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DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer?.

Solutions for DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer?, a detailed solution for DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? has been provided alongside types of DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice DIRECTIONSfor the question:Read the passage and answer the question based on it.The enduring position ofThePoetics of Spaceas a key text sees Bachelard as omnipresent. ThePritzker prize-winning Swiss architect Peter Zumthor might have been channelling him in his RIBARoyal Gold Medal address in 2013 as he spoke of architectureshornof intrusive symbolism and imbued with experience, leading to the ultimate goal, ‘to create emotional space’. Emphasising light, materials and atmosphere, intensified by remote and particular locations such as the house in south Devon now under construction in the Living Architecture programme, there is a clear confluence between Zumthor’s wish to be seen, above all, as an ‘architect of place’ and Bachelard’s subtle and romantic insights.The approach can also point to an unfurling of levels of meaning and reality within an existing structure. For the architect Biba Dow, of Dow Jones in London,ThePoetics of Spacelong ago became ‘my favourite and most essential book on architecture’. Dow and her partner Alun Jones were introduced to Bachelard’s writing by Dalibor Vesely, their first-year tutor at the University of Cambridge school of architecture. The poetic approach offered rich possibilities for extracting wider meaning, phenomenology, and the permitted exercise of the imagination. For example, the medieval church of St Mary-at-Lambeth in south London, once almost derelict, now offers a series of discrete spaces in its current life as the Garden Museum, on which Dow Jones worked in two successive phases. A chapel has become a cabinet of curiosity, displaying treasures associated with the great plant-hunter and gardener John Tradescant the Elder, founder of the Ashmolean Museum in Oxford, as well as of the original South Lambeth ‘Ark’ from which it grew. Beyond the outer walls, they have added a ‘cloister’ in the midst of which lies Tradescant under his exotic carved-chest tomb, a world of curiosity in itself.But it is in the wider field of urban design thatThe Poetics of Spaceseems to me to have the greatest resonance, through the work of the American academic urbanist Kevin Lynch and others. The journey between the open vista towards the intimacy of near-enclosure was at the heart of Townscape, the campaign (or movement) waged on the pages ofTheArchitectural Reviewfrom 1948 onwards by the British architect Gordon Cullen and the magazine’s editor, Hubert de Cronin Hastings.Less obvious was the intellectual weight of Nikolaus Pevsner celebrating, for example, ‘precinctual’ or collegiate planning in Oxford. He later thanked Hastings for encouraging his pleasurable diversion into the picturesque, allowing him, so firmly tarred with the modernist brush in the eyes of the world, ‘the saving grace of just a little bit of inconsistency’.Q.Which of the following could be reasonably inferred from the passage?a)Both Pevsner and Lynch are renegades in the eyes of modernists, as they insist on depriving the today of futuristic renditionb)Modernism, deprived of picturesque, sits at odds with the works of Kevin Lynchc)Pevsner and Lynch are the proponents of open spaces and picturesque as is evident from their architecturald)The Poetics of Spaceseem to have left its impression on both old and newe)None of the aboveCorrect answer is option 'B'. Can you explain this answer? tests, examples and also practice CAT tests.