Implementation of Entreprise 2.0 in a Business Research Paper

Implementation of Entreprise 2.0 in a Business - Research Paper Example In addition, there are numerous examples of enterprise 2.0 tools in which Wikis and Blogs are well known communication and collaboration portals. Moreover, social network tools are very helpful for the staff members in finding the target person or group of persons. Thus, enterprise 2.0 has the capability to offer content, data and information and knowledge in an amazingly low-priced and unproblematic way by means of web-based tools (UBM TechWeb, 2011; Miller, 2007). Some people say that enterprise 2.0 is about carrying Web 2.0 into the business; however it is not completely true. In some way, enterprise 2.0 refers to process of bringing the collaborative and social applications and technologies of Web 2.0 into the business setting; however enterprise 2.0 also shows a basic change in the way businesses carry out their operations (Nations, 2011). Additionally, it is a true fact that enterprise 2.0 is a simplified idea that is normally used for technological and business practice that r eleases the required workers from the limitations of inheriting communication tools and productive tools as there is an example of email. Moreover, it’s another major advantages is that it facilitates the business executives to access the precise information when it is required by means of a web of interrelated applications, services and strategies. In this way enterprise 2.0 make easy to get to the combined intellect of many. Hence this aspect results in moving to an enormous competitive gain in the form of improved innovation, efficiency and agility (UBM TechWeb, 2011; Nations, 2011; Miller, 2007). Enterprise 2.0 in a Business The question is that what is enterprise 2.0 and how it is used in business environment? The simple answer to above question is that enterprise 2.0 is the implementation of  Web 2.0  into the workplace and business environment but the defined aspect is not completely precise. In other words, enterprise 2.0 is a process of implementing collective an d collaborative tools of Web 2.0 into the business environment, where enterprise 2.0 also signifies a basic change in how a business is managed (Nations, 2011). As the changes are occurring swiftly in the business environment round the world and in the conventional corporate background, information could easily flow through a sequential path. Consequently, the information is passing down the chain from the peak to the base and proposals made from the base flow toward the peak. It is a true fact that enterprise 2.0 changed this prearranged order and created a controlled chaos. Moreover in Enterprise 2.0 structures, flow of information is in form of up and down. As a result, it easily cuts the chains that grasp collaboration in a customary business environment. And it is one of the major reasons that enterprise 2.0 is considered as a tough sell to an organization. So knowingly unleash disorder runs counter to their intuitions (Nations, 2011). Enterprise 2.0 & Web 2.0 Technologies Whil e we talk about Web 2.0 technological features, we see a lot of Web 2.0 tools and technologies easily available in the market. Additionally, there are numerous online tools, technologies,

The Revival of Roman and Greek Architecture in The Palace of Fine Art, Essay

The Revival of Roman and Greek Architecture in The Palace of Fine Art, San Francisco - Essay Example The particular event lasted from February to December of 1915. The event that became a tradition marks the commemoration of both the recovery of the state from an earthquake in 1906 and the conclusion of the construction of the Panama Canal1. The Palace of Fine Arts has different important structural components and architectural elements that can be considered as an integration of both the Roman and the Greek architectural designs. This is due to the fact that the main objective of the architect Bernard Maybeck is a representation of the ruins of Roman and Greek culture combined through the amalgamation of their unique styles. Due to the said objective a unique architectural style was given birth2. The Palace of Fine Arts is a unique structure that was built for a temporary purpose, an exhibition to last less than a year, but the effort that was put in the building of the edifice stretched it life for half a century. The Roman structure and architectural style can be recognized in the columns that line the building specially the central rotunda and the arch3. These columns are specifically described to be Corinthian, the fourth to fifth century Roman architectural design4. Central part was located near the lagoon which added to the attraction of the Palace, giving its visitors an extraordinary experience. The display rooms that can be counted to 113 room... The particular part where artworks are kept was constructed at the rear of the arched area to be able to provide a larger space for what is considered to be the focal point of the Palace, the central rotunda. Circular dome and the eight Roman columns make up the central rotunda linked by a bridge to the pergola. This form of structure can be observed in Roman temples in the early times. A total representation of the grandeur of the Roman architecture but humbled by the evident reconstruction of the ruins5. This interaction of element to bring about a message to the observers is the real objective of the constructed structure. The elements of Greek art can be observed in the decorations and added designs to the Palace of Fine Arts. The sculptures, the murals and the ornate decorations mark the architectural design of the Greeks that can be observed in the Palace6. Some of the priced artworks are murals of Robert Reid which is composed of four sections that describe mainly the development of art in the different regions of the world, in relation to the concept presented by the exhibition. Other art pieces that adorn the Palace depict the extravagant architectural design of the Greek. Some of there are the sculptures such as the Aspiration by Leo Lentielli, a statue that offers himself for art, and the columns lined with statues by Ulric Ellerhusen depicting the strong feeling in the absence of art. The ornaments mainly depict the Greek culture. In addition to the decorations, the eight panel located underneath the dome was described to represent the Greek culture, specifically the importance of arts in the culture of the Greek7. On the basis of the described Palace of Fine Arts according to published works, it

Welfare Reform in the United States Essay Example for Free

Welfare Reform in the United States Essay Throughout recent years the economy of the United States of America has been going through a major recession. There have been and continue to be irresponsible fiscal policies that have led to these major problems that are at the forefront of the minds and lives of the American people. Picking just one cause or problem to our nations’ economic decay is virtually impossible, yet one of the aspects of government that is considered for reform quite often can be refined to help stimulate the economy now and in the future. History in the United States  The United States welfare program is full of a rich history that began well before the actual system of welfare was developed by President Roosevelt. The welfare ideas stemmed from a very human trait of caring for the needy. Many small programs were developed to try to help the lower class. These programs focused on â€Å"teaching a man to fish† or giving him a short term solution and education to help him have a better opportunity in his future. The programs were never designed to be a long term solution for the needs of those people who were suffering through financial difficulties. In fact few private and government retirement pensions existed in the United States before the Great Depression. The prevailing view was that individuals should save for their old age or be supported by their children. About 30 states provided some welfare aid to poor elderly persons without any source of income. Local officials generally decided who deserved old-age assistance in their community (welfare reform. 