Учебное пособие 121

I. Answer the following questions:

1.How can you define Modern architecture?

2.What were the main artistic values of this period?

3.What traditional ideas did Modern architecture challenge?

II. Find the false sentences using the information from the text. Correct them:

1.The artistic values of modern architects differed radically.

2.Modern architects were similar in their understanding of historical traditions.

3.While some architects abandoned historical references altogether, others used careful references to the past to enhance the modernity of their designs.

4.Italian architect Antonio Sant'Elia called for each generation to build its houses anew and celebrated iron and reinforced concrete as the materials to make this possible.

5.Frank Lloyd Wright rejected 18th-century European architecture.

6.In Wright’s houses, few dividing walls separated rooms and one room seemed to flow into the next.

III. Choose the right synonyms to the underlined words:

1. Modern architects reacted against the architecture of the 19th century, which they felt borrowed too heavily from the past. They found this architecture either oppressively bound to past styles or cloyingly picturesque and eclectic.

a) colourful

b) elegant

c) decorative

2. It was necessary to invent an architecture that expressed the spirit of a new age.

a) to go on

b) to discover

c) to design

3. Some architects, enraptured by the powerful machines developed in the late 19th century, sought to devise an architecture that conveyed the sleekness and energy of a machine.

a) smoothness

b) roughness

c) caress

4. The modern designs of Giuseppe Terragni referred explicitly to the past.

a) graphically

b) indistinctly

c) distinctly

5. Terragni saw tradition as providing ideal building blocks for a new architecture.

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a) beautiful

b) perfect

c) incomplete

6. Wright’s open design was extremely influential.

a) project

b) place

c) interest

7. Modern architecture also challenged traditional ideas about the types of structures suitable for architectural design.

a) appropriate

b) useless

c) unsuitable

8. Important civic buildings, aristocratic palaces, churches, and public institutions had long been the mainstay of architectural practices.

a) comfortable

b) public

c) civil

9. The modernist designers argued that architects should design all that was necessary for society, even the most humble buildings.

a) said

b) debated

c) asked

10. In the first half of the 20th century many modernists produced housing as well as furniture, textiles, and wallpaper to create a totally designed domestic environment.

a) to find

b) to use

c) to produce

IV. Complete the sentences:

1.Modern architecture has culminated in the current designs of … . a) steel, crystal and timber

b) glass, concrete and steel

c) glass, reinforced concrete and iron

2.Italian architect Antonio Sant'Elia resoundingly rejected traditional architecture in his … .

a) Futurist Manifesto of 1914. b) notice of 1914.

c) Futurist news of 1914.

3.Terragni’s Casa del Fascio featured an inner atrium for public assembly inspired by the courtyards of Italian Renaissance palaces, and windows laid out according to … .

a) modern theories of ideal architectural proportions. b) the theories of ideal architectural proportions.

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c) ancient Greek and Roman theories of ideal architectural proportions.

4. In the United States Frank Lloyd Wright rejected … .

a)19th-century European architecture.

b)19th-century American architecture.

c)20th-century European architecture.

V. a) Study these examples:

This house was built in 1930. (passive) Somebody built this house in 1930. (active)

We use an active verb to say what the subject does. We use a passive verb to say what happens to the subject. The passive is:

be (is/are/was/were/will be) + the past participle (built/designed/made)

Compare:
	Present Simple Active	Present Simple Passive
	Town planners regulate the growth of	The growth of urban zones is regu-
	urban zones.	lated by town planners.
	Architects design functional structures	Functional	structures	and	beautiful
	and beautiful ensembles.	ensembles are designed by architects.
	Past Simple Active	Past Simple Passive
	Town planners regulated the growth of	The growth of urban zones was regu-
	urban zones.	lated by town planners.
	Architects designed functional struc-	Functional	structures	and	beautiful
	tures and beautiful ensembles.	ensembles were designed by archi-
		tects.
	Future Simple Active	Future Simple Passive
	Town planners will regulate the growth	The growth of urban zones will be
	of urban zones.	regulated by town planners.
	Architects will design functional struc-	Functional	structures	and	beautiful
	tures and beautiful ensembles.	ensembles will be designed by archi-
		tects.

b) Choose the right form of verb (present simple, past simple, future simple, active or passive):

1.A famous architect … the bridge. a) was built

b) built

c) have built

2.A new enterprise … next year.

