Question: What does the u-shaped wall on the other side of this building form?

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Mies's response to the proposal by von Schnitzler was radical. After rejecting the original site for aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition's main attractions, the Poble Espanyol.
The pavilion was to be bare, with no exhibits, leaving only the structure accompanying a single sculpture and specially-designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.
Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the Poble Espanyol. The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.
Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of Tinos verde antico marble and golden onyx as well as tinted glass of grey, green, white, as well as translucent glass, perform exclusively as spatial dividers.
Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed.

Answer: a smaller water basin


Question: What was highly reflective in mies' this building?

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The Pavilion was not only a pioneer for construction forms with a fresh, disciplined understanding of space, but also for modelling new opportunities for an association of free art and architecture. Mies placed Georg Kolbe's Alba ("Dawn") in the small water basin, leaving the larger one all the more empty. The sculpture also ties into the highly reflective materials Mies used—he chose the place where these optical effects would have the strongest impact; the building offers multiple views of Alba. "From now on, in the sense of equality for juxtaposing building and visual work, sculptures were no longer to be applied retrospectively to the building, but rather to be a part of the spatial design, to help define and interpret it. To the day, one of the most notable examples is the Barcelona Pavilion".

Answer: materials


Question: What did kazuyo sejima and ryue nishizawa add to this building?

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Since the Pavilion's reconstruction in the 1980s, the Mies van der Rohe Foundation has invited leading artists and architects to temporarily alter the Pavilion. These installations and alterations, called "interventions", have kept the pavilion as a node of debate on architectural ideas and practices. The list of invited people includes architects Kazuyo Sejima and Ryue Nishizawa who added spiral acrylic interior walls, artist Ai Weiwei who refilled two pools with coffee and milk, Andrés Jaque  who revealed the pavilion's so far disregarded basement and its role in hiding the daily making of the site's experience, Enric Miralles, Antoni Muntadas who brought to the pavilion the smell of the MoMA archives where its memory is preserved and Jordi Bernadó who removed the pavilion's glass doors.

Answer: spiral acrylic interior walls


Question: What did ai weiwei fill two pools in this building with?

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Since the Pavilion's reconstruction in the 1980s, the Mies van der Rohe Foundation has invited leading artists and architects to temporarily alter the Pavilion. These installations and alterations, called "interventions", have kept the pavilion as a node of debate on architectural ideas and practices. The list of invited people includes architects Kazuyo Sejima and Ryue Nishizawa who added spiral acrylic interior walls, artist Ai Weiwei who refilled two pools with coffee and milk, Andrés Jaque  who revealed the pavilion's so far disregarded basement and its role in hiding the daily making of the site's experience, Enric Miralles, Antoni Muntadas who brought to the pavilion the smell of the MoMA archives where its memory is preserved and Jordi Bernadó who removed the pavilion's glass doors.

Answer: coffee and milk


Question: What was done with the houses adjacent to this church during its restoration?

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A project to fully restore the building was initiated in 1846.
The abutting houses were removed.
The architect Paul Selmersheim (1840–1916) finished the upper part of the nave at the end of the 19th century according to the original plan.
In the late 20th century the apse and its windows were completely restored.
Between 1890 and 1905 the upper vault and buttresses of the nave were completed and the porch of the facade was added.
The portal which covers the west side of the church was completed in 1905.
Urbain IV had been buried in the Perugia Cathedral in 1264, although he had wanted to be buried in the church at Troyes.
His remains were transferred to the church in 1935.Pope Paul VI elevated the church to the rank of a minor basilica in 1964.
A one-year study of air pollution inside the church in 2002–03 showed that CO₂ spikes occur during Sunday masses, when large volumes of outside air are admitted, while Elemental Carbon (EC) pollution is primarily caused by candle burning. The effect on the stained glass is not yet understood.

WikiWeb_Basilique Saint-Urbain de Troyes_10

Answer: removed


Question: In what country is this cathedral located?

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The Saint Dominic Cathedral, commonly referred to as the Bayombong Cathedral, is an 18th-century, Baroque church located at Brgy. Salvacion, Bayombong, Nueva Vizcaya, Philippines. The cathedral, which is the seat of the Roman Catholic Diocese of Bayombong, is under the patronage of Saint Dominic.
Saint Dominic Cathedral of Bayombong, Nueva Vizcaya, Philippines was founded in 1739 by the Augustinian Friars of Spain.