123HelpMe. com. ) ( transplant-speakers. olhblogspace. com) â€Å"†The New Deal† The emphasis during the first two years of President Franklin Roosevelts New Deal was to provide work relief for the millions of unemployed Americans. President Roosevelt’s focus on helping people become working and financially responsible was an important part to the economic relief during the great depression. The â€Å"New Deal† provided a short term solution and plan for the unemployed to become financial independent. Most federal money was given to the states pay for public works projects, which employed the jobless. Some federal aid also directly assisted needy victims of the Depression. The states, however, remained mainly responsible for taking care of the unemployables (widows, poor children, the elderly poor, and the disabled). But states and private charities, too, were unable to keep up the support of these people at a time when tax collections and personal giving were declining steeply. In his State of the Union Address before Congress on January 4, 1935, President Roosevelt said â€Å"the time has come for action by the national government to provide security against the major hazards and vicissitudes [uncertainties] of life. He went on to propose the creation of federal unemployment and old-age insurance programs. He also called for guaranteed benefits for poor single mothers and their children along with other dependent persons. By permanently expanding federal responsibility for the security of all Americans, Roosevelt believed that the necessity for government make-work employment (make-work employment refers to the government stepping in and creating work/jobs) and other forms of Depression relief would disappear. In his address before Congress, Roosevelt argued that the continuation of government relief programs was a bad thing for the country: â€Å"lessons of history, confirmed by the evidence immediately before me, show conclusively that continued dependence upon relief induces a spiritual and moral disintegration fundamentally destructive to the national fiber. To dole out relief in this way is to administer a narcotic, a subtle destroyer of the human spirit . . .. † (F D R: the words that reshaped America By Franklin Delano Roosevelt, Stamford Parker) As we reflect on these words we can see that America and her leaders have lost sight of the true purpose and plan behind the welfare program. (citizenjoe. org- Percentage of welfare spending) â€Å"The Social Security Act† A few months later, on August 18, 1935, Roosevelt signed the Social Security Act (Wikipedia. org). It set up a federal retirement program for persons over 65, which was financed by a payroll tax paid jointly by employers and their workers. FDR believed that federal old-age pensions together with employer-paid unemployment insurance (also a part of the Social Security Act) would provide the economic security people needed during both good and bad times. Not by any means was Roosevelt implying he wanted the vast minorities or majorities in age or race to become dependent on the federal or state governments. In addition to old-age pensions and unemployment insurance, the Social Security Act established a national welfare system. The federal government guaranteed one-third of the total amount spent by states for assistance to needy and dependent children under age 16 (but not their mothers). Additional federal welfare aid was provided to destitute old people, the needy blind and crippled children. Although financed partly by federal tax money, the states could still set their own eligibility requirements and benefit levels. This part of the law was pushed by Southern states so they could control the coverage made available to their African-American population. This is how welfare began as a federal government responsibility. Roosevelt and the members of Congress who wrote the welfare provisions into the Social Security Act thought that the need for federal aid to dependent children and poor old people would gradually go away as employment improved and those over 65 began to collect Social Security pensions. But many Americans, such as farm laborers and domestic servants, were never included in the Social Security old-age retirement program. Also, since 1935, increasing divorce and father desertion rates have dramatically multiplied the number of poor single mothers with dependent children. This made it much harder for the government to dole out the funds for social security. Since the Great Depression, the national welfare system expanded both in coverage and federal regulations. It has become a crutch for many of American citizens. The welfare program is not serving its original purpose. From its inception, the system drew critics. The system does not do enough to get people to work. Others simply believed the federal government should not administer a welfare system. As the system grew, so did criticism of it, especially in the 1980s and 90s. Additions to Welfare† In 1992, Democratic candidate, Bill Clinton, ran for president promising to end welfare as we know it. Yet a complete mend to a federal and state entity that provided support and stability to thousands would cripple the economy and leave all those in the system to fend for themselves after being on a system that did everything for them. Then in 1996, a Republican Congress passed and President Clinton signed a reform law that returned most control of welfare back to the states, thus ending 61 years of federal esponsibility (â€Å"Constitutional Rights Foundation† http://www. crf-usa. org/bill-of-rights-in-action/bria-14-3-a-how-welfare-began-in-the-united-states. html ). When the federal Aid to Families with Dependent Children (AFDC) program began in 1936, it provided cash aid to about 500,000 children and parents. By 1969, the number had grown to nearly 7 million. Over the years, Congress added new programs. President Lyndon B. Johnsons War on Poverty provided major non-cash benefits to AFDC recipients as well as to other needy persons. In 1964, Congress approved a food stamp program for all low-income households. The next year, Congress created Medicaid, a federal and state funded health-care system for the destitute elderly, disabled persons, and AFDC families. In 1974, during the Nixon presidency, Congress established the Supplemental Security Income (SSI) program to provide aid to the needy elderly, blind, and disabled. This program made up the last major component of the federal welfare system. By 1994, more of the nations needy families, elderly, and disabled received federal welfare than ever before. Aid to Families with Dependent Children alone supported more than 14 million children and their parents. By the 1990s, AFDC supported 15 percent of all U. S. children. In most cases, these children lived at home and were cared for by a single parent, usually the mother, who did not work. In August 1996, after 18 months of debate, Congress passed and President Clinton signed into law the Personal Responsibility and Work Opportunity Act. This welfare reform law ended 61 years of AFDC guaranteed cash assistance to every eligible poor family with children. The new law turned over to the states the authority to design their own welfare programs and to move recipients to work. Under the new law, the Temporary Assistance for Needy Families (TANF) program, funded by federal block grants and state money, replaced AFDC. States are given wide discretion in determining eligibility and the conditions under which families may receive public aid. But Congress tied a number of strict work requirements to the federal block grants: †¢ Adults receiving family cash-aid benefits must go to work within two years.  