Orientalism refers to the imitation and the depiction of various aspects of Eastern cultures, which include Middle Eastern, South and East Asian, and African cultures. Artists, designers, and writers from the West are involved in the depictions. Orientalism is mostly common amongst scholars in cultural studies, literature, and art historians (Saleh, 1998a). This synthesis paper explores the trend in Middle-East urban development as criticized by architect Reem Alissa. The paper will also offer a stand on whether to uphold Reem Alissas rejection of the orientalist architecture coupled with demonstrating the positive aspects associated with the alternative.
The architectural trend in the Middle Eastern urban development
In her view concerning the architectural orientalist, Reem Alissa holds that Islamic architecture started as an orientalist construction. The trend, which Reel criticizes in her quote, is the traditional architectural elements that have been popular in the re-invention of cities in the Middle East. This new trend has the objective of ensuring that the Gulf remains a particular identity. Therefore, mega projects that possess symbols that represent the heritage and culture of the Arabic people have been established. Traditional architecture elements have been imposed when constructing modern buildings so that the attempts to assert the Arabic identity can be achieved.
Reel Alisha criticizes the traditional architectural elements that are emerging in the building of modern cities in the Middle East because they focus on upholding the Islamic principles without considering the current trends brought about by globalization. Besides, the construction of most Islamic cities was based on the ideologies of the Western authorities that made up small samples of pre-modern Arab cities during the period of Westernization.
Moreover, Reem Alissa criticizes this approach because the Arab countries, which are trying to recreate their cities by incorporating traditional architectural elements, focus on the outcomes but not on the processes. This aspect is inappropriate because the cities are processed but not products. The idea of planners to build cities based on the Islamic patterns will lead to failure, thus coinciding with the grounds that Reem Alissa has based her criticism (Abu-Lughod, 1987).
Reem also criticizes the re-invention of Islamic cities based on traditional architecture elements because the historic cities were developed during the pre-modern times in the Islamic lands. These reinventions were highly subjected to non-Islamic factors that included terrain, technology, political variables, and production among other factors that were shaped by varying circumstances.
An example of the traditional architectural trend in the Gulf
Various traditional architecture trends have been incorporated in Middle East urban development. One of these trends that have taken preeminence in the Gulf is the theming of cities and especially Dubai. Theming entails the association of a narrative to some given institutions or destinations whereby the origin of the theme is externally oriented. Theming has the sole motive of remanufacturing and re-inventing the heritage of the Gulf. Built-up environments are thus themed to construct spaces that enshrine symbolic meaning from regions around the Persian Gulf thereby communicating some meaning to the inhabitants by using architectural elements that are deliberately selected (Saleh, 1998b).
This paper will focus on the theming phenomenon as evidenced in Dubai to narrow down the trend of theming as exhibited in most Middle East cities. Dubai is a global city that has employed architecture designs in shaping its iconic image. This destination has mega projects that comprise symbols that communicate its heritage and culture. Most of these symbols originate from religion, thus rendering Dubai trading, business, and tourist hub for the entire Gulf region (Sakr, 2008).
Dubai has various themed environments that bear huge visual impacts with the example of the Jumeirah Bab Al Shams Desert Resort & Spa, which is themed with the traditional Arabic fort setting. The resort has designs that imitate different references that were borrowed from the history of other Persian and Arabic cities. The re-invested style employed architectural skills and art history to bring forth its association and affinity with the local inheritance.
Another project in Dubai that seeks to exhibit theming as an architectural trend is the cultural village. The project seeks to advance culture and create an illusion of local heritage through the incorporation of architecture. Theming has resulted in the emerging trends by bringing about significant changes in the physical structure of Dubai city, thus creating the standardization of the contemporary global tourist cities. These architectural practices aim to attract numerous tourists by enhancing local legacy and the formation of authentic experiences (Adham, 2008).
Additionally, to recover the identity of Dubai, new architectural elements that entail an Arabic style have recently been stressed in urban development along the Gulf. Most buildings are burdened by various decorative motifs, thus creating a national identity for Dubai among other cities that have embraced this architectural trend in the region. (Sakr, 2008).
Positive aspects affiliated with re-invention of cities based on the trend of traditional architectural elements
Building new cities while incorporating traditional architectural elements is a significant milestone for achieving prosperity in urban development in either the Middle East or elsewhere. The trend has resulted in a construction boom in the Gulf region with Dubai being one of the cities where the effects have been intense (Adham, 2008).
Theming as one of the trends in the reconstruction has enabled many cities to conjure up some images that have attracted business people and tourists. Due to the competition emerging from the current global capitalist system, the re-invention of architectural heritage has become mandatory in the conveyance of message that converts the design into some emotional impacts resulting in entertainment (Mubarak, 2004).
Furthermore, the building of new cities based on this trend either for work or leisure purposes has promoted the privacy and isolation of places in the Gulf from other existing cities. The scenario has helped the cities acquire a sense of identity due to their incorporations on traditional architectural elements. The uniqueness coming from the re-invented cities has formed the basis of attracting not only tourists but also global entrepreneurs who have established business gaps in such re-invented cities like Dubai (Adham, 2008).
However, most critics hold that the Dubais primary role is to attract investment from real estate and tourism industries, and thus outsiders enjoy the new architectural style at the expense of nationalists who are suffering from deprived national architectural identity in their native city (Mubarak, 2004).
Conclusion
Various trends have been witnessed in the Middle Eastern urban development. Reem Alissa criticizes the traditional architectural trends because they tend to uphold Islamic principles without considering the current trends of globalization. Besides, Alissa argues that the construction of most Islamic cities was based on Western authorities and the architectural trends focused on outcomes as opposed to processes.
An example of a re-invented traditional architectural trend is exhibited by the theming of Dubai to conserve its heritage and identity. Some of the positive aspects associated with the incorporation of the traditional architectural trends in the invention of new cities include the attraction of entrepreneurs and tourists in such areas alongside the preservation of privacy and autonomy of metropolises.
References
Abu-Lughod, J. L. (1987). The Islamic cityHistoric myth, Islamic essence, and Contemporary relevance. International Journal of Middle East Studies, 19(2), 155-176.
Adham, K. (2008). The Theming of Arabia: Cultural Capitalism and the Re-invention of Tradition in the Persian Gulf. IAESTE Working Paper Series, 221, 1-25.
Mubarak, F. A. (2004). Urban growth boundary policy and residential suburbanization: Riyadh, Saudi Arabia. Habitat International, 28(4), 567-591.
Sakr, M. M. (2008). Creating the Arabian Architectural Style. In J. Al-Qawasmi, A. Moustafa & K. Mitchell (Eds.), Instant Cities: Emergent Trends in Architecture and Urbanism in the Arab World (pp. 145-160). Amman, Jordan: CSAAR Press.
Saleh, M. A. E. (1998a). The impact of Islamic and customary laws on urban form development in southwestern Saudi Arabia. Habitat International, 22(4), 537-556.
Saleh, M. A. E. (1998b). The integration of tradition and modernity: A search for an urban and architectural identity in Arriyadh, the capital of Saudi Arabia. Habitat International, 22(4), 571-589.
Tunnels refer to any enclosed passageway. Usually, tunnels pass underground to bypass natural barriers and to reduce the cost and impact of aboveground construction. This paper looks at various aspects concerning tunnel construction. The main issues of interest include the construction of underwater tunnels, construction of tunnels in soft soils, and the examination of tunnel construction methods.
Underwater Tunnels
The need to construct tunnels underwater arises from several situations. First, it may make more sense to construct a tunnel under a large river, or the sea instead of a bridge to avoid interfering with marine traffic. For instance, instead of constructing a bridge to link the mainland to an island, it may be better to construct a tunnel to avoid interrupting marine traffic around the island.
Underwater tunnels may be constructed to provide a means of crossing a river. In this case, a bridge may be ruled out because of costs, especially of the river serves as a waterway. In addition, undersea tunnels are ideal where ferries are impractical or impossible to use. Sea canals mainly provide access to large islands or join two main bodies of land separated by a sea.
Underwater tunnels are also ideal because they do not require closure during bad weather. Bridges or ferries, on the other hand, cannot operate full time because they are affected by bad weather. Underwater tunnels are challenging to construct depending in the depth of the water and the length of the required tunnel.