Answer: philippines


Question: When was this cathedral dedicated to st. dominic de guzman?

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It was April 12, 1739 when the first Eucharistic Celebration was held there with Fray Pedro Freire presiding. During these days in the 18th century, this cathedral was still called The Church of St. Augustine. It won’t be until a few months later, on September 8, that it will be dedicated to St. Dominic De Guzman.
The mission in present-day Bayombong had its roots in the mid-18th century when it was formally accepted by the Dominicans as mission center in a region previously referred to as Paniqui. Soon after founding the mission, the erection of the church structure took place in 1780 under the supervision of Father Juan Crespo, OP. According to records, the church, and other nearby structures, was gutted by fire in 1892. Father Cerefino Martinez, O.P. initiated the reconstruction of the church. It was completed three years after, in 1895, with the installation of galvanized iron roofing, new altarpieces and a new pulpit.

Answer: september 8


Question: In what month was this cathedral dedicated?

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It was April 12, 1739 when the first Eucharistic Celebration was held there with Fray Pedro Freire presiding. During these days in the 18th century, this cathedral was still called The Church of St. Augustine. It won’t be until a few months later, on September 8, that it will be dedicated to St. Dominic De Guzman.
The mission in present-day Bayombong had its roots in the mid-18th century when it was formally accepted by the Dominicans as mission center in a region previously referred to as Paniqui. Soon after founding the mission, the erection of the church structure took place in 1780 under the supervision of Father Juan Crespo, OP. According to records, the church, and other nearby structures, was gutted by fire in 1892. Father Cerefino Martinez, O.P. initiated the reconstruction of the church. It was completed three years after, in 1895, with the installation of galvanized iron roofing, new altarpieces and a new pulpit.

Answer: september


Question: What part of this cathedral is divided into four sections by cornices?

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The church façade is described as a close copy of that of the San Vicente Ferrer Church in Dupax del Sur and the Santa Catalina de Siena Church in Bambang, Nueva Vizcaya, with its doors, windows and oculus, not to mention the pediment shape that’s also similar to that of the older  Tuguegarao Cathedral in Cagayan province. A difference, however between this church and the two above-mentioned churches is the lack of columns framing the windows. The slightly-detached, octagonal campanile is also distinct to the church of Bayombong. The façade, with its squat appearance, is divided into four sections by cornices. The façade is ornamented with two windows on the second level (flanking a saint’s niche) and an oculus on the third level.

Answer: the façade


Question: What does english heritage do for this building?

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The entire Belsay Hall house is unfurnished and maintained in a condition of benign decay, with only necessary structural maintenance undertaken. This allows it to be used as a setting for bespoke art installations each summer.
There are extensive gardens, formal and naturalistic, such as the linear Quarry Garden. There is wheelchair access to the Quarry Garden, the ground floor of both the Hall and the Castle, and to the café.  The gardens are also Grade I listed on the Historic England Park and Garden Register.
Belsay Hall is administered by English Heritage and is open to the public.

Answer: administered


Question: In what city was the first Blackfriars Railway Bridge located?

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There have been two structures with the name. The first bridge was opened in 1864 and was designed by Joseph Cubitt for the London, Chatham and Dover Railway. Massive abutments at each end carried the railway's insignia, preserved and restored on the south side. Following the formation of the Southern Railway in 1924, inter-city and continental services were concentrated on Waterloo, and St Paul's Station became a local and suburban stop. For this reason, the use of the original bridge gradually declined. It eventually became too weak to support modern trains, and was therefore removed in 1985 – all that remains is a series of columns crossing the Thames and the southern abutment, which is a Grade II listed structure.

Answer: london


Question: What can fans who paid for bricks at this stadium do with them?

