Ilrchitecture

.Hesthetics
Content: This course is designed to familiari ze tlne student with concepts in architecture.
Skills: Summarizing
o Distinguishing major from minor points and essential from non-essential information
-'-')
' Identifying non-essential informatiory including digressions and asides
. Recognizing summary statements and conclusions
o Distinguishing essential from non-essential information in written texts
. Paraphrasing
. Preparing spoken summaries

Unit Requirements
Lecture: 'Architecture for the People: Emotional Responses"
Readings: "What Makes a Building Attractive? Some Ideas through the Ages " (anexcerpt
from an architecture textbook)
"Money is the Overriding Problem with Architecture Today" (anewspaper opinion article)
Integrated Speaking Task: Discussing the aesthetics of buildings and summarizing the
main points of the discussion
Assignments: www.MyAcademicConnectionslab.com

73
 li¡
Previewing the Acodemic Content
.riitrii
Buildings surround us and are an importantpafi of our lives. People have strong
opinions about them. For example, many say that modern architecture is boring
Preview and ugly and that the buildings of the past were far more attractive. Others claim
For online assignments, that modern buildings are far more varied and interesting than what was previously
go to possible.
In this unit, we will explore, from an architectural viewpoint, some ideas about
what makes a building a good building, with an emphasis on aesthetics.

Pompidou Center, Taj Mahal, lndia Hundertwasser Apartments,

Paris, France Vienna, Austria

Look ot the picfures of the fhree buildings. Then discuss fhe quesfions ín smoll grouPs.

1. Which of these buildings have you seen pictures of or heard about?

aesthetics n the
study of beauty, 2. What do you know about these buildings?
especially beauty in
3. What do you like about each of the buildings? What do you dislike?
art; aesthelic adj;
aesthetically pleasing 4. Overall, do you think these buildings are atffactive? For each, circle a number
exp on the scale from one to six to express your opinion. Explain your opinion.
form n the shape of
something
ornamentation n Very oestheticolly Not ot oll ottroctive
pleostng
decoration on an
object; ornamental adi
2 4 6
scale n the size or level
of something, when
Toi Mohol 2 4 6
compared to the things
around it
Hundertwosser 6
Aportments

5. Choose at least one other building that you like. Tell your partner about it. You
can draw a rough sketch if you think it will help with your description. Use a
dictionary for any vocabulary you need.

Unit4 r Architecturef
 6. How important do you think it is for buildings to be attractive? Why?
1. What do you think makes a building attractive? Brainstorm for ideas using a
mind map like the one below. Write in your notebook. Add as many words to
the mind map as you can.

plain

varied

8. Which of the factors you listed are the most important? Which ones are the
least important?

In this unit, you will

Previewing the Acqdemic Skills Focus
practice distinguishing
essential from non-
essential information.
You will also practice
preparing written and A summory is o short piece of text or speech thot contoins the most importont ideos
spoken summaries. from o longer text.
You will find summories ot the ends of essoys, ot the ends of sections or chopters of
o textbook, ot the ends of lectures, ond ot the ends of explonotions thot ore ports of
lectures. You might hove to give o summory os port of o presentotion. You will often
write o summory of the end of on essoy.
When reoding ond listening, noticing the summories con help you find the moin
ideos quickly. ln writing ond speoking, summorizing con help you emphosize the
moin ideos for your oudience.
A good summory:
o is much shorter thon the originol text
o includes oll the importont ideos
o only includes importont ideos
o leoves out detoiled informotion such os numbers ond dotes, unless they ore
very importont
o does not (usuolly) include the opinions of the summory writer
o uses the summory writer's own words-does not usuolly repeot words from the
originol (unless o short quototion mokes the conclusion stronger)

Unit4 r Aesthetics 75
 l. Reod fhe excerpt from on orchifecfure textbook. As you reod, poy offenfion to the
moin ideos.

One of the most extraordinary

buildings in the world must surely
be the Great Mosquel at Djenné
in Mali, Africa. lt is of a style
completely unfamiliar outside West
Africa. lt is the largest building built
of mud brick (otherwise known as
adobe) in the world, lt has been Part
of a UNESCO World Heritage Site
since 1988.

The Great Mosque's exact origins are unknown as no written records were kept,
but it is thought to be at least 700 years old. lt is an excellent example of the use
of local materials. lt is built on a platform about 245 feet (75 meters) square, raised
9 feet (3 meters) above the surrounding ground. The walls are made from sun-
dried mud bricks coated with a mud plaster. Numerous sticks cut from palm trees
stick out from the surface of the walls, Every year, some of the plaster is washed
away during the rainy season and cracks appear in the wall due to the heal of the
dry season. For this reason there is an annual repair ceremony, during which the
whole town helps to repair the surface, lt is an incredible sight-hundreds of people
scrambling over this impressive structure.

lmosque n a religious building in which Muslims worship

2. Reod three summories of the excerpf. ln the chort, check (/) the feotures thot eqch
summory hos.
A. The Great Mosque of Djenné is one of the most impressive buildings in the
world. It is of a style completely unfamiliar outside West Africa.
B. The Great Mosque of Djenné, the largest mud brick building in the world, is
remarkable. It is hundreds of years old, yet it is still in use.
C. The Great Mosque of Djenné, a UNESCO World Heritage Site that is about
245 sqtare feet, is a remarkable building. You should visit it!

