The Bauhaus wants to get involved in the advancement of present-day housing. It is noteworthy that the modern man does not acknowledge traditional way of life. As a result, he requires his house to be furnished with all the modern equipments and furniture. Similarly, the surrounding environment of the machine and the house should be affirmed.
These products must serve the purpose for which they are meant. The products from Bauhaus workshops are of diverse invention and thus the design gives a consumer a choice to pick from. The idea of Bauhaus setting up workshop was original, and consumers are the main beneficiaries.
Bauhaus believes that an object is defined by its surrounding thus before the construction of a house or purchasing of a vehicle one must first study its surrounding. It is a fact that the frequent embracing of the technology will make an individual develop an innovative mind. Similarly, Bauhaus highlights that the standardization of the housing products are an important concept in human life.
Most importantly, individuals tend to appreciate more the design of products than any other thing. When a machine that produces standardized products is used it will lead to production of cheaper and more advanced out puts. Consequently, there are no worries that standardization will restrict the consumers to appreciate and use limited designs.
Bauhaus workshops are meant for the identification and advancement of a product design.
In order to create models of the required standards, an experienced and excellent manpower is required. In addition, these should be individuals who are ready to give out their best potential to ensure they adhere to the set laws and regulations. Bauhaus depict that the difference between industry and crafts mainly lie on the type of tools that are employed.
Similarly, Bauhaus is cautious that the two phenomenons are starting to relate. The ancient crafts are distancing themselves from the modern crafts which are adapting new production units. It is evident that speculative experiments are done to produce models used in the implementation in factories.
The models that have been constructed by the Bauhaus are copied by other companies affiliated to it. The mode of production by Bauhaus does not make it possible for competition in both the crafts and the industry. On the contrary, this setting provides them with the required skill to enable them advance their skill.
The Bauhaus make use of the skilled and talented individuals who work as per the training they have attained. In the end, these individuals will go a head and take over from industries. Most importantly, the models produced by Bauhaus are sold at reasonable prices.
It is noteworthy that the basic needs of life are the same in all human beings. Human beings tend to get enslaved to good household models. As a result, Bauhaus has exploited these weaknesses by producing well designed prototype. These products go a long way and impress the consumers who consider both their quality and price.
Bauhaus came up with the workshop and so as to address the immediate need of the people. This mainly consisted of style and beauty of the modern culture. Bauhaus believed the local population admired the possession of good and modern equipments; the only problem was the fact that they were very expensive.
Creating a multimedia biography can become a real challenge because it requires making appropriate decisions pertaining to the choice of a digitally mediated platform and specificities of the future design. Moreover, creating an interesting and appealing presentation is also complicated.
Because this assignment requires reporting on the duties and job descriptions of child protective specialists and operating room technicians, the initial decision is to choose GoAnimate as the platform for designing the biography. The motivation for selecting this multimedia tool is the fact that animated biography is more attractive and it is easier to describe duties and occupations using videos instead of pictures. Moreover, this platform is easy to operate and it offers a wide range of backgrounds, objects, looks, and uniforms.
Child protective specialist (CPS) is an official title of a caseworker. This job relates to protecting children from neglect and abuse (Lee, 2016). CPSs carry out numerous tasks from conducting researches to working in administrative capacities (Ritter & Vakalahi, 2015). Their primary duties are to estimate the risks of neglect or abuse of a child within a family unit, save children from danger moving them to foster care or custody, interview and coordinate families and those interacting with unstable families on reducing risks of abuse and neglect, reporting on cases of abuse and neglect, etc. (NYC Administration for Childrens Services, n.d.).
As for operating room technicians, they are the licensed nurses, who possess practical skills necessary for assisting surgeons and other nurses during surgeries (Health Career Directory, n.d.). Their primary responsibility is to create an appropriate environment in the operating rooms (Henderson & Dolphin, 2007). Their duties include setting up and sterilizing instruments, preparing operating rooms and patients for surgeries, performing a variety of tasks during a surgery such as holding retractors, light, and equipment, passing instruments, assisting, etc. (Mitchell & Haroun, 2016).
The first decision is to create two short videos depicting primary duties of two occupations under investigation. It is motivated by the impossibility to connect them in one multimedia biography. The background of the presentation describing a child protective specialist is an office. It will show a woman in a suit working with piles of papers. Another second, she grabs a file and runs out of her office. The next moment, she interviews a family and some people interacting with its members.
Here, it is recommended to show a scared child. It is also vital to include some emotions and show that she is upset, surprised or satisfied with the interview as well as some comments or questions to make the working process understandable. Later, CPS will be shown reporting on the interview within her administrative unit and delivering recommendations to family members. The closing scene is a picture of a happy family and CPS highlighting the significance of this vocation.
As for creating a biography of an operating room technician, the idea is to begin with depicting a surgery. The operating room is full of surgeons and nurses. Every time one of them is puzzled and needs an instrument or assistance, a slightly visible figure performs every task. After a surgery is finished and everyone is out of the room, the scene will show a person cleaning everything up. The closing shot will portray a tired but smiling person wearing scrubs hinting at the invisibility but, at the same time, paramount importance of the fulfilled job.
References
Health Career Directory. (n.d.). Operating room technician.
Henderson, C. J., & Dolphin, J. ( 2007). Career opportunities in the Armed Forces. New York, NY: Ferguson.
Lee, T. (2016). Catching a case: Inequality and fear in New York Citys child welfare system. New Brunswick, NJ: Rutgers University Press.
Mitchell, D., & Haroun, L. (2016). Introduction to health care. Boston, MA: Cengage.
Alexey Brodovitch, a Russian-born in a wealthy and aristocratic family in 1898, but was forced into poverty and exile by the Bolshevik Revolution in early 1900s. Brodovitch, a supporter of the Tsar, was first admitted into the national Russian army, the white army, in his early youth (Coyne, 2003). However, like many of the Tsar supporters, he and his family fled Russia for Paris, France, in 1920 after the October Revolution broke out.
Impoverished and exiled, the family had to work on casual basis in Paris to meet their daily needs (Grundberg, 1999). At Montparnasse, France, Brodovitch found a community of Russian immigrants earning their living from artworks. He immediately gained interest in arts, first working as a painter of state set for Ballets Russes owned by Diaghilev (Coyne, 2003). Diaglevs approach to design and painting that inspirited Bolvitch to enter commercial arts and develop ideas on non-boundary between different types of arts. Brodovitchs flexibility in his works earned him a lot of respect and fame in artworks, especially in graphic design.
For instance, he was able to switch from one style and genre of arts to another, often using his own imaginations to produce quality and fascinating results (Grundberg, 1999). For instance, he would use basic colors and strict geometrical shapes in one work but switch to mixture of colors and non-o shapes in another topic (Purcell, 2002). In addition, he was politically sympathetic to the czarist Russian regime.
