input: Please answer the following: Given the below context: Queluz's architecture is representative of the final extravagant period of Portuguese culture that followed the discovery of Brazilian gold in 1690. From the beginning of the 18th century many foreign artists and architects were employed in Portugal to satisfy the needs of the newly enriched aristocracy; they brought with them classical ideas of architecture which derived from the Renaissance. In its design, Queluz is a revolt against the earlier, heavier, Italian-influenced Baroque which preceded the Rococo style throughout Europe.Comparisons with the far larger and more Baroque Versailles are unwarranted: Versailles is referred to as having "an aura of majesty" and it was built and dedicated to exhibit in stone "all the glories of France," whereas the far smaller palace at Queluz has been described as "exquisite rather than magnificent" and looking like "a very expensive birthday cake". In its frivolity, the architecture of Queluz reflects the lifestyle led by the Portuguese royal family at the time of building: during the reign of Dom Pedro's brother, Joseph I, when Portugal was in practice governed by a valido or favourite, the Marquis of Pombal. Pombal encouraged the royal family to while away their days in the country and leave affairs of state to him. Thus the extravagant, almost whimsical architecture of Queluz, set apart from the capital city, exactly represents the politics and social events of Portugal during this era, and the carefree and flamboyant lives led by its occupants. Queluz's role as a haven for those without responsibility was, however, to be short-lived. On the accession to the throne of Dom Pedro's wife Maria in 1777, Pombal was dismissed, and Dom Pedro and Maria ruled jointly in his place, using the partially completed Rococo palace at Queluz as a retreat from affairs of state in much the same way as Frederick the Great used Europe's other famed Rococo palace, Sanssouci. The site chosen for this summer retreat was in a secluded hollow. It had originally been owned by the Marquis of... Guess a valid title for it!
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output: Palace of Queluz
Please answer this: Given the below context: In 1973, Daniel and Lena, a young German couple, become entangled in a Chilean military coup at a time when supporters of deposed President Salvador Allende are getting rounded up by the military under General Augusto Pinochet. When Daniel is abducted by Pinochet's secret police DINA, Lena tries to find and save her boyfriend. She tracks him to a sealed-off organization called "Colonia Dignidad", which presents itself as a charitable mission run by a lay preacher, Paul Schafer. Lena joins the organization to rescue her boyfriend, only to learn it is a cult from which no one has ever escaped. She later finds Daniel, who acts disabled to be overlooked. Daniel discovers the organization is also an illegal operations center for DINA. Lena and Daniel attempt to escape from Colonia Dignidad along with Ursel, a pregnant nurse. Ursel is killed and both Lena and Daniel escape to the West German embassy. Staff from the embassy betray them but the lovers exit the country by air, with incriminating photographic evidence against Colonia Dignidad. Guess a valid title for it!
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Answer: Colonia (film)
Problem: Given the below context: With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal facade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. In the principal facade Ammanati also created the finestre inginocchiate ("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's), replacing the entrance bays at each end. During the years 155870, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement. On the garden side of the courtyard Amannati constructed a grotto, called the "grotto of Moses" on account of the porphyry statue that inhabits it. On the terrace above it, level with the piano nobile windows, Ammanati constructed a fountain centered on the axis; it was later replaced by the Fontana del Carciofo ("Fountain of the Artichoke"), designed by Giambologna's former assistant, Francesco Susini, and completed in 1641.In 1616, a competition was held to design extensions to the principal urban facade by three bays at either end. Giulio Parigi won the commission; work on the north side began in 1618, and on the south side in 1631 by Alfonso Parigi. During the 18th century, two perpendicular wings were constructed by the architect Giuseppe Ruggeri to enhance and stress the widening of via Romana, which creates a piazza centered on the facade, the prototype of the cour d'honneur that was copied in France. Sporadic lesser additions and alterations were made for many years thereafter under other rulers and architects.To one side of the Gardens is the bizarre grotto designed by Bernardo Buontalenti. The lower facade was begun by... Guess a valid title for it!

A: Palazzo Pitti
input question: Given the below context: Despite their appreciation of his work, many of Glicken's associates considered him eccentric and highly disorganized. Chatty, noted for being extremely sensitive, Glicken also paid meticulous attention to detail. One of his friends writes, "Harry was a character his whole life. ... Everyone who knew him was amazed he was such a good scientist." Regarding Glicken's driving habits, the same acquaintance describes him as "a cartoon character" who "would drive at full speed down the road, talking about whatever was important to him, and ... come to a four-way stoplight and he'd sail through it, never knowing he'd just gone through".Glicken's father said in 1991 that his son died pursuing his passion, and that he was "totally absorbed" with volcanology. United States Geological Survey co-worker Don Peterson adds that Glicken was keen in his enthusiastic approach to observation, and praises his accomplishments throughout his career and as a graduate student. Speaking about Glicken's personal passion for his field, his mentor and professor Richard V. Fisher writes, "What happened at St. Helens is something that troubled [Glicken] deeply for a very long time, and, in a way, I think it made him even more dedicated than he was before." Associate Robin Holcomb remarks that "Harry was very enthusiastic, very bright, and very ambitious, ambitious to do something worthwhile on volcanoes." Many studies have utilized Glicken's criteria for volcanic landslide recognition, and many subsequent papers on avalanches have acknowledged or referenced Glicken's 1996 report. Reflecting on Glicken's body of work, USGS employee Don Swanson names him as "a world leader in studies of volcanic debris avalanches".Glicken was closely connected to the University of California, Santa Barbara, where he earned his doctorate and conducted research. To remember his association with the university, each year the Department of Earth Science awards an outstanding graduate geology student the "Harry Glicken Memorial Graduate Fellowship", established... Guess a valid title for it!???
output answer:
Harry Glicken