European spatial planning report Research Paper

European spatial planning report - Research Paper Example Identified aspects of the European background for spatial planning and expansion that are definite will be utilized to analyze matters of the report. There is an intense global perspective to spatial planning (Dühr et al. 2010). European incorporation enhances interconnections, growth and administrative across countrywide and regional borders (Hahn 2014). EU strategies in aspects such as surroundings, agriculture, transport, or regional strategy have extensive effects on spatial growth patterns and planning measures. The report concludes with assessment and recommendations that can assist the selected UK territory authority execute roles adequately (O’brien and Sykes 2013; Sykes 2011b). LED is a creation that is geared to promote development in suitable regions. The policy of LEP is about supporting economic development through enterprise zones and local enterprise partnerships. By considering LEP of various regions it is possible to advise the UK territorial authority in matters that affect development of some regions. LEP has challenges of social, economical and environmental capacity. However, different regions have dealt with these challenges in different ways. Local enterprise partnerships are affiliations between businesses and local authorities (Great Britain and Bailey 2010). They make a decision what the priorities must be for investment in infrastructures, buildings and amenities in the area. They are a means regions can develop without overdependence on federal or central governments. LEPs were provided the opportunity to apply to have a venture or project (investment) zone and 24 were offered. These regions can take benefit of tax incentives and easy lo cal planning policy (O’brien and Sykes 2013). They can have a key responsibility in this changeover or evolution both in terms of their responsibility in strategic economic planning, for example in investing in the essential infrastructure

Home Networking Article Example | Topics and Well Written Essays - 250 words

Home Networking - Article Example dependent of one another either by resulting to emerging internet architect and protocols or by painting new UI ahead of technologies that are existing (Edwards et al., 2011). Challenges facing home networking are what make it a bit inconveniencing to users (Edwards et al., 2011). These are the reason for the slowdown in home networking but there are solutions to them. Once the problems are solved then, home networking can be more convenient to the users (Edwards et al., 2011). The article perspective is that of user (Edwards et al., 2011). This is because he has identified various problems experienced in home networking. Additionally, has stated the possible solutions that can be of use to try to solve the problems facing home networking (Edwards et al., 2011). Adoption of networking in homes has become rampant over the years. For instance, in 2009, 63% of homes in the U.S had broadband connectivity and more than 50% had a home network (Edwards et al., 2011). The home network is multiple computers using a shared connection (broadband) through wireless or wireless (Edwards et al., 2011). In late 1999 as ell as inception of 2000, this knowhow has greatly though showed gigantic growth problems. This problem, which experience is beyond inconvenience, as it poses threats to their privacy. Addressing these problems will first require research from the industry, system, and the networking. The advantage is that it bears implications, which are positive especially meant for sustainability as well as public accessibility. This is a commendable breakthrough based on its boosting to commercial, education as well as communication services (Edwards et al., 2011). Home network has problems more so on end users who find difficulties in securing and managing their networks because this development is for managed environment. The privacy of an individual is not a guarantee and it does not have the chance to install applications of new-generation (Edwards et al.,

Organizational Essay Example for Free

Organizational Essay Table of Contents Introduction Organizational culture is an important part of any organization, for this is the principles a company stand for. Without a strong, stable culture, an organization is sure to fail sooner than later. I will now discuss the subjects briefly mentioned in assignment 1. 1. The organizational culture of the organization where I work: 1. 1. A) Definition of Organizational culture and 4 types of cultures. Organizational culture refers to the shared values, norms, visions, symbols, beliefs, habit, working language between people sharing a working environment. There are, according to (Greenberg, 2011) four types of organizational cultures that exist. (Control) Hierarchy culture: These are typically large, bureaucratic corporations where smooth production, without wasted time is important. Stability, control, internal focus, standardization and integration are key principles to this system. Leaders in such a system should organize, monitor and coordinate the people and process thoroughly. (Compete) Market culture: These organizations are also concerned with stability and control, but rather than focusing on internal factors, they focus on external. This system is concerned with competition. They look at all the other organizations competing in the same market and then focus on their relationships- or transactions with suppliers, customers, contractors, unions, legislators, consultants, regulators etc. They believe that they’ll achieve success by focusing on effective relations (external). (Collaborate) Clan culture: Inward focus is important, same as the hierarchy system, however clan cultures emphasizes flexibility rather than control and rigidness. At such organizations, the well-being of workers comes first. It is said that people working in a clan-cultural environment feel related to their co-workers due to the warm, friendly nature. (Create) Adhocracy: This culture refers to the opposite of bureaucracy, focusing on flexibility and the external environment. It’s all about opportunities, problem-solving and outcome. These type of companies should always be up to date regarding development and technology. Typical example of such organizations is software-developing companies. The culture of the organization where I work: The organizational culture at my company is the Create or Adhocracy culture (defined above) According to Waterman’s theory (cited in Greenberg, 2011) an Adhocracy culture goes beyond the ordinary bureaucratic lines to capture opportunities, solve problems and get results. In my