States may exempt a parent with a child under 1 for no more than 12 months. States had to have 25 percent of their welfare caseloads at work in 1997 and 50 percent of their caseloads at work by 2002. States who fail to meet these requirements will lose 5 percent of their federal block grants (http://www. welfareinfo. org/history/). Each adult is limited to no more than five years of cash assistance during his or her lifetime. But states may exempt up to 20 percent of their caseloads from this limit. A 1995 study by the Cato Institute revealed that the value of the total benefit package received by a typical welfare recipient averaged more than $17,000, ranging from a high of over $36,000 in Hawaii to a low of $11,500 in Mississippi. In 9 states welfare pays more than the average first-year salary for a teacher. In 29 states welfare pays more than the average starting salary for a secretary. In 47 states welfare pays more than a janitor makes. In the 6 states benefits exceed the entry-level salary for a computer programmer (http://www. heritage. org/ and www. cato. org). America can be on her way to economic stability and growth once again if we obtain a complete understanding of the rich history of the public welfare system. We can come closer to helping our citizens be financially independent, we can become a more cultured and sophisticated society. When we embrace the true purpose behind the original establishment of welfare programs and provide people with an opportunity to live within their means when they need assistance, and teach them how to provide for their future, then we will be able to further help our country and our economy. We will once again become the world’s leading economic power and our citizens will be the force behind that great power. PROPOSAL A Plan for Modern Reform One of the greatest ways we can help America regain the great power it once had is by electing a leader who can help us solve some of the financial issues we face, specifically welfare. Republican Presidential candidate Mitt Romney is that person. Regarding the current welfare problem he stated, â€Å"â€Å"Fundamentally, this is a debate about the best way to help someone lead a fulfilling life. We know that the best system isn’t about a handout but a hand up. † –Source: press release on welfare reform (July 2005) â€Å"People want a chance to work so they can build self-sustaining lives instead of relying on a welfare check that will keep them trapped in poverty. By providing support services and incentives where necessary, we want to give welfare recipients the opportunity to achieve independent and fulfilling lives. † –Source: press release on welfare reform (January 2005) We must not allow people to abuse the welfare system. We need to establish and follow strict guidelines and laws for receiving welfare. We must also develop a system to help people get off of the program and stop abusing the system. Mitt Romney has offered a full-fledged detailed economic plan when he announced a 59-point job and economic proposal during a speech at the McCandless International Trucks dealership in Nevada, Las Vegas on September 6, 2011. Called Day One, Job One, the plans main objective would be to restore America to the path of robust economic growth necessary to create jobs. .

Relationship Between Tectonic Architecture And Materials Cultural Studies Essay

Relationship Between Tectonic Architecture And Materials Cultural Studies Essay The following thesis seeks to identify and examine the relationship between tectonic architecture and materials. Although materials are all around us; we often do not take the time to examine them; to truly reflect on their inclusion, and so there very presence is often taken for granted. In order to emphasise the importance of materials in architecture; this research question focused on discussing How do materials play a key design role in tectonic architecture? The thesis used two main methodologies. The first was a literature review, which includes a comprehensive review of the literature that was instrumental in addressing the main topics, materials and tectonic architecture. The second was a model based study which focused on a particular building. It examines how a change in materials could affect the design of a building; and thus emphasises the key role materials play in tectonic architecture. The findings of the research highlighted the fact that materials do indeed play a key role in the design of tectonic buildings; and in some cases they can be the main driver for the initial design. However it was also established that there are many other contributory factors which also affect the overall design. Factors such as the structure, the crafting of construction, innovation, the use of cutting edge technology, the collaboration of the design team as they work in synergy with the architect, and finally the methodologies of learning by doing or facilitating education through the teaching of others. Definitions / Glossary Tectonic Architecture A non-monolithic structure, assembled using different materials, techniques and resources in the act of construction making and revealing  [1]  . Stereotomic Architecture A self-supporting monolithic structure composed from articulated solid elements. Atectonic A combination of tectonic and sterotomic building techniques. The crafting of construction This is not just a joint or a construction detail; it is the crafting together of materials and surface through bespoke means. Green design Philosophy that treats environmental attributes as design objectives and not as constraints. High-tech Refers to technology that is at the cutting edge or the most advanced technology currently available. Honesty The notion that a structure shall display its true purpose and not be decorative Materials The matter from which a thing is or can be made  [2]   Constructivist teaching methodologies Constructivist teaching is based on the belief that learning occurs as learners are actively involved in a process of meaning and knowledge construction rather than passively receiving information  [3]  . All works of architecture involve a creative interplay between ideas and materials to which both makers and critics have repeatedly been willing to assign ethical value  [4]   Table of Contents 1.0 Introduction Materials are not trendy; they are a necessity for the realization of creativity  [5]   Looking around the built environment, one can see materials are everywhere; yet they are not often questioned; when were they invented? How are they picked? How are they used? Why were they put together in a particular way? Were the correct materials selected? In addition to these questions architects must also address issues around purpose and design; can materials be the driving force behind their designs or are they insignificant, merely an aesthetical feature of the building. Attempting to delve into and address some of these questions has led to the research of this thesis; namely How do materials play a key design role in tectonic architecture? This thesis aims to understand tectonic architecture and the role of materials in the design of a building. One has a basic understanding of what these words mean from the glossary however there is a need to explore where they have come from and how they have and will affect architecture. In exploring this idea there is a need to acknowledge, where tectonic architecture and materials began, how they have evolved over time, and going forward what direction are they headed in? The thesis shall discuss a number of these issues in order to address the research question. The paper shall examine the following main chapters; Joint / The crafting of construction, the tectonic innovation of large span, 20th century modern tectonic architects, 21st century tectonic environmental architecture and a model based study. Research methods This thesis is jointly done through two research methods. The first consists of the literature review, and was under taken to gain an in depth understanding of tectonic architecture and the complexity of materials. The second involves a model based research which was conducted through the analysis of drawings in order to understand the effect of a material change on a tectonic building. The first five chapters will analyse the key role materials play on tectonic architecture. It will look at both the theory and the practical side of this subject; with analytical drawings to further develop this principle. This study will be carried out via secondary research, comprising of books, journals, newspaper articles, electrical journals, published conferences and websites. Research will be carried out on both subjects, starting with the design and building of the mere hut to the development of the contemporary tectonic architecture. Chapters six will be an in-depth study in to a model based research, where the question will be asked if materials do play a key role in tectonic architecture and if there was variations in materials would the building design and space changed. The analysis will aim to show how important materials are to the building design with 3 dimensional drawings. 