Report of the Field Week at Wiston Coursework Example | Topics and Well Written Essays - 5250 words

Report of the Field Week at Wiston - Coursework Example Surveys are very important while carrying out all types of construction and land planning. The various applications of surveys include the plotting of a land and marking of boundaries for planning and ownership purposes, the correct orientation of the building, the leveling of an unduly ground surface, for setting out gradient of a road or field, for marking the center line of the roads, railways and transmission lines, for setting out horizontal as well as vertical curves for various purpose etc. So surveying can be deemed of as the very first step of any type of construction work and it also defines the accuracy of the construction (Schofield and Breach, 2007). Incorrect surveys lead to various complications during the construction because the project drawings are made according to the surveys carried out. Moreover surveys are also very important in the economics of a project because the estimates of a project are based on the drawings prepared through surveying. The various differ ent branches and disciplines of science on which surveying is based include trigonometry, geometry, physics and mathematics (Ghilani and Wolf, 2008). With the technological advancements in all other fields of science, surveying has also been developed and various new surveying instruments have been developed which provide high level of accuracy in work. There are various surveying techniques which have been classified on the basis of the type of land where they can be adopted and also on the basis of the objective of survey. This report elaborates the various tasks carried out during surveying work at Wiston and also explains the use of various instruments which were used for carrying out the various tasks. The major tasks carried out at Wiston provided an idea about the basics of surveys and the use of surveying instruments like theodolite and auto level. The various techniques which were studied and practiced include traversing, which is one the very basic techniques of surveying and involves the measurement of the distances and angles between various points on a close traverse. The setting out of a curve using chords and offsets was also studied and practiced. Chapter 2: Theodolites and Levels The instruments used during the surveying included Theodolites and Levels. The functioning, use and applications of these two instruments is described in this chapter. Theodolite Theodolite is one of the most widely used instruments in land surveying because of

Description of a Response Journal Essay Example for Free

Description of a Response Journal Essay Journals provide learners with an opportunity to record their personal thoughts, emotions, ideas, questions, reflections, connections, and new learning on what they hear, view, read, write, discuss and think. â€Å"What we as educators want is that their writing enable students to personalize a story and gain insights about the character, to help them reflect, and to help them see the world in a different way.† (Brownlie, 2005) â€Å"Our reflections are the making of deeper meaning and richer understandings. Our reflections are our dreams, our ideas, our questions, our initiatives, our visions – our journeys of lifelong learning and teaching. † (Schwartz Bone, 1995) Why are Response Journals an effective reading strategy? Response journals allow the students to â€Å"remember to hold on to their thinking† about what they are reading. (Zimmermann, 1997) Response journals are easily implemented at all levels. They can be used to target specific outcomes of the Provincial ELA Curriculum. Response journals can be used with any genre of literature (poetry, short stories, media text, novel studies) and in different content areas that use expository text. When should Response Journals be introduced? Response journals should be introduced as soon as possible using scaffolding such as sentence frames or prompts to start. The goal should be to have students enter the middle years feeling comfortable with recording their responses to reading with little or no scaffolding. How can I ensure student success? Choose poetry, stories or books with enough depth to elicit responses. Students should have the opportunity to discuss the reading before ever being asked to write a response. Use of the â€Å"Say Something† strategy (Brownlie, 2005) creates an atmosphere of acceptance and trust. Modeling, scaffolding, building criteria with students and practice with feedback are the most important tools for improving the quality of responses. Scaffolding is the use of a variety of starters, frames and graphic organizers to allow students to develop thoughtful responses. If needed, open ended prompts may be used for some students. (See Appendix) Modeling is critical to the success of student journal writing. Teachers need to model their thinking about a selected piece of text and how that thinking can be used to form a written response. This needs to be done regularly throughout the year with a variety of texts and responses. Students require frequent practice in the various forms of journal writing. The teacher must provide feedback based on criteria that has been developed with the students. This practice with feedback allows students to monitor their growth and set goals for future journal responses. What are the different formats for Response Journals? (See Appendix for examples) 1. Double Entry Journal This is the most common response journal. The page is divided in half lengthwise. One side refers to a specific piece of text in the form of a quote or a summary. The specific text may target a literary strategy, technique or element of the author’s craft. It may also elicit a personal response such as a connection, feeling or opinion. The other side targets the students’ thoughts regarding the selected piece of text. 2. Diary Entry In this style, the student writes from the point of view of one of the characters. It should include what the character might be thinking or feeling. 