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Focus are a Dutch rock band formed in Amsterdam in 1969 by keyboardist, vocalist, and flautist Thijs van Leer. The band have undergone numerous formations in its history; since December 2016 it has comprised van Leer, drummer Pierre van der Linden, guitarist Menno Gootjes, and bassist Udo Pannekeet. Past members include guitarist Jan Akkerman and bassist Bert Ruiter. They have sold one million RIAA-certified albums in the United States.
In mid-1983, both of Akkerman's managers came up with the idea of the guitarist reuniting with van Leer to record new music, to which Akkerman agreed. Van Leer immediately accepted the invitation, and went on to play the synthesiser on "Headbanger" on Akkerman's 1984 solo album From the Basement. After this initial collaboration, one executive at Phonogram Records suggested the pair work with producer Trevor Horn to release an album of re-recorded Focus tracks, but it was dismissed. In the following 15 months, the two wrote, rehearsed, and recorded new music with several additional musicians with engineer Theo Balijob. Their contract required the two to record as a duet, rather under the name Focus. During the recording, producer Ruud Jacobs was brought in to supervise the project due to the length of time taken to put the tracks down. Balijon claimed Jacobs cut corners and pushed for the strongest tracks to be completed quickly to save production costs, which "unintentionally increased the animosity between Jan and Thijs". In the 63 days they spent recording from April to May 1984, around 30 tracks were completed with several additional musicians. Focus was released in March 1985 by Vertigo Records which reached number 33 in the Netherlands. The pair followed the album with promotional videos and a local four-date tour.  In 1988, EMI acquired the rights to the band's back catalogue and reissued their albums on compact disc for the first time.  In 1990, the former line-up of van Leer, Akkerman, van der Linden, and Ruiter reunited for the first time since 1975. The four played a 40-minute set at the Americahal in Apeldoorn on 20 April that was broadcast as part of the Oud van Goud television special. It came about when producer Frans Meijer asked Akkerman to perform a gig with the group, and the fact that the guitarist's manager had not seen the band play in the 1970s, so "it was swatting two flies with one hit". The other three agreed at the opportunity, and they rehearsed for four hours in Wijchen several days prior to the concert. Ruiter said they "went very well"; van Leer said it was "fantastic". Following the concert, van Leer was keen to formally restart Focus with Akkerman, though the latter felt different though he was happy to reunite with van der Linden. On 17 May the group, minus Akkerman, mimed a performance of "House of the King" on the Service Salon television program on AVRO-TV. Originally the band were to perform "Hocus Pocus" with Akkerman, but the guitarist declined the offer made by the network, stating he reunited with Focus for Meijer and his manager. The appearance went ahead regardless.  Van Leer and Akkerman shared the stage once more in 1993, performing Focus songs at the North Sea Jazz Festival.  In 1999, van Leer attempted to reform Focus with Cleuver, Ruiter, and Dutch guitarist Menno Gootjes. They performed several live dates in the Netherlands, but disagreements between van Leer and Ruiter over material intended for release effectively split up the group.

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In the 63 days they spent recording from April to May 1984, around 30 tracks were completed with several additional musicians.



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Baker was born into a staunch Methodist family, the youngest son of Birmingham Gas Department's chief accountant, Charles Frederick Baker and Millie Baker. His early schooling was at King Edwards Grammar School. His elder brothers, Leonard and Norman studied law, and he had a sister, Edna who was the oldest of them all. In his teens Baker began to question what religion meant to him and decided to become a Quaker, since it was closer to what he believed in.
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.

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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.