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4. This purse (to leave) in a classroom yesterday, it (find) by the cleaner.
5. Thousands of new houses (build) every year.
6. When I saw the car, it (drive) at over fifty miles an hour.
7. This room (not use) for ages.
8. The children are very excited this morning. They (take) to the circus this afternoon.
9. My keys (return) to me; they (pick up) in the street
10. Dogs must (keep) on leads in the gardens.
11. Dictionaries may not (use) at the examination.
# Fill in the blanks with modal verbs.
1. They ... do all the exercises; it will be sufficient if they do four of them.
2. You ... do whatever you like.
3. We ... go away just yet; our train doesn't leave for half an hour yet.
4. I ... read to the end of the story, because I want to see who gets the treasure.
5. Why ... I go there?
6. She ... sing quite well.
7. You ... say anything. Just nod your head and he will understand.
8. ... I use your phone? - You ... ask for permission, you ... use it whenever you like.
9. You ... leave your dog with us if you don't want to take him with you.
10. You ... take a horse to water but you ... make him drink.
11. The ice is quite thick. We ... walk on it.
12. If you don't know the meaning of a word you ... use a dictionary.
Lesson 3
Colour and Architecture
Pre-reading Discussion
1. Do you agree with the following statement: “the question of colouration is an aspect of urban planning”?
2. Why do you think different epochs use different colours?
3. How can colour express an architect’s mood?
The debate about the use of colour in building has a long and motley history. At the beginning of the 20th
century, with the shift of focus from individual buildings to housing as part of an urban context, the question of
coloration was increasingly regarded as an aspect of urban planning, it therewith assumed a political dimension
as well. In architectural discussions at that time, colour was more than just an aesthetic consideration; it re-
vealed an architect's philosophy of life and perception of his role.
Colour has always been used as an aesthetic argument in social discourse, as the present essay seeks to
show; and in architecture, colour concepts are usually directly related to social and political ideas. As early as
1901, Fritz Schumacher recognised that it is extremely difficult to add colour to a building if the coloration has
not formed part of the overall planning from the outset. The architectural critic Adolf Behne, who cited the ex-
ample of Bruno Taut’s Falkenberg Garden City in Berlin, defined the role played by colour in building in 1913.
Behne argued that coloration was used in that scheme to lend expression to different house types, thereby creat-
ing a sense of orientation and identification among residents. In other words, it helped to overcome the danger
of uniformity. In this "paint-box estate", as it was called, Taut juxtaposed brilliant white surfaces with facades
in red and olive-green, in blue and yellow-brown.
Behne's arguments were often polemical, and he played colour off against white. But there was also a sci-
entific, objective approach to the subject, as the systematic preparation of a colour manual shortly before the
First World War shows. After the war, however, the discussion between advocates of pure white architecture
and those in favour of coloration became increasingly polarised. Through its identification with images of
cleanliness and purity, white became the preferred colour of the conservative middle classes. It was associated
with marble and classical antiquity, and thus evoked qualities like intelligence and education; but it was also
identified with an adopted style, the "tyranny of a cultured foreign form". Writing in "Bauwelt" in 1919, Behne
argued that the educated bourgeois art lover feared that colour was not noble enough: "White and pearl grey are
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