Feoture of Summories A B C

Much shorter thon the originol text ,/ ,/ ,/

lncludes oll the importont ideos

Only includes importont ideos

Leoves out detoiled informotion such os numbers ond dotes, unless they ore very importont

Does not include the opinions of the summory writer

Uses the summory writer's own words, rother thon repeoting words from the originol

3. Which is the besf summory? Whot problems do the other two summories hove?
Discuss with the c/oss.

. t'
76 Unit 4r Architecture i',f1,' ri
 Before You Listen
:t,ttta,:

niil l, Work in smoll groups. Look ot the photogrophs ond informofion obout the buildings
thot the professor will discuss in fhe lecfure. Then reqd fhe Cloim to Fome stotements.
Building
These statemenfs describe feofures of the buildings thof mode them fomous. Decide
AcEdemic which building eoch Cloim to Fome sfofement describes. Write the stotemenf in the
Listening §kills correct ploces in the chort.
In this section, you will Cloim lo Fqme
practice distinguishing A. It is still the largest wooden building in the world.
between major and
minor points and B. The curved shape of the concrete roof is uniquely elegant.
between essential and C. It is said by UNESCO to be the largest and most perfect example of its style of
non-essential information architecture.
in a lecture.
For online assignments, D. It was the world's tallest reinforced concrete office building when it was built.
go to E. It was the world's tallest building for just 11 months after construction; it is
still the world's tallest brick building.
F. It was built in memory of an emperor's wife.

MLC Centre, Sydney, Australia

Architect: Harry Seidler
Designed:1975
Constructed: 1977
Architectural style: Modernist
Claim to fame:

Sydney Opera House

Architect: J4rnUtzon
Construct ed: 1959 -197 3
Architectural style: Expressionist
Claim to fame:

(continued on next poge)

,
' ¿..i l
''.'"1
Unit 4r Aesthetics 77
 Chrysler Building, New York City, USA
Architect: William Van Alen
Constructed: 1929*30
Architectural style: Art deco
Claim to fame:

Taj Mahal, Agra, India

Architect: Ustad Ahmatflahau*i and
others
Constructed: aroun d 1632-1650
Architectural style: Mughal
Claim to fame:

Durham Cathedral, Durham, UK

Architect: Unknown
Constructed: 1093-1133
Architectural style: Romanesque/Gothic
Claim to fame:

Todai-ji, Nara, Japan

Architect: Unknown
First constructed: Around 745
Architectural style: Imperial Buddhist
architecture
Claim to fame:

i, ,¡.,t'j
i¡i)
78 Unit 4r Architecture r,"*,"'i
 2. Reod the key words on this-poge ond on the next poge. Decide wh¡ch relote fo
o form, moteriol, or fype of bulld¡ng, ond which is' oi od¡ectiie thot describes q
building. Orgonize fhe words in thé chart.
brick n a building
material, usually red,
consisting of small
Form Moteriol Typ" of Building Adiective
pieces of the same size
cathedral n a large
and important religious
building in which
Christians worship
concrete n a building
material, usually grey or
cream colored, made
from water, a powder,
small stones, and sand
curvenalinethat
follows the edge of a
circle; it isn't straight;
curve v; curved adj
elegant adi beautiful,
attractive, pleasant,
and usually having
curves
energetic adjhaving a
lot of energy
3.
inspire y to make \ork witl o portner. v-v^h.o.t,is your.emotionolresponse to the buildings you
someone have a
drscussed in Exercise I ? Whic'h odiecfives wouli you choos" to d",rJr¡b'e eoch of
the buildings? Use the odiectives fiom the chort ii Exercise 2 ond
particular feeling or oJJ ,orá-áf lou,
react in a particular way own. Discuss your choices. Do you ogree with eoch other,s choices?
monotonous adj o MLC Centre:
boring because of
always being the same
rectangle n a shape o Sydney OperaHouse:
that has four sides at
90" to each other; two
of the sides are usually . Chrysler Building:
longer than the other
two; rectangular adj
reinforced adjmade o Taj Mahal:
stronger; for example,
reinforced concrete
has steel bars running
through it
o Durham Cathedral:
repetition n something
that happens again and
again; repetitive adi;
. Todai-ji:
repeat u
rich adjhaving lots of
interesting detaíls 4. Work with the some porfner. Which of these buildings do you t¡ke? Wh¡ch don,f you
(confinued on next poge) like? Exploin.