2.0 Joint / The crafting of construction Often it is the expressiveness of the jointing which humanizes structures and gives them their friendly feel.  [6]   In Greek, the term tectonic comes from the work tekton, which suggests carpenter or builder. In the fifth century, the meaning evolved into the role of the tekton. This led to the emergence of the master builder or architekton. Kenneth Frampton observed that Adolf Heinrich Borbein claimed this meaning would eventually change to an aesthetic rather than a technological category. Frampton noted in his book Studies in Tectonic Culture that Karl Otfied Muller, in his third edition of Handbuch der Archaologie der Kunst, that tektones was specialized, in reference to people in construction or cabinet makers which used a specifically functional or dry joint, though this did not include clay and metal working in the meaning. This gave the definition of tectonic as the joint or the joining through the construction process. In 1851 Gottfried Semper, published his book, The Four Elements of Architecture (Die vier Elemente der Baukunst). He based some of his elements on a Caribbean hut (see figure 1) that he saw at the great exhibition of 1851 and he divided the dwelling into four elements, 1 the earthwork, 2 the hearth, 3 the framework (including the roof) and 4 the lightweight skin or membrane  [7]  . On the base of these four elements, Semper classed the building crafts into two fundamental different procedures: the tectonics of the lightweight frame work and the stereotomic of the base. Semper illustrated the use of the stereotomic base where mud-brick and stone were placed on the ground, on to which the lightweight framed structure sat. Frampton considered the stereotomic base to be load bearing masonry, weather stone and mud brick. He noted the importance of the lightweight framed structure, where he saw the creation of the knot as a fundamental element in enabling the tying together of the lightweight components. The knot led to the securing of the frame and was perceived by Semper as a complex jointing of construction. Around the world, this technique can be visibly seen, where rope is used to knot lightweight structures together; highlighting how locally available materials were utilized to build huts. African tribal cultures used a wide range of vertical screen walls where the rope knot was the key construction element. The Gogo house in Tanzania was built from tree branches where a rope knot was employed to hold the structure together while mud was built arou nd the structure. In comparison to this, the Kuba hut found in the southeast of the Congo was erected using woven mats, again with all joints being knotted together with rope. Semper highlighted the development of knots into a weaving process, which subsequently led to the creation of buildings fabric. Buildings such as the Bedouin tribal huts were assembled using locally sourced materials in a weaving manner in order to build strong huts; as oppose to those which were built with knots. Woven walls were a form of wattle construction  [8]  , which was described by Allen Noble as vertical stakes, each fitted into a hole or slot in one horizontal and sponge into a groove or another hole in the other member of the framework. Materials such as osiers, reeds or thin strips of oak were most common  [9]  . This style of wattle construction is still in use today in the building of fences; however it did lead to the advancement in wattle and daub construction, which can be seen in many vernacular buildings around the world today. Cherie Wendelken in his article on The Tectonics of Japanese Style: Architect and Carpenter in the Late Meiji Period noted that Japanese architecture had great symbolical structures which were primarily tectonic, whereby locally sourced material such as grasses and bamboo pillars were being knotted together. The 15th century Japanese house was constructed with a woven faà §ade. These houses were built in a post and beam framed manner with woven infilling walls which allowed for flexible sliding screens. Sempers, The Four Elements of Architecture, can be seen clearly in these houses as the stereotomic base which was built of boulder footings, a lightweight timber structure sat on these foundations and finally a lightweight skin was applied. Some of these structures would be built every 20 years as there time cycle only lasted this length. The most celebrated of these structures being the monumental Naiku and Geku. Pre 1800 tectonic architecture illustrates that the joint or the crafting of construction was the most important and innovative aspect of tectonic architecture with materials playing a key role in the design of the building. This can be seen from the reed-built houses of the Marsh Arabs in Iraq (Materials, Form and Architecture for images p13). These materials were normally locally sourced and the construction methods were tried and tested over long periods of time, as was the case with most vernacular architecture of that era. 3.0 The tectonic innovation of large spans Gothic churches and cathedrals were noted by Frampton as having the idea that with the combining vaulted and trabeated structural forms in a new spatial unity; on the other, it stretched the art of reinforced masonry construction to its technological limits  [10]  . This led to the innovation of large non-load bearing faà §ades in gothic architecture. This innovation in structure went on to influence many architects of the 19th century, including Augustus, Welby, Northmore, Pugin and Viollet Le Duc. Voorthuis highlights how Pugin claimed You can decorate constructionà ¢Ã¢â€š ¬Ã‚ ¦but you cannot construct decoration  [11]  and thereby hides the true construction of a building. Pugin had a great understanding of materials and craftsmanship. He himself used innovative and experimental techniques when it came to craftsmanship and designing building such as the Church of St. Augustine, Ramsgate or St. Aidans Cathedral in Enniscorthy. However Voorthuis emphasised how Pugin would insist that if mouldings were to appear on a building, they need to do so for a reason, such as to stop weathering of an area rather than for aesthetic reasons; and this was his use of tectonic architecture. Frampton pointed this out in the fabric build-up of St. Pauls in London (167-1710). Where he commented on Pugins proposed drawings of the church a section through a pointed church compared to the hidden buttresses built into the fabric  [12]  (fig ) or ornamented mediaeval truss roof compared to t hat of the concealed truss hidden by a suspended ceiling (fig ). While Pugin worked on the innovation in craft and his idea, that mouldings were to appear for reasoning, Eugene Emmanuel Viollet le Duc worked on the advancement in materials. Viollet Le Duc was a French architect and theorist famous for his interpretive restorations of medieval buildings and also for his writing advocating that materials should be used honestly. He began his career with twelve commissions for the restoration of medieval monuments. He encouraged the use of different materials with new techniques and resources, in contrast to the work of William Morris and his art and crafts movement, which promoted traditional crafts. Henry Van Brunt in his book Discourse on architecture noted that Viollet Le Duc was more concerned with the economy of structure than the theorists of the Ecole des Beaux-Arts. Viollet-le-Duc pursues lightweight hollow or reticulated metal construction as an agent for transforming every conceivable tectonic element, from window shutters to metal roofs  [13]  . This interest in metal construction led to Viollet le Duc using wrought and cast iron which promoted lightweight tectonic framed structures and was a unique resourc e from which 19th century architecture would developed from. His experimentation with metal led to the development of an iron network of vaulting and can be seen in his octagonal hall design. Frampton stated that the octagonal hall is organized with its polygonal roof structure and