In fact, it has been argued that Brodovitch supported avante-garde ideas of art in designing. However, his works indicates that he supported the post-revolutionary arts that was predominantly non-political in origin. Therefore, Brondovitchs ability to innovate and adopt new ideas and flexibility of his style and ideology earned him the respect in obtained in both France and America. This is the most important aspect of his work that makes him one of the greatest artists and most influential graphic designers of the 20th century.
In a poster competition meant to search for the most innovatory designer in Paris, Brondovitch beat a number of his fellow Russians as well as French designers to emerge the winner. In fact, he even beat Picasso for the first prize. He obtained the right and privilege to design the Bal Banal poster, which marked the beginning of his long-term career as a graphic designer with the American fashion magazine, the Harpers Bazaar, that spanned over decades in the 20th century.
Brondovitchs desire to be an artist began early in his childhood, given that his mother was an amateur painter before the revolution (Purcell, 2002). The family had gained wealth with their work, the mother as a painter and the father, Cheslav Brondovitch, as a physician, huntsman and psychiatrist. However, he had no formal training in arts during his school days at the prestigious Prince Tenisheff School in St. Petersburg. Despite this, Brondovitchs interest in arts was still evident because he made sketches of noble Russians in Moscow, especially for citys concerts (Grundberg, 1999).
Although his first lessons in at Montparnasse were basically in painting, Brodovitch was willing and desiring to apply his innovative ideas and imaginations to venture into other genres of arts (Purcell, 2002). For instance, in the cosmopolitan Paris, a large population of artists were involved in the booming art business. Brodovitch was introduced to various arts movements, including the Dadaism, Suprematism, Constructivism, Bauhaus and Futurism among other movements.
However, the young Brodovitch was eager to use his own ideas and switch to follow his instincts and perceptions in arts (Remington & Hodik, 2009). For example, despite his training in painting, Brodovitch would spend most of his nights and weekends sketching designs for various items such as jewellery, textiles and china. In fact, by the time his contract with the Ballets Russes was over, Brodovitch has accumulated an extensive portfolio of his own projects and was already earning good cash from them. Within a few months period, he was practicing graphic design in some leading magazines in Paris such as the dArt and Arts et Metiers Graphiques and Cahiers dArt.
During his contract with Athelia, Brodovitch realised that most of the people in France, including his fellow artists, had a traditional taste and mentality in arts. In fact, he realised that he would not prosper if he stuck to the schools of thoughts and movements already competing with each other in the city and Europe in general (Grundberg, 1999). He therefore decided not only to practice freelance art career, but also to use applied arts, a relatively new movement that allowed an artist to embrace technical developments from all spheres of arts, including the old Roman, Greek and European styles in painting, the new industrial designs, photography and modern painting (Kroeger, 2008).
His decision was brilliant as shown in his venture into magazine world, which most traditional artists were not willing to do. For instance, although he was employed by Athelia on full-time basis, Brodovict found time to work as a freelance designer after realising that the Athelia as well as most other artists in the city were actually soaked in traditional art styles and movements (Purcell, 2002). Therefore, he went on to start his own studio, the LAtelier A.B. Here, he produced posters for a number of organizations such as the Cunard Shipping Corporation and the Union Radio Paris (Kroeger, 2008).
It is worth noting that Brodovitch could not have gained fame without the ability to embrace both contemporary and traditional ideologies in painting and designing. For instance, he attempted to balance between his modern designs and the classical Greek and Roman references in most of his works. For instance, in his ads for Athelia, Brodovitch applied the classical Greek and Roman ideas of strict geometrical shapes and primary colors for some sections of the design, but extensively applied mixture of colors and non-geometrical shapes to design other parts of the work (Coyne, 2003). In fact, his award-winning ad, the Bal Bannal poster, was made in this manner. In his later work at magazine publishing companies, Bodovitch extensively applied this technique, which made his works unique and attractive.
Brondovitc can also be considered as an innovator as well as an experimenter. For instance, he had a broad curiosity in developing his own ideas rather than sticking to the old styles of art common in Paris and Europe in general (Coyne, 2003). While still in France, he attempted to assimilate to, painting and design, taking the most interesting aspect of each field to design an ad. He would eventually make the final work his own. For example, Brodovitch attempted to apply a wide range of techniques such as industrial lacquers, airbrush, surgical knives and flexible steel needles (Kroeger, 2008).
Despite his prowess in arts and designing, Brodovicth lost much of his influence in Paris in 1920s. Again, showing his flexibility in arts, he decided to venture beyond France and Europe. In 1930, he left Paris for the US, arriving and settling in Philadelphia in the same year. Here, he established himself as a leading tutor and artist at the Museum of Industrial Art. He had the privilege to start a department of advertising design at the institution (Appadurai, 2001).
He was keen in introducing his own styles as well as the popular styles in Europe, most of which were still uncommon in America. However, it is worth noting that Brodovitchs interest was to popularise his new school of art that was largely based on innovation and application of personal ideas, classical styles and modern technologies. For instance, at the institution, he became the first person to introduce and teach cutting-edge magazines.
He also formed a design laboratory course at the institution, which attempted to use contemporary examples as well as technology in exploring new ideas and design possibilities (Purcell, 2002). This approach to arts influenced a number of his students, some of whom, like Irvin Penn, later established themselves as renowned graphic designers in the world of print magazine and newspapers.
However, it is clear that Brodovitchs fame as a leading graphic designer could probably not have reached its international level if he had not found a job at Harpers Bazaar in New York City. Due to his flexibility in applying styles, techniques and innovativeness, Brodovitch attracted the attention of Carmel Snow, an editor with the Harpers Bazaar. She suggested hiring Brodovitch as a director of arts at the magazine company. Again, Brodovitch portrayed his innovativeness and flexibility in his approach to making designs at the new company. Here, he attempted to apply surrealism in his layouts, which mostly featured small photographs.
He innovatively used white space and modern fonts (Purcell, 2002). He even ventured into photography, often taking photos and included them with drawings to come up with illustrations of articles for the magazine. In fact, most of his photos were small, often taken with a 35mm camera with slow time of exposure. This style, which was relatively new to American audience, became popular. In turn, his new style popularized the Harpers Bazaar magazine between 1936 and 1950s (Purcell, 2002).
Alongside other designers, Brodovict influenced the American magazines by including more photographs and experimenting with layouts and fonts. He even sought to match drawings and photographs with the expression of modernity in all his new designs. In fact, he experimented more than he used his previous approaches (Coyne, 2003). This new method brought dynamic changes to the American magazines and was even adopted in a number of leading magazines outside New York. For instance, the Vogue, a leading magazine, employed Penn in 1942 with an aim of introducing Brodovitchs ideas and approach to designs in their pages. Later, the magazine also hired Richard Avedon, another of Brodovithcs students at the institution in Philadelphia College of Art (Purcell, 2002).