Usually underwater tunnels do not run on the bed of the waterway, but below the bed of the water body. Construction of a tunnel on the bed of the water body adds more challenges to the tunnel construction process.
Tunnel Construction Methods
One of the important decisions that engineers must make in the tunnel design process is the construction methods that they will use. Construction of structures on the surface of the land does not compare to the complexities of tunnel construction. Tunnel construction usually takes place underground. A long tunnel usually has more complexities if the geological landscape changes very much.
However, even in areas with uniform geological make up, the local rock and soil characteristics can affect the construction of tunnels. Engineers usually use four tunnel construction methods. Factors affecting the choice of the tunnel construction methods are as follows:
First, the depth of the tunnel is one of the main issues of concern. Shallow tunnels built within cities to serve as aqueducts or as underground highways allow engineers to use trenches. If the tunnel needs to pass under a water body or through a hill, the engineers will favor methods that allow them to bore a hole in the rock mass.
Secondly, the construction methods will depend on the purpose of the tunnel. Tunnels used for transporting water and sewerage, or for laying communication cables may only be a few feet in diameter. However, if a tunnel is needed to provide a transport path for a freeway, the construction methods will vary from the smaller tunnels.
The third issues engineers bear in mind when deciding in the best tunnel construction methods to use is the stability of the surrounding material. If the tunnel is passing through solid rock, then the methods for use will be different compared to tunnel passing through loose sand or clay formation. The method will also vary if the tunnel is supposed to pass under a water body or below the water table.
Engineers also choose tunnel design and construction methods based on the seismic activity of a given region. If the tunnel passes through an area with high geological activity, the design needs to factor the impacts of these activities on the operation of the tunnel. Research shows that tunnels bored in depths of up to 500 meters have better resistance to seismic disturbances compared to tunnels bored in shallower depths.
The four main techniques used in the construction of tunnels are as follows:
The first technique is the cut and cover tunneling. This method involved digging a trench, and then covering it to create a tunnel. The actual methods employed depends on the space available for construction and the final use that the tunnel is intended.
It is popular in areas where tunnels are needed to provide more motorways under existing roads or in other squeezed spaces. In the top down variation, engineers cut out channels on the extreme ends of the tunnel, and then construct walls. They then construct a roof creating a chamber.
Excavation works go on under the roof of the tunnel before the final construction of the floor of the tunnel. In the bottom up variation, after the walls are built, the engineers excavate the area in between the walls and then build the tunnel from the ground up, finishing with the roof of the tunnel.
The second method of tunnel construction is the blast and drill method. This method applies in areas where it is necessary to bore through a rock to create a tunnel. Engineers use times explosives to loosen rock, and then remove the debris. This method is ideal for mountainous areas and in places where the bedrock is solid.
However, due to variation in rock formations, it is necessary to carry out drilling operations in areas with loose rock formation where blasting may result in total collapse of the tunnel. In these cases, some construction work is also required to provide support for the tunnel.
The third main tunneling technique is bored tunneling. This method employs the use of a Tunnel Boring Machine (TBM). TBMs make tunneling predictable, and can often be more cost effective. The main application of TBMs is that they make it possible to dig long tunnels.
They work best in areas where the surrounding material is strong enough to support long tunnel sections without the need for support. These machines work best within a given range of rock hardness. If the rocks are very hard, the wear and tear of the machines can be very high. In this case, it is better to use blast and drill methods.
Another advantage of using TBMs is that they can be equipped with sensors to determine when the rock formations change. This helps in making decisions regarding how to proceed. The fourth method of tunneling is the Sequential Excavation Method (SEM). This method is build around the understanding that tunneling reorients the internal stresses in rock formations.
As such, SEM aims at creating an environment that is quite similar to the preexisting stresses in the rocks. This is achieved by the use of careful calculation of stresses and using structures in such a way that the overall forces remain as they were before the construction of the tunnel. This leads to a reduction of the quantity of construction materials usually needed to stabilize tunnels dug in soft soils.
The Mersey Tunnel
The Mersey tunnel system is composed of three tunnels. The three tunnels are the Kingsway tunnel, the Queensway tunnel, and the Mersey Railway tunnel. The first two tunnels carry vehicular traffic while the last one is meant for trains. The tunnels were all constructed to ease traffic congestion at the river crossings.
At the time of their construction, the tunnels held records for the longest tunnels ever to be constructed. The fact that they were located beneath the riverbed meant that water was an ever present challenge. The tunnels still require pumps to remove water. The water is not only the result of seepage from the river, but ground water as well.
Conclusion
In conclusion, the construction of tunnels is going to improve with time, because more tunnels will be needed to increase connectivity in various parts of the world. Tunnels are also very attractive because of the limited environmental impacts they produce.
In the case of the Mersey tunnels, three important links were made without affecting the flow of beauty of the river over above. In this sense, tunnels provide an ideal way of ensuring that human transport and communication needs do not destroy the environmental aesthetics of the planet.
Reference List
BAGCT 2013, Methods for Tunneling Construction. Web.
Case Maker 2000, What is Rapid Application Development . Web.
Engrailhistory 2012, The Mersey Tunnel. Web.
FHWA 2011, Technical Manual for Design and Construction of Road Tunnels Civil Elements. Web.
Modernist architects had similar assumptions which were interpreted differently by other critics. One of the assumptions is that architecture is socially emancipatory and not just one that responds to the needs of society. In other words, architecture should contribute to revolution. They feel that social emancipation should be international and not national or regional. It should be one that responds to the wider international socialism. Their argument that the materials used for construction should represent this novelty is true. Modern lifes aspirations should be reflected in both the material and designs of the buildings. In actual sense, this modern view advocates for conformity of the creative world and the existing realities.
I believe there are several reasons why modernist architects wanted to bring about change. The world was facing social as well as technological transformation. This was an age of machines. In fact, the twentieth century marked a period when most cities in the West were experiencing remarkable change. There was population explosion in the cities as many people moved from the countryside to the cities. This fast-paced urbanization called for new approaches to architecture. Satisfying the needs of huge populations would not have been possible with expensive means of construction. There was need for more efficient ways of meeting the needs of the growing populations. The functionalist aspect of architectural development arose. That is why cities like Chicago and New York started using metals in erecting tall buildings in response to the rising number of people. There was a concerted urge to move away from the traditional architecture that was quite ornamental.
With machines, cars telephone lines, railway lines, etc. in place, there was need for architecture to adjust to the new developments. Thus, houses could be viewed as machines in which people live. As most modernists suggested, there was need for houses to have pure form, just like machines are designed for efficiency of work. Society appreciates aesthetics that reflects prosperity and progress. I feel that the post-war era made the modernists have a strong urge for social responsibility. The architects wanted to raise the living conditions of the populace.
Architects brought about change by writing extensively about the need to change. Most modern architects gave form and coherence to new architecture through these writings. For instance, Le Corbusier and others shared lots of insights about modern architecture. Through written wok, the information spread the modernist perspective to other architects across the globe.
The modernist architects used movements to change the mindset of most architects from the shackles of tradition. These movements included the Art Nouveau, Expressionism, and constructivism, among others. These movements must have made many architects to view architecture from an entirely different perspective altogether. The movements equally argued that the new machine age required corresponding new forms of architecture. It is against such spirited campaigns that many architects all over the world started to appreciate the need for change. Slender walls bereft of ornament were now being appreciated. Materials such as glass and steel were incorporated into architectural designs. The skyscrapers built with steel and concrete started dominating the skyline of most USA cities.
Reflective Journal 2
The radically different views of the financial services and the City of London
Reading The City of London-High Finance article one can see several views about the financial services expressed. The stage of the article is set at the Royal Exchange. The Royal Exchange is like the stock exchange bourse as we know it today. The presence of many people adds to the booming business that the town offers. These people are not entirely British as it would be expected but a mixture of different nationalities. They have come to trade and probably engage in other activities. This heavy traffic means there is an exchange of goods and services as well as culture. For instance, the author talks of the British walls being adorned d with pyramids of China. There is the outsourcing of goods, migration and high mobility in the city.