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The sale of the Ground was completed on 15 July 2016, at a sale price of £40,000,000. The developer's plans include 838 new homes, retail outlets and leisure facilities which will be available by 2018. The possibility of a statue of Bobby Moore and a landscaped garden named after him has also been revealed. The plans caused controversy for only including 51 "affordable" homes and no social housing. In March 2016, plans were approved for 800 homes to be built on the site, 25% of which would be affordable housing. On 14 March 2016, the dismantling of the ground began with the removal of the John Lyall gates for transfer and reinstallation at the Olympic Stadium. By July 2016, the seats had been removed from the ground and it was boarded-up and handed over to developers for demolition and redevelopment. In August 2016, ownership of the site was transferred to Barratt London. In September 2016, the ground was used as a film-set for the film Final Score and on 27 September 2016 it hosted a charity match shortly before demolition commenced. 1,000 of 1,400 commemorative bricks were saved by Jonjo Heuerman when the wall they were in was taken down, and are available to be claimed by the fans who paid for them. The inscriptions have been reproduced in a pathway at the new ground.

Answer: claimed


Question: In what decade did this stadium convert to all seating?

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The record attendance at the ground was 42,322, against Tottenham in an old Division One match on 17 October 1970, when the North and South Banks were terraced, as was the old "Chicken Run" at the front of the East Stand.
The Boleyn Ground became an all-seater stadium from the early 1990s because clubs had to meet new FA regulations for stadium safety after the Hillsborough Disaster in 1989. The record attendance after Upton Park became an all-seater was 35,550, on 21 September 2002 for a Premier League match against Manchester City. Before its closure, the ground had a total capacity of 35,016, all seated.
Upton Park had four main stands, the Sir Trevor Brooking Stand, Bobby Moore Stand, East Stand and Betway Stand.

Answer: 1990s


Question: What event did david haye and derek chisora have at this stadium?

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In June 1989, evangelist Billy Graham hosted a three-day Christian mission to London to which free tickets were given away. He gave away more tickets than seats, not expecting them all to be used. In the event they were used and many were locked out. After negotiations between the club and Graham's representatives, the crowd were allowed to use the pitch.
On 12 February 2003, England played Australia at the Boleyn Ground in an international friendly, with Australia winning 3–1. The match is best known for marking Wayne Rooney's international debut.
On 9 May 2012, the Boleyn Ground was confirmed as the venue for the fight between David Haye and Derek Chisora, a fight sanctioned by the Luxembourg Boxing Federation on 14 July 2012. The fight caused controversy at the time as neither fighter held a license from the British Boxing Board of Control.
On 12 November 2014, a friendly game between Argentina and Croatia was played at the Boleyn Ground. The match finished 2–1 to Argentina and saw the return of former West Ham striker Carlos Tevez to the Boleyn Ground.
The stadium is the setting of the 2018 film Final Score.  An ex-soldier, played by Dave Bautista, is forced into action to defend the packed stadium when armed Russian terrorists take control of it.

Answer: fight


Question: Who gave away free tickets to a christian mission at this stadium in 1989?

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In June 1989, evangelist Billy Graham hosted a three-day Christian mission to London to which free tickets were given away. He gave away more tickets than seats, not expecting them all to be used. In the event they were used and many were locked out. After negotiations between the club and Graham's representatives, the crowd were allowed to use the pitch.
On 12 February 2003, England played Australia at the Boleyn Ground in an international friendly, with Australia winning 3–1. The match is best known for marking Wayne Rooney's international debut.
On 9 May 2012, the Boleyn Ground was confirmed as the venue for the fight between David Haye and Derek Chisora, a fight sanctioned by the Luxembourg Boxing Federation on 14 July 2012. The fight caused controversy at the time as neither fighter held a license from the British Boxing Board of Control.
On 12 November 2014, a friendly game between Argentina and Croatia was played at the Boleyn Ground. The match finished 2–1 to Argentina and saw the return of former West Ham striker Carlos Tevez to the Boleyn Ground.
The stadium is the setting of the 2018 film Final Score.  An ex-soldier, played by Dave Bautista, is forced into action to defend the packed stadium when armed Russian terrorists take control of it.

Answer: billy graham


Question: On which margins of this mountain are remnants of cretaceous volcanic rocks preserved?

