoye, a weekend retreat in Poissy, France, designed by architect Le Corbusier, is
a "machine to live in" - where function rules, protecting against heat, cold, rain, thieves and the inquisitive
For Alain de Botton, the "house" is a psychological sanctuary and
a guardian of our identity, helping us remember who we are
Why does Alain de Botton ask us to give special attention to the kinds of walls, chairs, buildings, and streets that surround us?
because, at the end of the day they are the causes of both our happiness and misery
Masion der Verre or "Glass House" by Pierre Chareau is located
between a paved, semi-public courtyard and a private lush garden
Accoding to Alain de Botton, buildings are not simply visual objects without any connection to concepts, but rather
buildings speak - on topics that can readily be discerned
The publication of Encylopedie by Denis Diderot (1751-1772),
defines "beauty"
In reference to Ch. 3, Alain de Botton, argues that
even something as diminutive as light switches or font styles, we may well detect "well developed personalities"
Accordin to the Ecole des Beaux Arts, the "essence of great architecture" was understood to reside i what was
functionally unnecessary, meaning that function had no role in defining quality or significance
The primary architectural characteristic of Maison de Verre is the use of
glass block as a screen or modern veil between the exterior and interior of the home
The design of Maison de Verre of 1931, designed by Pierre Chareau with Bernard Bijvoet and Louis Dalbet, was a collaboration between a
interior designer, architect and metalworker
Which of the following is not one of the architectural features of Villa Savoye, designed by architect Le Corbusier, completed in 1931
load bearing structural walls
"Architectural Parlante" refers to
speaking architecture or architecture that explains its own identity
What did Le Corbusier mean by, "We know longer have the money to erect historical souvenirs" in his book Toward a New Architecture?
that opulent, ornate and heroic buildings were no longer relevant to the needs of the industrial age
The significance of the Naugatuck High School in Bridgewater, NJ by Architects McKim, Mead & White is
the adaptation of a building designed in the tradition of a classical Greek Temple on a sloping site
Based on the title of his book, Alain de Botton also argues that
the causes of both our happiness and our misery is directly correlated with the quality and character of our built environment
Alain de Botton argues that
the causes of both our happiness and our misery is directly correlated with the quality of our built environment
In "The Architecture of Happiness," one of the primary arguments author Alain de Botton makes is
the indelible connection between our identity (who we are) and place (where we are)
In "The Architecture of Happiness," the primary argument by author Alain de Botton in Ch. 1, "Significance of Architecture," is
the indelible connection between our identity (who we are) and place (where we are)
The question, "In what style shall we build?" - the title of Ch. 2 in The Architecure of Happiness - refers to
the proliferation of architectural -styles in the "confused age" (1750-1850), reflecting the private judgement of architects run amok
In writing about the value of the "presence and character" of architecture, Alain de Botton describes all of the following except,
the winding serpentine walls in the Piazza San Marco in Florence conveys "fluidity and strenght"
The gradual ramp leading up to the opening in the wall on the "solarium" level of Villa Savoye in Poissy, a suburb of Paris, France, enabled
the young, wheel chair-bound child of the owners to access, view and reflect upon the beauty of the French countryside
The value of "abstraction" in art, including architecture, is its ability
to be open to a range of thoughts, interpretations and emotions
For Alain de Botton, the "task" of Architecture - ultimately - is
to stand as an eloquent reminder of "our full potential"
For Alain de Botton, the gift of the most talented sculptors has been
to teach us that that large ideas can be communicated in chunks of stone, wood, strings or plaster, as well as in words