From the article, one can tell that the city is a center of financial transactions and trade in general. I am surprised to find out that ambassadors seal the trade deals on behalf of their countries, yet it is expected that they concentrate on politics. Though they also seem to be participating in commerce, there is a suggestion that the beneficiaries of the transactions are few. The city represents class and conflict. Only men of means and merchants transact business. The transactions also seem to be so lopsided that some players benefit more than the rest. The same state of affairs reflected here can be noticed in the world today. Countries have engaged in trade deals that are quite imbalanced. By this, several countries benefit while their valuable resources are auctioned at a pittance. In some cases, the exchanges are not equivalent. Besides prices are fixed by conniving merchants. I feel that though the exchange is supposed to be above board, there are instances where the rates are arbitrary.
On the other hand, the article shows how interdependence works for trade. This is because no country can claim to be entirely independent. This is due to differences in climate, geographical location, etc. The advantages of international commerce are further highlighted. There is a larger market from where goods can be sourced and sold. Also, employment opportunities for the producing nations are created. The only paradox is that the farm workers continue laboring on the farms with merchants becoming even richer. In other words, the trade does not seal the income gaps that exist in the whole chain of supply.
The city life as depicted in the article shows the ever-evolving spatial restructuring. We are told the global trade is taking place in a small building. This is where decisions that influence lots of people are being reached. This perhaps reflects what is now happening in the architectural world today. People value economy of space. Due to the explosion of population in the main towns and cities of the world, there has been the need to have buildings that are responsive to the ever-evolving demands of the population. The cultural exchange could be noted when the author talked of walls being adorned with Chinese art. This means that the city had the ornamental aspect, unlike today where modern architecture does not value the ornamental tradition.
The article clearly shows how the composition of cities defines their uniqueness. The uniqueness creates an exotic experience for the visitors. Perhaps it could be these experiences that have advanced the modernists view of the world as a global village. This is because people carry with the experiences they got elsewhere. In most cases, many people implement those experiences.
Architecture in many cases is affected by several factors. They include social, political, and historical contexts, environment, and cultural traditions that permeate a specific locality or region. While colonial settlements had yet to determine the type of architectural renditions and principles applicable to the new settlements, New England settlers did not mimic the English classical revivalism in the New World. Instead, architecture was dependent on the environmental elements as well. Rexford Newcomb in Regionalism in American Architecture cited how the environment broadly influenced New England settlements. While the architecture bore traces of European traditions, distinct characteristics developed in deference to the intrinsic qualities of the new settlements (275).
In New England, the extreme environment made it necessary to alter traditional architecture. Most of the colonists came from rural areas where timber construction was widely practiced. Finding the New World with abundant lumber. However, rural Englands tradition of incorporating half-timber construction and wattle and daub filled interstices or rough mud bricks of clay and straw called cats was deemed unsuitable for New England climate (276). The climate hence altered the architectural traditions of the settlers and created new ones. For instance, the New England settlers substituted clapboards for the exterior to protect the houses from wet weather. Compact plans evolved to accommodate different placements of chimneys. The central chimney and the emanation of other fireplaces of the room from it made the structure sturdier. The design later accommodated a hallway on either side of the room giving way to a more symmetrical layout (276). The design also eventually included classical details and proportions that altered the drab and austere design into the more classic Georgian architecture (276).
The new architecture likewise accommodated the new social and economic systems the emerged in the new settlements. In Maryland and Virginia, the dominant architectural character of plantation houses favored formal and balanced plans. Taking into consideration the living arrangements of the slaves, the plantations either had individual cabins for the slaves and their families within the property or long ranges of quarters that housed the slaves (277). In Virginia, service departments were separate from the main house. The examples cited were only some of the architectural expressions dictated by the social order at that time (278).
David Hackett Fischer in an interview qualified region as a cultural place where people [shared] a sense of themselves, who form a bond with one another and also with the place. (The Power of Regionalism: A Conversation with David Hackett Fischer ) He further noted how regions can [reinvent or reimagine] themselves through time. But at the same time, regions have a fundamental foundation in a cultural reality that is not merely imagined or invented. (The Power of Regionalism: A Conversation with David Hackett Fischer ). Taking a cue from Fischers remarks, regionalism identifies the unique characteristics of a place. In some ways, the emergence of regional identities emerged as a consequence of isolation. But they could also be a consequence of interaction with other cultures. Fischer again cited the New England case where the economic activities spurred the emergence of regional identity through its engagement with people. (The Power of Regionalism: A Conversation with David Hackett Fischer ).
The Context of Regionalism
Louise Fawcett in her article Exploring Regional Domains: A Comparative History of Regionalism defined regionalism as a theory where states and non-state actors coordinate and cooperate to attain common goals (433). Regionalism also went beyond the scope of geographical boundaries, as people with common cultural leanings tend to converge. The aims of regionalism aim to promote a sense of regional awareness or community (soft regionalism), through consolidating regional groups and networks, to the pan- or subregional groups formalized by interstate arrangements and organizations (hard regionalism). (433).
The resurgence of regionalism movements in the 1920s America was a response to the sense of malaise and cultural crisis (Wilson x). Lewis Mumford found in New Englands villages, the opportunity to for a proposed reconstruction of contemporary urban and industrial life. (Wilson x) By the late 1930s, regionalism assumed a more utopian position where advocates believed that the ideology attained preeminence through education. But the ideology also came with the need to redistribute wealth and property (Wilson xi). The concept of regionalism declined in the fifties. The decade during World War II discouraged divisiveness and people were more inclined to pursue consensus. Regionalism was construed as divisive and outdated in most cases. Regionalism in the American social and political sphere did not disappear entirely as it was a prime mover in politics and helped shape the cultural values of specific regions.
Anna BocheA ska-SkaA ecka in Regionalism in Architecture of a Village as Factor Affecting Behavior of Local Identity and Individual Cultural Features defined regional architecture as a collection of natural and cultural elements combined by their traditional relation which are outstanding in a given area . Generally, this is the result of two powerful forces: nature and culture. Steven Moore in Technology, Place and the Nonmodern Thesis differentiated regionalist architecture from regional architecture. Regional architecture is an isolated craft tradition that adapts to local ecological conditions while Regionalist architecture is critical of an architectural order that claims universal application. (132).
Tzonis & Lefaivre proposed five categories of regionalism beginning from the eighteenth century Whig Partys reaction to absolute monarchy rule. Tzonis & Lefaivre cited the posturing of the Whig party against monarchy by advocating cultivation of landscape that adhered to natural topography and flora. (Moore 132) It was a rejection of the rigid classicism and formality that the monarchy advocated. The second classification was romantic regionalism where it continued the anti-monarchist tradition yet employing temporal strategies. The romantics associated the cultural elements of architecture with nature (132). The third category explored postromantic regionalism where it imposed neo-tribal regimentation in contrast to the libertarian concepts of romantic regionalism (132). This category of regionalism excluded others while enforcing the spatial purity of the race. (132) The fourth category referred to as commercial regionalism departed from Hitlers and Himmlers exclusivity and racist approach to regionalism architecture. Also known as the architecture of tourism, architectural forms and choices were largely dictated by the commercial value of the region and market forces (132). Finally, the fifth category is critical regionalism. Critical regionalism, according to Tzonis & Lefaivre should evoke meaning and thought rather than emotion and excitement that architecture should evoke critical consideration of the cultural and ecological origins of construction practices rather than feed the folk scenographic fantasies that allow them to withdraw into familiarity (Moore 133).
Critical regionalism emerged in the 1980s describing mainly the type of architecture that engaged its particular geographical and cultural circumstances in deliberate, subtle, and vaguely politicized ways. (Eggener 228) Critical regionalism aims to reflect and serve the limited constituencies in which it was grounded and cultivate a contemporary place-oriented culture. (228). Kenneth Frampton described critical regionalism as a reaction to global modernization that continued to undermine all forms of domestic and traditional cultures. As a form of resistance, critical regionalism subverted the universal technological norm, the effects of global capitalism, international style architecture, and the sense of placelessness that these fostered. (229) Critical regionalism is not a style or motif but more of a process to articulate architecture according to a specific location and situation.
Regionalism and its Relevance to Architecture
Graham Ross in Out of Place cited the need to emphasize distinction among different urban centers to counter the homogenizing effects of globalization and capitalism. Regionalism, in this respect, is a counter rebuttal to the increasing standardization of space that has caused many urban centers disharmony and incongruity with local cultures. Michael Hough forwarded a Regionalism imperative that, is founded on natural processes and the native landscape recognizes the holistic view of man as part of the regional ecosystem and requires an understanding of the essence and structure of the regional landscape (Ross).