organization, we focus on innovation and creativity. Team work is essential, because software engineers have to split up the work due to the work-load. 2. How are new employees accommodated in the organization? Accommodation can refer to special needs of some employees or just taking account and respecting all members’ race, ethnic group, color, nationality, social origin, religion, age, marital status, sexual orientation, sex, opinions, family status and source of income. In my company, respect is a very important aspect, we accept every member the way they are. Supporting each other rather than rejecting. (Denison, 1990). In my organization, we use a process called â€Å"Onboarding†. Onboarding is the process whereby information, training, mentoring and coaching is provided to new members. This makes new members feel welcome and informed. This also increases productivity from the beginning, reduces costs due to flaws and saves co-workers training time. According to (Parker, 1993) this process includes four stages to let new employees â€Å"onboard†. Acquiring is the first step we use in the onboarding process: In this first step, newcomers will be introduced to co-workers. The group in which the employee will work is already decided before his/ her arrival. The employee will now get the opportunity to talk to other group members to create a mental picture of what the work will include. Accommodation is the next step, new employees are provided with all the necessary resources to make their working experience pleasant. In my company, new employees get a computer, which stays at the office at all times. This computer will have all the newest software on it, ensuring that the employee can do the tasks effectively without any discomfort. Assimilation is step 3 of onboarding. The intern will now be allocated to a more experienced member. This member will show the intern around, showing him where everything is and given him a crash-course about what will be expected of him. The intern can now shadow the person to get the hang of things. Please do note that the newcomer is expected to have all the skills needed to obtain this job. Like the necessary degrees etc. , which was considered before appointing the job to the person? Acceleration: In this stage, new members engage in their working tasks, still learning as they go, but now they are able to feel comfortable in their working environment. In this stage the results are brought to the table and fairly employees now have the chance to perform and show everybody what their made of. 3. How my organizational culture can be improved: Before discussing the stages I shall take to do so, there are a few core principles that should be in place. Values are the first, which means the core values and believes of the company should be spelled out very clearly. All employees should know what the company stands for. Second are goals. When everyone knows what the goals and milestones of the company are, they know what is expected of them. Consistency is the next fundamental point- keeping the standards and goals high. Communication, important in every aspect of life is also important to improve the culture in organizations. The last point is celebration- everybody needs some reward for good work done. This will motivate employees to work hard to reach the upcoming goals and having fun in the workplace is fundamental. (Denison , 1990). The above is not the strategies I will follow to improve my organizational culture, its important elements that forms the basis of a good organizational culture. The stages of improvement include strategies to spread the culture throughout the company and beyond the borders of the company and let everyone be aware of them. I believe through doing that, the culture will improve. Here follows 6 strategies Symbols: Symbols are, according to (Ornstein, 1986) those objects, not needing words to be described. The symbols of an organization can rest in the waiting room, the size of the building, the awards hanging around, the atmosphere when you walk into the doors etc. these symbols let you know what the company is all about. Thus, it spells out the organizational culture. Slogans- Phrases that summarize the organizational culture: Slogans are those catchy tunes or saying things unique to a certain company. The slogan can tell you a lot about the companies’ culture, because the companies â€Å"heart† is captures in a few phrases. Thus, the employees and public can grasp the essence of the organizations- whereas the culture is improved. Stories: These are the re-authoring of important and catchy moments in the company’s history. The telling of these stories can re-introduce important values to employees. (Martin, 1982). These stories might be told in a formal way (in a meeting) or informally (employees drinking coffee). These stories remind employees how â€Å"we use to do it around here† and indirectly creating some expectations or guidelines. Through this the employees get a clear understanding of what the company cherishes. Jargon: These are the everyday language used in the company. Companies may also create their own phrases or words, which are understood by each other. These jargons might become unique to this company, but may also spread out to the public, making the company â€Å"famous† for their unique words. According to (Carroll. 1993) Jargons are especially popular in the high-tech world (like my company is). Ceremonies: These special events celebrate whatever it is that it most essential to the company. By looking at the reason for celebration, you will get to know the core beliefs and values of a company. Therefore, by hosting ceremonies, the employees and public can see what is valued the most. This will strengthen the culture of the organization. Lastly is Statements of Principle: Defining culture through writing: This means bringing forward a statement of principle. In this statement lie the core values of your company, reinforcing and clarifying the qualities of the company. (Carroll, 1993). Bibliography Carroll, P. (1993). Big blues: The unmaking of IBM. New York: Crown. Denison, R (1990). Corporate culture and organizational effectiveness (3rd ed. ) Oxford, England: John Wiley Sons. Greenberg, J (2011). Behavior in Organizations. Martin, J. (1982). Stories and scripts in organizational settings. In A. Hastorf A. Isen (Eds. ), Cognitive social psychology (pp 255-306). New York: Elsevier-North Holland. Ornstein, S. L. (1986). Organizational symbols: A study of their meanings and influences on perceived psychological climate. In J. Greenberg, Behavior in Organizations (p 520). London: Pearson Publications. Parker, M (1993). Postmodernism and organizations. Sage Publications ltd.

