The document provides an overview of a rubric for a unit 3 written assignment on architecture. Students are asked to explore architecture in their community, take photos of Greek architectural elements, and present their findings in a PowerPoint with titles and descriptions for each image. The rubric evaluates students on an overview, interpretation, evaluation, presentation, evidence of learning outcomes, images, and layout. Criteria include deficient, proficient, and exemplary ratings in each category with associated point values.

1. Rubric for Unit 3 Written Assignment
Discover the architecture in your community! Take some time
to explore your hometown, and take a close look at the
architecture of the buildings. Chances are, you will notice that
there are still many design elements created by the Ancient
Greek that are still used today. Take pictures of the details you
find that remind you of the Ancient Greeks, and describe what
you see. Try to find 4-6 different images to talk about. It
doesn't have to be 4-6 buildings: look for 4-6 details on
buildings. Common places where you might find these details
are: town halls, banks, churches, even some houses. Present
your discoveries in a powerpoint presentation, complete with
titles for the images, and a description for each.
CRITERIA
Deficient
(0-5points)
Proficient to Development Needed
(6-8 points)
Exemplary to Proficient (9-10 points)
Points Earned
(100 points)
Overview of the topic.
20 points
Does not provide an adequate overview or is missing
Overview is presented, though may not be clear or complete
Overview is clearly presented including all criteria outlined
above
Interpretation
25 points
Missing major content areas, unable to recognize evidence of

2. Greek architecture
Recognizes basic content of Greek architecture
Critiques content of Greek architecture with insight
Evaluation
25 points
Fails to draw conclusions between modern structures and Greek
architecture
Identifies some conclusions between modern structures and
Greek architecture
Examines conclusions between modern structures and Greek
architecture
Presentation
5 points
Misrepresents issues or draws faulty conclusions
Identifies or generalizes issues
Discusses issues thoroughly and shows intellectual honesty
Evidence of learning outcomes
15 points
Unclear or contradictory evidence of learning the styles of
Greek architecture
Some evidence of learning the styles of Greek architecture
Complete evidence of learning all about Greek architecture
Images
5 points
Some or none of the images reflect the knowledge of Greek
architecture
Most of the images are appropriate for comparing modern
structures with Greek architecture
All of the images are appropriate for comparing modern
structures with Greek architecture
Layout

3. 5 points
The layout does not follow a consistent pattern, nor reflect the
purpose of the content
The layout follows a consistent pattern but doesn’t reflect the
purpose
The layout follows a consistent pattern and reflects the purpose
of the content
QSO 510 Module Five 1
Module Four explored relationships between two quantitative
variables using correlation
analysis and developed prediction models using simple linear
regression. Module Five
examines point estimates and confidence interval estimates.
A point estimate is a sample value, a statistic, used to estimate a
population value, which is
a parameter that is usually unknown. For example, the
management of an amusement park
wants an estimate of the mean amount spent by visitors to the
park. It would not be feasible
to contact each visitor, so 1,000 visitors are randomly selected
as they leave the park and
asked about their spending while visiting the park. The mean
amount spent by the sample of
1,000 visitors serves as an estimate of the unknown average
spending for the population of

4. all visitors.
While a point estimate is useful in describing a population, it is
still a single value. A more
informative estimate presents a range of values in which we
expect the population
parameter to occur. This range of values is called a confidence
interval. A confidence
interval is a range of values constructed from sample data so
that the parameter occurs
within that range with a specified probability. The specified
probability is called the
confidence level. A confidence interval consists of a statistic ±
margin of error resulting in a
lower limit and an upper limit.
For example, we estimate that the mean annual income for
recent MBA graduates in
Houston, Texas, is $65,000. The margin of error is computed to
be $4000. We can describe
how confident we are that the population parameter is in the
interval by making a probability
statement. We might say that we are 90% confident that the
mean annual income of recent
MBA graduates in Houston, Texas, is $65,000 ±$4000, or
between $61,000 and $69,000.
Typical confidence levels are 99%, 95%, and 90%.
The confidence interval that is most frequently used in practice
is a confidence interval on a
mean, of which there are two versions. If the population
standard deviation is known, then a
z confidence interval applies with this formula:
x bar ± z (σ/√n),

