W3D 590 perceive people Essay Example | Topics and Well Written Essays - 250 words

W3D 590 perceive people - Essay Example These aspects may render one perceive or view people positively or negatively. They affect the way one senses certain information before showing any impression. Therefore, there are several factors that commonly incite the way we perceive people. The first one is the mood state experienced by a person (Smith, 2013). Moods affects strongly on the way we perceive someone. We are able to think properly or make a positive impression of others when we are happy compared with times when we are depressed. When in undesirable mood, we are most probably going to evaluate others unfavorably than when in a positive mood state. An interviewer will make a good recommendation about a job applicant when his or her mood state is welcoming. The second factor is the attitude of the perceiver towards someone being perceived. The attitude that we have towards others affects the impressions we make on others. For example, if a male interviewer has a negative attitude on female that they are not capable to handle the job given, then his perception of a female job applicant will automatically be affected (Chris & Peter, 2014). The third one is the interests we have. Our attention, focus mostly appears to be affected by our interests which differ from one individual to the other. What one notices in situation may differ from what the other perceives. Before the interviewer makes any impressions, he or she will consider his or her interest in the job applicant. Self-concept is another factor that affects our thinking over others.Picking up traits in others will depend on our self-concept, one with a positive self-concept will always have positive attributes of others (Collela et al, 2010). Motive also affects the way we perceive. The interviewer who has an ill motive of a job applicant with better papers than him, he feels unsecured of his position. Fearing that the applicant might take his position will affect his perception. Another factor is knowledge,

Issues in Secondary Education Essay Example | Topics and Well Written Essays - 2000 words - 2

Issues in Secondary Education - Essay Example This stage, which is preceded by the Concrete Operational stage, begins more or less at age 11, which is beginning of puberty and continues well into adulthood. (Abbeduto, 2006, 131)This stage is characterized by acquisition of the ability to think abstractly and draw conclusions from the information available. This stage is also important to our topic, because the students are entering puberty around this time, which leads them to many questions about themselves and their bodies; further leading to questions about just who they think they are. According to Erik Erikson, there are eight stages of human development. Along with the stages themselves, Erikson also states that a psychosocial crisis occurs during each of the stages; for this stage, the psychosocial crisis is titled Identity versus role confusion. As stated by Erikson, this stage is when the adolescent student becomes concerned with how they appear to others. Many adolescents ask themselves "Who am I? Where am I going in life?", and confusion occurs because of the cognitive and bodily changes happening to the learner. Peer groups also play a role in this stage, because they affect who a student thinks they are too. (Blair, 2006, 53) The confusion of trying to decide what peer group you fit into exacerbates the possible identity crisis. At last is Abraham Maslow, with his Hierarchy of requirements. At the same time, when above-mentioned theorists talked about various stages of development, Maslow's theory is a little bit different; his theory explains that regardless of the age of a person, everyone is willing to have their requirements fulfilled. (Cooper, P. & Mcintyre, 2008, 383) The requirements that relate the most to this topic are the Belonging and the Esteem Requirements.  Ã‚  

Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

Literature Review: Access to Care for Addicts

Literature Review: Access to Care for Addicts Hettema, J., Sorensen, J. L. (2009). Access to Care for Methadone Maintenance patients in the United States. International Journal Mental Health Addiction. 7 (3) 468-474. DOI:10.1007/s11469-9204-6 This paper was presented to increase the awareness of individual with Opiates treatment programed Dependency are denied access to residential treatment. Although, Methadone Maintenance Therapy has been proven to reduce illicit drug use, improve psychosocial functioning, ability to keep employment, decrease criminal activities, and contracting HIV, AIDS, and Hepatitis. There are great concerns for those clients in Methadone Maintenance Therapy who need more intensive treatment. MMT does provide basic medical screening, dosing, and outpatient counseling. The more services provided for the client leads to a better outcome. The study found that treatment dose measured by number of days in treatment, number of treatment session attended and number of services received leads to a positive outcome. Some factors to consider are limited availability of residential treatment, insurance payment and the impact of abstinence philosophy. Mainstream views addiction as a moral problem rather than a medical issue. Hettema Sorensen (2009) identifies philosophical differences separates mental health and addiction services is hard to integrate. Society regards methadone as a necessary evil. There are ongoing empirically evaluated treatment approaches who do not follow an abstinence oriented philosophy. There are issues with the Americans with Disability Act because client is being denied services because of their use of a prescribed for their substance dependency. There are ambiguities in the interruption of that. The author is not aware of any litigation now. Ducharme, L.J., Knudsen, H.K., Roman, P. M. (2006). Evidence-based treatment for Opiate-Dependent clients: availability, variation, and organization correlates. The American Journal of Drug and Alcohol Abuse. 32.569-576. DOI: 10;1080/009529906000920417 This article examines the availability and correlates with evidence-based practices for opiates dependence in the United States. This research sampled addiction treatment with and without MMT services. This article also examined community based treatment programs with MMT units as one of their modalities. The researchers included both methadone available and non-methadone setting, then compared the number and type of service available to users. The method used was a data analyses collected in 2002-2003 national representative sample of addiction treatment centers in public and private sector. There was extensive face to face interviews conducted with administrators and clinical directors of 763 treatment center. The data collected in 2002-2003 face to face interviews included  organizational characteristic, size, ownership, accreditation, staffing, treatment practice methadone availability, level of care, pharmacotherapies, wraparound service, The findings suggested the majority of opiate dependents clients are not in Methadone Clinics. Many agencies are not willing to refer opiates dependent patient. to MMT. The opiate dependence client would benefit from the referral that uses evidence practices if referred. The research suggests further study to determine which opiate dependence client would benefit from evidence client care. Parks, C., Fullerton, C.A., Kim, Meekee, Montejano,, L., Lyman, Russell, Dougherty, R. H., Daniels A. S., Ghose, S. S., Delphin- Rittmon, M. E.., (2013). Medication-Assisted Treatment with Buprenorphine: assessing the evidence. Psychiatric Services in Advance.DOI10.1176/appi.ps201300256 This article reviews Buprenorphine treatment as an alternative to Methadone Maintence Treatment for long term treatment of Opioid Use Disorder. Buprenorphine is not considered as abstinence treatment. The purpose of buprenorphine is to reduce or eliminate opioid use. The authors conducted the research that examined abstracts of identical articles for compliance with the review. The research provided evidence of the effectiveness of improving treatment retention and decreasing illicit opioid use. The evidence is growing both BMT and MMT improved pregnancy outcomes. Ongoing treatment is necessary.

Abraham Lincoln as the Greatest President Essay -- Lincoln President U

Abraham Lincoln is regarded by many Americans as the greatest president to ever hold office in the history of the United States, and his reputation is definitely well deserved. Lincoln wasn't scared to stand up and fight for what he knew was right. He was convinced that within the branches of government, the presidency alone was empowered not only to uphold the Constitution, but also to protect, and defend it. Lincoln was able to lead our country and preserve the Union, keeping the United States from splintering during the devastating times of the Civil War. As President, he built the Republican Party into a strong national organization, and he rallied most of the northern Democrats to the Union cause. On January 1, 1863, he issued the Emancipation Proclamation that changed the war into a battle for freedom and declared forever free those slaves within the Confederacy. That November, Lincoln gave his famous Gettysburg Address, which stated how a country must be dedicated to human fre edom in order to survive. He dedicated the battlefield to the soldiers who had perished, and called on the living to finish the task the dead soldiers had begun. (Donald, 1995) Lincoln believed that democracy could be a lasting form of government. He showed a nobility of character that had worldwide appeal, and he was a man of great integrity. However, Lincoln was not only the 16th president of the United States, he was an American hero. Lincoln was a well-rounded individual and he had numerous outstanding qualities. However, it is important to remember that Lincoln also led a private life, complete with close friends and family. Lincoln was born into a poor household on February 12, 1809... ... across the world. But to those who knew him, he was more then just a president. In addition to being a man who made revolutionary changes to our nation, he was also a devoted husband and father to his four sons. Despite his intimidating 6'4" figure, he was a kind, warm-hearted man, who actually cared about the common people. His family and friends had a substantial influence on him and they played an extremely important role in his life. They supported him in whatever he set his mind to and they kept him sane when he felt like he was about ready to breakdown during difficult times. There is more to Lincoln than most people could ever imagine, and his personal life could never be complete without his family. Lincoln had a very intimate relationship with his wife Mary Todd, and he showed endless love and affection to his children. Abraham Lincoln was a true family man.