statically determinate iron members displayed the principles of structural rationalism for the first time in construction  [14]  . The octagonal hall was to be a 3000 seat hall spanning 140 feet, illustrating iron works and innovative techniques, which tended to pushed the boundaries of architecture and materials to their limits. His idea of cast iron framed structures was to be firstly realized by the English landscape architect Joseph Paxton and Anatole de Baudot. Paxton won the design competition for the Great Exhibition of 1851 (fig ) designing a building measuring over 92,000m2 . He was assisted in his work by two engineers, Fox and Herderson, who came up with a system of structural elements. The building was completed in nine months due to its innovative modular design and construction techniques which used the largest glass panels available and the most up to date technology in order to forge and connect elements. Another major factor that contributed to the fast building time was the collaboration of each person involved, from the architect down to the craftsman. De Baudot was seen as Viollet Le Ducs predecessor. Frampton noted that he worked in a similar style to that of Viollet le Duc, using cast iron columns to equally express his tectonic architecture in the world exhibitions held in Paris in 1878 and 1889. These two significant projects, one circular, the other rectangular, were attempts to realize Viollet-le-Ducs iron network vaulting on a grand scale  [15]  . However they never lived up to the grand scale of Galerie des Machines 1889 designed by Ferdinand Dute which had a 180 foot span. The building was a controversial design for steel construction however iron was used as Robert Thorne notes that John W. Stamper emphasised The principal material of the buildings structure was to have been steel, but the decision was made at the last minute to use iron instead. Steel was abandoned on the two-fold ground of expense and the necessity of hastening the execution of work  [16]  . Georg Heuser, and Otto Wagner were both great writers in the promotion of architectural realism as a matter of principle in the late 1800s. Heuser saw the development of architecture innovation rather than decorative style. Frampton indicated that Heuser seems to have been among the first to acclaim the riveted steel frame as the new industrial vernacular of the machine age  [17]  . To the contrary Richard Weston wrights For Ruskin, industrial production was the work of the Devil, and cast or machine work that imitated craft (hand) production what he called operative deceit  [18]  . 4.0 Tectonic reinforced concrete Bring out the nature of the materials; let their nature intimately into your scheme  [19]   The latter half of the 19th century, also saw the development in structural framing concrete. In 1890, engineer Paul Cottancin came up with his reinforced masonry system known as ciment arme. This system was noted to be labour intensive and became obsolete 17 years later due to Francois Hennebiques patent and his reinforced concrete design known as beton arme. This outcome reversed tectonic principles allowing the transgression of a stereotomic material to a tectonic frame. Frampton stated that after Louis Vicats perfection of hydraulic cement around 1800, concrete began to be used in a new way  [20]  . However he mentions how Joseph Moniers began building prefabricated flower pots and sewer pipes from reinforced wire and cement. It was not until Francois Hennebique, a French engineer and self-educated builder, began using perfected reinforced concrete in his construction that it became popular. Douglas McBeth, in his book Francois Hennebique-Reinforced concrete pioneer, emphasised that Hennebiques system started out as fireproofing to protect iron beams. However he soon realised that the floor system would be more economical if the iron was used only where the slab was in tension, while it could rely on the concrete in compression. The Hennebique system was a simple erection of timber formwork around steel, after which concrete could be poured. While Hennebique was perfecting his methods, De Baudot whom was Viollet Le Ducs predecessor was working on St. Jean de Montmartre. Frampton observed that De Baudot wanted to exploit a method that could combine light construction with bonded brickwork, as he pointed out, the result was a somewhat oriental, diagonally ordered system of vaults rising from thin brick walls and piers enclosing narrow channels of interior spaces  [21]  . This would bring Viollet Le Ducs idea of cast iron vaulting to a new innovative method of brick vaulting. However Hennebique system began to be widely used and was further developed by architects such as Auguste Perret. Auguste Perrets architectural career was bound around the principle of reinforced concrete and Karla Britton, in her book Auguste Perret noted that Perret claimed reinforced concrete frame construction is the ultimate structural material  [22]  . Perrets went to the Ecole des Beaux arts school where he argued between practical and theory in architectural education. However as Frampton highlighted, he chose the practical as he left abruptly before submitting a final project. He started to design and build one of the first apartment blocks from reinforced concrete construction. Nonetheless, Perret was concerned for a building to be structurally honest and with this, used a visible framework as can be seen in his Garage Marboeuf. His work was noted for establishing concrete as an acceptable architectural material in the 20th century. It was noted by Britton that Perret and Frank Lloyd Wright attempted fair faced reinforced concrete at virtually the same time and both had similar res ults. 5.0 20th Century Modern Tectonic Architects Construction is the means; architecture is the result  [23]   Frank Lloyd Wright left school in 1887 without finishing his degree, and moved soon afterwards to Chicago where he found work with Adler and Sullivan. Wright was impressed with Sullivans ornamental design. Louis Sullivan was influenced by the idea from and function. However his statement was form ever follows function  [24]  . Sullivan took Wright under his wing and acted as a mentor to him in his early career. Frampton stated; Wrights early domestic architecture, executed in wood, is invariably conceived and machined according to a repetitive modular order and framed  [25]  . Sullivan also introduced Wright to Celtic iconography and Celtic textiles. Following on from this induction, Wright became heavily influenced by textiles. He visited the Columbian exhibition of 1893, the Ho-o-den, and began turning his attentions to Japanese architecture. He visited Japan in 1917 and worked there until 1922. While working in Japan, Frampton noted that Wright studied tea houses, religiou s Japanese architecture, and the Horyu-ji shrine. Upon his return in 1922, Wright brought back many ideas, such as heated floors and modular part construction. However it was woven faà §ade and concrete that mostly inspired him as he stated Aesthetically, concrete has neither song nor any story  [26]  . In 1921 Wright finally looked at the idea of wire-reinforced concrete blocks that were pre-cast with a pattern on the outer face. He would later call this the textile block. He first used this system in the Aliace Millard house in Passadena California. Terry Patterson in his book Frank Lloyd Wright noted that he would make a double coursed wall, one internally and one externally for the cooling and heating of the house. After the accomplishment of both system and house, Wright refers to himself as a weaver  [27]  stating his textile blocks were a woven skin/faà §ade. Wright follows this up with a statement in his book Frank Lloyd Wright Writings and Buildings I finally had found simple mechanical means to produce a complete building that looks the way the machine made it, as much at least as any fabric need lookà ¢Ã¢â€š ¬Ã‚ ¦Standardisation as the soul of the machine, here for the first time may be seen in the hand of the architecture  [28]  . Semper, in The Four Elements of Architecture, spoke about the textile and its comparison to the art of enclosures or the woven faà §ade. This can be seen from the wattle construction, or Japanese vernacular houses, but