Regionalism, in this case, countermanded the rigors imposed by harmonization and globalization that devalued cultural identities that gave distinction to places and spaces. Regionalism attempts to restore the intrinsic cultural identities of places. Barring the propensity for regionalism to be too isolationist and centric, the presence of regionalism in architecture preserves the historical and cultural values of a place or region.
Concurrent to shaping the regional identity of a place or region is the presence of vernacular architecture to mitigate the limitations of regionalism. Vernacular architecture in this case is also shaped by several factors. They include the determinant of nature (biophysical forces and climate). the culture and history are unique to each place and time. the role of a central authority whose decisions impose an organizational structure on the landscape. (Ross) The loss of regional identity forebodes more serious consequences associated with rapid urbanization, globalization, and capitalism. Hough identified factors that eroded regional identity. They include:
The move away from rooted communities tied to the land to the current paradigm of the transient, mobile society of the information age&mans increasing separation from, and control of, nature from the Industrial Age onward has resulted in the imposition of mans will on the regional landscape with such force that the effects have created an environment which tends toward the bland and the indistinct (Ross).
In Lewis Mumfords essay on Henry Hobson Richardson, he described the essence of Richardsons regional architecture as composed in such a fashion that it cannot be divorced from its landscape without losing something of its practical or its esthetic value or both together. (128) Regionalism, according to Mumford, was the ability of the designer to embrace local cultural characteristics, nature, and new technological developments without losing any of the intrinsic qualities of the place (129) Richardson was able to synthesize the trappings of modernity with the vernacular. Richardson was able to articulate the different elements to achieve a unity and completeness that few architects in the nineteenth century possessed. (130).
Anthony Alofsin in Constructive Regionalism described regionalism essentially had contradicted the modernist approach to architecture. Regionalism responds [s] to local color, materials, and customs. it would embrace traditions and transforms traditions. it would be wed to its setting, in either rural or urban landscape. it would foster craft and push the limits of technology. it would speak to the individual search for the universal (4).
Designers embracing regionalism would be denied personal glorification. Instead, it creates buildings devoid of personal attributes, hence avoiding hierarchy or elitism because the building becomes a universal attribute of the locale. Regionalism aims to attain universality but sans the principles of universal style. Regionalism allows architects to create designs that amplified craftsmanship yet do not destabilize cultural values.
Todays homogenized architecture as a consequence of globalization and capitalism needs to reconsider regional forms and values to establish a distinction between places but without fostering isolationism. The universal attributes in regional architecture transcend such possibilities. Unity in diversity in this case is achievable without having to endure the monotony of inappropriate architecture.
Two Examples of Architectural Regionalism in Different Contexts
Henry Hobson Richardson Foremost American Regional Architect
Lewis Mumford described Henry Hobson Richardson as a pioneer in regional architecture. Richardson went to Ecole des Beaux-Arts in Paris in 1860 but was unable to complete his training in architecture due to lack of family support during the US Civil War (Henry Hobson Richardson ). The beginnings of Richardson as an architect were unremarkable until he designed the Trinity Church in Boston. His first buildings were primarily inspired by the primitive medieval architecture of Syria and Southern France (Mumford 118).
Trinity Church, located in Back Bay, Boston, Massachusetts was considered one of the best designs of Richardson in the tradition of Richardsonian Romanesque style. The building had a clay roof, polychromy, rough stone, heavy arches, and a massive tower. (Trinity Church, Boston ) The building built from 1872-1877 showcased the maturity of Richardson as an architect. The building had a modified Greek cross plan with four arms extending outwards to the central tower with a height of 211 feet (Trinity Church, Boston ). The interiors were adorned with large murals executed by American artists (21,500 square feet). John La Farge was commissioned to execute the colorful murals. While Edward Burne-Jones and William Morris designed the four stained glass windows(Trinity Church, Boston ).
There were four attributes why Richardson was considered a regional architect. First, he primarily used indigenous materials in many of his buildings. For the New England buildings, New England quarries provided Milford granite, brown sandstone, and Longmeadow sandstone. (Alofsin 2) Richardson transformed white-walled farmhouses with new wide windows to incorporate both new American requirements and environmental considerations. Richardson used local color generously in many of his buildings including sumac, red oak, sweet fern, lichened rock, pine tree, and butternut (Alofsin 2). Many of his works reflected transformed New England traditions only Richardson could aptly interpret and execute.
[H]e modified its Puritanic austerities: he gave to its buildings a color that they lacked: a color derived from its native granites and sandstones, from weathered shingles and from the autumnal tints of sumach and red oak that linger longer in the countryside of the North than any other colors (Mumford 124).
This only showed how well Richardson knew about New England. His colorful renditions veered away from the lackluster executions often seen in older, austere white and gray houses. These transformations continued to establish traditional woodworking yet the introduction of color indigenous to the New England landscape made the creations uniquely New England in character.
Richardson was successful at settling the conflict between the Utilitarian and the Romantic (Mumford 126). However, Richardson did not end his creativity with regional forms he was searching for a universal theme to his works (128). As an architect, Richardson was confronted with new developments in technology and machines. He realized that his architecture must harmonize with the ever-spreading forms of the machine: therefore a certain economy, a certain spareness, a certain rigor were needed even in his most traditional structures. (129) Richardsons narrative on his quest for universality in his architecture could be found in the way he utilized indigenous elements and combined them with contemporary considerations such as modernity and technological advances. Richardson straddled both the old and the new to achieve harmony and an identity uniquely attributed to New England.
The Trinity Church in Boston exemplified the architects search for an ultimate expression where synthesis among urban landscape, locale and the traditions of architecture itself was achieved (Alofsin 2). Richardson, when he died at the age of 48 in 1886, he left a legacy for future legendary architects such as Sullivan, Buffington, and Root as successors (Alofsin 2).
Oswaldo Guayasamins Capilla del Hombre Universal Context
Ecuadoran artist, Oswaldo Guayasamin, born in Quito in 1919 was considered the most prominent international Ecuadoran artist until he died in 1999. A major proponent of social realism, Guayasamin, like many other predecessors, explored the social and political struggles of 20th century Ecuadoran. Most of his works primarily offered a coherent and organic view of life in Ecuador, Latin America, and the world in general. (Handelsman 136) His art was devoted to social protest and advocated social justice for the majority of the oppressed in Latin America. Moreover, his works promoted human rights and called for the recognition of Latin American indigenous origins (Morales). An ardent supporter of the Cuban revolution and Fidel Castro, the artist envisioned a future where social justice was attainable (Handelsman 137). As a tribute to the Latin American struggle, many of his paintings spoke of the anguish, anger, violence, dreams, sacrifice, and triumph of the Latin American. The artist dubbed his collections as Pintar para indignant. (136).
Before his death in 1999, he was finishing a final masterpiece called Capilla del Hombre, or Chapel of the Man. The architectural and sculptural work continued to revel in the history of the American man pursuing themes ranging from pre-colonial history until contemporary periods. The last masterpiece of Guayasamin, completed three years after his death is both an art museum and monument located in Quito. The architecture of the Capilla mimicked a pre-Columbian pyramid made of stone and overlooking Quito from the Bellavista suburbs (Gill). The interior holds a collection of paintings depicting the development of the Latin American man from pre-Columbian periods until the present (Gill). Typical of the Guayasamin technique was the use of grotesque figures mostly denouncing the atrocities of man against man.
The structure has an area of 3,600 square meters built on two levels (Architecture ). The Chapel of Man has three sections. The third is crowned with a truncated cupola. Each of the sections depicted different periods in the history and evolution of Latin American. They were Huacaynam (the road of tears, in Quechua), the age of wrath, the age of tenderness. (Unesco Director-General Expresses Deep Sorrow at the Death of the Painter Oswaldo Guayasamin )The murals represented what was America before the arrival of the Spaniards: its Gods and symbols, his cosmogony, their architecture, its music, dances and dresses, their animals and plants. (Capilla del Hombre ).