Industrial Design And Engineering Design Cultural Studies Essay

Industrial Design And Engineering Design Cultural Studies Essay This paper gathers views in the literature on design thinking and representation of design processes from the point of view of industrial design and engineering design. The paper conducts a critical review of texts dealing with differences and similarities in design processes in the field of industrial design as opposed to engineering design, with particular attention to the elements of creativity in product design. The design of a consumer electrical appliance such as a hair dryer and the larger dimensions of car design are areas where what an industrial designer might do and what a design engineer might do can be usefully compared and contrasted. The paper goes on to survey the field of product design from a different perspective, that of art. It takes up the challenge to traditional design by the Bauhaus movement in Germany in the1920s to 1930s, and the Memphis movement of the 19760s to 1980s. It is a valid question, apart from the how of product design, to ask whether new movements or initiatives might easily change the what of the design world, and through emphasis on fashion and style both industrial designers and engineering designers might find themselves creating new, more creative patterns and products. Background The combined shortage of designers and demands of manufacturers led to criticism of industry by such designers as William Morris and John Ruskin who could see that separation of design from the processes of production had influenced esthetic quality (Haskett 1977). This paper explains how industrial design focuses on user interface and esthetic quality. At the same time engineering design has become a key element in product design, applying engineering principles to developing components, systems and processes to meet specific needs. A concept of an artisan, craftsperson, who is totally free to invent art forms and create designs, with no restriction, is not reflected in the history of art and craft, whether in Europe or in Asia. There is the economic restriction that there must be a user who purchases the work or supports the craftsperson; and it should be kept in mind that craft requires a properly equipped workplace and usually workers. There is the social reality of the acceptance of the work of a craftsperson and the general estimation of its value. Thus in focusing on the inseparability of invention and execution as it may be applied to design, the anachronistic idea of individualism need not be introduced in order to understand the creative process. A key condition is the ability of craft to produce the designs that emerge. Technology has, essentially, made that a very possible prospect. Further, in terms of a reciprocal effect of design on craft, the use of computerised design and the production of computer software to meet designers demands, along with the common feedback effect on production of new computer hardware, can mean that craft and design can contribute to each other. The Collins English Dictionary defines technology as the application of practical sciences to industry or commence, or the total knowledge and skills available to any human society for industry, art, science, etc. (1995). Barras (1986) has argued that the typical course of development in services has been from process innovation and focus on the new product design and market, then moving to achieving economies of scale and low costs. The decline of the traditional craft apprenticeship system meant that craftspeople became more familiar with others in in terior, industrial, theatre and product design, and with architecture, fashion, and performance art (Margetts 1989, pp.9-10). Although an industrial-design profession did not exist in the late nineteenth century, the architect Frank Lloyd Wright articulated its principles in 1901 by advising artists create prototypes for factory reproduction rather than to produce craft work. After 1900, manufacturers tried to give new form to electrical appliances, cars and other new technologies. In the 1920s, some decorators took up French modern styles, and Art Deco was adopted in the late 1920s. The Bauhaus school of art and design, closed by the Nazi regime in 1933, established a relationship between design and industrial techniques as well as between fine and applied arts (Chilvers Glaves-Smith). From there, there has been rapid growth in the design of manufactured products. Henry Fords rigid standardization, interchangeable parts, and special-purpose machine tools complemented Fords introduction of the assembly line in 1913, resulting in vastly increased production volume and relentless cost reduction. Global competition in the 1980s and 1990s impelled designers to give form to the hardware and software of the information age. Quality became a key criterion also (Volti 2005). Affective design that is able to translate human affections into product design specifications has been widely accepted as an effective tool for product development. It enables designers to identify product features that can meet consumer needs to feel satisfied with a product. Affective design knowledge can help designers improve product design (Zhai et al. 2009). Environmentally friendliness of consumer products is another aspect of design, but it has been observed that consumers need to be reminded of ecological issues when actually using the product. It is worth noting that it is a holistic, life-cycle-based analysis that will enable the designer to assess the environmental impact of design options: environmental damage can occur as toxic emissions during production, energy consumption during use, or toxic waste during disposal (Saue et al. 2002). As far as the larger environment is concerned, the US electrical industry has contributed played a part in the use of consumer goods ( Carlson 2001). Design encompasses these issues. Industrial Design Industrial design may be defined as The ideation, specification, and development of functions, properties and concepts of industrially manufactured products and systems, mainly regarding aspects of user-products interaction, aesthetics and identity considering a totality of ergonomic, usability, technical, economic and social factors (Warell 1999). Industrial designers are concerned with communicating the quality and function of a product as