now can also be seen in the development and the influence in Frank Lloyd Wrights architecture. There was also the development in the joint or crafting of construction. This came from the pre 1800s work and the great iron works of the 19th century which was advanced by architects such as Mies van der Rohe and Carlo Scarpa. Mies van der Rohe saw details and joints as one of the foremost important elements in his architecture, as his famously states, God is in the details. Mies started his career by using brick on such projects as his Brick Country house Project going to great lengths in this endeavor. Philip Johnson in his book Mies van der Rohe noted this as he states; he calculated all dimensions in brick lengths and occasionally went so far as to separate the under-fired long bricks from the over-fired short ones, using the long in one direction and the short in the other  [29]  . Mies gradually started to use other materials, such as steel, marble and large sheets of glass. The qualities of different materials became a leading idea in how Mies designed his buildings, from a stereotomic mass to a skeleton tectonic frame. When one looks carefully at the detail in Miess buildings, he had a great understanding and respect for the qualities of materials. As while he was looking for stone for the Barc elona Pavilion, he knew that one could not move marble from a quarry in winter because it is wet inside and freezing conditions could cause it to break. With this in mind, he had to find a dry material and eventually found onyx blocks of a certain size and proportion, and from this he designed the pavilion to be twice the height as it was originally considered and developed the plan from there. Frampton acknowledged that from 1926 to 1933, Mies had three main considerations; firstly, in the underlying aesthetic intention, secondly, in the essence of materials to hand, and thirdly, in the institutional status of the work  [30]  . A change in Mies work can be seen when he shifted the column from circular to I or H. He began to express the joint in the column and beams more often. This transformation brought him back to a shift to more traditional tectonics. This expression can be clearly seen in the Farnsworth House and the Neue Nationalgalerie Berlin. Frampton states, Within thes e parameters, the art of building for Mies meant the embodiment of the spirit in the banality of the real; the spiritualization of technique through tectonic form  [31]  . 6.0 21st century Tectonic Environmental Architecture Materials are not trendy; they are a necessity for the realization of creativity  [32]   Materials loom largely as one of the most discussed ideas of contemporary architecture. Victoria Ballard Bell, in her book Materials for Design explains that Materials should inspire designers to think of materials as a palette from which to imagine an idea or concept that can be realised with the use of materials  [33]  . This idea can be seen in such building as the Laminata Glass house in Leerdam, The Netherlands, the horse stable (Ghost 9) in Nova Scotia Canada or Frank Gehry Guggenheim Museum Bilbao. However how are these materials chosen? Bell outlines that material selection is one of the utmost important decisions an architect must undertake. She notes more often than not, materials are not addressed till the end of the design process or even during the creation of a construction document for a building design as if there are sometimes mere afterthoughts in various projects. Lisa Wastiels has the view that every material selection should aim to fulfil a simple need, to identify the best material for a particular application. However in order to identify the best materials, it is important to first understand the criteria used to select those materials in the first instance. Wastiels research broke material selection consideration into four identified categories, context, manufacturing process, material aspect and experience (see figure). However from interviews in Wastiels research, some interesting information appeared. It was highlighted that building codes, regulations and standards are major factors in the choos ing of materials today. Further to this Richard Weston in his book Materials, Form, and Architecture states, in addition to their traditional interest in the structural/constructional and aesthetic qualities of materials, designers must now also consider their embodied energy (in production, transportation, and on site), potential for recycling, and renewability as a resource  [34]  . Bell remarks that materials are now being chosen for their green credentials to be sustainable and sensitive to our environment. This idea has been used by many tectonic architects such as Glenn Murcutt and Renzo Piano. Australian architect Murcutt is world renowned for his energy efficient architecture; although he does not work outside the country, using his motto touch the earth lightly  [35]  . Murcutt is an advocate of using locally sourced manufactured materials such as glass, timber and steel where he developed an appreciation for simple vernacular architecture which pays attention to the environment. Murcutt takes into account the origins of the material, the energy consumed to process them and reusing them to avoid the loss of energy. The Marika-Alderton House in Yirrkala Community is a prime example of Murcutts energy efficient ideas where he adapts his materials to the hot tropical climate where a skeleton skin like building emphasises ventilation. Nevertheless he also uses agricultural tin sheets to cover the building in an innovative way. Murcutt uses Simpers principle id

Adolescent Behavior Essay -- Music, Media

Introduction This chapter will review the factors that affect suicidal tendencies amongst adolescents as well as the role music plays in adolescent behavior. As there is a dearth of documentation on the emo culture, this review relied on articles and researches done in the United States and Australia. Music and the Adolescent According to Roe â€Å"music plays an important social role† in the development of adolescents (Roe K, 2000). Music acts as a buffer for adolescents; substituting as a means of distraction as well as entertainment. Roberts and Christenson (2001) assert that adolescent also use music as a way to take control of their moods and emotions. They maintain that music is also used as a means in the formation of their identities; this allows them achieve group identity and integration into subcultures. However, while Took and Weiss (1994) also agree that music is used as the means to join a social group, they ascertain that music is only used as a form to reflect the level of turmoil adolescents are feeling at that stage in their lives. Many researchers have conducted studies on popular music and its effects on school work, social interaction, mood and affect, with particular emphasis on behavior. They have developed numerous theories which explain the link between music and behavior and Wass et al (1991) has made indications that heavy metal music has links to homicides, suicides and satanic practices. Public criticism was wildly sounded when Gaines (1991) implied that there was a link between heavy metal and teen suicide pacts. The American Academy of Pediatrics (1996) has stated that the effect that popular music has on children and adolescents is of paramount importance and is a cause for concern. Brook... ...be assigned to each choice of response with 1 being assigned to â€Å"not at all† and 5 being assigned to â€Å"completely†. Data Analysis After the data has been collected, analysis of data will be done using Statistical Program for Social Science (SPSS) software. Charts and graphs will be used to illustrate the results of the questionnaires allowing the researcher to create a comprehensible analysis of the findings. The questionnaire will be analyzed by the five factors outlined earlier and not by each individual question. However, some questions, which the researcher finds as being significant to the research, will be analyzed individually. A pre test will be done on five participants to ensure that the questionnaire did not have errors and that the questions are clearly understood by the respondents. This will aid in determining the validity of the questionnaire.