The architecture is reminiscent of pre-Columbian Andean architecture. Ecuador, however, had very few examples of the legacy left by pre-Columbian architecture when compared to other Latin Americans. Nevertheless, the contemporary sculptural-architectural piece attempted to preserve centuries-old architectural legacy but houses artworks dealing with very universal themes of social justice and human rights. In essence, from the point of view of the architectural value of the building, the Capilla exhorted the uniqueness of Latin American architecture.
Viewing the interiors and contents of the building, they promoted universal themes found in many cultures all over the world. On the exterior, the artist adopted designs unique to his cultural roots the materials used, the pyramid structure, and the composition of spaces. However, these were meant to house works of art originally depicting social justice advocacy and resistance to injustice and violence in Ecuador and other Latin American nations. The artist remained faithful to design traditions where it was deeply rooted in the countrys social history. (Handelsman 141).
In Huacaynam (Path of Tears ), the artist had a series of visions including the mestizaje or mixed race, both indigenous and African-American origins. Regionalism, in this case, is evident, as the portraits were attributed to the Latin Americans of Ecuador, Peru, and Bolivia (Artwork: Huacaynan ). Guayasamin gained international recognition precisely because his social realist themes underscoring the Latin American situation took on a broader scope. Elsewhere in the world, the themes of social injustice and oppression also permeate.
Overall, the art of Guayasamin straddled the realms of regionalism and universal themes on social justice. The artist made effective use of elements indigenous to his culture to forward universal ideas. The artist articulated ideas of social justice, human rights, triumphs, sorrows, and others effectively that at some point, the regional character had blended with universal traditions. The artist, using indigenous artistic traditions made it known to the world of his cultural roots attempting to reach a broader audience. The Capilla del Hombre is a fine example of a cultural expression espousing both regional and universal contexts.
Conclusion
The two individuals cited as examples of regional architects may be non-contemporaries but both Richardson and Guayasamin sought universality in their designs. Although Guayasamin was Ecuadoran, his architectural translations did not deviate from the traditions of regionalism. It only shows that regionalism was not an exclusive realm of the American architects. Like Richardson, Guayasamin went beyond the polemics of regionalism and created a dialogue between the traditional and modern.
Henry Hobson Richardson was a forerunner in regionalism architecture and he had set precedence for future architects to emulate. Richardsons most significant contribution was to recreate the cultural context of New England, for example in stone while remaining appropriate for contemporary applications.
In many ways, both architects transcended the problem of synthesis between the old and the new. Richardson never abandoned the vernacular and indigenous despite executing modern buildings. Guayasamin, on the other hand, did not ignore the cultural meanings attached to art and architecture. He made it known to the world the social realities of Latin American nations and was successful at communicating to a broader audience using universally acceptable paradigms.
Moore, Steven A., Technology, Place, and the Nonmodern Thesis, Journal of Architectural Education, 54(3)(2001), 130139.
Morales, Judith S., An Eruption of Tenderness, from Guayasamin to Fidel, 2007. Web.
Mumford, Lewis (ed), The Regionalism of Richardson, in Roots of Contemporary American Architecture: A Series of Thirty-Seven Essays Dating from the Mid-Nineteenth Century to the Present New York: Grove Press, 1959, 117-131.
Newcomb, Rexford, Regionalism in American Architecture, in Regionalism in America, Merrill G. Jensen (ed), Madison, WI: University of Wisconsin Press, 1951, 273-296.
BocheDska-SkaBecka, Anna, Regionalism in Architecture of a Village as Factor Effecting Behavior of Local Identity and Individual Cultural Features, (2005). Web.
The Power of Regionalism: A Conversation with David Hackett Fischer, 2007. Web.
There are many interesting places to be visited in Berlin. Each site has its history and impact on the country. Unfortunately, several tourists pay their attention to the places that are defined by their guides and neglect the beauty and importance of small places or the places with a little historical significance. The story of Pariser Platz is rich and profound, but it is usually confused or combined with the history of the Brandenburg Gate located left of the squares center. This paper aims at discussing the architectural peculiarities of Pariser Platz, the square in the center of Berlin that was created at the beginning of the 1730s, destroyed during the years of the World War II with the only structure left, and rebuilt with time to become the symbol of separation and unification of the people of Berlin.
Historical Context
The history of Pariser Platz began in 1732. At the beginning and during almost the next century, the place was known as an ordinary square with its goal to symbolize the external borders of the city. It did not have a name. Regarding the expansion of the city, the location of the square was changed. After several years of expansion, the square turned out to be the center of the city.
In 1814, it finally got its name in honor of Napoleons defeat and the occupation of Paris by the existed anti-Napoleon allies.1 It was not the center of the city only. At that moment, it was the symbol of the power of the country and the unity of its people. Pariser Platz attracted the attention of many people and created the need to develop as many buildings as possible at the square to underline their importance and roles for people. For example, at the square, embassies of America and France were located. Besides, it was the location of one of the most beautiful and impressive hotels in Berlin. Finally, there was the Academy of the Arts. The form of the place was effective indeed and made the location of many offices and buildings possible without considerable changes. However, the outcomes of the World War II were tragic for Pariser Platz because air forces of the enemies destroyed all buildings:2
Fig. 1. Pariser Platz.
The only things that left were the form of the square and the Brandenburg Gate. With time, the Berlin War was built next to Pariser Platz, and the square was abandoned for years. It was isolated. In 1990, Berlin was reunited, and the Wall was destroyed. In a moment, Pariser Platz turned out to be the place where people from different parts of the city could meet each other and share their experiences. The historical overview proves that Pariser Platz could be defined as the symbol of hope and a union of the people of Berlin.
Ladds Evaluation
In the book chosen for the analysis, not much attention is paid to Pariser Platz. Ladd did not find it necessary to say a lot about the chosen site. Such a decision could be explained by the recognition of the Brandenburg Gate as the main sight of the city. Pariser Platz is not a building or a sculpture to be discovered. It is the place where a lot of events occurred, and many significant buildings were created. The description of each building or architectural site located at the square or close to it includes the reference to Pariser Platz anyway.
Writing about Pariser Platz, Ladd mentioned that though it was one of the elegant squares in the world, it was desolated for years, and the reason for such desolation was the Wall.3 The point is that Ladd wrote the book in 1989. At that period, Pariser Platz was forgotten because of the Wall. People knew something about Pariser Platz only from books or other academic sources. Not much information or personal opinions could be used to explain the beauty of the place and its functionality. If Ladd created the book in ten years, more information could be developed about that square.
Personal Observations
Nowadays, Pariser Platz could be identified with ease on the map. First, it is located at the center of the city, and second, it is close to the place where the two parts of the country were divided:4
Fig.2. Pariser Platz could be identified with ease on the map.
Its forms and location attract the attention of many tourists and local citizens. There is much space to take a rest. At the same time, the square is surrounded by several impressive buildings that create some kind of protection and unity. Though many people are in a rush at that square, it is possible to find a moment and enjoy the beauty of the place, its peacefulness, and the sense of freedom. Though it has certain boundaries and measurements, the visitors of the square could enjoy the beauty of open-air and freshness. It does not matter if the square is observed in the morning or at night, in summer or during winter holidays, the number of people is almost the same except the cases when some social events take place there.
The citizens of Berlin, as well as the Germans from other cities, are proud of Pariser Platz and its history. The square is usually compared to the essence of Germans. In the beginning, it was nameless and aimed at the creation of boundaries for the inhabitant. With time, it became one of the most significant sights of the city. Because of numerous war conflicts, it was destroyed. Still, the core of the square was not removed. It helped Pariser Platz to be rebuilt and introduced to new generations as a significant historical contribution. In other words, Pariser Platz seems to be a kind of reflection of the German spirit developed through centuries.
Besides, there is an impressive green zone next to the Pariser Platz. People could enjoy the impressive buildings introduced at Pariser Platz and then get a chance to observe the natural achievements of the city. The contrast is impressive indeed. Still, there is one thing that remains to be the same Pariser Platz, as well as other places in Berlin, is characterized by an appropriate order. There is no extra thing or building at the square. People know where to find something or whom to address for the help in case some uncertainties take place.