Unit4 r Aesthetics 79
 Globql Listening

serene adjvery calm iJA]-8"§J-e,-

and peaceful Éd.,árr§

surface n the outside

or top layer of
something
temple n a religious
building in which
people from several
religions, including
Buddhism and
Hinduism, worship
texture n the way that
a surface, material, etc.
feels when you touch
it, and how smooth or
rough it looks
Moior points ore moin ideos ond supporting detoils thot ore necessory for
understonding-the essentiol informotion. These include evidence ond explonotions.
Minor points ore odditionol detoils or informotion thot odd interest to the lecture but
ore not necessory for understonding-non-essentiol informotion. These often include
exomples.
Noticing the difference between moior ond minor points is importont becouse it
will moke your note-toking ond study more efficient-you only need to focus on the
essentiol informotion. Also, in summorizing, only moior points should be used.
You hove olreody leorned obout some woys to identify moin ideos:
. Think obout the focus of the lecture beforehond. The moior points will support
the focus.
o Listen corefully to the introduction. The thesis will stote the moin point or opinion
of the lecture, ond the scope will give the moin ideos to be covered.
o Listen for logicol connectives ond certoin phroses thot often introduce moin
ideos ond supporting detoils, for exomple:
Let's begin with . . .

Most importontly,
One of the moin reosons is . . .

Here ore some other woys to identify moin ideos:

o Sometimes o lecturer olso gives emphosis to o point ofter soying it. Notice thot
in the following sentences, this ond thot reÍer to the previous ideo.
I believe this is o key poinf.
I th¡nk thof goes o long woy to exploining why . . .

o Poy ottention to how the lecturer is tolking obout moior points. ldeos thot the
lecturer emphosizes-perhops by speoking more slowly, more cleorly, more
loudly, or more quietly-ond ideos thot the lecturer repeots ore most likely the
moior points.
As o check, osk yourself these questions:
o ls this informotion importont for me to understond the purpose of the lecture?
o ls it on importont detoil thot supports the moin ideo (such os on explonotion or
reoson)?

l. Professors often posf course notes on their websites. Look of the overview of the
lecture you will lisfen to. \Nork in poirs. Think of of leosf fhree quesfions fhot you
think moy be onswered in the lecfure. \Nrite fhem on fhe next poge.

Lecture 4: ln this lecture, we'll look at three techniques that architects use
to inspire an emotional response to their buildings. We'll see that, perhaps,
modern architects can learn at least one lesson from the architects of the past.

80 Unit4 r Architecture
 Question 1:

Question 2:

Question 3:

2.q) Listen to the introduction of the lecfure. Answer the questíons.

1. What is the lecturer's main opinion (thesis)?

2. Which three main ideas will the lecturer talk about to support the thesis?
a.

b.

c.

3. O Copy fhe moin ideos from question 2 in Exercise 2 onfo the first column of the
chort. Then listen to the whole lecfure. How does the lecturer indicote the moin
ideos? Check (/) oll thot opply. Then compore your chort with o porfner's.

Signols the point

Moin Ideo Gives emphosis to
before exploining Chonges
the point ofter
il (e.g., let's move how he tolks
mentioning it
on fo)

4.C)Lisfen to fhe lecture ogoin. Complete the chort on the next poge. Then compore
your onswers with o portnert. Discuss ony differences.

Unit4 r Aesthetics 8I
 Moior Point obout Building Used os Exomple
the Moin ldeo (Check All thot Apply)

Form . plain rectangular forms + MLC Centre tr

negatíve or neutral emotíona Sydney Opero House tr
Chrysler Building tr
. interesting, varied shapes with meaning + Durhom Cothedrol tr
Todoi-ii tr
Toi Mohol tr

Texture . texture comes from MLC Centre tr

Sydney Opero House tr
a
Chrysler Building tr
Durhom Cothedrol tr
Todoi-ii tr
a Toi Mohol tr

Scole MLC Centre D

Sydney Opero House tI
Building
Chrysler tr
Durhom Cothedrol tr
Todoi-ii
I
tr
Toi Mohol tr

5. Use your notes to answer the quesfions.

1. What is the effect of variety on both form and texture?
2. Why, according to the lecturer, do older buildings look better than modern ones?

6. Look bock ot the questions you wrote in Exercise I on the previous poge.\Nhich of
fhose questions were octuolly onswered by the lecfurer?

1,.,.,.,..j
i l-' :

82 Unit 4 r Architecture .".

Focused Listening

Lecturers often try to moke their lectures sound interesting, lively, ond friendly.
One woy they do this is by telling personol stories, giving personol opinions, or
mentioning other points thot might be interesting but ore not essentiol to the lecture.
These short trips into different (but reloted) topics ore colled digressions ond osides.
Here is how to recognize digressions ond osides:
o Try to noJice if the lecturer is tolking obout o personol story, or if the topic is
quite different from the moin ideos.
o Try to notice whether focts mentioned ore relevont-thot is, whether they
support the moin ideo.
e Poy.ottention- to the words ond phroses thot the lecturer uses. Digressions ond
osides ore often introduced with phroses such os by fhe woy, inéidentolly, ond
wh¡le we're on the subiect.

l. Listen to the excerpfs from the lecture. Moke nofes obouf fhe non-essentiol informotion.