Feminism: Pride and Prejudice Essay -- Literacy Analysis

Feminism was a subject that was rarely discussed in 19th century British society. This was mostly because the idea of equality among the sexes had not taken form in Britain’s very distinct social classes. The aspect of feminism is defined as the theory of the political, economic, and social equality of the sexes. However, the disdain for equal rights during the Victorian Era did not hinder some women writers from blatantly expressing their ideals through their writing. Some of these brave women were Elizabeth Gaskell, Charlotte Brontà «, and Elizabeth Barrett Browning. All of these authors incorporated strong feminist ideals into their writings, despite the backlash that society would thrust upon them. All of the works that these influential women wrote emphasized the power that women could possibly have one day. Two of their stories were focused on the idea of a woman rescuing a man, despite the fact that men were considered the epitome of chivalry and courage. However, a c onsiderable amount of women writers were forced to â€Å"be coy when addressing their status in society† (Lit Network). Some used hidden symbolism in their writings, while others simply wrote under a pseudonym. These drastic actions were quite necessary considering the time period these women wrote in. Many people in Victorian Britain refused to acknowledge the thought of feminism simply because of the importance of a good family name. Despite the numerous ways of oppression, one brave woman writer wrote fearlessly about how she felt women should be viewed. This writer’s name was Mary Wollstonecraft. Her newfound ideals about what women should represent shocked the upper class of Britain. She was both famous and infamous during her time period. The book that best ... ...ejudice. New York: Signet Classic, 1961. Print. Baker, William. â€Å"Mary Wollstonecraft and Jane Austen.† Critical Companion to Jane Austen: A Literary Reference to Her Life and Work (2008). Facts on File, Inc. Web. 24 April 2012. Burt, Daniel S. â€Å"Austen, Jane†. The Literary 100: A Ranking of the Most Influential Novelists, Playwrights, and Poets of All Time (2008). Facts on File, Inc. Web. 12 April 2012. â€Å"Money and Marriage in Pride and Prejudice.† US-China Foreign Language 8.5 (2010): 59-63. Academic Search Complete. Web. 12 April 2012. Snodgrass, Mary Ellen. â€Å"Jane Austen†. Encyclopedia of Feminist Literature (2006). Facts on File, Inc. Web. 26 April 2012 Swisher, Clarice. Victorian England. San Diego: Lucent Books, Inc., 2001. Book. Feminism: Pride and Prejudice Essay -- Literacy Analysis Feminism was a subject that was rarely discussed in 19th century British society. This was mostly because the idea of equality among the sexes had not taken form in Britain’s very distinct social classes. The aspect of feminism is defined as the theory of the political, economic, and social equality of the sexes. However, the disdain for equal rights during the Victorian Era did not hinder some women writers from blatantly expressing their ideals through their writing. Some of these brave women were Elizabeth Gaskell, Charlotte Brontà «, and Elizabeth Barrett Browning. All of these authors incorporated strong feminist ideals into their writings, despite the backlash that society would thrust upon them. All of the works that these influential women wrote emphasized the power that women could possibly have one day. Two of their stories were focused on the idea of a woman rescuing a man, despite the fact that men were considered the epitome of chivalry and courage. However, a c onsiderable amount of women writers were forced to â€Å"be coy when addressing their status in society† (Lit Network). Some used hidden symbolism in their writings, while others simply wrote under a pseudonym. These drastic actions were quite necessary considering the time period these women wrote in. Many people in Victorian Britain refused to acknowledge the thought of feminism simply because of the importance of a good family name. Despite the numerous ways of oppression, one brave woman writer wrote fearlessly about how she felt women should be viewed. This writer’s name was Mary Wollstonecraft. Her newfound ideals about what women should represent shocked the upper class of Britain. She was both famous and infamous during her time period. The book that best ... ...ejudice. New York: Signet Classic, 1961. Print. Baker, William. â€Å"Mary Wollstonecraft and Jane Austen.† Critical Companion to Jane Austen: A Literary Reference to Her Life and Work (2008). Facts on File, Inc. Web. 24 April 2012. Burt, Daniel S. â€Å"Austen, Jane†. The Literary 100: A Ranking of the Most Influential Novelists, Playwrights, and Poets of All Time (2008). Facts on File, Inc. Web. 12 April 2012. â€Å"Money and Marriage in Pride and Prejudice.† US-China Foreign Language 8.5 (2010): 59-63. Academic Search Complete. Web. 12 April 2012. Snodgrass, Mary Ellen. â€Å"Jane Austen†. Encyclopedia of Feminist Literature (2006). Facts on File, Inc. Web. 26 April 2012 Swisher, Clarice. Victorian England. San Diego: Lucent Books, Inc., 2001. Book.