Possible Changes
Taking into consideration the history of the place, the possibilities of the Germans to build and re-build the square, and the intentions to save the historical sites, it is possible to say that Pariser Platz could observe some changes with time. However, the majority of changes should have clear reasons and explanations. There is no need to change the size of the square or improve its functionality. Pariser Platz has a perfect size. It is protected by several buildings around. There is enough space to invite thousands of people at the same time. For a long period, the square was a part of federal roads. Still, the corrections were made. Now, only public transport and bicycles could be observed at Pariser Platz. Therefore, the changes could be offered in terms of illumination that could attract people and make them feel comfortable 24/7.
One of the possible recommendations for designers is to focus on ground lights. It could be interesting and impressive to observe Pariser Platz at night when several street lights were directed to the sky.
Conclusion
In general, the evaluation of Pariser Platz, its history, and changes helped to understand the story of Germany. Regardless of numerous challenges and trials Pariser Platz survived during the last two centuries and proved what it means to be the center of the city, the place where unification could happen, and the square where peace, confidence, and pride could be discovered by every visitor. Pariser Platz is not just an ordinary square in the city that symbolizes its core. It is the way of how the country was living and developing during the last several centuries. Wars, conflicts, the inabilities to solve problems, etc. could prevent the possible fast development of the square and its contribution to people, the government, and history. Some people may recognize Pariser Platz as not a perfect architectural site with a few significant events at it. Still, many Germans, who know their history and respect the achievements of their grandparents, understand that Pariser Platz is the symbol of the citizens of Berlin, their beliefs, and power.
Bibliography
Ladd, Brian. The Ghosts of Berlin: Confronting German History in the Urban Landscape. Chicago: University of Chicago Press, 2008.
Tying shoelaces may seem a very simple task if you have gotten used to it. However, for a person who has never had a chance to partake in this activity, this can be his moment of nightmare. Literally, there are hundreds of methods that we can use to lace up our shoes and each method depends on the knot strength required.
The type of shoe, length of the lace, and the type of activity for which the shoe will be used also dictate the type of knot. For sports shoes, the best and easiest method is known as the bowknot. The procedure for tying the bowknot is outlined below.
Materials
One pair of sports shoes
Two shoe laces, one for each shoe.
Tying a Shoelace
Step 1. Using your left hand, pass the lace through the farthest hole on the left side. The farthest hole on the left is the one that occurs first to the left from the tip of the shoe.
Step 2. Using your right hand, pass the lace through the farthest hole on the right side. Again, the farthest hole to the right is the one that occurs first to the right from the tip of the shoe.
Step 3. Using the fingers on your left hand, move the left end of the lace over to the right hole and pass it through the next unoccupied hole. The next unoccupied hole is the one that occurs second from the tip of the shoe on the right side.
Step 4. Using the fingers on your right hand, move the lace over to the left hole and pass it through the next unoccupied hole. The next unoccupied hole is the one that occurs second from the tip of the shoe on the left side.
Step 5. Hold the left end of the lace with your left finger and thumb and the right end of the lace with the left index finger and thumb.
Step 6. Repeat steps 3 and 4 until all holes in both the left and right side of the shoe are occupied.
Step 7. Let go of the lace while still on your left side.
Step 8. Now, bring the lace to your right. Ensure that the portion of the lace on the right passes above that on the left.
Step 9. Let go of the lace while still on your right side.
Step 10. Shift the left end of the lace over to the right, repeat the same procedure for the right end of the lace.
Step 11. Hold the left end of the lace with your left fingers, and in a similar way, hold the right end of the lace with your right finger.
Step 12. Holding the ends of the lace firmly between the thumb and index finger and pull them upwards, an intersection of the two sides of the lace forms a triangle halfway between the sets of holes: the left and right holes.
Step 13. Hold both ends of the lace in your left hand and use the right hand to tighten the portion of the lace between the holes, beginning from the lowest portion. Meanwhile pull the laces held on the left hand upwards.
Step 14. Hold the left end of the lace with the left hand and the right end with the right hand, ensuring that they form an intersection or a triangle at the center point between the two sets of holes: left and right.
Step 15. While still holding the left end of the lace, drag the right end of the lace and pass it under the triangle, then pull on the two lace sides until the tie is taut. Now release the laces. From this moment, we will refer to the end of the lace on the left side of the shoe as the left lace, and that on the right as the right lace.
Step 16. With assistance of the left index finger and thumb, grab the lace that is now on the left side of the shoe and pass it over to the right side but leaving a portion (roughly two thirds) that forms a loop on the left side. Ensure that the rest of the lace passes over the tie made earlier and rests on the right side of the shoe, then let go of it.
Step 17. Now, hold the right side of the lace using your index finger and thumb, pass the lace around the loop formed earlier by the left lace. Make sure that you leave roughly a third of the lace forming a loop at the tie.
Step 18. Bring the right lace around the loop formed by the left lace, using both the left and right thumb and index finger, form another loop using the remaining portion of the right lace. At this point, there are three loops, two have been made by the right lace and one by the left lace.
Step 19. Now, hold the second loop formed on the right lace using your fight thumb and index finger, meanwhile, hold the loop formed by the left lace so that it does not become undone. Carefully pass the second loop on the right lace under the loop made on the left lace, pass it gently in such a way that the end does not go through the loop, but rests on the left side of the shoe. Ensure that this loop is almost equal in length to that formed on the left lace.
Step 20. Gently, hold the second loop on the right lace with the right index finger and thumb, and the loop formed on the left lace using the let index finger and thumb. A knot should be visible between the two sets of loops.
Step 21. While holding the two loops, pull them away from each other so until the knot formed between the two loops rests on the tie made earlier. Pull the loops further to increase the strength of the knot.
Step 22. Continue pulling the loops away from each other until the knot is satisfactorily tight. This is the final step in tying a shoelace using a bowknot; a similar procedure is done on the other shoe.
Step 23. To undo the knot, simply pull any of the two ends of the lace away from the knot, this will only loosen the knot. After the knot is undone, loosen the tie and separate the two ends of the lace.
Nowadays, searching for a job means looking for online job sites. For Canadians, who have graduated from a business school, sites such as Monster.com, Jobinga.ca, or Indeed.com are traditionally viewed as the first choices in terms of locating job opportunities. However, the usability, relevance, and accuracy of the information on these sites may differ significantly depending on the sites layout, the interface specifics, etc. Although Indeed.com is a very valuable resource, Monster.com seems a much better choice because of a better arrangement of information and the tools suggested for the users to adjust the search process to their needs.
Introduction: Internet Job Sites in Canada
Locating a job advertisement site is not an easy task. Though most sites of the kind feature enough information, their usability and overall performance are questionable. To identify the quality of the information provided on these sites, Indeed.com and Monster.com have been analyzed. Although Jobinga.ca, Indeed.com, and Monster.com feature rather similar information, the arrangement of data, as well as extra options, display quite clearly that Monster.com is preferable due to its higher level of clarity and better navigation.
Key Features of the Sites: Analysis
User Interface Design
The elements of good design must be easy to use: They must be executed in a simple yet understandable way (Marcus, 2015, p. 349); therefore, the number of fonts used must be reasonable. Likewise, the colours used are not to be bright to the point where they induce seizures. However, Monster.com seems to have better zoning, as it marks the necessary areas (i.e., the navigation panel, the list of jobs) more noticeable:
Colour can control or affect the look and feel of the website. Adding a few colours can make a boring site exciting, a good site ugly, or can evoke emotional responses. Therefore, designers should have colours to enhance their sites by creating good visual and emotional effects. (The effect of colour in web page design, n. d., p. 3)
Indeed.com and Jobinga.ca, in their turn, only use white color as the background for the key information. However, the abundance of fonts that Monster.com features may become an eyesore; as a result, one might give preference to the restrained choice of fonts made by Indeed.com (Arial, 12 pt.).
Usability
All three sites are also quite easy to use; the navigation panels on each allow for sorting data according to their relevance and date, which is essential for locating the right job. However, Monster.com also offers to find a company that is located near the user. Additionally, unlike Indeed.com and Jobinga.ca (Figure 1), Monster.com also suggests the option of classifying the results based on the salary.
Figure 1: A Screenshot of Jobinga.ca
Comprehensiveness
Indeed.com, Jobinga.ca, and Monster.com allow for adjusting the query of the user so that the latter could view all the options available. The content of the site features an impressive amount of data, which is related to the query. Apart from different job options, the three sites suggest relevant advertisements, as well as embrace the job options that are related to business management, such as sales, business analysis, information technologies, etc.