From this review, it is clear that Brodovicth gained fame and recognition as the father of design from his flexibility and innovative approach to arts. It is probable that he could not have gained much respect in American magazines were it not for his ability to apply traditional styles with modern arts and experimenting with various technologies. While he was first trained as a painter, Brodovicts flexibility led him to switch careers, often mixing different field such as photography and drawing to come up with fascinating graphics.
References
Appadurai, A. (2001). Modernity at Large: Cultural Dimensions of Globalization. Cambridge, MA: The MIT Press.
Coyne, P. (2003). Alexey Brodovitch. Communication Arts, 44(8), 102-105.
Grundberg, A. (1999). Brodovitch: Masters of American Design. New York: Harry N Abrams.
Kroeger, M. (2008). Paul Rand: Conversations with Students. Princeton, NJ: Princeton Architectural Press.
Meggs, P. B. (2011). Meggs history of graphic design. New York: Wiley Publishers.
Purcell, K. W. (2002). Alexey Brodovitch. New York: Phaidon Press.
Remington, R. R., & Hodik, B. J. (2009). Nine pioneers in American graphic design. Cambridge, MA: The MIT Press.
United Arab Emirates is one of the fastest-growing economies in the Middle East which has been necessitated as a result of massive oil deposits and their high prices in the world market. This has increased revenue to the government and hence a lot of infrastructures are being put up some of which are unique to themselves in the world. In the Middle East, the summer period is usually characterized by hot and humid weather which therefore calls for appropriate measures to be put in place to ensure that the environment becomes conducive for human survival. Some of the measures to be put in place include building houses that will allow the room to be cool although the temperature outside may be recorded to have reached over forty degrees Celsius. This paper tries to explore some of the aspects of United Arab Emirates architecture that has made her a force to reckon with in the contemporary world. Furthermore, the paper looks at the positive and negative side effects of modern architecture in the UAE as well as her futuristic plans regarding the architecture.
According to the Oxford Business Group (2008), modern architecture has been described as the art and science of designing and putting up structures such as houses, offices, as well as museums. Modern architecture he says has mainly been used in the twentieth century because in this period there has been a lot of technological advancement and hence the need to match architecture with the modernizing society needs. In the United Arab Emirates, there are several structures that have been put up that have left many people amazed because of their unique architectural work involved. Some of them include the Palm Jumeriah, the World Burj Arab Hotel, Emirates Hotel, Sheikh Zayed Bridge, and the Khalifa Bridge. For example, the Khalifa Bridge is put up in such a way that when a ship is crossing to dock or coming from the dock, the bridge can open automatically to allow the ship to cross and close once the ship has gone past it. Today the Burj Dubai is the tallest building in the world.
Characteristics of modern architecture in the UAE
Freiberger (2007) notes that compared to the previous years of architectural work the modern architecture has a number of characteristics that are very different from buildings built about sixty to seventy years ago.
Use of software
Modern architecture has incorporated the use of computers and computer software to help in the designing of a structure. With the use of software such as AutoCAD and arch cad, the architecture is able to draw and design a structure in such a way that it is easier to note the probable weak points and thus put precautions to avoid an accident from happening.
Energy saving
In addition, Shane (2011) contends that due to the effect of global warming the architects are now designing houses that can retain energy which in turn is used in lighting up the houses. This way they can reduce the amount of carbon emitted in the atmosphere while using non-renewable sources of energy such as oil.
Government support
The government has also allowed the architects to think of anything that can be put up. Freiberger (2007) adds that there are no constraints on architectural vision, the artist is encouraged to dream the impossible and is free to create it. Another characteristic associated with modern architecture in the United Arab Emirates is the use of foreign technology in their work. The government has spent a lot of money in bringing in foreign expertise that has contributed immensely to revolutionizing her architectural sector. It is a result of this government commitment that previously unheard off structures have come up easily and safely.
Positive effects of modern architecture in the UAE
In everything that is invented, there must be the positive and negative things that are attributed to it no matter how good it is. Some of the positive effects of this include:
Revenue
The government revenue has increased from the earnings by tourists who come to visit some of these amazing structures. Salma (2010) contends that World Burj Arab Hotel had her rooms booked in the first three months after it was officially opened. He attributes this to the fact that many tourists wanted to have that first experience in sleeping in the world tallest building.
Sufficient energy
The other positive thing about the modern architecture in UAE is that there is sufficient supply of energy to almost all homesteads and in offices. This has been possible because the buildings have been made in such a way that they are able to store the energy from the sun for future use. This has led to decreased dependence on supply from the national grid.
Safety
Furthermore, the modern architecture has helped UAE to come up with structures that are safely constructed. With the use of modern calculating and measurement tools the architects are able to accurately come up with a very complicated design that is secure such as buildings and bridges. Their work has also helped in making air conditioning of houses possible and as result the life of the citizens made easier to live.
Negative effects of modern architecture in the UAE
On the other hand the modern architecture in the United Arab Emirates has been noted to have a number of side effects some of which include the following:
Cost of buying a house
The cost of acquiring a house for example has continued to on the rise because of the technology used in constructing it. Oxford Business Group (2008) has argued that houses built in the previous years are cheap because they lack some of the materials installed in the modern houses. As a result they argue that many potential home buyers have been locked out because they cannot afford the price attached to such houses.
Environment pollution
Although modern architecture has led to construction of modern industries, Shane (2011) says that these industries have continued to emit more carbon in the atmosphere thus contributing to environment pollution although it is considered minute compared to the ones emitted from China and the United States of America.
Futuristic plans of modern architecture in the UAE
Today the government of the United Arab Emirate has invested a lot of money in trying to come up with some of the building plans that have not been seen anywhere else in the world. For example Salma (2010) says that there is a plan to build a museum of the Middle East Modern Art that will be located in Dubai. There is also an attempt to come up with a building that has been described as the Rotating Tower in Motion that has been designed by David Fisher. Other futuristic plans of modern architecture in the UAE include the Saadiyat Island that was commissioned in 2007. Salma (2010) argues that Saadiyat Island is a giant perforated dome covering a series of galleries designed to look like an ancient city with a series of pods stretching out over the sea.
Conclusion
UAE is a country that hardly experiences rainy seasons. However, with the use of her natural resource, the oil, she has managed to transform her economy through her creativity in designing of buildings and other infrastructure. With the government assistance the local and international architects have been credited with this kind of transformation that has made even some of the worlds developed countries emulate her.
Reference List
Freiberger, M. (2007). Perfect buildings: the maths of modern architecture. Web.
Oxford Business Group. The Report: Ajman 2008. Dubai. Oxford Business Group.
Salma, S.D. (2010). The architecture of the United Arab Emirates. Bloomington: Garnet.
Shane, C. (2011). Frommers Dubai. West Sussex: Wiley Publishing, Inc.
Trends and fads produce a multitude of social influences on society. Humanity witnessed the emergence and development of various trends and fads. They come and go, changing the ways individuals perceive the surrounding reality.