well as the reputation of the manufacturer object by visual means. The product should be easy, comfortable and safe to use (Dieter 1991, p.111). The industrial designer emphasises the user and the purpose of the product; its esthetic nature, including not only style and appearance but what the product will convey to the owner in emotional terms; and product identity, which may apply to strategic positioning within a specific market and linkages with other products. In the design process the designer has considerable freedom to decide on how an optimal result is achieved (Green Bonollo 2004). This illustrates the way in which creativity informs industrial design. Design is a part of product planning and development that come from the business strategy of the client company and are marketed and distributed in order to await success at the hands of the consumer (Cross 2000, p.198). Analysis of features of competing products, the use of benchmarking, or research into user needs and preferences may take place. Specifications may be elaborated and concepts critically examined (Green Bonollo 2004). Conceptualisation refers to highlights in the creative process. Synectics is a group technique which draws on analogical thinking, identifying parallels between apparently dissimilar topics (Dieter 1991, p.113). A process of rough visualisation through sketching may follow. At some point an industrial designer will have a basic idea of the concept to be embodied in the product-how it works, the overall shape and so on. In this phase the schemes are worked up in greater detail and, if there is more than one, a final choice between them is made. The end product is usually a set of general arrangement drawings. There is (or should be) a great deal of feedback from this phase to the conceptual design phase (Cross 2000). Before selecting a concept, industrial designer needs to consider the availability of technology: if there is no existing technology that can be used for a design, the industrial designer will need to consult with engineering designer. Dorst (2003) argues that the interaction itself has to be designed: the industrial designer should use design techniques such as scenario-based design and storytelling to deal with this issue effectively. A Rapid Prototype model may be made in order to finalise design details. In addition, industrial designers may carry out styling, where components of style are built into their own designs. This can involve materials or techniques, environmental influences or social trends (Mayall 1967). Detailed design issues follow: component parts, nesting, packaging, shipping and marketing issues may be relevant. Colour and placement of the brand name are important (Cross 2000, p 32).Finally the industrial designer uses three-dimensional computer programs such as Solidworks to create actual size 3D models and engineering drawings to be used in production. Engineering Design Engineering design tends to relate to the technical operation of mechanized products rather than their esthetic characteristics. In the automobile industry, stylists were used at General Motors as intermediaries between the mechanical engineers and consumers. What these stylists did was to give cars a visual identity through the shape of the body, grille or dashboard design, or colour choices and interior fabrics (Woodham 2006, p.141). Engineering design is design with particular emphasis on the technical aspects of a product. It includes activities of analysis as well as synthesis. This definition broadly describes what engineering designers do. They may be concerned with aspects of engineering consideration that includes machine elements, solid mechanics, strength of materials, aerodynamics, fluid mechanics, hydraulics, electronics engineering, software and systems engineering, quality engineering, industrial economics and human-factors engineering (Warell 1999). A formal definition of engineering design is found in the curriculum guidelines of the Accreditation Board for Engineering and Technology (ABET). The ABET definition states that engineering design is the process of devising a system, component, or process to meet desired needs. It is a decision-making process (often iterative), in which the basic sciences, mathematics, and engineering sciences are applied to convert resources optimally to meet a stated objective. Engineering design should be creative and use open-ended problems and modern design theory and methodology. The approach process of engineering design is more systematic and problem-focused than industrial design. Engineering design is a sequential process consisting of many design operations. It may include exploring the use of alternative systems, formulating a mathematical model of the best system concept, or specifying subsystem components. It could mean selecting a material from which to manufacturer a part (Birmingham et al. 1997). In the product planning and task verification phase, the roles of engineering designer and industrial designer are similar, though a particular concern of the engineering designer will be what the client requested. Conceptualisation for the engineering designer involves determining the elements and mechanisms to be used in the product. This will often involve formulating a model, either analytical or experimental (Dieter 1983). Before moving to the embodiment stage, it is important for the engineering designer to understand the strengths and weaknesses of mechanisms, concepts or material and be able choose the one most appropriate to the product function. An excellent technique to guide the designer in making the best decision is a scoring matrix, which forces a more penetrating study of each alternative against specified criteria (Haik 2003). Embodiment involves the clear determination of the physical processes which govern the main flows and conversions of material, energy, and information. This stage of engineering design includes building and testing experimental models. Dieter (1983) notes that this phase lays the basis for good detail design by means of a structured development of the design concept. Most of the time engineering design requires experimentation where a piece of hardware is constructed and tested to verify the concept and analysis of the design as to its work ability, durability, and performance characteristics. The design on paper is transformed into a physical