3. Illustration Students draw or illustrate a specific scene using thought bubbles or captions to show the character’s thoughts and feelings or demonstrate the scene’s importance. (Brownlie, 2005) 4. Interview The student makes up questions they would ask one of the main characters. The questions are answered in the characters â€Å"voice†. 5. Letter There are many options in this response. Students may write a letter to a character, to the author, to the teacher, to a friend, to another student. In the letter they are asking questions or sharing ideas about what they have read. At times, certain letter types could be responded to in the same fashion as a Dialogue Journal. 6. Dialogue Journal Students reading the same novel work in pairs. They write a reflection to their partner in response to the novel. The following day, they exchange journals and write back to their partner. (Brownlie, 2005) 7.Graphic Organizers Graphic organizers such as KWL Charts, Mind Maps, Venn Diagrams, Timelines, Bar Line Graphs are used to assist students in constructing meaning from text. 8.Coding the Text There are a variety of coding techniques including the use of stickies or highlighting to target specific elements of text such as vocabulary, figurative language, and confusing parts of text, questions and memorable quotes. If specific letter/symbol codes are being used, they should be developed in collaboration with your students and clearly posted in your room. How do I assess my students’ journal responses? Teachers assess for content not conventions. Students must be part of the criteria setting process. This will enable students to set clear and realistic goals. Teachers may choose to examine journal entries as evidence of student writing at the draft stage. However, this does not mean that students cannot choose one of their responses to take through the writing process and publish at a later date. How do I build and use criteria with my students? Criteria are the standards by which something can be judged or valued. When we determine these criteria, we are deciding what counts. Teachers set criteria with their students. When students are involved in developing criteria, they are much more likely to understand what is expected of them, â€Å"buy in†, and then accomplish the task successfully. A four step process for setting criteria with students encourages student participation, understanding and ownership. The first three steps should be carried out before or as students are beginning their project or assignment. †¢Brainstorm †¢Sort and Categorize †¢Make and Post a T-Chart †¢Add, Reuse, Refine For further information on setting criteria, refer to Setting and Using Criteria. Copyright 1997. Kathleen Gregory, Caren Cameron, Anne Davies, Connections Publishing. How do I tie the Reading Continuum descriptors to my students’ journal responses? At every level of the continuum, there are descriptors that can be assessed by some type of journal response. For example, at the Expanding Level students should be able to â€Å"express opinions with evidence from the text†. In the journal response, the teacher should be looking for opinions supported with evidence from the text. The teacher should see evidence of this at least three times before noting this skill on the reading continuum.

Hardware Store Case Analysis Essay Example for Free

Hardware Store Case Analysis Essay This paperwork of BUS 680 Week 2 Hardware Store Case Analysis consists of: 1. Do you agree with Freds decision to use the 3rd supplier? Please explain your answer. 2. What else might Fred do before choosing a training package? Provide enough detail to demonstrate your understanding of the key issues and approaches to determining how to proceed once a triggering event has occurred. 3. If training went ahead as indicated, how successful do you think it would be? Explain your answer. Business General Business Hardware Store Case Analysis. Read the Case Analysis on pages 147-148 and answer the questions that follow. Listen to your parents if they have input as to what major you should decide on. They are older and wiser than you are, and you should respect their opinion, especially if they are helping pay for your college education. However, just listen. Only follow their advice if you know in your heart that is right for you. It is your degree, regardless of who pays for it. This paperwork of BUS 680 Week 2 Hardware Store Case Analysis consists of: 1. Do you agree with Freds decision to use the 3rd supplier? Please explain your answer. 2. What else might Fred do before choosing a training package? Provide enough detail to demonstrate your understanding of the key issues and approaches to determining how to proceed once a triggering event has occurred. 3. If training went ahead as indicated, how successful do you think it would be? Explain your answer. Business General Business Hardware Store Case Analysis. Read the Case Analysis on pages 147-148 and answer the questions that follow. Listen to your parents if they have input as to what major you should decide on. They are older and wiser than you are, and you should respect their opinion, especially if they are helping pay for your c Listen to your parents if they have input as to what major you should decide on. They are older and wiser than you are, and you should respect their opinion, especially if they are helping pay for your college education. However, just listen. Only follow their advice if you know in your heart that is right for you. It is your degree, regardless of who pays for it. Business General Business Hardware Store Case Analysis. Read the Case Analysis on pages 147-148 and answer the questions that follow.