AIDS, Prison, and Preventative Medicine: :: HIV Jail Violence Rape Papers

AIDS, Prison, and Preventative Medicine The word "prison" conjures up thoughts of a dark and deviant subculture, living in a chaotic and destructive environment out of the sight and mind of mainstream America. Hollywood has skewed our views of prisoners, painting them as a seemingly irreparable subclass of humans that are only further downgraded and downtrodden by prison lives filled with violence and rape. Certainly the life of a prisoner is tough, and violence is inevitably present in prison systems where gangs frequently play a prominent role in social organization (Conover 2000). However, misconceptions regarding prisons are numerous, and such misconceptions play an important role in how the AIDS problem in prisons is viewed. For example, one of the most vivid, if not widespread misconceptions surrounding prisons are the stories of forced sexual activity and gang rapes—a view likely to lead an outsider to suspect that little can be done to prevent transmission of HIV among prisoners. In reality, this aspect of prison has been overdramatized and overemphasized, perhaps as a deliberate effort to amplify the purported deterring effect that the threat of a prison sentence has on crime. In fact, Ted Conover reports in his first-hand account of the infamous Sing-Sing, one of New York's most troubled maximum security prisons, that while "prison rape still occurs in New York and elsewhere," by far the most common type of prison sex, "after the autoerotic, is certainly consensual." He goes on to say, "I would even guess that, at least at Sing, sex between officers and inmates is presently more common than forcible sex between inmates" (Conover 2000). Such an example is a prime reason why prison officials, p oliticians and the general public alike need to focus not on the stereotypes of prison behavior, official codes of conduct, and expected or even legal behaviors, but rather what is actually occurring behind prison walls—illegal or legal, for better or for worse. If rape isn't as widespread in prisons as the average moviegoer might be willing to believe—at the very least, it certainly isn't an everyday occurrence—and prisoners are not allowed to have sex or use drugs, then can one expect to see lower incidences of AIDS in prisons? NO! As Conover's statement indicates, much of what goes on in prison isn't "supposed" to take place. Prisoners have sex with each other—most often consensually, but in some instances forcibly—and even with guards; they take drugs, both injecting and non-injecting; they get tattoos; they participate in fights that often involve the shedding of blood.