6) Excerpl One
Non-essential information :

O Excerpt Two
Non-essential information :

O Excerpt Three
Non- es sential information :

f) Excerpl Four
Non- essential information :

2.Q ln oddition to course notes, professors often post slides on their websites. You
cqn downlood these nofes or slides ond bring fhem to the lecture. lJsuolly, the notes
or slides will include only the moin ideos, ond you wíll need to fill in the'supporfing
detoils. Listen to fhe lecture ogoin. Then fill in the missing detoils in the slidei on
Poges 84-85. Don'f toke notes obout ony digre.ssrons, osides, or non-essentiol
informotion.

Unit4 r Aesthetics 83
 Texture =
repeated
pattern
seen from a
distance
NOT
close-up
texture of
material

Unit 4r Architecture
Conclusion
Emotional
response:
. form
. texture
. Scole

3. work with o portner. lJse your nofes to onswer the questions.

1. Which building does rhe lecturer not like? Why?
2. what inspired the shape of the sydney opera House,s roofs?
3' What is more important for the type of texture the lecturer describes: materials,
or patterns such as patterns of windows?
4. Does the lecturer think there is any repetition on the Chrysler Building?
5' What is generally the difference between the texture of old and new
buildings?
6' Which key point have modern architects forgotten, according to the lecturer?

(continued on nexf poge)

Unit4I Aesthetics 85
 7. Does the lecturer think that bigger is better?
8. How can architects design buildings people like?

4. VYork with o portner fo summorize the lecture. Follow the steps.

1. Review the skills for summarizing on page 75.

2. Review the notes you made in the slides in Exercise2.Underline the points that
are most important for your summary, and ignore details that are unimportant
in a summary.
3. Prepare and practice your summary together. You can use these expressions:
The lecture talks about . . .

The fírst/second/third point . . .

An important example of this . . .
4. Finda new partner. Give your summary, and listen to your partner's summary.
Whose summary was shorter? Did either of you leave out any important
information?

5. Work wifh your portner from Exercrses 3 ond 4 on poge 79. Answer the questíons.
1. Did the lecturer use the same adjectives as you did to describe the buildings?
2. Did the lecturer like the same buildings as you did?

ffi Before You Reqd

lri

Building
Acsdemic
Resding §kills
In this section, you will
practice recognizing
summary statements and
conclusions in texts.
For online assignments,
go to

Wainwright Building, Parthenon, Athens, Creece. Macquarie University,

St. Louis, USA. Completed 431 ecr. Sydney, Australia.
Completed 1891. Completed 1978.
Architect: Louis Sullivan.

l. Work with o portner. Look qt the photo.s. Discuss fhe questions.

1. What type of building do you think each is?

2. Which building has the most elaborate ornamentation?

3. Which building has the most pleasing proportions?
4. Which building do you think has the greatest evidence of durability?

i -{',

86 Unit4 r Architecturej,'t.,'i
 2.Whot would the lecturer in Secfion 2 think of these buildings? Work with o portner
fo complete the chqrf.

Woinwright Mocquorie
Porthenon
Building University
durability n the
Form
ability to stay in good
condition for a long
time; durable adl
elaboration n the
supply of extra details;
elaborate adi
proportions n
relationships between
length, width, height, Texture
and depth; good
proportions are
aesthetically pleasi ng

Scole {for
exomple,
compored
with locol
oreo)

archnashapeor
structure with a curved
top and straight sides; 3. The texf you ore going to reod introduces o lot of vocobulory reloted to orchitecture.
arched adi \Nork with o porfner. Lobel the elements in the photogroph with os mony key words
os possib/e.
column n a tall, vertical
structure used to
support a roof, or as
decoration
dome n a shape that is
like a ball cut in half
fagade n the front of
a building, especially
a large and important
one
pediment n a flat,
triangular shape, often
above the entrance to
buildings
sculpture n a three-
dimensional work of art

87
 Globol Reoding

ln written texts, lust os with lectures, explonotions of moior points often f¡n¡sh with o
summory of the point. We sow in the writing section of Unit 3 thot porogrophs often
hove o summory stotement. These oren't d¡ff¡cult to recognize in reoding-they ore
usuolly ot the end of o porogroph or series of porogrophs.
Stotements ot the ends of porogrophs give o sense of closure in other woys, too. For
exomple, they moy give on opinion obout the point or show the significonce of the
point.
These stotements, whether they summ orize, give on opinion, or show the
significonce, ore evidence thot the point is o moior one. This is why, when skimming,
it helps to reod the lost sentence of eoch porogroph, os well os the topic sentence.
There is olso often o summory ot the end of the text (or the book section), which moy
be port of o conclusion. Such summories ore often signoled with o logicol connective,
such os ln conclusion, . . . , ln summory, , To sum up, . . . , or To summorize,

Skim the excerpf from on orchifecfure fextbook. Then complete fhe fos/<s on poge 90.