Wabi Sabi And Tadao Ando

Wabi Sabi And Tadao Ando We can easily now conceive of a time when there will be only one culture and one civilization on the entire surface of the earth. I dont believe this will happen, because there are contradictory tendencies always at work on the one hand towards homogenization and on the other towards new distinctions. In the 1970s and 80s, architecture in Japan was developed as a quick imitation of some indistinct international style or much worse disneyfication of Japanese cities littered with out-of-place, or downright quirky, architecture. Attempts to be creative were easily blurred by sublimated ideas from pre-WWII period, as Japanese architects are lost in translating Western aesthetic forms for a Japanese public. Likewise attempts to be traditional remains most often restricted to the production of experimental skyscrapers with cut-outs and occasional pagoda roofs (note: need to find examples, images). Many Japanese architects of that period struggle to establish an identity for themselves in an increasingly homogeneous world (Isozaki, 2011: 35) Asahi Beer Building, Asakusa district, Tokyo, by renown product designer Phillip Strack, 1989. The same struggle is evident at the beginning of Tadao Andos career as he seeks to reconcile aspects of modern construction with aspects of Japanese tradition. His travels to the West in his late 20s, taught him extensively on the precedents of modern masters such as Le Corbusier, Mies van der Rohe and Louis Kahn (Dal Co, 1997). Yet, remarkably, Ando has never been described as a neo-Corbusian, a neo-Miesian, or a neo-Kahnian. His concrete surfaces have textures as smooth and delicate as fine Japanese craftwork. His compositions are spare and clean. By these means, Andos architecture embraces a contemplative, ascetic realm of stillness and abstraction. His works embodies a rare mastery of materials and light that seeks to reconnect mankind with nature, with a monastic sense of plainness. Kenneth Frampton in his essay Tadaos Andos Critical Modernism (Frampton, 1984) further celebrates Tadao Ando as a critical regionalist. So, how did Ando overcome his struggle for an identity? To answer this question, this dissertation begins with a look back into Japanese history. In the region of Kansai during the 16th century, the warlord Toyotomi Hideyoshi and his protà ©gà ©, tea master Sen No Rikyu, laid the foundation for the discipline of wabi-sabi: a strict adherence to the virtues of simplicity, poverty and modesty, in direct resistance to the unrefined pretention of wealth. It also reflects the dissatisfaction with institutional power and resistance to tyranny. Osaka, Kansais regional capital, is Tadao Andos native city. Thus, by birth and inclination, it is no coincidence that he belongs to wabi-sabi aesthetic which is still alive today, as do many of his clients. This dissertation therefore argues, for the first time, that the fundamental key to understanding Andos capacity for abstraction must be found in wabi-sabi aesthetics. This argument may best be illustrated by a comparison of his work with that of Sen no Rikyu (1522-91), one of the greatest of all tea ceremony masters, and an important architect of tea ceremony pavilions. This dissertation will then further discuss the role of wabi-sabi in making Ando a critical regionalist. By briefly exploring the concept of critical regionalism , its importance in contemporary architecture discourses and its criticism, the dissertation shall further reflect upon how Critical Regionalism functions within Japanese culture, in which its architectural past is often more of abstraction rather than physical. Wabi-sabi: A Context The Japanese aesthetic tradition, like any other cultural tradition, encompasses diverse tastes and arts. They range from the ordinariness of Noh theatre to the lavishness of Kabuki theatre, the severity of monochrome brush ink paintings to the opulence of gold-gilded screen paintings, and the simple rusticity of tea huts to the august majesty of castles. Among the variety of aesthetic pursuits, one theme stands out for being somewhat unconventional. It is a celebration of qualities commonly regarded as falling short of, or deteriorating from the optimal condition of the object (De Mente, 2006). While such works may appear somewhat homely and rough, at the same time they impart a sense of elegance and tranquillity, a kind of unsophisticated sophistication, like the moon obscured by clouds. (Koren, 1994). This study will refer to this Japanese aesthetics of the imperfection and insufficiency as wabi-sabi. The discussion in this chapter will briefly review the aesthetic, social, historical, and philosophical dimensions of this Japanese aesthetic taste. Wabi and sabi Wabi is derived from the verb wabu (to deteriorate) and the adjective wabishii (solitary, comfortless). The essence of wabi has been described as nonattachment and subtle profundity (De Mente, 2006: 45). The nonattachment essence of a wabi is part of the