Timeliness
Another essential feature of a website (Evaluating websites and other information resources, 2012) and a very important measure of the relevance of information, and therefore, its accuracy (CARS checklist, 2015), the timeliness rates of Indeed.com, Jobinga.ca and Monster.com are quite different. Monster.com updates the information available to users so that the job opportunities posted two days before could be available to the target population (Figure 3). Indeed.com, in its turn, suggests only the job opportunities that were posted at least six days ago (Figure 2). Thus, Monster.com can be viewed as more trustworthy in terms of the timeliness of the information provided.
Figure 2: A Screenshot of Indeed.comFigure 3: Screenshot of Monster.com
Information Layout
It is also quite remarkable that each site provides a regular update. However, it is only Monster.com that suggests the user upload the resume immediately; Indeed.com has this option hidden for unregistered users.Monster.com also offers a slightly larger amount of choices per page (27) compared to Indeed.com (10) and Jobinga.ca (10). The given feature of Monster.com can be considered an advantage for the users, who are browsing for options, yet it may seem confusing for the person, who is willing to consider several sites simultaneously in-depth.
Overall Analysis
The graph below illustrates the score of each site in every domain. The specified diagram displays the correlation between the sites scores in every area as well. By identifying the site, which has the largest amount of positive aspects, and the scores of which are the highest, one will be able to identify the best option for locating the right job.
Graph 1. Indeed.com and Monster.com Comparative Analysis.
As the graph provided above shows, all three sites deliver rather impressive results in terms of their usability, as well as the availability of the requested information. The advertisements at Inded.com are admittedly more subtle; however, the fact that Monster.com uses more graphic methods for marking the advertised material may be viewed as an advantage, since it reduces the risks of the user mistaking the advertisement for a job opportunity and clicking it. Therefore, Monster.com should be given credit for using more clarity in providing various types of information. Also, the option of choosing several jobs simultaneously is a significant advantage of Monster.com, which puts the latter on top of the list of the best sites for business job opportunities.
Conclusion: What Makes a Good Site
Though all three sites represent relevant information in a rather accurate and well-organized manner, Monster.com seems to be the most reasonable choice to make when locating sites with job opportunities for Canadians. With a considerably simpler interface and a better representation of data, as well as more numerous options for information organization, Monster.com seems a perfect database of business management job advertisements. It helps arrange the information retrieved during the search, as well as identify the best job opportunities and find the companies located in the closest proximity.
Evaluating websites and other information resources. (2012). Web.
Marcus, A. (2015). Design, user experience, and usability: Interactive experience design: 4th International Conference, DUXU 2015, held as part of HCI International 2015. Los Angeles, California: Springer.
The effect of color in web page design. (n. d.). Web.
Hennessy explains that there are various ways of analyzing a given work of art formally (2). Comparison and contrast can be done mainly by the use of the artists name, the year of birth as well as the influences. In addition, style associated with the artist, title of work and background information would also be used for the same evaluation. Peterson adds that comparison can also be done based on the critical analysis of the artwork. In critical analysis, shape or form of the art, color, value, texture and space are the major tools used (44). The discussion therefore attempts to compare two types of artwork found in the Indianapolis Museums of Arts permanent collection.
The first artwork is the Oldfields, known as Lilly House and Gardens . The house was designed in the 1920s by Percival Gallagher of the Olsted Brothers firm (Chanock 95). The second architectural site is the Miller House which was designed by Eero Saarinen with the interior and landscape being designed by Alexander Girard and Daniel Urban Kiley respectively (Chanock 96). The two architectural sites clearly symbolize the modern type of houses and the colonial ones.
Chanock confirms that Olfields architectural work is one of the examples of country place era estate, a period during which, large estate was built outside cities across America (98). The building reflects how people used to live in the country estate in the 1920s. The Lilly House and gardens were a true reflection of the Americans lives in the 1920s. The house was occupied by the late businessman who lived in Indianapolis in the 1920s, thus the name of the architectural work. Miller house on the other is an architectural design that shows the modernism of the society as depicted by flowering layout, which covers almost the whole compound (Hennessy 20).
The two architectural drawings seem to have many rooms, just as depicted by their big sizes (Peterson 43). They occupy a wide area. The size of the two architectural drawings does not affect their quality and instead, they look more appealing due to the beautiful scenery around them. Peterson asserts that the colors used by both artists are almost similar, though there is a slight difference (44). They both used a green color in front of the buildings to symbolize the nature of the vegetation. However, Chanock explains that Oldfields-Lily house and garden compound is greener showing that there is grass planted (98). The green color is not intense in the compound of Miller House and this shows the presence of flowers.
Peterson says that the architects have used the same color but of different intensities to show the sky and clouds (44). In Lily House, the color of the sky is dark blue while in Miller house the sky is light blue. Both the architectural work have trees. Miller house also has a distinctive features from that of Lily House in the sense that it has a flat roof and a wall made of stones and glass (Chanock 99). Lily House has a raised roof, a common feature of ancient buildings, with walls made of blocks. The shape of the roof and even the whole building of Lily House is a resemblance of an image of the types of houses that were constructed during the ancient periods. Such buildings were used by the Kings and leaders in high positions as seen in images in the Bible. The art is therefore realistic, since it gives a clear picture of how people lived in the ancient times (Chanock 100). The style used in making Miller House is present one and does not combine any cultural style as seen from the architectural work.
Oldfields-Lily House was a home of an Indianapolis businessman known as J.K Lily in the 1920s.It has eight well-furnished historical rooms. The majority of these rooms reflect the period when Lilys family used to live there, that is, 1930s (Chanock 100). Although it is well-furnished, the majority of materials used are the ones which were used by Lily. Today, the architectural site is being used to enable people to have a deeper understanding of life in the early twentieth century (Peterson 45). Miller House art was a house of J. Irwin Miller in the year 1953. This is used to show the appearance of the American modern house. The recent American houses are constructed with a flat stone roof, which is different from the ancient constructions.
Hennessy confirms that the Miller house is symbolic in the sense that its walls are made of stones and glasses (50). The compound also has flowers and these are a characteristic of the modern houses. The symbolic natures of the two architectural works communicate to us how buildings used to be in ancient time and progress that has taken place since then (Chanock 105).
In conclusion, both the artworks discussed above reflect the changes that have occurred in the way people live and construct their houses. Stylistically, the two drawings show elements of reality from what is seen in Miller House is true about the modern houses. In the same way, the discussion provides an insight of how buildings used to look like in 1920s by looking at the Oldfields-Lily House image.
Works Cited
Chanock, Kate. Comments on essays: do students understand what tutors write? Teaching in Higher Education 5.1 (2000): 95-105. Print.
Hennessy, Brendan. Writing an essay: Simple techniques to transform your coursework and examinations. Dayton, Ohio: How To Books Ltd, 2002. Print.
Peterson, Linda H. Writing across the curriculum and/in the freshman English program. McLeod and Soven (1992): 43-50. Print.
Lianne George is a reporter and a senior editor of Macleans, Canadas magazine specializing in current affairs. Her article Why Are We Dressing Our Daughters Like This? raises a question of modern tendencies in fashion for little girls and adult women that started to worry certain circles of society because of their overt sexuality. The main point of the author is that in the modern society too much attention is paid to nymphets cult inspired by porno movies and Japanese cartoons. The main audience for this article includes parents of little girls and teenagers, all women, feminists, members of religious societies, and specialists in fashion. The rhetorical strategy of the author includes detailed examples from the pop culture, description of the goods provided for kids in retail and online shops, and historical analysis of modern tendencies in fashion. She also explains negative impacts of the cult of a body on the development of childrens outlook. Georges strategy is successful and gives her audience an opportunity to muse over the modern tendencies in fashion and perspectives for the future generation.
The author states that young, immature girls tend to wear clothes that emphasize their sexuality and even six-year-old kids are extensively occupied with their appearance and image nowadays. At the same time, adult women try to look like teenager girls following Lolita style. George claims that eroticization of girlhood once the stuff of Russian literature, Atom Egoyan films, Japanese comic books and good old-fashioned American porno has been seeping ever more into the larger culture (2007, p. 280). She also argues the value of these new trends in culture, which are mainly caused by the marketing strategies oriented to big sales among the targeted groups of buyers.