reality. Three techniques of construction are available to the designer: the mock-up, generally constructed to scale from plastics, wood, cardboard, and so forth. It is often used to check clearance, assembly technique, manufacturing considerations, and appearance. It is the least expensive technique, provides the least amount of information, a nd is quick and relatively easy to build. The model is a mathematical representation of the physical system. The prototype is the most expensive experimental technique but the one producing the greatest amount of useful information (Haik 2003): In the detailed design stage, the engineering designer may find many complex interrelationships involved in the product. The quality and cost advantage of a product are determined by the level of quality detail. Manufacturing specialists may also be involved. This is now a tested and producible product. The arrangement, form, dimensions, tolerances and surface properties of all individual parts and the materials and manufacturing processes are all specified (Dieter 1983). Communication and preparation for production now follows a sequential flow of operations. Tooling and machinery are laid down. Production cost estimates will be available, but close collaboration with mechanical engineers is necessary and high costs could mean changes in materials and even in design. The colour of a car is usually applied as paint, but paint goes beyond merely esthetic and cosmetic features. Consumers and manufacturers have to face the fact that new investment in vehicles is extremely expensive, and consumers are not inclined to accept alternative or radical designs. Paint is a comparatively cheap way out of this, and plastic components are painted as well. Paint thus keeps the car looking good, but it no doubt inhibits the use of new alternative materials or new manufacturing initiatives in design this in turn could inhibit the extensive adoption of new and alternative materials (Nieuwenhuis et al. 2006). The engineer manages schedules and uses resources after research in the car industry. He or she is also participant and communicator of design. The desire to be more ecologically and environmentally aware has had a major influence on automobile design. Automobile design factors will need to be covered as a broad range rather than just by focusing on particular single consumer requirements. The car has to meet human needs but also to be environmentally friendly. This will entail: (1) technological support for automobile design, (2) product innovation for various automobile prototypes (low emission car, high efficiency car, friendly car, advanced safety car), and (3) design methodologies (e.g., CAD-CAE-CAM, real time simulations, rapid prototype systems, parameter design technologies) (Ardayfio 2000). Design innovation, often pushed by customer needs and expectations, enables companies to gain leadership in an extremely competitive global marketplace. But products need to go beyond customer expectations. Industrially also, innovation is needed to remain competitive (Ardayfio 2000). Art and Design Apart from the creativity of design, there is the excitement of design. Bertola (2003) argues that design is a multifunctional activity. It can take many forms to adapt to contextual infrastructures, that is different organizations and purposes. Design can act as a knowledge broker, flowing from outside to inside companies. Design, if it is seen as a knowledge process that can adapt, can also be seen as an opportunity to support innovation in a particular context. This paper began with reference to creativity in product design. Button (2000) takes up the concept of ethnography in relation to design. Ethnographical field work has tried to analyse foreign cultures from the inside, developing theories about exotic cultures. But design in a Western culture can also be seen in terms of ethnography. This is particularly so in the context of industrial design, whose origins are quite recent. Ethnomethodology suggests that it is just not possible to go beyond the knowledge possessed by members of a society about what they do. Whatever explication given by the ethnographer may not be of interest to design engineers, for example, but the substance of his or her report should be recognisable to them. From an anthropological or sociological point of view, there is some logic in this. However this paper, building on what has been said about industrial design and engineering design, argues a further point: that the concept of design as allied to art can eas ily be misplaced or forgotten in an organisational situation where the concern is to produce a product. A Bauhaus or Memphis, even a postmodernist initiative, may not emerge from a tunnel of emphasis on products as products. This is where product design, along with architecture, has a place in the overall scope of Design and Art. There is an imagination within the desire to produce something novel. This is a field that allows the operation of graphic art, and a sculptured three dimensional impression that includes the artifact as well as the common consumer purchases. If modernism and postmodernism are currents, then they may be described as floating currents because they are difficult to locate precisely. The two currents interact at some points. In art, modernism may be said to date from about 1860, and became an orthodox school in the 1920s. Modernism tended to stress form more than content and to reject traditional esthetic values. It was very influential until about 1960, and then postmodernism came into vogue. It has been related to poststructuralist writers Jacques Derrida and Michel Foucault, whose writings embodied a radical relativism which was able to be used to deconstruct the status quo. It is important to note however that there have been 250 years of intellectual-literary-artistic alienation when from Rousseau onwards artists tried to stand aside from mainstream culture. Modernism and postmodernism are part of that overall movement (Murphey 1999). The Italian design group Memphis was a flash of artistic input to interior design. It is said to be part of postmodernism. The trend crystallized in Memphis was away from the decorative styles of the Arts and Crafts movement. Symbolism, pattern and of course ornament were relegated essentially to the modern era. The Bauhaus designs with their geometry dovetailed into a simplicity which in Italy focused on furniture design. The Memphis Group emerged. Austrian-born, Italian-educated Ettore Sottsass formed Memphis in 1981, with a loosely-formed group of designers. The designs that emanated out of the Memphis group included limited productions of unusual and functional designs, characterized by plastic laminated surfaces and bold colours and patterns.   