Zen School of Buddhism that teaches detachment from all material things and the ability to experience the essence of things (Koren, 1994: 12). On the other hand, the original meaning of sabi is rust or patina, but it also connotes loneliness and desolation as reflected in the adjective sabishii (lonely), particularly with reference to old age (1994: 13). Koren (1994: 21) primarily suggests wabi-sabi as the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty, comparing its importance in Japanese aesthetics to the Greek ideals of beauty and perfection in the West. The essence of wabi aesthetic is perhqaps best captured in Sen No Ryikus words: never forget that the way of tea is nothing more than boiling water, making tea and drinking tea. And the tea ceremony conducted in the smallest of spaces serves primarily the practice of meditation and its goal is enlightenment. Originally, the meanings of neither wabi nor sabi were specifically related to aesthetic qualities. The development of the wabi-sabi aesthetic began in earnest during the Kamakura Period (1185-1333) coinciding with the spread of Zen Buddhism in Japan (Koren 1994: 12). Zen ideas about transcending the mundane world and conventional ways of looking at things through concepts like emptiness, impermanence and renunciation inspired a kind of appreciation of negative experiences such as old age, poverty and loneliness (Suzuki, 1972: 42). Hermits, priests and poets leading a solitary wandering life in search of spiritual insight incorporated this sense of appreciation in their works and teachings. As these ideas gained momentum, people tried to resign themselves to the sufferings of life and began to see a kind of beauty in them. Expressed in artistic forms, this in turn evolved into the aesthetic appreciation of wabi-sabi (Koren, 1994:14). Later, the development of the tea ceremony in the 16th century marks an important step in the evolution of wabi-sabi. Sen no Rikyu, credited with establishing the tea ceremony in its current form, was also influential in establishing wabi-sabi as an aesthetic concept (Okakura, 2005: 33). He extolled the use of simple, indigenous home-style tea utensils over the expensive and highly decorative tea utensils imported from China, placing objects expressing wabi-sabi at the pinnacle of aesthetic appreciation (2005:34). Initially, these new aesthetics could only be discovered in the humble utensils used by the common people, or in a neglected stone lantern overgrown with moss. However, as time progressed, design works were intentionally created to reflect wabi-sabi, for example, raku earthenware tea bowls or the design of the tea-house, which took on the style of a simple rural hut, with space inside for only two tatami mats (around 3.5m ²) (De Mente, 2006:45). Futhermore in art and design, two other elements that are often associated with sabi objects are asymmetry and austerity. Kakuzo Okakura (2005:15), the Japanese tea master, labelled this asymmetry beauty as the art of imperfection. Surprises are achieved by the unbalanced by the apparent randomness of things that allows the observer to complete the image. This stands in contrast to the Western compulsion to symmetry and mathematical balance, leaving no surprises and nothing for the viewer to add. Also worth nothing is that in modern Japan, the definition of a wabi-sabi style of living evolves into the elimination of things which that are inessential. The tranquillity aspect of wabi dictates a look and feel that radiates an aura of calm and solace. The natural aspect of sabi results from avoiding machination of any sort. This includes making an object or area look as if it were created by nature, not by human or machine (Koren, 1994). Wabi-sabi and Tadao Ando [further writing here on Tadao Andos background and why Tadao Ando: his significance in Japanese architecture since the 1980s] Several themes related to wabi-sabi can be identified in Andos works, and these will be discussed under the following distinct but interrelated headings: light, overlapping spaces and materials. This study will engage the expression of these themes through the analysis of his better known works, alongside an examination of similar principles in traditional Japanese exemplars. Light The spaces in Andos works are typified by light within darkness. Common features among Ando works are their meditative calmness and dimness. While describing Andos Church of Light in Ibaraki, Jodidio (2004) sums it up: If the enclosed world is a microcosm, the shaft of sunlight penetrating it is a ray of hope rendered vivid by the enclosure and the surrounding darkness. On the other hand, the fragile beauty of shadows that marked the Japanese cultural identity, as were praised by novelist Junichiro Tanizaki (1977), are utilised by Ando to infuse his buildings with an uncanny mood which enrich the void with darkness. In Andos Shiba Ryotaro Memorial Museum in Higashiosaka, visitors experience a space saturated with a heavy darkness, yet made