5. where
x bar is a sample mean,
z is a standard normal value,
σ is a population standard deviation,
and n is the size of the sample.
2 QSO 510 Module Five
For example, for a sample of 44 employees, the mean length of
time that they are employed
with a company is 10.455 years. From past data, the population
standard deviation is known
to be 7.7 years. A 90% confidence interval for the mean number
of years employed is as
follows:
10.455 ± 1.645(7.7/√44) =
10.455 ± 1.91 =
(8.545, 12.365)
The 95% confidence interval for the mean number of years
employed is 8.545 years to
12.365 years. If the population standard deviation is unknown, a
t confidence interval is used
with this formula:
x bar ± t (s/√n),

6. where
t is a critical value from a standard t distribution and
s is a sample standard deviation.
Confidence intervals have many real-world applications. A shoe
manufacturer might use a
95% confidence interval of 9.5 inches to 9.7 inches to decide
that a newly designed boot
with a length of 10 inches would not meet a department store’s
requirement and should be
reworked. A production supervisor might use a 95% confidence
interval of 0.7 cm to 1.0 cm
to decide that a recently arrived piston of length 1.07 cm could
not be used to repair a
damaged oil pump on the shop floor.
Part 1
In describing confidence intervals on a mean, z and t intervals
are frequently mentioned. How are z and t confidence intervals
different? Choose one interval and give an example of how it
could be applied within an operations or production
environment that is different from those mentioned in the
overview. Discuss and share this information with your
classmates.
5-2 Scenario Analysis: Computer Chips
A manufacturer of computer chips has a computer hardware
company as its largest customer. The computer hardware
company requires all of its chips to meet specifications of 1.2

7. cm. The vice-president of manufacturing, concerned about a
possible loss of sales, assigns his production manager the task
of ensuring that chips are produced to meet the specification of
1.2 cm.
Based on the production run from last month, a 95% confidence
interval was computed for the mean length of a computer chip
resulting in:
95% confidence interval: (0.9 cm, 1.1 cm)
1. What are the elements that the production manager should
consider in determining his company’s ability to produce chips
that meet specifications?
2. Do the chips produced meet the desired specifications?
3. What reasons should the production manager provide to the
vice-president to justify that the production team is meeting
specifications?
4. How will this decision impact the chip manufacturer’s sales
and net profit?
1 / 21
Art History
Unit 3: The Ancient Greek World
2 / 21 Temple Plans: Reading Architectural Drawings
3 / 21 Ground plan of a typical Greek Temple (Parthenon
model)

8. 4 / 21 Doric, Ionic and Corinthian styles in elevation
5 / 21 The Temple of Hera I (“Basilica”), ca. 550 BCE, and the
Temple of Hera II (“Temple of Poseidon”), ca. 500 BCE
Example of an Archaic Greek temple, created using the Doric
Architectural Order.
6 / 21
Kouros (Youth). ca. 600–590 BCE
• First free-standing human sculpture (no additional supports to
keep upright).
• Archaic style: frontal design, stylized hair, features, and
proportions (learned
from observing the Ancient Egyptians.
• The idealized youth is a Greek concept where the Gods were
personified in
beautiful human forms. In life, the pursuit of achieving a
perfected physique
was considered an act of Godliness.
• Male youths were often portrayed nude, as it was customary
for men to be
nude in society.