§ffimnr Mnrims A BumnrNG Axrnqcrrvn?

,Some ilde«s through the Ages

People like attractive buildings. However, but across cuhures, people find objects with this
exactly what it is that makes a building attractive ratio very pleasing to the eye. This ratio was
is difficult to identify. People have thought about certainly a concept that ancient Greeks knew
this throughout histor¡ and ideas have varied about. ('§7ilson, L995) Artists through the ages
from culture to culture. Here, we will explore have also used the same concept, or something
some important concepts in aesthetics. similar called the rule of thirds. This rule says
Our exploration will begin in ancient that objects placed on lines drawn a third of the
Greece, around 2,500 years ago, with the way from each edge will look good. You can
Parthenon in Athens. Its faqade is famous
for having proportions that are very well
balanced. §7ith the limited technology of the
time, how did the architects achieve this? Did
the ancient Greeks simply have a strong sense
of proportion, or were there some consistent
design principles behind it? The real answer
is that we don't know-no records exist. But
people do speculate. The lines on Figure 4.1
suggest an explanation.
The white lines on the diagram show some
interesting proportions. All the vertical and
horizontal lines have the same ratio. This is
called the golden ratio. No one can explain why, Figure 4.1 Parthenon, Athens

iria;"i
j
88 Unit 4 r Architecture I'S1,4
 see for yourself the next time you go to an art
gallery.
4 Architects in other cultures have also used
the golden ratio. The Great Mosque of Kairouan
in North Africa is one such example-the
golden ratio is used in the building's floor plan.
(Boussora & Mazouz, 2004)
5 One of the best-known early writers
about aesthetic principles in architecture was
Vitruvius, who lived about 2,000 years ago
during Roman times. He said that a good
building should satisfy three requirements. First,
durability. It should stay in good condition for a
long time. Second, utility. The building should
achieve its purpose and perform its function
well. And lastl¡ beauty. He claimed that a
building should delight people and raise their
spirits. (Vitruviu s, ndlL960) Vitruvius's principles
have stood the test of time and are still learned
by architects today.
6 About 1,400 years later, Europe was emerging
from a long period of little development. The
arts, including architecture, experienced a
renaissance-in fact, this period is called the
Renaissance. At this time, Leone Battista Alberti
from Florence wrote that beauty is mainly about
il+b
Figure 4.3 Colden ratio
'T"f+tr
##$-#ffiÉH $Ad§TÉi] is a unique number that
fascinates mathematicians and artists alike, This
diagram illustrates the golden rat¡o. Looking at the
line, we call the long part a and the short part á. So
the total length is a + h. lf the rat¡o 0f the total length
to a is the same as the ratio 0f alo b, then we have
the golden ratio. A rectangle w¡th one side length a
and the other side length á is said hy many people t0
he well proportioned and aesthetically pleasing.
Figure 4.2 Creat Mosque of Kairouan (also known
as Mosque of Uqba)
proportion, but ornamentation is somewhat
important as well. (Alberti, 148511988) Not
surprisingly for someone who valued proportion,
Alberti was also a fan of the golden ratio, thus
resurrecting another old idea. Since then, Greek
and Roman themes have held a prominent
position in western architecture, coming and
going in and out of fashion. Characteristic
Greek elements include rectangular plans,
columns, low triangular pediments filled with
sculptures, and, above all, pleasing proportions.
The Romans added arches and domes (which
are really three-dimensional arches).
7 If you look at modern buildings, however, you
see very few (if any) of these aesthetic features.
Instead, such buildings tend to be boxes, with
little elaboration other than patterns generated
by their construction materials or windows. So,
what happened? §7e have to go back to the 1870s
to find out. By that time,larger buildings were
needed as cities were becoming crowded due to
industrialization. And there was a real mood
for change in the western world-a feeling that
rather than re-inventing ideas from the past, as
architects had been doing for centuries, society
'§7ith
was ready for new ideas. perfect timing,
new materials such as steel were becoming
cheaper. Thus, conditions were ideal for
steel-framed skyscrapers, which changed
architecture forever. Modernism was born.
8 One of the first proponents of this style,
Louis Sullivan, popularized an important
saying: Form follows function. (Sullivan,
1896) §7hat he meant was that a building's
B Unit 4r Aesthetics 89
 function, its purpose, should be the first thing
an architect thinks about, and appearance
should be secondafy to this. Gone was the idea
of creating a building primarily for its looks;
ostentationl and excess decoration were on
the way out. Sullivan himself allowed some
decoration, but the writing was on the wall.
Architecture was changed forever.
9 Sullivan's ideas, though, were just the
start of a trend. In the early 1900s, Austrian
architect Adolf Loos stated that ornamentation
concrete surfaces were the Brutalist style's
characteristic feature. Nowadays, ideas from
modernism predominate, and there has not yet
been a return to the ornamentation of previous
periods.
10 In summar¡ we've seen how aesthetic
principles in architecture have changed through
history. It's interesting to speculate what the
future will bring!
REFERENCES