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The Brandberg Massif or Brandberg Intrusion is a granitic intrusion, which forms a dome-shaped massif. It originated during Early Cretaceous rifting that led to the opening of the South Atlantic Ocean. Argon–argon dating yielded intrusive ages of 132 to 130 Ma. The dominant plutonic rock is a homogeneous medium grained biotite-hornblende granite. In the western interior of the massif (Naib gorge), a 2 km in diameter body of pyroxene-bearing monzonite is exposed. The youngest intrusive rocks based on cross-cutting relations are arfvedsonite granite dikes and sills in the southwestern periphery of the Brandberg massif which crop out in the Amis valley. The arfvedsonite granites contain minerals rich in rare-earth element minerals such as pyrochlore and bastnaesite. Remnants of Cretaceous volcanic rocks are preserved in a collar along the western and southern margins of the massif. Their angle of dip increases towards the contact where clasts of country rock occur within the granite forming a magmatic breccia. The origins of the magmas that formed the Brandberg intrusion are related to emplacement of mantle-derived basaltic magma during continental break-up which led to partial melting of crustal rocks resulting in a hybrid granitic magma. Erosion subsequently removed the overburden rock. Apatite fission track dating indicates approximately 5 km denudation between 80 and 60 Ma.
An associated feature is the Doros Complex.

Answer: western and southern


Question: On what street is this building located?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: rhode island avenue


Question: How many rhode island avenue, northwest is this building located on?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: 1500


Question: How many rhode island avenue is this building located on?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: 1500


Question: What neighborhood is this building in?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: logan circle


Question: What architectural style is this building?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: beaux-arts


Question: What is this building?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: a historic beaux-arts home


Question: In what cardinal direction is this building located on rhode island avenue?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: northwest


Question: In what direction from the center of washington, d.c. is this building located?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: northwest


Question: What is this building a historic beaux-arts?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: home


Question: In what cardinal direction is this building located?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: northwest


Question: What is this building also known as?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: the levi p. morton house


Question: In what neighborhood is this building located?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: logan circle


Question: What neighborhood is this building located in?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: logan circle


Question: What architectural style does this building have?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: beaux-arts


Question: What is another name for this building?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: the levi p. morton house


Question: What is the street address of this building?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: 1500 rhode island avenue


Question: What street is this building located on?

Instruction: Using the given image, access documents that provide insights into the following question:

The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: rhode island avenue


Question: What architectural style does this building possess?

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The Brodhead-Bell-Morton Mansion, also known as the Levi P. Morton House is a historic Beaux-Arts  home, located at 1500 Rhode Island Avenue, Northwest, Washington, D.C., in the Logan Circle neighborhood.

Answer: beaux-arts


Question: When was this building remodeled?

Instruction: Extract documents linked to the question provided in conjunction with the image:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: 1912


Question: In what month of 2016 did hungary purchase this building?

Instruction: Extract documents linked to the question provided in conjunction with the image:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: february


Question: What did john fraser contribute to this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: designs


Question: What architect designed this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: john fraser


Question: What is the status of this building on the national register of historic places?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: listed


Question: How did john russell pope remodel this building in 1912?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: comprehensively


Question: What famous inventor once lived in this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: alexander graham bell


Question: Along with john t. brodhead, who lived in this building at its inception?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: jessie willis brodhead


Question: What type of residence was this building originally used for?

Instruction: With the provided image, gather documents that offer a solution to the question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: private


Question: What country's embassy was located in this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: russia


Question: Who was a notable former occupant of this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: alexander graham bell


Question: What does beaux-arts refer to in relation to this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: style


Question: Alexander graham bell and his wife mabel gardiner hubbard were former what of this building?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: occupants


Question: Which u.s. vice president occupied this building?

Instruction: Using the given image, access documents that provide insights into the following question:

It was built in 1879, to the designs of architect John Fraser, and comprehensively remodeled in 1912 by architect John Russell Pope.
The Beaux-Arts style building originally served as the private residence of John. T. Brodhead, and Jessie Willis Brodhead.
Between 1939 and 2016, the building served as offices for the National Paint, Varnish, and Lacquer Association (now known as the American Coatings Association).
Former occupants include Alexander Graham Bell and his wife Mabel Gardiner Hubbard, U.S. Vice President Levi P. Morton, the Embassy of Russia, and U.S. Secretary of State Elihu Root.
The building is listed on the National Register of Historic Places, and the District of Columbia Inventory of Historic Sites.
In February 2016 the Mansion was purchased from American Coatings Association by Hungary to move the Embassy of Hungary there later in the year.

Answer: levi p. morton


Question: In what german city is this landmark the most famous?