significant by the sudden burst of light in the south-west elevation. Spatial Enclosure Though set in an urban environment, in true spirit of wabi-sabi, Andos buildings strive for the mood of a mountain retreat. Andos buildings are often described as an enclosed world, shut off from the exterior environment (Jodidio 2004:10). It shuts out the exterior world but introduces nature, in symbolic form. The symbolic representation of nature is a major expression of wabi-sabi aesthetic, and is prevalent in all Japanese art. One outstanding example is the Zen rock gardens of the Ryoan-ji, a 13th century Buddhist temple in Kyoto, where stones and white sand are used to depict islands and the sea. In Andos Hyogo Prefectural Museum of Art, near Kobe, visitors are greeted with a deceptively closed, minimalist volume of raw concrete. Dal Co (1997:125) describes the form of the museum as one which is radically new, yet there is still the old feeling of seclusion, of an architecture that creates another world remote from the everyday. He further describes the overall spatial structure is as closed to the outside yet open within, the former tempered by a few slits and the latter by layered planes (1997:125). One can argue that this is suggestive of the wabi-sabi approach in older, traditional Japanese architecture, where buildings are enclosed with a simple mud wall and made inwardly porous by layered screens. Hyogo Prefectural Museum of Art, outside Kobe Thus, spaces which overlap and figuratively fold in on each other add depth and richness to the composition and stimulate excitement and expectation in the person experiencing the space. The effect is achievable through the approach to the building. For example, the approach to a tea ceremony pavilion often leads through a garden space called a roji. This is exemplified in tea-ceremony huts in Kyotos Katsura Imperial Villa, one of Japans best known architectural heritage. In the course of traversing this garden, the visitor must pass through several gates, usually designed delicately and minimally, before finally reaching the pavilion where the tea ceremony will be performed. Detours are deliberately included in the stepping-stone walkway to generate similar anticipation and excitement. The same kind of indirect approach is characteristic of Andos buildings. Materials Traditional Japanese house architecture often employs unfinished logs, simply split bamboo, and walls made of clay with an admixture of chopped straw, as in Katsuras tea-ceremony hut. One can notice that materials were deliberately used without finishes for the sake of creating an aesthetically pure, ideal world of sobriety, calm and refined rusticity (Okakura, 2005). One can conclude that designers of tea ceremony architecture carefully selected only those materials conducive to production of a microcosm compatible with the aesthetics of wabi. Designers of such architecture tend to use natural materials, to have them look as natural as possible, and to employ muted -almost monochrome colour schemes. One could argue that Andos works severely limits the range of interior colours. In Andos buildings one could observe almost entirely unfinished concrete with the exception of floors and furnishings, which are of natural materials. Window sashes, which, though steel, are always painted gray, never bright self-assertive colours. This approach used both by designers of tea ceremony buildings and by Ando, is determined by a concern for the materials themselves and for spatial composition (Baek, 2008). Furthermore, in the spaces in Andos works, one can observe the same peaceful, almost desolate spirit of wabi-sabi that informs the design of a teahouse or lonely mountain temple. Apart from warm touches of wooden flooring and nature beyond, every surface of concrete, steel or mass presents a chilly monotonous grey. These black-and-white tonalities are distinctly Japanese, apparent in traditional buildings in silvery roof tiles, grey-weathered boards, neutral plaster and white paper screens. Tadao Andos Critical Modernism This chapter of the dissertation begins with a brief overview of critical regionalism, its importance in contemporary architecture discourse in Japan, and the criticisms against. Building on the discussion of wabi-sabi in chapters before, the chapter further discusses the role of wabi-sabi in making Ando a critical regionalist. Critical regionalism and Japan In history, regionalism is a manifested concept since the times of the Romans. Regional variations has been extensively discussed in Vitruvius treaties De Architectura (Ten Books on Architecture). The Romantics further propounded picturesque regionalism during the 19th and early 20th century. (Nesbitt 1996: 486) Critical regionalism, on the other hand, was first coined as an architectural concept in the early 1980s in essays by Alexander Tzonis, Liane Lefaivre and, subsequently, Kenneth Frampton. Tadao Andos works are situated within this backdrop of a newly defined focus on regionalism. This