Providing Free Wi-Fi to New York City

Providing Free Wi-Fi to New York City Defining the Solution: New York City is a city with a large population of people, lots of skyscraping buildings, numerous businesses, and a lack of available free WI-FI service. Today we will be working on developing a way to provide free WI-FI to all of New York City. First we have to look at the reasons, resources needed, and problems which will be on the road to providing such service to New York City. To define the problem a little in depth, we need to find out the necessities needed. 1.There needs to be a study conducted to figure out how a system can be placed in a city that is so rich in life, but cluttered with buildings and minimal available space for equipment installation. 2. The city needs to campaign a project, letting the people know what they are trying to do to bring such service to them. 3. Bring in network companies to provide the service. 4. Chart a project cost budget: i. e. -material cost, man power, and location cost. 5. Sur vey areas where service will be needed most. 6. Survey and gather information from the population on what service provider they use and service plans are used most.This will ensure that there are no network conflicts when the free WI-FI project is completed. 7. Schedule meeting with companies and experts in these technical areas to gather information. This will be information that can be charted or graphed. 8. Analyze all information, graphs, and charts that they have, to see problem areas and solutions to other problem areas. I am expecting that there will be many roadblocks to the road success. There will be many obstacles that will have to be problem and we will overcome these problems.But to develop a way to make WI-FI available to all of New York City will be tough project. It will be a tough project, however with great organization it can be a successful project. I believe with reliable and professional teamwork, it will be available in the future. Generating a Solution: Defin ing the problem for developing a solution to provide free WI-FI for all of New York City has been addressed. We have categorized where the problems lay and discussed what is needed to show the problems that exist. Now that the problems are defined, solutions need to be generated to piece together he problems. In order to generate a solution, a team comprised of technology professionals, state officials, city officials, private and non-profit developer organizations, the voice of the people, and a list of detail equipment needed and the cost of the equipment will need to be brought together as one. First is to assemble a group of broadband and wireless experts, so we can gather possible answers to the defined problem. After getting a starting point, data needs to be portrayed on charts, reports, and diagrams. This information can then be brought to the attention of city and state officials.The voice of the people can be a key to what is being used and what is needed to suit their nee ds for wireless connection. So surveys need to be sent out, public hearing need to be set up, and gather information from wireless companies to see what is being used today by the people. When setting up a public hearing, a panel of expert will be needed to answer the question that the people may have. Also to seek answers the experts will have for the people so they can configure the amount of technology is needed to make the project possible.The roles of the city government and the private and non-profit developers can be a major factor on how and where to start the wireless project. We would need the approval from these groups to have a starting point. Also we would see what resources the city already have and what is needed to included in a report for financial purposes. The financial report is essential to show what is already available for use in the project and what resource is needed plus the cost for the needed equipment. Then a starting location(s) will be needed to begin the project.Possible locations (ie: city parks) for wireless hotspots can be a good starting expansion point. To generate a solution we need: 1. Broadband and Wireless Experts 2. Approval from the City Government 3. Private and Non-Profit Development Organizations 4. State Agency Resources 5. The voice of the people 6. Locations 7. Financial Resources 8. Financial Report of Resource and Equipment Cost The next step is to gather all the possible solution information and analyze the data. Deciding a Course of Action:In generating a solution, we have learned that there are a variety of resources that have to be looked at in order for a solution to be found. We found that a team of technical professionals (ie: wireless carrier companies, IT organizations, and city electrical development department) is needed for wireless development. The voice of the people; to see what wireless carriers are being used, to survey where they use it more, and where they would like to use the wireless serv ice at. State and city officials are needed to help implement the project by vote of approval. Private and non-profit organizations are needed to fund this project.Last is to purchase the equipment for wireless capability. Deciding a course of action for the solution means that we need to take a look at what is at the top of the priority list. At the top of the priority list would be to speak with technical professionals, to see if it is possible to supply the wireless without any possible signal problems to disrupt the use of wireless service. Through this we can generate a list of resources that are needed. After speaking with various technical professionals, we see that location is also a factor when it comes to wireless service.After conducting a grid survey, a decision is made to use local and state parks as areas for project development. Through this detailed reports and charts are made for state and city officials and private and non-profit development organizations to view t he results. Next a survey is sent out to the people to see if the technical professionals and grid survey team studies are correct. As the surveys are collected and read, it is determined that the studies are correct and the parks will be accurate locations for project development. With the completion of the surveys from the people, the information is then added to the project report.In addition to the report, survey charts are created to show the mapped locations for possible WIFI development service. Plus, bar and line charts will show why these locations were chosen, as well as additional charts to show the results of the surveys sent out to the people. Third course of action is to petition to speak with the state and city officials and present the report that can provide the Free WIFI access to the city and its people. By doing this, we can seek approval to start the development and to seek the both private and non-profit development organizations.These development organizations will help finance the development project and make it a reality. After attending numerous