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 Administrator
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#30088
Please post below with any questions!
 15veries
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#30880
Hi,

I'm not sure where the direct support comes from but I guess we can infer B from the paragraph 3? (such as 41-43) Though it sounds like we have to use the info in both 2nd and 3rd paragraph...(25-38 seems an example too)
 David Boyle
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#31552
15veries wrote:Hi,

I'm not sure where the direct support comes from but I guess we can infer B from the paragraph 3? (such as 41-43) Though it sounds like we have to use the info in both 2nd and 3rd paragraph...(25-38 seems an example too)

Hello,

Maybe, and "...she always focused on details, even details that were forever hidden" and "She designed the interior elements of a house together with the more permanent structures, as an integrated whole. Architecture for her was like work in lacquer: it could only be achieved from the inside out. " may also be helpful.

David
 tch16
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#35783
Why are answers A and E wrong?
 Luke Haqq
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#35866
Hi tch16,

Answer (A) states, "Traditional lacquering techniques can be applied to nontraditional materials, such as brick and steel, with artistically effective results." What stands out to me as problematic is the traditional-nontraditional distinction. The passage does mention her working with brick (around line 33) and steel (around 38), but the uses at those points don't describe brick and steel as nontraditional.

Answer (E) states, "The superficial visual aspects of a building’s decor can give evidence of the materials that have been used in its basic, unseen structural components." While this might be a true claim, the question asks for a principle used by Gray in her work. The latter half of the passage does discuss her integrated interest in interior design and the exterior design and architecture. The passage generally talks about the inside being unseen and also mentions discovering "hidden layers" like "cabinets in the recesses of a staircase" (lines 50-51), but this is different that what (E) is saying. I didn't see evidence from the passage that (E) was a principle that she was using in her work--i.e., I couldn't find a reference for an example of where she was using a building's exterior to give an evidence of its unseen structural components.

Hope that helps!
 Margo
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#46957
Hello,

I understand why B is correct for this problem but I had difficulty completely ruling out D.

For B, like others have posted, I thought that lines 25-34 gave a good example of her working with the placement of the dwelling's interior features. I also thought lines 40-47 did a good job talking about how she felt the work should be achieved "inside out" and that she designed the "interior elements of the house together with the more permanent structures."

However, answer D was hard for me to rule out because I thought the passage also talked about "visually austere elements" that she used, as in lines 37-39 ("she often used modern materials...though visually austere, meet their occupants' needs.") Also, in paragraph 1, it talks about how she "preferred the austere beauty of straight lines and simple forms juxtaposed" (lines 16-17).

Is answer D ruled out because it talks about the "gracefully ornate elements of design," which is more intricate than what Gray worked with? As in, she preferred simpler art, so we can rule out this answer? This is what I'm thinking now that I'm looking it over.

Thanks!
 Alex Bodaken
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#47037
Margo,

You are on the right track! Answer choice (D) is absolutely ruled out because of that second clause, "gracefully ornate elements of design." As you note, there is plenty of evidence that Gray used "visually austere elements," but no evidence that she paired them with graceful/ornate elements of design, as this answer choice indicates. That is sufficient to rule it out.

Hope that helps!
Alex
 Margo
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#47038
Alex Bodaken wrote:Margo,

You are on the right track! Answer choice (D) is absolutely ruled out because of that second clause, "gracefully ornate elements of design." As you note, there is plenty of evidence that Gray used "visually austere elements," but no evidence that she paired them with graceful/ornate elements of design, as this answer choice indicates. That is sufficient to rule it out.

Hope that helps!
Alex
Hi Alex,
Thank you! Just wanted to make sure :) Glad I'm on the right track and thanks for your help!
 sofisofi
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#102080
Hi

I understand why B is right, however I was wondering If I could get more of an elaboration for why E is wrong. It seems to me it's similarily talking about how Eileen Gray did not like to separate the interior from the exterior in her work.
Thanks!
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 Jeff Wren
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#102127
Hi sofisofi,

While the statement in Answer E may be factually true, there is no support in the passage to suggest that this "principle was used by Gray in her work" as the question specifies.

If anything, there are several indications that Gray doesn't use the "superficial visual aspects" to reveal the structural components, but uses those components even when they are not apparent from a superficial visual inspection.

Here are a few relevant lines from the passage.

"Though her attention shifted from smaller objects to the very large, she always focused on details, even details that were forever hidden" (lines 5-7).

"This tension between aesthetic demands and structural requirements, which invests Gray's work in lacquer with an architectural quality, is critical but not always apparent" (lines 20-23).

"But in architecture we discover the hidden layers, in fact we inhabit them" (lines 47-49).

What this line is getting at is that the hidden layers are not discovered by a simple superficial visual inspection but by close, careful examination such as in the examples of storage cabinets in the recesses of the staircase, desks that are also cabinets, etc. (lines 49-50).

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