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a)will be projected

b)will project

c)is projecting

3.The 19th century… for its eclecticism. a) knew

b) is known c) are known

4.In painting Le Corbusier … with Amédée Ozenfant in the school of purism. a) associate

b) associated

c) was associated

5.Both the exterior and interior of the building … with sculptural ornament fashioned by one of the greatest sculptors of the 19th century.

a) decorate

b) are decorated c) decorated

6.The school of ‘purism’ is one of movements that … of ‘cubism’.

a)will grow out

b)grows out

c)grew out

7.The restoration of this edifice … in late June. a) complete

b) will complete

c) will be completed

8.Before recorded history, humans … stone circles, megaliths, and other structures.

a) are constructed b) constructed

c) will be constructed

9.The new design work … with repairs to the moisture membrane over the Monroe Street garage.

a) is coupled

b) will be coupled c) will couple

10.Arts and Crafts … a late 19th-century backlash against the forces of industrialization.

a) was

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b)are

c)will be

11.Balboa Park in San Diego, California … the ‘Smithsonian of the West’ for the concentration of cultural institutions.

a) are sometimes called b) sometimes call

c) is sometimes called

12.The cathedral … with a high drum supporting a golden dome.

a)is crowned

b)crowned

c)crown

13.From 1897 to 1912 Mackintosh … the design scheme for the Cranston chain of tearooms in Glasgow.

a) created

b) was created c) is created

14.Porphyry, black slate, lapis lazuli, malachite, colour marbles and other stones … in the finishing of the cathedral making the whole building produce a beautiful multi-colour effect.

a) used

b) were used c) use

15.A highlight of City Park … the Bestoff Sculpture Garden.

a)is

b)are

c)be

VI. Choose from the list the right characteristics of Modern architecture:

Modern architecture is usually characterized by:

-the pointed arches;

-an adoption of the principle that the materials and functional requirements determine the result;

-semi-circular or segmental arches;

-an adoption of the machine aesthetic;

-unribbed vaults;

-symmetrical facades;

-a rejection of ornament;

-classical orders;

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-a simplification of form and elimination of ‘unnecessary detail’;

-a wide variety of crenelations;

-an adoption of expressed structure;

-form follows function.

VII. Read the text again and tell about the outstanding works of the Modern architects.

UNIT 3

Art Nouveau and related movements.

Grammar: Revision: The Indefinite Active and Passive Tenses. Prepositions.

Read the text and speak on the aesthetics of Art Nouveau.

ART NOUVEAU AND RELATED MOVEMENTS

Art Nouveau, which flourished in Europe between 1890 and 1910, was one of the earliest (and shortest-lived) efforts to develop an original style for the modern age. Art nouveau artists and designers transformed modern industrial materials such as iron and glass into graceful, curving forms often drawn from nature, though with playful elements of fantasy. In contrast to both Perret and the architects of the Chicago School, art nouveau designers were interested in architecture as a form of stylistic expression rather than as a structural system.

In the three centers of art nouveau—Barcelona, Spain; Brussels, Belgium; and Paris, France—architects struggled to define a style with distinctly local characteristics. In Barcelona, one of the most ambitious projects of architect Antonio Gaudí was the Templo Expiatorio de la Sagrada Família (Church of the Holy Family, 1883-1929, 1979 to present). Gaudí turned to nature for a rich variety of animal and plant forms to decorate the towering façades of the Sagrada Família. He also used natural forms structurally: columns shaped like bones, undulating walls in brick, a roofline resembling the profile of an armadillo. His wide use of ceramic tile, a local building material, gave color and texture to his designs. The deeply personal nature of his fanciful designs meant that no school developed to follow him. Much more effective in generating a following was architect Victor Horta of Brussels.

Like Gaudí, Horta reacted against prevailing styles with an architecture that responded to local traditions and materials, although Horta transformed iron and glass as well as Belgian brick into slender, graceful forms inspired by flowers. Among his most influential designs was the Hôtel Tassel (1892-1893) in Brussels, a three-story house in which thin iron columns flow into stylized vines and serve both as structural and as decorative elements. The creation of these organic forms depended not on mass-production or modern machines, but on craftsmanship,

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thereby restoring to architecture what many feared was being lost to an increasingly technological engineering mentality. Horta’s flowing lines became the hallmark of art nouveau and were rendered by others in iron, glass, and plaster as well as in graphic design. In Paris, Hector Guimard produced entrances for the Métro subway system (1899-1904), rendering fanciful plantlike forms in iron and glass.

As art nouveau’s influence spread throughout Europe and North America, regional variations developed: stile Liberty in Italy, Jugendstil in Germany, Sezessionstil in Austria, and Modernism in Spain. Among the major achievements of these art nouveau offshoots were the Elvira Photo Studio (1896-1897) in Munich, Germany, by German architect August Endell; and the Stadtbahn (city railway system, 1894-1899) in Vienna, Austria, by Otto Wagner. Perhaps the greatest of these achievements is the Willow Tea Room (1903-1904) in Glasgow, Scotland, designed with sinuous, willowy lines by Scottish architect and graphic designer Charles Rennie Mackintosh.

Vocabulary

armadillo – армадилл, броненосец fanciful – причудливый hallmark – признак; критерий

playful – игривый, весёлый, шаловливый, шутливый render – представлять 2) оказывать, предоставлять slender – тонкий, узкий

undulating – волнистый, волнообразный

I. Answer the following questions:

1.When did Art Nouveau develop?

2.What outstanding architects of Art Nouveau do you know?