new focus is seen as a reaction to the authority of modernism and the imitating scenography of postmodernism, both of which were thought to have failed to address the human condition in their extreme stances towards historicism. The core question which arises is how to become modern and to return to sources?. In their 1981 article The Grid and the Pathway, Tzonis and Lefaivre hypothesise critical regionalism as the solution. In the context of architecture in Greece, they defined the term critical regionalism as the third and latest type of regionalism, following the English picturesque of nationalist regionalism, and the Neoclassical historicist regionalism. They further argued that modern architecture is impersonal and monolithic, destroying the humanistic qualities in architectural expression which would be reinstated by a new form of regionalism. (Tzonis Lefaivre, 1981) Frampton later followed their lead in propounding critical regionalism. In his 1983 seminal essay Towards a Critical Regionalism, he embeds the concept with a higher sense of urgency and highlights its critical nature against placeless monotony. Frampton saw critical regionalism exemplified by Jà ¸rn Utzons Bagsvaerd Church (1973-76) near Copenhagen, which represents, according to Frampton, a self-conscious synthesis of universal civilization and world culture. The combination of universal elements like the concrete outer shell of the church, with an organic and individualistic interior and a roof shape reminiscent of pagodas as a reference to world culture, make, in the eyes of Frampton, this architecture simultaneously resistant and modern (Frampton, 1983: 16) This resistance, one could argue, is also apparent in 1980s Japan in the midst of an economic boom. There exists a typified reaction against universal standards, western culture homogenisation and placeless modernism, but at the same time the reaction is critical in its outlook. Likewise, one could also argue that critical regionalism in Japan is self-evaluating such that it is confrontational with not only the world but also to itself. Although the Japanese (like the Chinese) had developed doctrines relatively early that emphasised the necessity of space essence, ma, and Western functionality and aimed, at least sporadically, at a reconciliation of Chinese and Western elements in architecture, regionalism has never been established as a critical architectural movement (Isozaki, 2001: 131). (note: further elaboration needed) On the contrary, Peter Eisenman argued there is no tradition of resistance in Asia. Thus, he concludes, rendering architecture in Asia, in principle, conservative and accommodating. Eisenman refers to the importance attributed to critical thinking in late 18th century Europe developed, in particular, by Kant and Giovanni Battista Piranesi that strongly contributed to the formation of a critical consciousness among European architects. Eisenman pointed out that such tradition cannot be traced in Asia. (Eisenman, 1995) (note: further elaboration needed) Tadao Ando: a wabi-sabi Critical Regionalist Frampton celebrates Tadao Ando as a critical regionalist. This is most evident in his essay Tadaos Andos Critical Modernism (Frampton, 1984) in which Frampton uses the label to discuss Andos architecture One of Framptons criteria for critical regionalism is a direct dialectical relation with nature, a dialog with the environment that Andos architecture embodies in the articulation of structure through the changing impact of terrain. This is exemplified in Andos Chikatsu-Asuka Museum outside Osaka. The work is characterised by the valley which surrounds the site. Ando decisively situated the museum on the severe slopes to make it a quiet building standing quietly in nature (Ando, 1989a: 46). In contrast to the modernist clean slate approach of levelling the site, Andos approach is in true adherence to the spirit of wabi-sabi of preserving the tectonic quality of the nature. In Chikatsu-Asuka, the work is tactile, another component of Framptons (1983:28) definition which resides in the fact that (the building) can only be decoded in terms of experience itself. Indeed, Ando professes that a building exists to be seen and experienced and not to be talked about (eds. Knabe Noennig, 1999: 118). It could also be argued that, in abidance to the tenets of wabi-sabi, Ando is seeking to tackle the tactile range of human perception. This romanticised emotion of wabi-sabi can be seen in the way Ando describes his buildings and context, which he refers to as cruel urban surroundings (Ando, 1997:12). As discussed earlier, within his territorial walls and spatial enclosure, Ando is determined to establish a natural, Zen-like relationship between the person, material and natural phenomena. His works are designed to be experienced in body and spirit. (eds. Knabe Noennig, 1999: 118) At the same time, Ando often speaks of the spirit and emotional contents which he has translated from the Japanese vernacular and the richness of