The words Charleston , Stutz Bearcat , and Raccoon Coat date back to the 1920s, when young males sought to re-establish themselves in their culture through fashionable dress codes, expensive cars, and excellent dancing skills. Nothing has changed since then: raccoon coats are no longer fashionable, but trends and fads continue to dominate the hearts and minds of people, giving them a false sense of belonging to a privileged class.
In Shulmans story, as well as in the real world, a raccoon coat used to be a symbol of style and privilege among male college students. For Petey Bellows, the authors roommate, a raccoon coat is a matter of life vs. death: he wants a raccoon coat above anything in the world. He knows that to have a raccoon coat means to be in the swim (Shulman).
Petey believes that there is no way for him to outperform his peers other than to own a piece of fashionable clothes. He does not realize that being in the swim is the same as being lost in a gray crowd of people. That raccoon coats are unsanitary and weight too much means nothing to Petey (Shulman). He treats clothes as the sign of his privileged position and personal well being.
In the 1920s, the revival of raccoon coats was accompanied by the returning popularity of Charleston, which rapidly grew into a social mania. Charleston was inseparable from fashion. Those who did not follow the trend would doom themselves to social oblivion, isolation, and even rejection. At that time, a young student wearing a raccoon coat and dancing Charleston would be a secret dream for dozens of girls. Undoubtedly, a fashionable car added to the picture of personal prosperity.
Stutz Bearcat was one of the most fashionable cars in the 1920s.Shulman recalls how his father used to wear his raccoon coat in his Stutz Bearcat in 1925 . The car carried a deep, complex social meaning. It was a symbol of prosperity, a sign of privilege, and a symptom of wealth and fashion.
Shulman suggests that, back in his college years, his father used to be extremely fashionable. Simultaneously, the author is absolutely indifferent to these things. He tries to show that clothes, cars, and dancing skills have nothing to with personal uniqueness. Unfortunately, he fails to recognize the significance of these social codes, until his girl leaves to Petey, who wears a raccoon coat.
Nothing has changed since then. Raccoon coats are no longer fashionable, but trends and fads continue to dominate peoples hearts and minds. Ferraris, personal airplanes, Armani clothes and fashionable after-parties create an image of enormous material wealth. Like many years before, these items symbolize a social privilege but tell nothing about individuality and uniqueness.
The media spread the message of materialism, turning money into a self-goal. Inanimate objects replace individuality and uniqueness. They give a false sense of belonging to a privileged class but leave little room for personal development and growth.
Conclusion
Trends and fads come and go, but their social significance is difficult to underestimate. In the 1920s, raccoon coats, Stutz Bearcats and Charleston were the symbols of a privileged social position. Thousands of male college students would do anything to wear fashionable clothes and develop unique dancing skills; otherwise, they would doom themselves to oblivion, isolation, and social rejection.
Nothing has changed since then: raccoon coats are no longer fashionable, but trends and fads continue to dominate peoples hearts and minds. The media spread the message of materialism and turn money into a self-goal. Ferraris, Armani clothes, and fashionable after-parties create a picture of wealth and wellness. Unfortunately, they have nothing to do with individuality, uniqueness, self-development, and personal growth.
Works Cited
Shulman, Max. Love Is A Fallacy. AsknLearn, n.d. Web.
There are many reasons for choosing the Complex of Sultan Hassan for analysis. It is always educative to enjoy the beauty of the Old City. It is a good chance to learn the peculiarities of Egyptian architecture and understand a true cultural essence. The Complex of Sultan Hassan is a marvelous building of the Mamluks period. The mosque contains many tragic and mysterious facts ( The Rough Guide to Cairo 102). People of that epoch were not able to give the answers to several questions. The current researchers and philosophers continue making attempts and face a serious challenge analyzing its peculiarities.
Scratch
The current paper aims at investigating the Complex of Sultan Hassan, its general view, and religious importance. It is not enough to develop some historical perspective and prove its significance. It is more important to analyze the reasons why the building was created in the form of a rood (Ching, Jarzombek, and Prakash 458) and if its creators succeeded in their goals and needs. The Complex of Sultan Hassan contains several religious, philosophical, and political messages that should be defined by the current locals to study from the mistakes made in the past.
Description
If a person gets a chance to look at the mosque from above, it may become the beginning of a wonderful trip to the Complex of Sultan Hassan. From the sky, it looks like a rood with four defined endings that symbolized four different schools included in one construction. The general view of the complex does not differ considerably from other mosques of Egypt. However, look at it, a person may feel a kind of protection, power, and a piece of kindness. Is such a combination of feelings possible? If it is about the Complex of Sultan Hassan, it is possible. The building looks like a massive giant within the tiny streets of Cairo (Ansah 13).
People, who look at it or go inside, feel comfort and protection that they may need. Many researchers define the complex as one of the most compact monuments in the Islamic culture (El-Khateeb and Ismail 109). It is impressive indeed as it was inherent to the majority of buildings introduced during the Mamluks style. The Mamluks were able to survive and flourish even during the political or economic declines (Behrens-Abouseif 13). The representatives of the epoch attempted to change the meaning of the religious message they could leave: religious foundations were not ordinary foundations but the funerary memorial they could create for themselves and memorize their impact for a long period (Behrens-Abouseif 14).
History
The history of the complex is long and even tragic. During the seven years of building, first, the case of plague took the lives of many workers, and then, its creator, Sultan Hassan died two years before the building was finished. Some people said that he was betrayed and assassinated by his slaves, and some writers admit that he died in the war, and there was no actual body that is now introduced in the mosque (Williams 65). The historical overview of the construction itself and the methods of the building remain to be unknown, and people offer their guests. However, the only true and evident fact is that the financial costs spend on its construction were too high. Sultan did not want to economize on the buildings that could represent the spirit of the Mamluks over time.
Analysis
It is a known fact that Islam gives a function but not a form because the context can easily affect the form, environment, and the final message that has to be delivered (Embi and Abdullahi 27). In my opinion, the idea to make this complex performing the functions of a school, hospital, hotel, etc. (Costanzo 40) proves the possibility to analyze the populations needs and the governmental opportunities. Though not all sultans were eager to share their richness with their people, Sultan Hassan proved his intention to be a generous person. Still, many people find this political figure weak and uncertain because he was under the influence and a kind of control of the additional groups of people.
I think that the construction offered by Sultan Hassan is a symbolic chance to be protected against the most powerful and inevitable threats that are hard to avoid. People can make independent solutions and choose. Still, they are not always free to follow their own will, and the Complex of Sultan Hassan with its massiveness, calmness, and variety is a symbol of human hope that should be present in every person.