3.What types of architectural features did Art Nouveau include?

4.In what countries did Art Nouveau flourish?

II. a) Read the following text and find the verb in the present simple tense, active or passive:

In Russia Art Nouveau … (to represent) in the works of F. Shekhtel, (S. Ryabushinsky’s Mansion (1900), the building for the newspaper ‘Utro Rossii’ (Moscow, 1907).

All these works … (to be) the result of an attempt to put an end to imitations of past styles; in its place … (to offer) a florid type of architecture, which … (to exploit) craft skills, using coloured materials (faience cabochons, stoneware, terracotta panels, stained glass), exotic veneers, moulded stonework, grilles, balconies, and tapered brackets in wrought iron; and burgeoning with asymmetrical door – and window-frames, bow and horseshoe windows, etc.

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b)Give the Russian equivalents:

-to put an end;

-a florid type of architecture;

-to exploit craft skills;

-faience cabochons;

-stained glass;

-veneers;

-burgeoning;

-horseshoe windows

III. Choose the right preposition:

1. Art nouveau artists and designers transformed modern industrial materials such as iron and glass into graceful, curving forms often drawn (1) … nature, though (2) … playful elements of fantasy.

(1)	a) from	b) in	c) to	d)	into
(2)	a) on	b) with	c) from	d)	to

2. Art nouveau designers were interested … architecture as a form of stylistic ex-

pression rather than as a structural system.
a) on	b) in	c) with	d) of

3. Architects struggled to define a style … distinctly local characteristics. a) to b) for c) from d) with

4. Gaudí turned to nature (1) … a rich variety of animal and plant forms to decorate the towering façades (2) … the Sagrada Família.

(1)	a) upon	b) of	c) for	d)	in
(2)	a) of	b) to	c) from	d)	on

5. Gaudí used natural forms structurally: a roofline resembled the profile … an armadillo.

	a) on	b) of	c) in	d) with
6.	Like Gaudí, Horta reacted against prevailing styles with an architecture that re-
sponded …		local traditions and materials.
	a) on	b) in	c) from	d) to
7.	The Hôtel Tassel in Brussels is a three-story house in which thin iron columns
flow … stylized vines and serve both as structural and as decorative elements.
	a) into	b) of	c) in	d) on

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8. The creation of these organic forms depended not … mass-production or modern machines, but on craftsmanship.

a) of b) in c) from d) on

IV. Match the pairs of synonyms. Make up word combinations of your own, using these words:

architectural products	instead
in its place	slim
to exploit	trend, fashion
style	to suggest
modern	buildings
to offer	recent
slender	shape
form	to make use of

V. Answer the following questions. Only one variant is correct from the three choices:

1. What materials did Art Nouveau artists and designers use?

a) They used modern industrial materials such as concrete and glass.

b) Art nouveau artists and designers transformed modern industrial materials such as iron and glass into graceful, curving forms often drawn from nature.

c) Art nouveau artists and designers transformed modern industrial materials such as iron and stonewares into graceful, curving forms often drawn from nature.

2. What did Gaudí use in his designs?

a) Gaudí turned to nature for a rich variety of animal and plant forms to decorate the towering façades of the Sagrada Família.

b) He used industrial materials such as iron and glass.

c) Gaudí used ceramic tile, a local building material, that gave color and texture to his designs.

3. What became the hallmark of art nouveau?

a) Horta’s graceful, curving forms became the hallmark of art nouveau. b) Horta’s flowing lines became the hallmark of art nouveau.

c) Horta’s columns shaped like bones became the hallmark of art nouveau. 4. What does Art Nouveau exploit?

a) This style exploits the effects of illusionism. b) The artist of Art Nouveau imitate past styles.

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c) It exploits craft skills using coloured materials.

5. What styles developed as art nouveau’s influence spread throughout Europe and North America?

a)As art nouveau’s influence spread throughout Europe and North America, regional variations developed: stile Liberty, Jugendstil, Sezessionstil and Modernism.

b)As art nouveau’s influence spread throughout Europe and North America, regional variations developed: stile Liberty, Expressionism, Sezessionstil and Rationalism.

c)As art nouveau’s influence spread throughout Europe and North America, regional variations developed: stile Liberty, Art Deco, Bauhaus and Modernism.

VI. Choose the right variant:

Art Nouveau buildings have many of these features:

a)asymmetrical shapes / extruded rectangle form

b)monochrome walls / extensive use of arches and curved forms

c)dramatic use of columns / curved glass

d)curving, plant-like embellishments / well proportioned facades

e)mosaics / massive stuccowork

f)pretentious wrought irons / stained glass

g)rich floral decorations / japanese motifs

VII. In your group discuss the questions below.

1.Why was Art Nouveau a diverse phenomenon?

2.Which do you think is the best example of Art Nouveau in Europe?

UNIT 4

Arts and Crafts and related movements.

Grammar: The Continuous Active Tenses.

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