the tradition of sukiya1 and minka2 which is lost in urban chaos and economic growth (Ando, 1982). In fact, his architecture is largely influenced by the nostalgia of his childhood memories: We all have had certain experiences in our childhood that have stayed with us for our entire lives. The house that I grew up in was very important to me à ¢Ã¢â€š ¬Ã‚ ¦ It is very long, and when you come in from the street you walk through a corridor and then into a small courtyard and then another long space that takes you deeper into the house. The courtyard is very important because the house is very long and the amount of light is very limited. Light is very precious à ¢Ã¢â€š ¬Ã‚ ¦ Living in a space like that, where light and darkness are constantly interacting, was a critical experience for me. (Auping, 2002: 22) Ando (Auping, 2002: 22) speaks of himself, I value cultural treasures and would like to develop them in a creative way, revealing his, and many Japanese architects, fondness for cultural artefacts and a related lament at the loss of such an environment due to unrelenting urban development. On the other hand, the argument that posits Ando as a critical regionalist lies in this very statement by Frampton (1995:12), in which Ando is described as at once both an unequivocally modern architect and a figure whose values lie embedded in some archaic moment. In the same text, he further argued that Ando is committed to some other time before the machinations of progress has turned into an every present nemesis. Hence, one can conclude that Ando is critically opposed of the chaotic Japanese urban context and reproduction traditional Japanese physical elements. In his work there are none. One can hardly find the traditional open pavilion, bare timber skeleton, deeply overhanging roofs, or sliding shoji doors of spotless white paper (Jodidio, 2004: 21). Nevertheless Ando has transmuted these properties into something new, grounding his architecture in an ancient culture while freeing it of depiction. Wabi-sabi as a representation Japanese architectural identity. One could argue, like wabi-sabi itself, the notion of Japanese identity is perceived sensually rather than visually. Notes Sukiya is a type of Japanese architectural style. It can be literally translated as sophisticated, cultivated experience, often a reference to delight of the elegantly performed tea-ceremony. Minka are private dwellings of farmers, artisans, and merchants, constructed in traditional Japanese building styles. Illustration credits Leonard Koren, from his book Wabi-Sabi for Artists, Designers, Poets Philosophers, fig. 2-3 Author, fig. 1, 4-10 Word count 3493

Thomas Day :: essays research papers fc

Life and Times of Thomas Day   Ã‚  Ã‚  Ã‚  Ã‚  Thomas Day was born in Dinwidee, Virginia in 1801 to a free slave mother. With the law that allowed children to be born free if their parents were free, Day was born free and did not have to be a slave. His family had been free since the early 18th century. He and his brother were educated by private tutors and they were trained by their father in cabinetry and carpentry. Thomas’ brother eventually began to study theology and he emigrated to Liberia in 1930 and was a Baptist missionary, eventually became one of the signers of the Liberian Declaration of Independence and a prominent statesman there. He’s known as one of the founding fathers of that nation.   Ã‚  Ã‚  Ã‚  Ã‚  Thomas moved to Milton, NC in 1823 and started a furniture business where he became one of the best furniture makers of that time. He received notice from two of North Carolina’s governors and his furniture is inside of University of North Carolina in Chapel Hill’s original buildings. He eventually began to train free blacks and enslaved blacks to do the carpentry work that he was doing. By the mid 1800s his work was in demand from Virginia to Georgia. He then had to begin purchasing slaves to help him to the work. His furniture shop became the biggest shop in the state because he used steam powered machines and using mass production techniques to build his furniture.   Ã‚  Ã‚  Ã‚  Ã‚  In 1827 Thomas married a free woman from North Carolina. But the law was that free slaves could only marry people from their own state. So Thomas threatened to move his furniture shop outside of North Carolina and to move it to Virginia where that law did not exist. So the North Carolina Legislature made special arrangements to the law so that Thomas would stay in North Carolina and he and his wife could still be married. Thomas had three children and they were educated in an abolitionist-sympathizing school in Massachusetts called Wesleyan Academy. He also constructed some pews for The Presbyterian Church in Milton provided that his family would be allowed to sit up front in the white section. He was an active member of the community of Milton. In 1848 he purchased the Union Tavern where he resided until he died in 1861. It is now a landmark but part of it was destroyed by a fire in 1989.