was criminal. (Cox & Minaham, 2005) The
Brutalist movement, popular from the mid-
1950s to the mid-I970s, took these ideas
further. Large, flat, angular, raw, rough
lostentation n extra) unnecessary decoration, often
used to draw people's attention to something and to
demonstrate wealth
i
Alberti, L. B. (l9BB). De re oedificqtorio. On the ort of building in ten
books. (J. Rykwert, N. Leoch, & R. Tovernor, Trons.) Combridge, MA:
MIT Press.
Boussoro, K., & Mozouz, S. l200Al. The use of the golden section in
the Greot Mosque of Koirouon. Nexus NelworkJournol, ó111.
Cox, J. W., & Minohom, S. (2005). Orgonizotion, Decorotion.
Orgonizotion, l2(4l', 531.
Sullivon, L. ('l89ó, Morch). The toll office building ortisticolly
considered. Li ppi ncott's Magozi ne.
Virtuvius, P. (19ó0). The ten books on orchitecture. (M. H. Morgon,
Trons.) New York: Dover Publicqtions.
Wilson, A. M. (19951. The infínite in the finite. Oxford: Oxford
University Press.

1. What is the thesis of the reading selection?

!

2. Which body paragraphs in the text do these points best summaúze? Write
the paragraph number next to each summary. (One point summarizes two
paragraphs.) Then underline the topic sentences and summary senteñces in the
reading that helped you.
a. Renaissance ideas about architecture Paragraph(s):

b. Effect of modernism on current architecture Paragraph(s):

-
c. Sullivan's effect on architecture Paragraph(s):
-
d. Ancient Greek buildings often had good proportion. Paragraph(s):
-
e. Vitruvius's principles Paragraph(s):
-
f. Golden ratio in another culture Paragraph(s):
-
g. The origins of modernism Paragraph(s):
-
a
J. Compare your answers with a partner's. Discuss any differences. -
4. With your partner, decide whether each summary sentence. . .
o just summarizes
. gives an opinion
o shows the significance of the point

, "' .U".t-i

90 Unit 4r Architecture :';t'i

 Focused Reoding

l. Reqd the list of ideos, sfyles, ond feotures. With whom ore they ossocioted? Scon
the text, qnd write fhe nome from the box next fo eoch ideo. For some ideos, more
thon one answer is possib/e . Then compore your onswers with onofher student's.

Alberti Sullivan the Romans

Loos the ancient Greeks Vitruvius

1. modernism 7. against ornamentation

2. arches 8. beauty
3. ornamentation 9. proportion
4. durability 10. utility
5. columns 11. golden ratio
6. "form follows function"

2. Work with o portner. The words ond expre.ssions in the box ore oll in the fext. Use
context to help you motch the terms with their meonings.

PríncíPle n a basic idea that something is based on

characteristic n a new interest in something, especially in a particular
EXCESS form of art, music, etc., that has not been popular for a
ideal long time
on the way out adj a feature of something that is typical and makes it easy
popularize to recognize
predominate n a general tendency in the way a situation is changing or
frinciele- developing
proponent exp to show that something can work well for a long period,
ratio usually many years
raise (their) spirits
n a number showing the relationship between two amounts,
renaissance sizes, etc.
stand the test of
time adj the best that something could be

the writing is on the exp there is a sign that something will happen in the future
wall
exp going out of fashion
trend
utility
n alarger amount of something than is useful or needed
v to be greater in number or amount than any others
exp to make people happy or optimistic
v to make something well known
n someone who supports an idea or persuades people to do
something
n being useful; having usefulness

q '+,:-;
l
"rt {Unit 4r Aesthetics 9l
 iust like lecturers, writers of moteriol such os textbooks, course notes, ond websites
(but not qcodemic essoys, orticles, or reports) often odd interesting but non-essentiol
informotion.
ln writing, this informotion sometimes oppeors in o sidebor (o seporote port of o
text where odditionol informotion is given) or footnote. Other times, though, it is
not signoled. lf you ore reoding for on ocodemic purpose, you con often ignore
informotion thot is not importont to your purpose for reoding.
Quickly identifying the importont points os you reod will help you to reod more
efficiently. You con reod more quickly if you con identify which points (the non-
essentiol points) you do not hove to spend time on or think obout.

3. Reod fhe excerpts from fhe reoding. lmogine thot you ore reoding the excerpfs
fo gother informofion for on ocodemic ossignmenf obouf whof mokes o building
ottroctive. For eoch excerpt, discuss with o portner which informqtion is mosf
essenfio/ for your purpose. Underline this informotion. Whot ore the reosons for
your choices?