Instruction: With the provided image, gather documents that offer a solution to the question:

The Brunswick Lion (German: Braunschweiger Löwe) is a medieval sculpture, created in bronze between 1164 and 1176, and the best-known landmark in the German city of Brunswick. The Brunswick Lion was originally located on the Burgplatz square in front of the Brunswick Cathedral. The monument was moved to Dankwarderode Castle in 1980, and later replaced at the original location by a replica. Within Brunswick, it is commonly known as the "Castle Lion" (Burglöwe).

Answer: brunswick


Question: how many historical records does this rock have?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

Authorities generally date them to the 9th or 10th century.
Buduruvagala does not have much historical records. Even its original name is unknown. It is thought to be a hermitage for monks.
The sculptures of Buduruvagala also include many sculptures of Bodhisattva images including Mahayana tradition.

Answer: much


Question: In what country is this market located?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The ByWard Market (French: Marché By), is a retail and entertainment district in the downtown core of Ottawa, Ontario, Canada. It is located east of the government and business district. The Market district includes the market buildings and open-air market along George, York, ByWard, and William street.
The district is bordered westwardly by Sussex Drive and Mackenzie Avenue, and eastwardly by Cumberland Street. It stretches northwards to Cathcart Street, while to the south it is bordered by Rideau Street. The name refers to the old "By Ward" of the City of Ottawa ('By' deriving from the surname of the engineer, Lt. Colonel John By, who was the area's original surveyor). The district comprises the main commercial part of the historic Lower Town area of Ottawa. According to the Canada 2011 Census, the population of the area was 3,063.
The market itself is regulated by a City of Ottawa municipal services corporation named Marchés d'Ottawa Markets, which also operates the smaller west-end Parkdale Market. The corporation is run by a nine-member board of directors. The market building is open year-round, and open-air stalls offering fresh produce and flowers are operated in the warmer months.

Answer: canada


Question: What kind of iron is the tower of this lighthouse sheathed in?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The Cape Neddick Light is a lighthouse in Cape Neddick, York, Maine. In 1874 Congress appropriated $15,000 to build a light station at the "Nubble" and in 1879 construction began. Cape Neddick Light Station was dedicated by the U.S. Lighthouse Service and put into use in 1879. It is still in use today.
Plans had been in the works to build a lighthouse on the site since 1837. The tower is lined with brick and sheathed with cast iron. It stands 41 feet (12 m) tall but the light is 88 feet (27 m) above sea level because of the additional height of the steep rocky islet on which it sits. Unusually, the stanchions of the walkway railing around the lantern room are decorated with 4-inch (100 mm) brass replicas of the lighthouse itself.

Answer: cast


Question: this park is located about 100 miles southeast of what city?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

Caprock Canyons State Park and Trailway is a Texas state park located along the eastern edge of the Llano Estacado in Briscoe County, Texas, United States, approximately 100 miles (160 km) southeast of Amarillo. The state park opened in 1982 and is 15,314 acres (6,197 ha) in size, making it the third-largest state park in Texas.

WikiWeb_Caprock Canyons State Park and Trailway_0

Answer: amarillo


Question: What is inside this building?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

Casa Navàs is a  modernist building in the city of Reus, Catalonia, Spain. Casa Navàs is a building designed by Catalan architect Lluís Domènech i Montaner, located in the city's Plaça del Mercadal.
Joaquim Navàs Padró of Reus contracted Lluís Domènech i Muntaner as the architect of his new house. The building was constructed from 1901 to 1908.

The building had a tower on the left facade, but it was destroyed by bombing by Nationalist forces during the Spanish Civil War and never rebuilt. Inside the building is a very wide and brightly lit space.  Marble works were done by Alfons Juyol i Bach, the paintings by Tomàs Bergadà, the furniture by Gaspar Homar and the ceramics by Hipòlit Montseny; all of them under the instructions of Lluís Domènech i Montaner.
Nowadays the building is still the same as it was originally (except the tower), and that includes the furniture, the ceramics, mosaics, lights, etc.

Answer: a very wide and brightly lit space


Question: When did construction begin on this building?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 1906


Question: Over the past 50 years, representatives of the artistic vanguard of what have gathered at this building?

Instruction: Using the provided image, obtain documents that address the subsequent question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: the country


Question: In which month did this building officially open?

Instruction: Using the given image, access documents that provide insights into the following question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: september


Question: In what year did the automobile club of mexico call this building home?

