input: Throughout his practice, Baker became well known for designing and building low cost, high quality, beautiful homes, with a great portion of his work suited to or built for lower-middle to lower class clients. His buildings tend to emphasise prolific - at times virtuosic - masonry construction, instilling privacy and evoking history with brick jali walls, a perforated brick screen which invites a natural air flow to cool the buildings' interior, in addition to creating intricate patterns of light and shadow. Another significant Baker feature is irregular, pyramid-like structures on roofs, with one side left open and tilting into the wind. Baker's designs invariably have traditional Indian sloping roofs and terracotta Mangalore tile shingling with gables and vents allowing rising hot air to escape. Curved walls enter Baker's architectural vocabulary as a means to enclose more volume at lower material cost than straight walls, and for Laurie, "building [became] more fun with the circle." A testament to his frugality, Baker was often seen rummaging through salvage heaps looking for suitable building materials, door and window frames, sometimes hitting a stroke of luck as evidenced by the intricately carved entry to the Chitralekha Film Studio (Aakulam, Trivandrum, 1974-76): a capricious architectural element found in a junk heap. Baker made many simple suggestions for cost reduction including the use of Rat trap bond for brick walls, having bends in walls that increased the strength and provided readymade shelves, thin concrete roofs and even simple precautions like shifting dug up soil into the built area rather that out of it. He advocated the use of low energy consuming mud walls, using holes in the wall to get light, using overlaid brick over doorways, incorporating places to sit into the structure, simpler windows and a variety of roof construction approaches. He liked bare brick surfaces and considered plastering and other embellishments as superfluous. Baker's architectural method is one of improvisation, in which initial drawings have only an idealistic link to the final construction, with most of the accommodations and design choices being made on-site by the architect himself. Compartments for milk bottles near the doorstep, windowsills that double as bench surfaces, and a heavy emphasis on taking cues from the natural condition of the site are just some examples. His Quaker-instilled respect for nature lead him to let the idiosyncrasies of a site inform his architectural improvisations, rarely is a topography line marred or a tree uprooted. This saves construction cost as well, since working around difficult site conditions is much more cost-effective than clear-cutting. ("I think it's a waste of money to level a well-moulded site") Resistant to "high-technology" that addresses building environment issues by ignoring natural environment, at the Centre for Development Studies (Trivandrum, 1971) Baker created a cooling system by placing a high, latticed, brick wall near a pond that uses air pressure differences to draw cool air through the building. Various features of his work such as using recycled material, natural environment control and frugality of design may be seen as sustainable architecture or green building with its emphasis on sustainability. His responsiveness to never-identical site conditions quite obviously allowed for the variegation that permeates his work.

Answer this question "What architectural style did Laurie use"
output: masonry construction, instilling privacy and evoking history with brick jali walls,

input: Weiland's vocal and musical style proved to be versatile, evolving constantly throughout his career. At the peak of Stone Temple Pilots' success in the early to mid-1990s, Weiland displayed a deep, baritone vocal style that was initially closely compared to that of Pearl Jam singer Eddie Vedder. However, as STP continued to branch out throughout its career, so did Weiland's vocal style. The band's third album, Tiny Music... Songs from the Vatican Gift Shop, had Weiland singing in a much higher, raspier tone to complement the band's more 60's rock-influenced sound on that album. Later albums showcased Weiland's influences ranging from bossa nova on Shangri-La Dee Da to blues rock and classic rock on the band's 2010 self-titled album. Weiland's first solo record, 1998's 12 Bar Blues, represented a huge shift in Weiland's style, as the album featured a sound "rooted in glam rock, filtered through psychedelia and trip-hop." With Velvet Revolver, Weiland's vocals ranged from his classic baritone to a rawer style to complement the band's hard rock sound. A New York Post review of Velvet Revolver's 2007 album Libertad commented that "Weiland's vocals are crisp and controlled yet passionate." Weiland's second solo album, 2008's "Happy" in Galoshes, featured a wide variety of musical genres, such as bossa nova, country, neo-psychedelia and indie rock. Weiland's 2011 solo effort, the Christmas album The Most Wonderful Time of the Year consisted entirely of Christmas music in a crooning style similar to that of David Bowie and Frank Sinatra, as well as some reggae and bossa nova.

Answer this question "how did it evolve?"
output: as STP continued to branch out throughout its career, so did Weiland's vocal style.

input: Orientalism provoked much professional and personal criticism for Said among academics. Traditional Orientalists, such as Albert Hourani, Robert Graham Irwin, Nikki Keddie, Bernard Lewis, and Kanan Makiya, suffered negative consequences, because Orientalism affected public perception of their intellectual integrity and the quality of their Orientalist scholarship. The historian Keddie said that Said's critical work about the field of Orientalism had caused, in their academic disciplines: Some unfortunate consequences ... I think that there has been a tendency in the Middle East [studies] field to adopt the word Orientalism as a generalized swear-word, essentially referring to people who take the "wrong" position on the Arab-Israeli dispute, or to people who are judged "too conservative." It has nothing to do with whether they are good or not good in their disciplines. So, Orientalism, for many people, is a word that substitutes for thought, and enables people to dismiss certain scholars and their works. I think that is too bad. It may not have been what Edward Said meant, at all, but the term has become a kind of slogan. In Orientalism, Said described Bernard Lewis, the Anglo-American Orientalist, as "a perfect exemplification [of an] Establishment Orientalist [whose work] purports to be objective, liberal scholarship, but is, in reality, very close to being propaganda against his subject material." Lewis responded with a harsh critique of Orientalism accusing Said of politicizing the scientific study of the Middle East (and Arabic studies in particular); neglecting to critique the scholarly findings of the Orientalists; and giving "free rein" to his biases. Said retorted that in The Muslim Discovery of Europe (1982), Lewis responded to his thesis with the claim that the Western quest for knowledge about other societies was unique in its display of disinterested curiosity, which Muslims did not reciprocate towards Europe. Lewis was saying that "knowledge about Europe [was] the only acceptable criterion for true knowledge." The appearance of academic impartiality was part of Lewis's role as an academic authority for zealous "anti-Islamic, anti-Arab, Zionist, and Cold War crusades." Moreover, in the Afterword to the 1995 edition of the book, Said replied to Lewis's criticisms of the first edition of Orientalism (1978).

Answer this question "Are there any other interesting aspects about this article?"
output:
Orientalism provoked much professional and personal criticism for Said among academics.