meetings with state and city officials, technical professionals, development organizations, and getting the approvals that is needed to start development. The last course of action is to purchase the equipment that will provide the WIFI service. The WIFI project will only give access in state and local park areas, this type of WIFI access service will be considered Hotspots or Hotzones for the free WIFI access. Implementing the Solution:Deciding the course of action has shown what the top priorities are and has helped develop the steps to getting started. Next is to implement the solution to make it a reality. A proposal was submitted to address state officials and local city council about the proposed project development. In turn we received a response from these governing offices that we will be heard on the subject of providing the Wi-Fi service to the city. Before we attend the scheduled d ay, we must overlook the project report and charts, to see that all the information is correct and formal.By going back and double checking everything will help us be more confident when we sell the idea, plus we will be well prepared to answer any questions that may be addressed. After looking over all the charts and the project report, it was noted that a project schedule timeline and a budget chart was not created. So we decided to send out a research team to determine how much time will be needed to complete the project and at what cost. First a Gantt chart is created to show the activity process, along with the months and year that each activity will be taking place.We can also have a visual schedule to see what task is in development and at when the deadline should be. Next is to create a budget list (chart). The chart will show the cost for employment of personnel (salaries& contracted personnel), equipment use (purchased or rented), Travel expenses (if any), technology suppl ies and equipment, and last is to show the projects overhead cost. A budget chart is vital when speaking to government officials and organizations funding the project. The project budget cost can be a factor if we get the funding and/or approval.Now that project report is completed and all the required information is within the report, we are now ready to present it to the government officials. As the day comes and all the important variables are presented to the council of officials, we wait till they discuss the development project. The development project finally receives the approval, which moves the project to the next part of the implement stage. Checking the Gantt chart, we see that we need to employ a development team. This team needs to consist of IT experts and professionals, project managers, and a team of hands on working professional.We also need to purchase all the necessary technological (laptops, desktops, software, and communication devices) and development equipmen t needed to start the project. Next we need to schedule several meeting with the major wireless carriers to introduce to project in development and to try to influence them to be the wireless provider company. In order to choose the right companies to contact, we will schedule a public meeting to speak with NYC residents. By doing this we can see who is the major providers that the public use.Through several public meetings, we find out that AT&T and Verizon is the two providers that are used to most. So we call and schedule a meeting with the board of directors from both companies. Plus we have to schedule the proper flights to get to the corporate offices for these companies. After several physical and telephone conference meetings, both corporate providers agree to be involved in the development and would immediately put together a team to assist our development team in installing the necessary networks that we need. Through this, a change is made on the Gantt chart to include th ese companies and their team.Plus any cost will also include into the budget chart. With all the project resources that is needed for this project have been brought together, the deployment stage of the project needs to be started. Several meetings are set up to introduce all the executives, project management, government officials, and funding organizations. Construction crews and technical personnel need to be hired. Equipment needs to be ordered and purchased before the start of the project. Checking the development location charts, it has been determined that wireless systems need to be placed on high level areas.So checking city maps and blueprints, we choose city skyscrapers that have the high altitude we need. Checking with the buildings management and owners, we started to implement the wireless system construction. As the project goes through the various stages of the development; we consistently monitor the Gantt chart to make sure that the project is on schedule, continue to check for any potential paradigm shifts that can cause a delay, make sure that there is coordination of all tasks and personnel, and evaluate each completed task along the way.Experimental test are conducted throughout the development stages, to make sure that all equipment if properly functioning and compatible with our needs. To avoid any possible setbacks, contingency plans are implemented and alternate plans are made. Any changes to the project must always be reported and charted to keep all departments updated and informed. As we can see, this development project has many variables while implementing any solutions. We have to keep on track during the process and evaluate all solutions as they presented.Evaluate the Solution With the implementation of the project development, we need to consistently evaluate the solution. By doing this we will see: if the solution is logical and solves the real problem, if the solution is (economically, environmentally, politically, and ethn ically) responsible and safe, does it meet all the criteria and constraints, is it blunder-free, have we argued the positive and negative sides of the project, and check the procedure and logic of the arguments.We also have to create an ethics checklist to see if it is legal (will it violate civil law or company policy? ), will it be a win/win situation, will it be fair to all concerned in both the short term and long term, and will I be proud during the development stages and/or conclusion. We also have to remind ourselves about â€Å"purpose†. What is the purpose of why we started this project and what is the purpose of seeing this thru till the end? I see this as a motivation tool to make sure that we maintain the excitement of the project.While we are evaluating the solution, we need to implement a contingency plan for each stage of the development process. This will ensure that there is a back-up plan if we experience a paradigm shift or the project is at a development d own fall. After conducting a thorough evaluation of the solution and development process, we come to the conclusion of the project. By taking the steps to seeing the project through from defining the solution to evaluating the