Conclusion
In general, the evaluation of the Complex of Sultan Hassan helps to understand that architecture is not only about the material and equipment used. Islamic architecture is full of sense and functionality. It is possible not to know the details of the construction, but it is impossible to avoid the meaning of each brick, frescoes, and window chosen. Even the plan of the mosque reminds the importance of religion and the necessity to unite different interests to survive under the most unfavorable conditions.
Works Cited
Ansah, Hassan. Life, Death, and Community in Cairos City of the Dead. Bloomington, IN: iUniverse, 2010. Print.
Behrens-Abouseif, Doris. The Arts of the Mamluks in Egypt and Syria: Evolution and Impact. Gottingen: V&R Unipress GmbH, 2012. Print.
Ching, Francis, D.K., Jarzombek, Mark, M., and Vikramaditya Prakash. A Global History of Architecture. Hoboken, NJ: John Wiley & Sons, 2010. Print.
Costanzo, Denise. What Architecture Means: Connecting Ideas and Design. New York, NY: Routledge, 2015. Print.
El-Khateeb, Ahmed and Mostafa Ismail. Sounds from the Past: The Acoustics of Sultan Hassan Mosque and Madrasa. Building Acoustics 14.2 (2007): 109-132.
Embi, Mohamed and Yahya Abdullahi. Evolution of Islamic Geometrical Patterns. GJAT 2.2 (2012): 27-39.
The Rough Guide to Cairo & the Pyramids. New York, NY: Penguin, 2011. Print.
Williams, Caroline. Islamic Monuments in Cairo: The Practical Guide. New York, NY: American University in Cairo Press, 2008. Print.
Information visualization is essentially meant to ease the comprehension of the information presented to a human being. It also helps present the complex data sequences and large informational arrays in a way that would employ computer graphics or schematic depiction of the subject (Moere and Purchase 356). Mostly, computer research was not expected to present the data in a fashionable way as it was focused more on the evidence itself. As time passed, numerous artists and designers appeared, and it opened new horizons for the developers of the applications that are intended to visualize information (Moere and Purchase 356). Simultaneously, the presence of the graphic designers amplified the number of people who could pay attention to what goes on at the screen, and this activity no longer demanded any special skills or experience (Moere and Purchase 356). With this capability of displaying composite data in a clear form, information visualization has become implemented in the numerous spheres of human life, including education, government, and other organizations (Moere and Purchase 357).
Another sphere that has been influenced by information visualization is popular media. But it is worth mentioning that even for entertainment, the role of the visualization is a lot more than just an emotional response to the conception of the presented information. Nonetheless, it is hard to objectively assess the visual quality of the design due to the inability to get insight into the objectives that were chased when working on one or another way of displaying the information (Moere and Purchase 361). It has been proved that there should be a reasonable balance between the practicality and visual appeal of the information visualization. The argument is that, despite the overall task-effectiveness, the visualization might lack numerous critical elements, such as a convenient (not useful) user interface, vibrant color scheme, and aesthetics (Moere and Purchase 361). It is also important that design research has been conducted for several decades, but information visualization has repeatedly been left behind. The key point is that careful strategy choices would help in combining both interactive and logical features of the visual design (Moere and Purchase 361).
Information visualization demands a thorough approach to the design, and there are several implicit necessities and restraints involved in this process. The main requirement is the practical balance between usefulness, soundness, and attractiveness (Moere and Purchase 362). The notion of usefulness, in this case, is in full compliance with the notions of effectiveness and accuracy. In general, this means that the design goes through the process of optimization in order to achieve the best results possible when it comes to the efficiency of the information visualization (Moere and Purchase 362). The term soundness is focused on the consistency and robustness of the design. At this point, it is useful to measure the efficiency of the program code, its information representation algorithms, and its ability to survive discrepancies in data density. The current design guidelines demand a comprehensive description of the visualization method used and expect that the user will be able to easily navigate through the application (Moere and Purchase 363). The attractiveness of a design cannot be objectively measured, but there are subjective means of assessment, which includes the users subjective feedback concerning the overall experience (Moere and Purchase 363).
While the aesthetics of the information visualization can be regarded as the most important aspect of the design of an application, it is reasonable to mention that there is practically no evidence to the unambiguous expectations connected to the attractiveness attribute (Moere and Purchase 363). This is why Lau and Vande Moere proposed the new term, information aesthetics, and outlined the three likely features that have an impact on the engagement of the user into the activities that involve interaction with the given graphic representation of the data (Moere and Purchase 364). Those three features are design eminence, data emphasis, and user interface. The assessment of these points might help in identifying the extent to which the design can be called attractive. On the other hand, aesthetics can also be viewed as a topic that does not require any controversy for the reason that people may not realize why they see an item aesthetically attractive and do not have the need to scrutinize it (Moere and Purchase 364).
On a bigger scale, the excellence of information visualization depends not only on the pioneering decisions that relate to the visual structuring of the design but on the minor factors as well (such as font or color palette) (Moere and Purchase 365). The responsibility for the implementation of these features lies in the designer. This individual should be able to evaluate and intellectualize the information visualization, authenticate and assess the possible resolutions, and make the decision based on the collected evidence (Moere and Purchase 365). The other important aspects of design are design cases. There are numerous possible advantages of presenting design samples inside information visualization. The design can be utilized in the investigation, for instance, by producing visualization models to determine the systematic contributions (design-focused study), or a classic design method can apply definite research methods, such as when problems cannot be solved using the present development methodology (research-focused design) (Moere and Purchase 366).
The area of visualization studies bears a resemblance to archetypal theoretical investigation activities similar to a methodical analysis, the objective of which is to complement expressive and empirically confirmed perceptions to a comprehensive form of knowledge (Moere and Purchase 367). Its key objectives are to recognize, explicate, and foresee. The amalgamation of its historical setting in information technology and the utilization of high-level application spheres means the scientific investigation community has inclined to concentrate on the usefulness and soundness in conception, principally ignoring the importance of attractiveness (Moere and Purchase 367). A visualization designer may even realize the design development to be the aim of the hypothetical research. Nevertheless, a change in research emphasis from an examination of present information visualization practices to the distribution of original concepts that aim for replication and modification in approach may necessitate a noteworthy model shift in how the domain is professed and how the study is conducted (Moere and Purchase 368).
Although the events within the three fields might seem comparable in some real life circumstances, it is beneficial to distinguish their alterations with the intention of accepting design as a cross-disciplinary study that can enable the distribution of respected knowledge. All three areas generate numerous categories of information visualization, each from its own exclusive viewpoint (Moere and Purchase 368). The authors of the article believe that the modernization will transpire in the center of the triangle, where the three areas interconnect.
Work Cited
Moere, A., and H. Purchase. On the Role of Design in Information Visualization. Information Visualization 10.4 (2011): 356-71. Web.
Flat design refers to a genre in the field of interface design that involves the application of simple elements of design to increase functionality (Pratas, 2014). This simplicity is characterized by the elimination of stylistic features such as gradients, faux-realistic features, and drop shadows that complicate interface designs (Clum, 2013). Many designers choose a flat design because it enables them to design websites that are user friendly by streamlining various aspects of interface design.