The interpretation of the group has involved making a political statement: high and low classes should share perceptions and ideals. Meecham and Wood examine the proposition that as art itself has fundamentally changed in the modern period, so have ideas about it (1996, p.1). Postmodernism may be said to differ from modernism in that it returns art to a representation of the worldattempts to restore art to its external referencesRepresentational art is back, but it tends to be critical rather than celebratory, stressing bleak and shocking images rather than the beauty of nature or intimations of divine order (Veath quoted in Murphey, 1999). A group of designers of furniture and household accessories, who were known for erratic, illogical, avant-garde and anti-establishment style, Memphis in being concerning with juxtaposing reality infiltrated the world of the imagination, in a way that was deeper and different from the modern. There is a need to look back to compare with the modern, because in many ways this is a necessary context for the description of the postmodern. The Modernists had disliked decoration and colour, but Postmodernism used them with enthusiasm. Allegory, multi-historical and multi-cultural references came into new design. Memphis bad taste was an ironic bad taste. Pattern and ornament are characteristic of the works, just as they were alien to Modernism. The impression is kitsch, cheap and nasty materials, and bad taste throughout. Whether it is self-conscious or even self-mocking, the point is made that this is not modernism (Reed 1984). The bright and careless style of some of the Memphis design will have been trendy once, and some people will have worn them at some times. However these designs are bold and brazen. They seem directed to a middle class or intellectual section of society that likes to be overexpressive and does not care even if there are consequences for being like this. That is the impression I had, and that was the impression I gained from overhearing two possibly third year students who seemed to have generally quite mature attitudes on art. A group of designers of furniture and household accessories, who were known for erratic, illogical, avant-garde and anti-establishment style, Memphis in being concerning with juxtaposing reality infiltrated the world of the imagination, in a way that was deeper and different from the modern. There is a need to look back to compare with the modern, because in many ways this is a necessary context for the description of the postmodern. The Modernists had disliked decoration and colour, but Postmodernism used them with enthusiasm. Allegory, multi-historical and multi-cultural references came into new design. If accused of bad taste, Memphis would have said, Of course. Their bad taste was an ironic bad taste, but there was bad taste in their work. These attributes of Memphis no doubt related to its short-lived presence in the art world (Watson 2002). In a sense furniture design itself is an activity that can easily push against the boundaries of modernism, if only because small aspects of furniture design can jump past the outrageous modern stage into a stage which inverts and turns around artistic insights at will, lampooning commercial motives as it goes. The postmodern impulse that seems to be emerging from every joint is somehow trying to say, or saying, that this is something to sit on and it will probably hold you up, too, but you need to see it as something a little funny, a little amusing. Memphis asks not to be taken too seriously. This whimsical face of furniture design has a certain class aspect inasmuch as the poor and the working classes cannot afford to see their houses and what goes in them in terms of play. The question will be more often whether they can afford to buy furniture. Modern art and particularly postmodern art go beyond this basic complexion of need. Conclusion A striking thing that comes out of this survey of writing on the role of industrial design versus engineering design is the interdependence of the two. This may not mean an interrelated operation or a simultaneous operation involving the two aspects of engineering, but it is clear that to present an optimally designed product in the industrial sense means that it must work in the engineering sense. And engineering designers must be able to locate the device or consumer good within a framework of its production and ultimately its marketing and use. There are many articles on this issue that could have been referred to here, or summarised, or responded to in some way. However the coverage here is no doubt adequate to show how industrial and engineering designs are complementary. What has emerged most strikingly from the whole context of industrial design is its potential responsiveness to the culture in which it exists. It is possible to look back at various movements that have shaped the consumer products with which people are so familiar in their everyday lives, and where their parents have seen changes over the years. The Bauhaus, now a long time past, had a distinct and revolutionary approach to design. Memphis similarly had an avant garde approach which vanished into air. Whether such movements will resurface in some other form will probably not be the doing of the design engineer. But it may arise out of the imaginative design of the industrial designer. It may also arise as a resolution of forces in society that may flow conservatively for a time and then suddenly change direction. This can affect everyday objects-the hair dryer, the car, the television set, the computer and so on. It has certainly affected the miniaturised communication device, the m obile telephone. The fuel consuming, polluting yet status symbolic institution of the automobile will no doubt respond to pressures to change. There is an art in design that over time is likely to surface in different ways and in different places. In this context, the industrial designer along with the design engineer is likely to be closely involved.

