Problem: What is the name of the foundation that donated to complete construction work at the college? Answer the above question based on the context below: The Second World War meant that construction work on the main college buildings could not begin until 21 April 1949, when the foundation stone was laid; work on the warden's residence had begun in October 1948. Before the buildings were erected, the college operated from rented houses elsewhere in Oxford, on Banbury Road and Woodstock Road. There were further changes to Harrison's second design, as not only had inflation between 1937 and 1949 reduced the value of Nuffield's original donation, but additional savings had to be made in the difficult post-war economic situation. A scale model, created in 1949 as work started, showed the alterations: a shortened tower, a plainer main entrance, and no arcades within the quadrangles. Further changes were made once work was under way, including the indefinite postponement of construction of the institute opposite the college. The plans of the tower were altered so that it would hold a library, instead of being purely ornamental, windows were added at regular intervals, and it was topped by a copper fleche, or small spire.A further delay in construction was announced in 1951, when labour and materials were restricted because of a government rearmament drive. Work to complete the quadrangle, including a hall, kitchen and the library tower, began in 1955 at a cost of 200,000. This money was donated to the college by the Nuffield Foundation upon Lord Nuffield's recommendation. Until it was required for books, the fellows of the college used the upper floor as a Senior Common Room. The tower was completed in 1956, and the college as a whole (without the institute on the site opposite, which is now used as a car park) was finished in 1960. Work was still under way when the college was incorporated by royal charter in 1958, thereby becoming a self-governing entity. The charter was presented to the college by the Duke of Edinburgh on 6 June 1958, at the first lunch to be served in the hall.Colvin commented that, apart from the fleche which was similar to the initial plan,...

A: Nuffield Foundation
Problem: Given the question: What is the first name of the person whose land was acquired? Answer the above question based on the context below: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run northsouth, streets numbered 1 to 12 run eastwest. The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining.
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The answer is:
Edmund
[Q]: What is the first name of the person who had great enthusiasm for trees and worked to capture their forms? Answer the above question based on the context below: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay: One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful." The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c.181011) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified...
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[A]:
Tom