Examples of common features of this genre of design include open spaces, bright colours, clearly defined edges, and unsophisticated illustrations (Clum, 2013). It goes against traditional design styles that emphasize the use of flashy illustrations, animations, drop shadows, and other styles that make deigns complex. The flat design eliminates ornamentals because they clutter interfaces and make them unfriendly to users. Designers eliminate aspects that distract users and lower the quality of their experiences (Clum, 2013).
Some design experts describe this genre as dull, boring, and highly conservative. However, this description is erroneous because designers use bright colours to grab the attention of users. The presence of a few images and illustrations contributes towards the enhancement of functionality (Pratas, 2014). Flat design has many advantages that make it the preferred style of interface design among designers. The use of simple images facilitates the conveyance of messages and thus makes interfaces easy to use (Clum, 2013).
Flat design is widely accepted because of its simplicity, effectiveness, and appreciation for design as a functional tool. It advocates the functionality of websites as opposed to their appearance. The focus on functionality means that website designers are more concerned about the quality of user experiences than the aesthetic appearance. Therefore, websites that apply this style are more likely to be described as user-friendly compared to websites that apply other design styles.
Advancements in technology have introduced several devices that access the internet. The flat design provides a method to design interfaces that enable users to access websites of varied sizes in different gadgets without encountering challenges such as long response time (Clum, 2013). Websites that possess minimal design features load faster respond swiftly to user commands and resize easily when accessed from different types of technological devices (Pratas, 2014).
Proponents of flat design criticize the genre by claiming that it is a fad that will not last for long. They argue that lack of important features such as drop shadows deny users certain experiences. Designers use bright colours and simple typography to eliminate the need for complex illustrations. In addition, they apply user interface elements that enhance the visual and functional characteristics of user interfaces. An example of flat design is Windows 8 by that was developed by Microsoft Corporation. It is characterized by the use of icon-like images to represent certain objects. Elements such as icons eradicate the need for complex illustrations that are favoured by other styles such as skeuomorphic design. Flat design is a revolutionary style that has been embraced by many interface designers.
The transportation infrastructure plays a significant role in our lives as it enables us to efficiently move from one place to another. Pavements are an essential part of our modern life as they are used as roads, runways, parking lots and driveways. These structures are used as an indicator of the development level of a country. Lay reveals that the total paved road mileage is often used as a measure of a countrys development (1).
As engineered structures, pavements are required to be strong and durable through the course of their life. They are expected to provide a smooth travelling surface in the face of different weather conditions and physical strain from the loads they are subjected to. The design and construction of pavements is therefore of great significance since it contributes to their proper functioning. Historically, pavements are divided into two major categories, which are flexible pavements and rigid pavements. These two pavement types are constructed in different ways and they have different advantages and disadvantages. This paper will set out to discuss pavements with a focus on rigid and flexible pavements. It will discuss the advantages and disadvantages of the two and proceed to highlight the differences between the two and argue that the rigid pavement is better.
The Role of Pavements
Pavements are constructed to fulfil some important functions in transportation. The first major function is to withstand the load from vehicles on the road or aircrafts in airports, without deforming. Pavements are covered with layered surfaces that ensure that the load is spread out so that the resulting stress at the bottom later is very low and therefore does not cause any damage (Lay 1). Numerous vehicles can therefore use a road network each day without suffering from significant deforming. Without a pavement, road surfaces would be eroded or suffer from depressions after continued use and this would make travelling on the road difficult.
Pavements also ensure that environmental factors such as rain do not interfere with the transportation surface. Without a pavement, road conditions are adversely affected by weather conditions such as rain and snow (Mallick and El-Korchi 45). Pavement design factors in the various effects of weather and ensures that their impact on the road surface is minimal. For example, during design engineers consider the effect that water can have on a road surface and provide adequate draining on the surface. Proper drainage ensures that vehicles can travel with little difficulty even during raining seasons.
Rigid Pavements
The rigid pavement is made of a number of layers that are placed above the subgrade soil. An important characteristic of these pavements is that they include reinforcements. Steel reinforcements increase the strength of the pavement and its ability to support heavy loads. The top layer is the concrete slab, which provides the structural support for the vehicle load that will use the pavement. The surface is designed to withstand the repeated loadings it will be subjected to over its years of service. The rigid pavements surface is mostly constructed using Portland cement concrete. This material is preferred due to its wide availability and lower cost (Fwa 92). The next layer is the sub base, which provides the stable platform on which the surface layer is placed. The final layer is the subgrade, which is the compacted soil layer on which the rigid pavement rests.
The rigid pavement is able to produce a relatively uniform distribution of pressure from the traffic load on the surface to the subgrade. The stress developed at the surface is not transmitted to the lower layers, which is why these pavements are suited for areas where the soil sub-grade is weak. Fwa reveals that rigid pavements are mostly found in major highways and airports (92). These types of pavements also serve as floor slabs in heavy-duty industries and surface coverings for harbor yards.
Advantages
A major advantage of rigid pavements is that they have a long design life. These pavements can be expected to have a service life of between 30 and 40 years. This long lifespan is attributed to the durability of the concrete slab used as the surface of the pavements. Since the road will not have to be replaced for decades, it provides a good return on investment. Fwa admits that the designed life of the pavement is likely to be less than the actual service life (83). One reason for this is that it is difficult to predict the future traffic that the pavement will be expected to carry. However, even when these factors are considered, the rigid pavement still has a long life span.
Another significant merit is the low maintenance cost of the road over its service life. The concrete slab is very durable and resistant to many forms of damages. Routine maintenance mostly involve sealing of joints and cracks as needed (Mallick and El-Korchi 87). The pavement surface generally remains intact over its lifetime. The pavement is resistant to damage from chemicals and oil that might be spilt on it. During the service life of the pavement, it is likely to experience frequent contact with chemical and oil spills from the vehicles that travel on it. The rigid pavement is not damaged by these spills since the concrete surface is not affected.
These pavement types provide a smooth finish and the road has better visibility. This makes it more comfortable and safe to drive on the rigid pavement. The cement slab used at the surface makes it possible to provide a smooth finish that makes driving enjoyable. Ramsamooj notes that a good cement surface is smooth and free from potholes (132). In addition to this, the surface does not reflect light in the way that the flexible pavement does and as such, there is no glare or mirage on the road surface. Drivers are therefore able to enjoy better visibility when using the rigid pavement.
Disadvantages
A significant demerit of rigid pavement is that it requires a high initial investment. The construction process for rigid pavements is elaborate and this combined with the high cost of the materials used makes the initial cost of this type of pavement high. The average cost of constructing a rigid pavement might be as high as $8 per square foot and this figure can increase if reinforced steel and a frost protection layer is included in the pavement (Merrill 103).