Pearl Sydenstricker Buck, 1892 - 1973 :: History

Pearl Sydenstricker Buck, 1892 - 1973 Pearl Comfort Sydenstricker was born on June 26, 1892, in Hillsboro, West Virginia. Her parents, Absalom and Caroline Sydenstricker, were Southern Presbyterian missionaries, and were stationed in China. Pearl was the fourth of seven children (and 1 of only 3 who would live until adulthood). Buck was born in the U.S. so she could be a natural U.S. citizen. The Sydenstrickers lived in Chinkiang (Zhenjiang), in Kiangsu (Jiangsu) province. Pearl's father spent much time away from home, traveling in the Chinese countryside in search of Christian converts. Pearl's mother ministered to Chinese women in a dispensary she created. >From childhood, Pearl spoke both English and Chinese. She was taught mainly by her mother and a Chinese tutor, Mr. Kung. Though in 1900 the family returned to the US to continue their lives. In 1910, Pearl enrolled in Randolph-Macon Woman's College, in Lynchburg, Virginia, and graduated in 1914. Although she wanted to stay in US, she returned to China after graduation when she heard that her mother was extremely sick. In 1915, she met John Lossing Buck and they were married in 1917. (The marriage was very unhappy, but it lasted for 18 years.) They immediately moved to Nanhsuchou (Nanxuzhou) in Anhwei (Anhui) province. This is where Pearl gathered poverty stricken material that she would later use in The Good Earth and other stories about China. The Bucks' first child, Carol, was born in 1921, but was born with PKU. (A genetic disorder in which the body lacks the enzyme necessary to metabolize phenylalanine to tyrosine. Left untreated, the disorder can cause brain damage and progressive mental retardation as a result of the accumulation of phenylalanine and its breakdown products.) The child became extremely retarded. Then, because of a uterine tumor found during the delivery, Pearl had a hysterectomy. In 1925, she and her husband adopted a baby girl, Janice. >From 1920 to 1933, Pearl and Lossing made lived in Nanking (Nanjing), on the campus of the Nanking University, where both had teaching jobs. In 1921, Pearl's mother died and shortly after her father moved in with the Bucks. The tragedies which Pearl suffered through out her life reached a climax in March, 1927. In the terrible even called the "Nanking Incident." In a confusing battle involving parts of Chiang Kai-shek's Nationalist troops, Communist forces, and assorted  ¡Ã‚ §warlords ¡Ã‚ ¨, several Westerners were murdered. The Bucks escaped and had an extremely long day hiding, but were finally rescued by American gunboats.

The Metamorphosis of Grendel :: Grendel Essays

The Metamorphosis of Grendel The majority of John Gardner's Grendel revolves around a monster-like character named Grendel. The reader is allowed access to Grendel's subconscious and inner monologue, giving one the sense of a very close relationship with the main character. This tends to beguile one into sympathizing with him and thinking of him as a protagonist because historically in literature the main character of a novel has always been the "good guy." However, he proves himself to be very much the anti-hero in the novel many times over. Grendel's social contact with the world is extremely limited, but his persona is greatly influenced by each brief encounter with another character. The first major influential character Grendel encounters is The Shaper, a blind old wise man. The first mention of him is in Chapter 1 when Grendel is attacking Herorot. While all the town's men, women and children are frozen in awe and horror, The Shaper is able to think quickly and jump out the window of the building he was in and run away. Grendel admires him for his ability to think and act quickly, as well as for possessing vast knowledge he can only dream of ever acquiring. Grendel wishes he had the mind of the Shaper and begins to feel jealous, so he subconsciously tries to become more like him. The Shaper's songs teach Grendel a lot about the humans in the surrounding regions and how they think and live. Everyone loves and respects him, which makes Grendel want to be like him even more. As he realizes the Shaper's popularity and goodness, he begins to realize why people don't like him. Grendel spends a lot of time thinking and realizes the flaws in his ch aracter, subconsciously deciding that he doesn't really care if the humans hate him because he isn't a human and doesn't have to live by the same standards or expectations as they do. He was born a monster, and as a monster he has a job to do: to "frustrate all established order" and terrorize the humans. In Chapter 5, we meet the Dragon for the first time. Prior to seeing the Dragon, Grendel's mother was the only thing he had seen that was more powerful than him.