Excerpt One

This is called the golden ratio. No one can explain why, but across cultures, people
find objects with this ratio to be very pleasing to the eye. This ratio was certainly a
concept that ancient Greeks knew about. Artists through the ages have also used
the same concept, or something similar called the rule of thirds. This rule says that
objects placed on lines drawn a third of the way from each edge will look good. You
can see for yourself the next time you go to an art gallery.

Excerpt Two

Since then, Greek and Roman themes have held a prominent position in western
architecture, coming and going in and out of fashion. Characteristic Greek elements
include rectangular plans, columns, low triangular pediments filled with sculptures,
and, above all, pleasing proportions. The Romans added arches and domes (which
are really three-dimensional arches).

4. Do you think the sidebor in fhe reoding on poges 88-90 is essenfio I or non-
essentiol informqtion for the moin purpose? Why?

¡il, g*,i
92 Unit 4I Architecture i,,.,"tr.{
 5. Reod fhe text on poges 88-90 ogoin. Then work with o portner. Discuss fhe
quesfions.

1. What would the following people think of the buildings described in the lecture
and slides on pages 84-85?
o Vitruvius (durability, utility, beauty)
o Alberti (proportion, ornamentation)
. Sullivan (form follows function)
o Loos (ornamentation is criminal)
2. who do you think would like each building rhe most? The least?
3. Where would the lecturer and the people mentioned in the reading agree and
disagree? What evidence supports your answer?

Before You Speok

ffi l.
Building
Acodemic
Speoking Skills
In this section, you will
practice summarizing
and paraphrasing. You
will discuss whether
certain buildings are
examples of good
architecture using
examples from the
lecture and readings in
this unit. Finally, you
will summ arize the
points made in your
discussion to another
student.
For online assignments,
go to
Reod fhe newspqper opinion qrticle. lJnderline the outhor's opiníons.
Molgy Is the Overriding Problem with
Architecture Today
When we think of great architecture,
we often think of the spectacular
buildings of the past, those great
buildings present in most cultures
around the world-cathedrals,
castles, temples, palaces, and seats
of government. But in most cases,
they're old. Few of the famous ones
were built in the twentieth century,
never mind the twenty-first.
So what happened? Is it just that
we're running out of skill? Probably
not. The evidence points to another
factor: money. For one thing, there
is the cost of building. Flat slabs of
concrete are cheaper than sculpted
stone. Prefabricatedl materials,
which lead to boring, repetitive
patterns, are cheaper to design,
make, and put together. Buildings
are designed nowadays to maximize
profit. Profit first, aesthetics last.
Greater floor space means more
income from tenants, while open
space means wasted dollars in
many developers' eyes. Maximizing
floor plans allows less flexibility to
develop style and inspire feeling.
This leads to plain, monotonous
architecture.
Will we ever have the flamboyant2
buildings of yesteryear? Will we
ever again see anything like the
cathedrals of Europe, with their
masses of ornamenf sculpture, and
detail, or the intricate3 woodwork
of traditional East Asian temples? I
suspect not. I expect that the power
of profit and greed will win.

lprefabric ated' adj."1q" from parts that are made in standard sizes at a place away
^from where they will be used in a building
2flamboya rtf adj confident
and exciting in iway that attracts attention
'intricate adj containing many small parts and details that all fit together

.,1
ii': +.:i
i ,:Íl'"riUn¡t 4r Aesthetics 93
 2. Work in smoll groups. Answer the questions.
1. Which points in the article do you agree with? Which ones do you disagree
with? Give reasons.
2. Which opinions do you think the author of the reading on pages 88-90 will
agree and disagree with?

3. What counter-arguments can you think of?

ln your ossignments ond presentotions it is importont to mention other people's

ideos, theories, ond focts thot you hove reod or heord obout-ond to discuss whot
you think obout them. But you hove to be coreful not to use someone else's exoct
words os your own. Presenting other people's ideos os your own or copying onother
person's words without putting them in quototion morks is colled plogiorism.
ln order to ovoid plogiorism, you con porophrose the informotion. Porophrosing is
expressing other people's ideos in your own words.
A good porophrose:
. uses few words from the originol (if possible, none)
o hos the some meoning os the originol
o includes neither more nor o lot less informotion thon the originol
You con use the following techniques to help you porophrose:
o Cover the originol text ond then write from memory.
o Put the ideos of the originol in o different order.
o Use synonyms or neor-synonyms.
. Chonge word forms-for exomple, turn o noun into o verb.
o Use o different grommoticol form. For exomple, you might write in the octive
voice to porophrose something in the possive voice.
o Use one sentence to porophrose severol sentences, or severol sentences to
porophrose one sentence.
You could use o combinotion of these techniques.

3. Reod the porophroses of the finol porogroph of the newspoper orticle on fhe
previous poge.Then onswer the quesfions on the next poge. Compore your
onswers with o portner's.