The construct of rigid pavements is complicated by the need for expansion joints to prevent cracking. The concrete used to make these pavements lacks the ability to freely contract and expand under thermal stresses. Engineers therefore have to make provision for this by including expansion joints in the pavement (Fwa 86). In addition to this, rigid pavements do not support phased construction since the entire stretch of road has to be constructed at the same time. This is a disadvantage since a phased approach might be more time and cost effective.
Flexible Pavement
The flexible pavement is made up of a surface and a number of layers build over the compacted subgrade, which is the natural soil. The various layers include a surface, base course, and sub base, which are made up of varying materials. The surface layer is made of asphalt concrete, which is hot-mix asphalt. Mancy and Atiq document that the main stages of flexible pavement construction include manufacturing and hauling of hot bituminous mixture, and the spreading and compaction of hot mix bitumen (310).The base course is made up of aggregate base that are unstabilized. Fwa notes that in some cases, the aggregate base could be stabilized using stabilizing agents such as Portland cement or asphalt (82). The sub base is made of unstabilized open-graded crushed aggregate material, which could as well be stabilized using cement.
By looking at the various layers of the flexible pavement, it can be seen that the highest quality material is used at the surface. The quality of material decreases as the depth increases and the lowest quality material is used at the bottom. The reason for this is that when traffic load is applied on the surface, localized deformation occurs in the area on which the load is pressing. As the pressure moves downwards, it is distributed over a larger area of the pavement (Lay 204). Since the surface experiences the greatest pressure, it has to be made of the highest quality. Once the load is removed, the pavement layers rebound.
Advantages
A major advantage of flexible pavements is that they have a lower initial cost, which makes them easier to implement when cost is a major consideration in the project. The construction process used in making flexible pavements is relatively simple and the materials used are not costly. Safwat reveals that the cost of a square foot of flexible pavement might be as low as $2 (81). This low cost provides an economic motivation for the pavement type to be implemented in many locations.
Flexible pavements support phased construction, which increases the efficiency and ease of the construction effort. Lay notes that it is not necessary to build an entire stretch of the flexible pavement at a go (44). Contractors can therefore engage in stage construction, which offers many benefits as parts of the pavement can be finished and opened to traffic before moving on to the next part.
Finally, the flexible pavement is ready for use as soon as construction work is completed. As a result, this pavement type causes minimal interference during constructed. In most cases, road construction involves expanding an existing road or upgrading a road that is already in use. The construction effort results in traffic dislocation as vehicles are forced to use other routes while the road is under construction. With Flexible pavement, traffic can be allowed to move on the pavement as soon as it has been rolled out (Lay 182).
Disadvantages
A significant disadvantage of this pavement is the high maintenance cost incurred. Flexible pavements are more prone to damage and routine maintenance are needed to keep the surface in good form. The maintenance activities include sealing of the pavement surface, patching, and sealing of cracks as needed (Chiu and Zhongren 179). Due to the frequency with which these activities have to be performed, the cost of maintenance over the service life of the pavement is considered high.
Flexible pavements are unable to support very heavy loads due to their low flexural strength. The pavements ability to support the load is dependent on the strength of the subgrade and this limits the maximum load that the pavement can accommodate especially when the sub grade is weak (Chiu and Zhongren 181). This makes the pavement unsuitable for roads that will constantly incur heavy traffic in areas with weak subgrade.
Due to its physical make up, it is prone to damage from chemicals and oil spills. A major component of flexible pavements is bitumen, which is used to make the surface layer. This component breaks down when exposed to certain chemicals and oil (Merrill 102). As vehicles pass over the road, it can be expected that oil spills from the vehicles will fall on the road surface regularly. Other chemicals might also get to the pavement surface. The pavement will be damaged by this, which will decrease its life span and necessitate expensive maintenance.
A Comparison of Rigid Pavements and Flexible Pavements
A difference between the pavements is their reaction to weight loads. Flexible pavements are designed to deform when a load is placed on the surface and transfer the pressure to the lower layers. The Rigid pavement is designed to spread the load stresses to a wide region on the surface (Ramsamooj 99). The pressure is not transferred to the lower layers. As such, while the flexible pavement is designed to take advantage of the load-distributing characteristic of the layers making up the pavement, the rigid pavement is designed to take advantage of the strength of the concrete slab.
The two forms of pavement are suitable for different soil conditions. Flexible pavements are ideal for hard subgrades such as gravelly materials. Ramsamooj explains that the flexible pavements utilize the inherent strength of the lower layers and as such, a naturally strong sub layer is desirable (98). Rigid pavements are preferred for soft but uniform clay subgrades. The rigid pavement spreads the load over a large area therefore reducing the stresses on the subgrade. A soft uniform subgrade will therefore not experience excessive pressure when this pavement type is used.
A significant difference between the two pavements is the scientific method used in their design. The rigid pavement is designed using precise scientific data on the stresses of concrete. Rigorous calculations are made to determine the level of stress that the concrete can withstand and the pavement is constructed based on this data. It is therefore easy to predict the behavior of the surface when subjected to a load. On the other hand, flexible pavement design is mostly empirical in nature.
There is no exact scientific data to determine the manner in which the stress is distributed to the lower layers when a load is place on the surface. Fwa admits that the design of flexible pavements has evolved throughout the years from pure empirical to mechanist empirical (84). There is no pure mechanistic method of design for this pavement type. The load-carrying capacity of the flexible pavement can only be determined using empirical data obtained from various implemented flexible pavements.
The rigid pavement is more prone to cracking failure compared to the flexible pavement. A number of factors cause this cracking, most important of which are the load-induced tension and thermally induced tension. Heat on the road surface leads to tensile stresses that can adversely affect the integrity of the surface. Fwa reveals that thermal stresses are a major design concern when constructing rigid pavements (93). Flexible pavements are not prone to cracking as they react differently to heat. Safwat reports that while the bituminous layers in the flexible pavement are sensitive to changes in temperature, heat does not cause them to crack (80). When the pavement surface is subjected to high temperatures, the asphalt concrete softens. It is therefore not likely to crack as the rigid pavement does under high temperature conditions.
There is a difference in the impact that the strength of the subgrade has on the rigid and flexible pavement. In the rigid pavement, slight variations in the strength of the subgrade will not have significant effects on the load bearing capacity of the pavement (Mallick and El-Korchi 62). On the other hand, the strength of the subgrade is of great significance to the flexible pavement and even minor variations in the subgrade strength will affect the structural capacity of the flexible pavement. While the rigid pavement is able to maintain a flat top surface even when the subgrade strength has minor variations, the surface of the flexible pavement reflects the subgrade strength variations through surface depressions.