All My Sons by Arthur Miller Essay

Explain how Arthur Miller makes this moment in his play All My Sons so dramatic. Refer to Extract 6 for passage In his play All My Sons, Arthur Miller makes the moment of George Deever’s arrival highly dramatic through the sense that a crisis looms for the Kellers and is then narrowly avoided. Hostility is reduced to calm and jovial equanimity through Kate Keller’s maternal dominance and controlling nature, and this in turn ensures that the threat posed by George is negated. At first, the interactions between Chris and George are adversarial as Chris repudiates the truth George asserts. Kate Keller resists Chris too, though in a very different way, which is ultimately successful in nullifying George and the threat he represents to the false reality of Joe Keller’s innocence. The initial interactions in this passage create a hostile atmosphere that arises from the clash between George Deever and Chris Keller. George has arrived to insist that Ann does not marry Chris because Joe’s guilt, or, more particularly, Joe’s dishonesty about his guilt, resulted in their father’s imprisonment and the destruction of their family. Chris insists that George â€Å"won’t say anything now.† He intends to marry Ann and, more importantly, has systematically suppressed any doubts about his father’s innocence. Miller has George speak past him to Ann, â€Å"you’re coming with me,† he says, and again, â€Å"you’re coming with me.† This repetition in his dialogue conveys his tenacity and suggests that he’s unlikely to desist. His challenge to Chris is part of a larger challenge to the false reality in which the Keller’s have been living, a reality in which Joe is innocent. Kate has protected thi s reality for years and proceeds to do so again now. When Kate Keller enters she immediately adopts a tone of maternal care and concern toward George. â€Å"Rais[ing] both hands† she â€Å"comes†¦ toward him† saying â€Å"Georgie, Georgie.† This diminutive calls into the present George’s past, his childhood and the happy associations he would have attached to Kate Keller during that time. Miller’s stage directions describe how she â€Å"cups his face,† a gesture suggestive of the affection and intimacy between a mother and young son. She remarks that he has become â€Å"grey† and that â€Å"he looks like a ghost.† This dialogue paints a vivid image of George as a gaunt and almost lifeless figure deserving of pity and perhaps plays on any feelings of self-pity he might have. She declares that she will â€Å"make [him] a sandwich,† and insists that he is â€Å"going to sit here and drink some juice.† Her theatrical and almost hyperbolic performance is one that seeks to emphasise her concern for George’s well-being and the motherly desire to nourish him and see him in good health. George is not actually her son, instead he belongs to the now fractured and dysfunctional Deever family. There’s a real sense that Kate is playing on this. She works to establish the nature of her interaction with George as obviously maternal, and thereby implicitly encourages him to adopt the corresponding role of dependant and grateful son. Moreover, Kate works to displace both George’s mother and Ann as the female figure to whom George owes the most loyalty and thereby establishes her own dominance and control. â€Å"What’s the matter with your mother,† she asks, â€Å"why don’t she feed you?† This question undermines George’s mother as a capable maternal provider. Next, Miller has her takes aim at Ann, admonishing her for saying that George was â€Å"fine† since he so demonstrably is not. Just as George’s mother supposedly fails to nurture him, Kate points out a similar failing in Ann when she notices Ann hasn’t given George grape juice. Ann says â€Å"defensively† that she â€Å"offered it to him.† The stage direction that describes her tone as â€Å"defensive† makes it clear that she feels as though she is under attack. And indeed she is. Kate’s reply is said â€Å"scoffingly,† showing that she is ridiculing Ann for her apparently inept attempts to adequately care for her brother. By undermining both George’s mother and sister, Kate implicitly offers herself as the female figure on whom George can really depend. Ultimately, Kate succeeds and Chris defers to her utterly. Hostility dissolves into amiability and affection. Miller makes it clear from the beginning that George â€Å"always liked† Kate. This stage direction reveals a vulnerability he has in regard to her. At first he is gently dismissive of her, saying â€Å"I know† and â€Å"I feel all right.† This dialogue suggests he isn’t buying into her performance, or at least not at first. Eventually, however, he declares â€Å"Kate, I feel hungry already.† This line signals a crucial shift. It is so obviously said with affection and good humour. Clearly, the thought of doing anything to hurt Kate could not be further from his mind. Moreover, it indicates that he has adopted the role into which she has been cajoling him; that is, the dependent and acquiescent son. Throughout this passage Kate is highly manipulative. She is motivated by an instinct to protect the false reality she and Joe perpetuate and on which she depends if she is to see her husband as anything but a monster who killed their son, Larry. Her success hinges on quelling George and the uncertainty of this is what creates the angst-ridden drama at this moment in the play. Ultimately, of course, her success is only momentary.