9. 7 / 21
Kore, from Chios (?). ca. 520 BCE
• Kore: Greek for female youth.
• Archaic Age: stylized features and dress.
• Archaic sculptures are characterized by their Archaic smile.
• Women were always portrayed fully clothed, as was expected
of
them in society.
8 / 21
Battle of the Gods and Giants, from the north frieze of the
Treasury of the Siphnians, Delphi. ca. 530 BCE
• As the Greeks developed their own style of art, they learned
techniques for
creating space in their work, a three dimensional quality that
does not exist in
the art of the Egyptians, or any other civilization of this time.
• The figures are no longer portrayed side by side, but rather,
in layers. This
layering creates space.

10. • Figures in the foreground are carved with more dimension,
while figures in the
background are carved more shallow. This too creates space.
9 / 21 Dying Warrior, from the east pediment of the Temple of
Aphaia. ca. 480 BCE
This sculpture was meant to fit within the pediment, the
triangular space created
by the temple roof. As the Greeks were creating sculptures to
decorate specific
sections of the temples, they experimented with more life-like
body positions.
The Archaic smile is still evident, and dates this piece to the
Archaic Age.
10 / 21 Achilles and Ajax Playing Dice. Black-figured amphora
signed by Exekias as painter andpotter. ca. 540–530 BCE
The artistic development seen in sculpture is also reflected in
their pottery. Early
examples are created using the black figure technique, with
stylized features and
clothing. Then they would put all the pieces together, which
creates the iconic
Egyptian style.

11. 11 / 21 Euthymides. Dancing Revelers. Red-figured amphora.
ca. 510–500 BCE
In contrast, the red figure technique shows a greater focus on
creating realistic human forms.
12 / 21 The Classical Age: Kritios Boy. ca. 480 BCE
In the Classical Age, the pursuit of life like representations of
the kouros becomes more realized.
13 / 21 Iktinos and Kallikrates. The Parthenon (view from the
west), ca. 447–432 BCE
An iconic Greek temple created in the Classical Age, using the
traditional
Doric architectural order.
14 / 21 Three Goddesses, from the east pediment of the
Parthenon. ca. 438–432 BCE
A sculpture created for the Parthenon pediment. Drapery is
created in a highly realistic way, with the true forms of the
goddesses
revealed through the folds of fabric.
15 / 21 Frieze above the western entrance of the cella of the
Parthenon. ca. 440–432 BCE

12. Upon closer inspection, while the exterior architrave is Doric,
the interior is Ionic, as indicated by the continuous
frieze: a sculpted frieze of a continuous image, without any
spaces or breaks.
16 / 21 Theater at Epidauros. Early third to second centuries
BCE
The Ancient Greeks were the first to design a perfectly acoustic
theater, where all spectators had a clear view of the stage. It is a
design still used today.
17 / 21 Paionios of Ephesos and Daphnis of Miletos. Temple of
Apollo. Begun 313 BCE
Example of the style of theatricality, where traditional Greek
designs were altered to create an experience of drama.
18 / 21
Lysippos. Portrait of Alexander the Great,
the “Azara herm.”
Roman copy after an original of the late
fourth century BCE
• Alexander the Great, a military leader known for united a
divided Greek
republic, marks the Hellenistic Age and the quest for
theatricality.
• Stylistically, the Hellenistic Age further improved upon the

13. methods of
creating beautifully proportionate and life-like human figures,
with a flair for
the dramatic.
• Introduces the concept of portraiture, images representing
individuals
instead of an ideal man.
19 / 21 Epigonos of Pergamon (?). Dying Trumpeter.
Perhaps a Roman copy after a bronze original of ca. 230–220
BCE
20 / 21 The Great Altar of Zeus at Pergamon (restored) ca.180
BCE
Rather than use the Ionic tradition of a continuous frieze above
the columns, this victory monument has a larger
than life frieze along the bottom, allowing the viewer to
experience the story in a more realistic, dramatic way.
21 / 21 Athena and Alkyoneus, from the east side of the Great
Frieze of the Great Altar of Zeus at Pergamon. ca. 180 BCE
A close up of this frieze reveals figures wrought with action,
agony, and emotion.
Figures twist and turn in a theatrical rendition of a war story.

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