Thyroid Cancer Essay example -- essays research papers

The thyroid gland is the gland that makes and stores hormones that help regulate the heart rate, blood pressure, body temperature, and metabolism. Thyroid hormones are essential for the function of every cell in the body. They help regulate growth and the rate of chemical reactions in the body. Thyroid hormones also help children grow and develop. The thyroid gland is located in the lower part of the neck, below the Adam's apple, wrapped around the trachea. It has the shape of a butterfly with two lobes attached to one another by a middle part called the isthmus. The thyroid uses iodine, a mineral found in some foods and in iodized salt, to make its hormones. The two most important thyroid hormones are thyroxine (T4) and triiodothyronine (T3). The thyroid gland also makes the hormone calcitonin, which is involved in calcium metabolism and stimulating bone cells to add calcium to bone. Thyroid caner is a disease in which the cells of the thyroid gland become abnormal, grow uncontrollably and form a mass of cells called a tumor. Some tumors grow and enlarge only at the site where they began. These types of tumors are referred to as benign tumors. Other tumors not only enlarge locally, but they also have the potential to invade and destroy the normal tissues around them and to spread to other regions of the body. These types of tumors are called malignant tumors or cancer.() Malignant tumors of the thyroid gland tend to develop gradually and remain localized. The tumors usually appear as nodules or lumps of tissue growing on or inside the gland itself. Almost 95% of these lumps or nodules are non-cancerous (benign), and are usually caused by thyroid conditions such as goiters (Shin 422). The American Cancer Society estimates that there will be about 23,600 new cases of thyroid cancer in the U.S. in 2004 (Thackery 1057). Women are three times more likely to develop th yroid cancer than men. Although the disease also affects younger people, most people who develop thyroid cancer are over 50 years of age. Caucasians are affected more often than African-Americans (Rubin 88).   Ã‚  Ã‚  Ã‚  Ã‚   There are four main types of thyroid cancers: papillary, follicular, medullary, and anaplastic. These tumors are identified by the type of cells seen under the microscope. Papillary thyroid tumors occur most often. This type of thyroid cancer develops on one or b... ... people with thyroid cancer have no known risk factors. Therefore it may not be possible to prevent it. However, inherited cases of medullary thyroid cancer can be prevented if radiation to the neck is avoided (Longe 3308). If a family member has had the disease, the rest of the family can be testes and treated early. The National Cancer Institute recommends an examination for anyone who has received radiation to the head and neck area during childhood at intervals of one or two years. It is also recommended that the neck and the thyroid should be carefully examined for any lumps or enlargement of the nearby lymph nodes.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚   Work Cited Longe, Jacqueline L. â€Å"Thyroid Cancer.† The Gale Encyclopedia of Medicine. 2nd ed. 2001. Rubin, Alan L. Thyroid for Dummies. New York, NY: Hungry Minds, 2001. Shin, Linda M. Endocrine and Metabolic Disorders Sourcebook. Detroit, MI: Omnigraphics, 1998 Surks, Martin I. The Thyroid Book. Yonkers, NY: Consumer Reports Books, 1993 Thackery, Ellen. â€Å"Thyroid Cancer.†

Recent Studies Concerning Violent Tendencies and the Confusion that Arises :: Violence Murder Papers

Recent Studies Concerning Violent Tendencies and the Confusion that Arises "It was an urge. . . . . A strong urge, and the longer I let it go the stronger it got, to where I was taking risks to go out and kill people-risks that normally, according to my little rules of operation, I wouldn't take because they could lead to arrest." -Edmund Kemper (6) Ted Bundy. Charles Manson. Timothy McVeigh. Bundy murdered pretty women. Manson had followers who killed on his command. McVeigh is responsible for one of the most horrendous terrorist attacks on America, the Oklahoma State bombing. While these three serial killers had different methods for their acts, the one thing they have in common is that they are killers. Murderers who took a number of innocent lives. Perhaps to not the same extent, but sadly enough the world is full of Charles Manson's and Ted Bundy's. Violence has become a common and prevalent occurrence in society today. Everyday on the news one hears stories of crimes-murder, robbery, rape, assault, extortion, kidnapping, homicide, an endless list. Law enforcement works day and night protecting neighborhoods and cities from crimes and violence, but the truth of the matter is that crime still exists and all one can do is ask himself why. Why do such treacherous violent acts exist in society? In essence, one must ask himself whether or not these violent tendencies have any biological relation whatsoever. Do violent tendencies occur as an affect of disruptions or damage to the brain? Is there a genetic correlation? Is violence brought about by some other factor, such as economic difficulties or social or cultural differences? All these questions remain unanswered. But one even significant, broader question that one must cons ider is whether or not these factors, biologically related and non, effect the occurrence of violent tendencies in individuals. In 1848, a railroad worker, Phineas Gage, was working when an explosion caused an iron rod to impale his skull, damaging the front part of his brain. Although Gage miraculously survived, his behavior severely changed in that the intelligent and respectful man everyone knew suddenly because fitful, impulsive, and rude (2). This is one of the first dated cases insinuating that violence may be related to some kind of damage or abnormality in the brain.