Instruction: Extract documents linked to the question provided in conjunction with the image:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 1908


Question: What began in 1906 at this building?

Instruction: With the provided image, gather documents that offer a solution to the question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: construction


Question: What have representatives of the artistic vanguard of the country done at this building?

Instruction: Using the provided image, obtain documents that address the subsequent question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: gathered


Question: When did this center open its doors as a center for the promotion and dissemination of culture?

Instruction: Using the given image, access documents that provide insights into the following question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 10 may 1959


Question: When was this building named after its founding director?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 31 january 2002


Question: On what day in may 1959 did this building open its doors?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 10


Question: What kind of roots does this building have in latin america?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: deep


Question: On what day in january 2002 was this building officially named?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 31


Question: When did construction of this building begin?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

The construction of the building began in 1906, but it was inaugurated as the headquarters of the first Automobile Club in Mexico until April 30, 1908. In 1929, it was home to the Biological Studies Department of the Ministry of Agriculture and Development (la Dirección de Estudios Biológicos de la Secretaría de Agricultura y Fomento). University autonomy definitely influenced the fate of Casa del Lago joining it to the National University and housing the new Institute for Biology, until 1959 when it moved to the new facilities created in Ciudad Universitaria (University City). On 10 May 1959 the enclosure opened its doors as a center for the promotion and dissemination of culture, but the official opening took place on September 15 of the same year.
By agreement of the rector Juan Ramón de la Fuente 31 January 2002 it was given the name of its founding director: Juan José Arreola, who turned it into the model of the national cultural centre with deep roots and prestige in Latin America, and where, over the past 50 years, representatives of the artistic vanguard of the country have gathered.
Since 1959, the University has undertaken, with extraordinary energy, the avant-garde, the experimentation and the renewal of many of the anachronistic criteria that had been adapted to culture. A new generation began at Casa del Lago when notorious figures such as José Luis Ibáñez, Leonora Carrington, Juan Soriano, Octavio Paz and even Juan José Arreola, who along with Miguel Gonzalez Avelar, to name a few, began to promote Poetry Out Loud, Chess Tournaments and the Philatelic Club.
Tomás Segovia, successor of Arreola, poet and essayist, created an extraordinary group of young writers, among whom Juan García Ponce, short story writer, novelist and playwright, stands out; thanks to his essays and notes about visual arts, he examined and promoted artists like: Vicente Rojo, Lilia Carrillo, José Luis Cuevas, Fernando García Ponce, Alberto Gironella and Manuel Felguerez; giving also a huge boost to the music of young artists through the program Nueva Música en México (New Music in Mexico), which got together people like Joaquín Gutiérrez Heras, Rocío Sanz and other leading artists and composers.
Other figures that embodied the spirit of Casa del Lago were: Juan Vicente Melo and Juan José Gurrola. Melo dermatologist and music critic replace Segovia and develop a remarkable task: Conference Cycles of literary authors and composers, small exhibitions of the mentioned artists and plays that renewed the scenic work and vanguard music concerts. Juan José Gurrola bright and bold, who began as an actor in Poetry Out Loud, always proposed avant-garde attitudes in his staging. It was an extraordinary period for Casa del Lago, awarded by the Association of Theatre and Music Critics for giving room to the artistic compositions of the twentieth century, positioning itself as one of the most renowned cultural centers in the capital of the country.
In 1982 the group called Los Estridentistas attracted public attention due to the confusion created by an exhibition about this literary group of the 20s. The exhibition at the time was the appropriate framework to exhibit the work of 80 sculptors as part of the meeting of sculptors, where they discussed issues related to sculpture and other disciplines.
Casa del Lago also gave shelter to the artists called "the rupture generation" when in 1989 they made an important exhibition in which works that once were rejected by commercial galleries were included. The Documentary Cinema Club gained special significance as a unique space of its kind in the capital.
The evening walks along the Bosque de Chapultepec (Woods of Chapultepec), with the collaboration of the Directorate of the Forest, since 1999 to date, has been a project that the university community and the population have received with great interest, since it has contributed to the rescue of the historical and artistic values of the largest urban park in Latin America.
Promotion of culture by nature, Casa del Lago has always been the ideal platform for experimentation in arts and to encourage the new generation of creators.

WikiWeb_Casa del Lago Juan Jose Arreola_2

Answer: 1906