George notes that the edge between the goods for adult women and young girls is rather fuzzy, which makes the attributes of girls childhood such as pink color, puppies, princesses, and angels a part of the adult world with the obscene meaning. Thus, kilts as a part of the Catholic school uniform obtained a new understanding because of their widespread utilization in pop clips and porno films. The problem stated in the text is believed to have existed for almost two decades. Still, some people might think that it is somewhat forced. It brings the reader to the conclusion that if someone sees overt sexuality in young girls clothes it might be because of some mental problems of the given person not the problem with fashion and style.
The examples from the pop culture provided by the author include the public image of Britney Spears who owes her popularity to the clip where she appears as a sexy schoolgirl. The kilt and pigtails associated with Catholic schools created a distinct image remembered by millions and launched her career. It gives the readers of the article the general idea of the problem stated by George. Still, it is possible to note that Britney Spears is a representative of the popular culture, and her image just reflects the tendencies and tastes of mass consumers.
The description of the goods for children in the market confirms the authors statement about fetishizing girlhood. She provides the example of a pylon-exercising kit placed by marketers in the children section of the online shop, claiming that it looked as it perfectly fitted there. It gives the idea about main directions of culture development. The author also states that modern marketing makes kids a target for sales strategies and develops the society of consumers. She compares the games that little girls used to play in the last century with modern games, and her readers come to the opinion that some features of an adult life stopped being just a game and are incorporated into the everyday lives of modern children. It seems to be true because children become adult much faster nowadays.
Georges also provides a detailed historical analysis explaining the origins of modern fashion. It is stated that up until the late 18th century, children, both male and female, were outfitted like little adults (2007, p. 281). The author compares this tendency with the Victorian age when fashion dictated strict differences between the dresses of adult women and young girls. Girls were allowed to wear long dresses and have their hair up only when they came to a mature marriage age. It proves the idea that fashion changes over time and brings a reader to the thought that modern tendencies in fashion are nothing but an effort of adults to see in their kids a little copy of themselves. It also proves that modern tendencies of having children become adults fast are not new in the history of fashion and might be dictated by life conditions.
Although the idea of the same clothes for children and adults seems to be rather normal for the 18th century, George stresses that in the 21st century it has a different expression with fashion shifting to a childlike style and bearing an element of sexuality. It gives the reader an overall understanding of the tastes of modern society that are reflected in childrens behavior as through a distorting mirror. It is noted that although little children cannot conceive the whole meaning of fashioned clothes, especially T-shirts with ambiguous phrases, it gives a chance for adults to think over its appropriateness for their kids. The author seems to be right at this point because not every clothes style is appropriate for little kids.
The author also observes the point of view of some feminists who stood against making a woman an object for sexual fantasies. Still, modern women are often praised for their bodies, and it makes them question the necessity of getting an education and developing their minds. The reader is led to the conclusion that modern children grow up in a society that praises the empty shell of public image and good appearance. It is emphasized that marketing strategies consider children to be potential consumers. Therefore, girls are mostly identified as shoppers, even if they are only two years old.
George also reminds a reader that children are mimicking the behavior of adults, and the choice of goods for kids in the market reflects the tastes of their parents and the efforts of women to look sexier, younger and feminine. She compares these efforts with the tendencies of the last century. It is a general opinion that during the feminist movement, women tried to look manlike wearing trousers and jackets. This emphasized their will to obtain equal rights with the opposite sex and have an opportunity to get higher education and a well-paid job. It seems that now women are tired of being treated like men and tend to express their attitude to reality with the help of a teenager image.
The article Why are we Dressing our Daughters Like This? by Lianne George raised a question of modern tendencies in fashion for little girls and adult women that started to worry certain circles of society because of their overt sexuality. The author proved her statement with the help of the appropriate research on the subject and supported her opinion with the analysis of resources relevant to the topic. The article is believed to have a positive impact on the potential audience.
Reference List
George, L 2007, Why are we dressing our daughters like this?, Macleans, 1 January, pp. 36-40.
The art of space control and arrangement is called interior design (The Marketing Donut, 2010). The elements of interior design include workspace, glamor, comfort, elegance, and sophistication. Thus, the goal of an interior designer must align with customer appeal and satisfaction. By implication, an interior designer must have skills in structural requirements, software applications, building codes, textiles, color match, space organization, and safety (The 10 Things Every Bedroom Needs, 2016). Bedroom decoration is an important aspect of an interior design that requires careful planning. The designer must prioritize the space layout as the first element of design. Secondly, the positions of bedroom furniture must align with the clients appeal. However, the clients needs must be understood and followed to avoid complications. The factors that affect the quality of a room design include experience, design, layout, skill evaluation, data collection, research, elements of design, client profiling, basic design principles, and position.
Factors that Influence a Good Bedroom Design
Experience
An interior designer must have classroom knowledge in designs or its equivalent. Thus, certifications in interior designs, material engineering, textiles separations, and color match complement the individuals experience. By implication, an interior designer must combine field lessons with the skill to achieve customers appeal (Bedroom Ideas, Decorating Tips, and Decor, 2014). Thus, the designer must be experienced to understand the needs of his or her clients. Please note that relevant institutions must certify an interior designer, while a decorator can be gifted.
Design layout
The layout of the bedroom determines the design. As a result, the designer must know the layout measurements to organize the interior furniture. The designers ability to factor the space requirement of each client influences a good bedroom design.
Skill evaluation
Designers must satisfy the clients appeal for his or her money. The designer must test his or her strength and weakness in interior design. By implication, positive feedback from clients shows the designers strength in bedroom design (10 Tips To Make A Small Bedroom Look Great, 2014). However, the designer must overcome the negative feedback using personal study and careful planning.
Data collection
Data collection is an important feature that facilitates the customers satisfaction. An effective data collection can create a difference between designers. Thus, customer loyalty depends on their appeal and satisfaction. By implication, the designer must conduct open research to collect relevant information concerning each client. Please note that the customers style may not be convincing, however, giving options for the room design will boost loyalty and trust.
Trends, fashion, and the bandwagon effect
Most clients prefer original designs to duplications. The designer must understand interior trends and style using online search tools and fieldwork.
Research
Bedroom design is synonymous with field experience, thus, the designer can amaze the client with a unique concept. Detailed research in quality designs will assist interior designers in understanding the clients needs. Consequently, design applications complement individual skills. For example, a good design program can adjust room furniture to create space based on the clients instructions. Thus, the designer must have the program and applications to complement his or her educational qualifications (Providing Inspirational Home and Interior Design Ideas, 2008).
Elements of the design
The element of the design determines the quality of a good bedroom design. Nevertheless, the interior designer must understand the features of good design. The features of a good bedroom design include glamor, harmony, coziness, symmetry, contrast, boldness, playfulness, and coordination. The designer must combine and complement these features to create a masterpiece that will amaze the client. Thus, the features listed above facilitated the design flow and uniformity.
Client profiling
Client profiling influences the quality of a design plan. The designer must profile the clients to understand his or her needs. The designer must accommodate the clients requirements and adjust when needed. Thus, the one-to-one interview will create the blueprint for the room design. The phrase the client is always right must be carefully maintained and adjusted to avoid the customers dissatisfaction.
Basic design principles
Basic design principles influence the quality of a room design. By implication, the designer can understand the clients needs using basic design principles. For example, the color match must be durable, unique, and simple. Consequently, the room design must have space for other activities. Proper ventilation is a criterion for a good bedroom design (7 Tips for Designing Your Bedroom, 2016). As a result, the design begins with the building plan.
Positioning
Positioning room functions and accessories must be measured and precise. Artifacts, light fittings, and wall switches must be positions that are specific lengths to avoid congestion. Consequently, the room function arrangement must be tailored using a good design program. Thus, an interior designer can model a clients needs using his or her style.
Conclusion
The factors listed above facilitate the quality of a bedroom design. However, the customers needs depend on the designers willingness to adapt, empathize, and align trends, fashion, and appeal. The requirements for a one-room design depend on the clients flow and needs. However, the rooms layout and building plan determine the location of bed space, functions, and accessories.