Media studies †Life on Mars Essay

How does life on mars (2006) use visual codes, technical, audio and narrative codes to create a sense of excitement and encourage the audience to watch. In this first episode of Life on Mars there are many different codes and conventions used to make this series instantly appealing to the audience. The episode is excellently paced and smartly directed, getting us into 1973 within 10 minutes and introducing new characters effortlessly. Sequence 1 of life on mars gets the audience instantly familiar with the genre, the episode begins with a police car chasing down a suspect which quickly shows us this is a hybrid police crime drama. The diegetic sounds of police sirens and dogs along with the non diegetic music, a heartbeat which is corresponding with Sam the detective in the police car creating suspense as we get a feel for how Sam is feeling as the heartbeat signifies his nerves also introducing the audience to protagonist Sam Tyler, these audio codes add up to create an exciting police chase which again expresses the genre of ‘Life on Mars’. Once out of the car Sam is forced to chase his primary suspect down an ally way in a council estate in the city giving the audience a feel for the setting. The music isn’t as dramatic while the chase is happening but speeds up during more dramatic parts of the chase which creates suspense. Cinema-verte is used when filming the chase which makes the audience feel almost part of the chase, this entertaining filming technique and creative use of music makes Life on Mars exciting to the audience creating enigma and encouraging them to watch on. This chase takes us up to Colin Raimes arrest bringing us to sequence 2. In sequence 2 Sam’s colleague and girlfriend, Maya, are interviewing suspect Colin Raimes. Sam and Maya facing Colin and his lawyers, which creates tension between these two sets of people. During the interview there is a close up of Colin Raimes which engages the audience creating tension and increasing the viewers curiosity as to what this suspect has done and makes them wonder has he done it or not? The diegetic recording sound in the background shows the viewers the interview is being recorded and shows the viewers the seriousness of the situation, the room is dark with little light which creates a professional mood, the dark setting is a technique used to scare the suspect in to talking, perfect for the situation. The narrative codes in this sequence reveal allot about Colin Raimes as he gets upset by the images he is being shown, we learn Colin sees a psychiatrist and his lawyers talk about how kids would throw fireworks at him on his estate. This is evidence to show that Colin is vulnerable and is possibly mad, the audience may take pity on him or take a different view on the suspect, this makes the viewers curious and increases their want to watch on. After the interview in sequence 3, Maya isn’t done with the suspect and decides to follow him on her own, only to be kidnapped. Once Maya is kidnapped Sam becomes sad and heads out looking for her, there is a close up of Sams face and he is distressed with tears running from his eyes. This visual codes will make the audience feel sympathetic towards Sam and shows us perhaps he is feeling stronger than just friendship for Maya. Sams nerves eventually get the better of him when he has to stop the car to refresh himself, standing there half-heartedly he says into himself,’ The world is a scary place’ again this shows the audience he is thinking about Maya and wants to find her increasing their sympathy for him and overall making the viewers want to continue to watch to see the conclusion. The different audio codes used express Sams feeling for Maya as the non diegetic music plays softly whilst he cries and thinks about her, this corresponds with the visual codes creating a sympathetic feel for the protagonist making the audience pity him. Sam is unexpectedly struck by a speeding vehicle which brings me to sequence four. Sam is struck very unexpectedly and this may have came as a shock to the audience, the accident is very unexpected and this is done deliberately to shock the audience as this scene is key to the viewers as it is where the storyline unfolds as after this it is based in 1973, where Sam time travels back in time. The diegetic sounds used are very impacting, when the car hits Sam, initially there is a loud sound to signify he has been hit, after this all that can be heard is silence which corresponds with how the audience will feel, as they will be shocked at what has just happened. This creates enigma and increases the viewers curiosity to keep watching and they are now introduced to how Life on Mars is going to take place. (back in time) will Sam be okay? what will happen next? are few of the questions the audience will be asking making them exciting and encouraging them to keep watching. Once Sam is hit and the audience are aware of what happened there is a close up of him laying vulnerably on the ground, this close up shot shows his eyes, wide open but yet not moving, with only police sirens and a heartbeat which is corresponding with Sams as he lays on the tarmac, creating tension and making the audience question if he is even alive. This close up then changes to a high shot as the camera slowly moves up, looking down on Sam which shows how empty the road is, no traffic just him. This suggests a change in time and expresses to the audience what has happened introducing them to 1973. These visual and technical codes all raise the audiences awareness causing them to ask questions and want to know the conclusion. Sequence five is the most important as, Sam wakes up to find himself in 1973, complete with 1970s era clothing and an 8-track playing â€Å"Life on Mars† in a car. Dazed and confused, Sam wanders back to the police precinct he works at, only to find it filled with cigarette-smoking, gum-chewing strangers he’s never seen before. The music is significant as before the crash David Bowies 1970’s song â€Å"Life on Mars† was playing on Sams ipod in the car. This is strange as he has travelled back in time to when this song was just out and extremely popular. Sams feeling are conveyed in different ways, with voices in his head from when he was a boy repeating,’ where are you?’ as he wakes up in a forest, obviously not where he was before. Creating enigma for the audience and making them aware of the time change increasing their excitement and want to continue watching. When Sam stands up in 1973, with no clue as to where he is the camera is low angled and is circling him while â€Å"Life on Mars† plays which really creates a confusing atmosphere showing that Sam does not know what is going on. This technical camera work helps to express Sams feelings and shows the audience a broader understanding of what’s going on. Everything has changed in Sams world, The set designs and costumes effectively evoke the era, as well as the grittiness of the run-down neighbourhood and police precinct. Everything feels straight out of the 70s, from the clothing to the cars to the horridly ugly decorating in Sam’s apartment. Throughout the episode, Sam hears hospital noises and doctor voices and at one point sees a person on late night TV talking like a doctor describing Sam being in a coma. Sam becomes increasingly convinced that he truly is in a coma, and that none of this world is real. he believes it is all part of his imagination. These are some of the ways in which Sam portrays his feelings to the audience during this sequence. Which allows the audience to get to know Sam and begin to have a feel for his character encouraging them to continue to watch Life on Mars. Later Sam meets a young police officer named Annie Cartwright who he begins to open up to and express his opinion and at one point tells her â€Å"I had an accident and when I woke up, I was here. Only here is 33 years in the past. Now, that either makes me a time-traveller, a lunatic, or I’m lying in a hospital bed in 2006 and none of this is real.† This quotation of what he says gives the audience insight into how he feels about the whole situation, this again allows the audience to engage with Sam and feel what he is going through, the audience will grow a certain like for Sam and this creates a sense of excitement and encourages the audience to continue to watch â€Å"Life on Mars†.