The Better Pavement
From the discussions held in this paper, it is evident that the two types of pavements have different merits and demerits. They are best suited for different areas and the choice for the suitable pavement may be determined by factors such as cost consideration, project schedule, and expected traffic load. However, the rigid pavement is the better type of pavement. To begin with, this pavement offers superior performance and a better value for the initial investment. Merrill observes that many countries are interested in long-life pavements that are able to accommodate increasing traffic loads as the years pass by (101). The rigid pavement is able to offer this long-life and the ability to bear heavy loads without rapid deterioration.
Another reason why the rigid pavement is better is that it is able to deliver strong pavements regardless of the natural property of the soil. When constructing a rigid pavement, the strength of the concrete slab determines the strength of the road since the load will be distributed on this surface. The flexural strength of the pavement surface therefore determines how strong a pavement is (Mallick and El-Korchi 62).
This strength can be adjusted by using various material and engineering practices. The strength of the flexible pavement is largely determined by the sub grade since the load is eventually transferred to this layer. This limits the strength of the pavement since it is dictated by the natural properties of the soil. It would be desirable for the contractors to achieve any strength level they want as opposed to having the subgrade dictate the strength of the pavement.
Conclusion
This paper set out to discuss the rigid and flexible type of pavements in order to show that the rigid pavement is better. It began by documenting the important functions fulfilled by pavements in our society. The two types of pavements were then discussed in details and their merits and demerits elaborated. The paper has engaged in a comparison of the two pavement types in order to highlight their major differences. It has concluded by stated that the rigid pavement is superior since it offers a longer life and its strength is not limited by the natural properties of the soil on which the pavement is laid.
Works Cited
Chiu, Liu, and Zhongren Wang. Effect of Narrowing Traffic Lanes on Pavement Damage. International Journal of Pavement Engineering 4.3 (2004), 177-180. Web.
Fwa, Tien. The Handbook of Highway Engineering. Florida: CRC Press, 2005. Print.
Mallick, Rajib and El-Korchi Tahar. Pavement Engineering: Principles and Practice. Florida: CRC Press, 2013. Print.
Mancy, Ahmed and Atiq Riza. Expert System to Control Construction Problems in Flexible Pavements. Computer-Aided Civil & Infrastructure Engineering 28.4 (2013): 307-323. Web.
Merrill, Daniel. A review of practical experience throughout Europe on deterioration in fully-flexible and semi-rigid long-life pavements. International Journal of Pavement Engineering 7.2 (2006): 101-109. Web.
Ramsamooj, Dindial. Rational Structural Design of Highway/Airport Pavements: New EVAPAVE, the Strongest & Toughest Paving Material. London: AuthorHouse, 2014. Print.
Safwat, Said. Fatigue Life Evaluation of Flexible Pavement. International Journal of Pavement Research & Technology 4.2 (2011): 80-88. Web.
Tutankhamun who was also known as king Tut was an Egyptian king who ruled in the 18th dynasty. He became a king at the age of nine years and at the age of 19 years he died. He cannot be credited as one of the greatest Egyptian Kings probably because he only ruled for nine years and at a very tender age.
He was buried in a small tomb and for many years the tomb was overlooked (Phil 25). In 1922, Howard Carter discovered this tomb and surprisingly it was almost intact. This essay is a short summary of the art of King Tutankhamuns Tomb and its significance.
Discovery of the Tomb
In November 1922, Howard Carter together with the help of Lord Carnarvon discovered the tomb of King Tutankhamun and George Herbert was responsible for funding the project. Amazingly, the tomb was almost intact. According to research around 3500 treasures laid there nearly undisturbed for at least 3000 years.
This gives us an insight of the reasons why ancient tombs were robbed. If all these treasures were found in such a small tomb that they even forgot about, how much more treasures were found in grandest of the tombs? (Mark 1)
It is known that the tombs of the Egyptians kings were filled with much treasure. Depending on how powerful and great a king was his tomb would be proportionally rich. That meant that less powerful kings had smaller tombs which were filled with less treasure and art.
The fact that the tomb of king Tut was not constructed in a manner that could easily be identified meant that he was not of much significance. The surprising fact is that upon the discovery and excavation of the tomb, there were so many treasures in the tomb (Bayuk 1).
The entrance of the tomb was at the base of a sloping hill. The entrance was in form of a staircase as seen in the above sketch. The interior design consisted of corridors and chambers. There were four chambers in the following order from the entrance: antechamber, annex, burial chamber and treasury.
The maximum tomb height measured 3.68 meters, the minimum width was found to be 0.66 meters with the maximum width being 7.86 meters. The total length was found to be 30.79 meters and a total area of 109.83 squared meters with a total volume of 277.01 squared meters (Mark 1).
The tomb was an underground construction with several sections. The burial chamber was of great interest because it contained most of the art and kings remains. The treasury was kept in a section next to the burial chamber. The excavators did not find the tomb completely intact raising suspicion of a possibility of thieves robbing the tomb probably immediately after the burial of the king and sealing of the tomb (Mark 1).
The excavation is said to have led to the recover of the following objects, accessories, clothing, cosmetic equipment, furniture, game equipment, human mummies, lighting equipment, models, mummy trappings, scarabs and seals, sculpture, tomb equipment, transport, vegetal remains, vessels, and warfare and hunting equipment (Mark 1).
The first art and equally treasure which was in the burial chamber was the gold inner coffin. After being mummified, a king was laid to rest in such a cabin. This is obviously an indication of a very rich kingdom or we can make an assumption that gold was readily available but whichever was the case it was truly a show of a great respect for the departing king.
It was noted that only the burial chamber was decorated. The walls of the burial chambers had a golden background. On the west wall, there were ape sketches of the first hour of Amduat (Mark 1). A vivid description of the art decoration on the walls of burial chambers is as follows:
On the south wall the king is followed by Anubis as he appears before Hathor. Here, there is also a scene of the King being welcomed into the underworld by Hathor, Anubis and Isis. The north wall depicts the King before Nut with the royal ka embracing Osiris. Finally, on the east wall, Tutankhamuns mother is depicted being pulled on a sledge during the funeral procession. Within the procession are two viziers to the king, and a third person who might be Horemheb. (Mark 1)
The burial chamber must have taken a lot of time to prepare. More arts work found in the burial chamber.
The treasury chamber must have contained a lot of treasury. It can be assumed that this was probably the target of the thieves who are said to have been keen on robbing the kings tombs (Vermon 1). From the architecture of the tomb, the thieves must have done some extra work to reach the treasury owing to its far location from the entrance.
Conclusion
Tutankhamuns tomb is well known in the world for been one of the best preserved tombs in the world. The artifact in Tutankhamuns tomb which was full of treasures has made a lot of people including archaeologist and scientist develop interest about ancient Egypt daily life. King Tutankhamuns tomb even today continues to puzzle scientists and archeologists.
Works Cited
Bayuk, Andrew. The Boy king. Guardians, 2005. Web.
Lorenzi, Rossella. Inside King Kuts Tomb. Discovery News, 2011. Web.