Paraphrase 1: I don't think we'll ever see new buildings like the flamboyant
buildings of the past, such as the cathedrals of Europe or the traditional East Asian
temples with their intricate woodwork.

Paraphrase 2: The buildings of the past had far more ornamentation than modern
buildings do.
Paraphrase 3: I don't think we'll ever see new buildings that are as detailed and
ornate as many of the buildings from the past.

94
 Paraphrase 4: Buildings with the detail and ornamentation of the famous buildings
of the past may never be seen again,I believe.
1. Which paraphrase is the best?
2. Why are the others not good paraphrases?
3. Which techniques from the skill box on page 94 mighthave been used to form
the good paraphrase?

4. Porophrose fhese points from the orticle.

1. When we think of great architecture, we often think of the spectacular

buildings of the past, those greatbuildings present in most cultures around the
world-cathedrals, castles, temples, palaces, and seats of government.

2. So what happened? Is it just that we're running out of skill? Probably not. The
evidence points to another factor: money.

a
For one thing, there is the cost of building. Flat slabs of concrete are cheaper
than sculpted stone. Prefabricated materials, which lead to boring, repetitive
patterns, are cheaper to design, make, and put together.

4. Maximizing floor plans allows less flexibility to develop style and inspire
feeling. This leads to plain, monotonous architecture.

5. Work.with o.portner. Check each other's porophroses using the list of feotures of
good porophroses in the skílls box on poge g4. Then *ori tog"fher to improve fhe
porophroses where you think improvem"fu ,ight be possible.

Unit4 r Aesthetics 95
 Focused Speoking

I
i* r
=
p;*#} r"q6 * p:"l k***

You will often hove to prepore spoken summories in college. For exomple, you might
be osked to give o summory of some orticles you hove reod during o closs. Or, you
moy hove to include o summory ot the end of on orol presentotion.
A summory is o kind of porophrose, in thot it uses your own words ond hos ihe some
meoning os the originol.
Follow these steps to prepore o spoken summory:
l. Toke notes while reoding source texts or listening to lectures.
2. Close the source texts ond cover your notes.
3. Moke o list of moin points.
4. Check the moin points ogoinst your notes ond, ¡f necessory, the source texts.
Adiust the list if necessory.
5. Cover your notes ogoin.
ó. Think obout whot you're going to soy, ond proctice it in your mind.
Z. Proctice your summory with o portner.

\Nrite o summory of the orficle on poge 93. Follow fñe sfeps.

1. Follow steps l-4 in the skills box.

2. Compare your notes with a partner's. Explain the reasons for your choices of
main points, and discuss any differences.
3. Adjust your list of main points if necessary.
4. Follow steps 5-:7 in the same skills box. At step 7, your partner will use the
checklist.

such os numbers ond dotes, unless ihey

5. Listen to your partner's summary. Use the checklist to give feedback to your
partner. Then discuss the results.

; tr.l::

96 Unit4 r Architecture I'jt,,"'j

 lntegroted Speoking Tqsk
You have listened to and read about ideas of what makes buildings examples of
good architecture. You will now use your knowledge of the concepts, ideas, key
vocabulary, and skills from this unit to choose a building and discuss this question:
Is the building you have chosen an example of good architecture? Following your
discussion, you will present a summary of the discussion to other students.

Follow fhe sfeps fo prepore for the discussion.

Step L: Work with a partner. Choose a building that you both know about and like.
Together, come up with reasons why it is an example of good architecture. Use the
chart to help you. Remember that you will need to justify your answer. You can use
paraphrases of ideas from the texts.

Example
Let's think about Alberti's idea-you know, that a building's good looks come from
its proportions and ornamentation.

ldeo obout the Building

Proportions: subjective (your
own impressions)

Proportions oppropriote? (for

exomple, golden rotio)

Durobility

Utility

Beouty

Ornomentotion

Does form follow function?

Form

Texture

Scole

Emotionol response

Profit?

Spectoculor ond,/or inspiring ?

,,: +,.:"j
r,",""t..jUnit4 r Aesthetics 97
 Step 2: Find a ne\\' partner u ho has ,-hosen a drfferent building. Have a discussion
u'ith that person. Justifr u hr r our buildin-e is a good example of architecture. Who
has the most er idence that his or her building is an example of good architecture?
Who has the strongest evidence?
Step 3: Together, list the main points you made during your discussion. Then prepare
a summary of your discussion. Practice giving the summary together. Use the
checklist in Step 4 to help you.
Step 4: Form new groups with people you haven't yet worked with in this task. Take
turns presenting your summaries. While listening, use the checklist. Who has the
best summary? Why?

include only importont ideos?

leove out detoiled informotion such os

numbers ond dotes, unless they ore
importont?

ovoid including the personol opinions

of the speoker?

use the speoker's own words?

hove o conclusion thot summorizes the

moin ideos?

98 Unit 4r Architecture