Complexity and Contradiction Today
Using the posted excerpt from Complexity and Contradiction as your foundational text, please choose a building or architectural project (it can be unbuilt) from 1960 – 2016 that supports / illustrates Venturi’s argument. This chosen work should be something you can research and cite.
Complexity and Contradiction is just that – complex and contradictory. There are many ways you could interpret the text. Focus on one perspective of what Venturi believes in. Use quotations from Venturi’s work to clarify which aspect of his writing your chosen building or project supports.
Use images/photographs/diagrams/drawings, etc. to help support your argument. Citations are required. Appx 700 words in length.
Robert Venturi,
Excerpts from Complexity and Contradiction in Architecture (1966)
I like complexity and contradiction in architecture. I do not like the incoherence or
arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contradictory architecture based
on the richness and ambiguity of modern experience, including that experience which
is inherent in art. Everywhere, except in architecture, complexity and contradiction
have been acknowledged, from Godel's proof of ultimate inconsistency in
mathematics to T. S. Eliot’s analysis of "difficult" poetry and Joseph Albers' definition of
the paradoxical quality of painting.
But architecture is necessarily complex and contradictory in its very inclusion of
the traditional Vitruvian elements of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and expression, even in single
buildings in simple contexts, are diverse and conflicting in ways previously
unimaginable. The increasing dimension and scale of architecture in urban and
regional planning add to the difficulties. I welcome the problems and exploit the
uncertainties. By embracing contradiction as well as complexity, I aim for vitality as well
as validity.
Architects can no longer afford to be intimidated by the puritanically moral
language of orthodox Modern architecture. I like elements which are hybrid rather than
"pure," compromising rather than "clean," distorted rather than "straightforward,”
ambiguous rather than "articulated," perverse as well as impersonal, boring as well as
"interesting," conventional rather than "designed," accommodating rather than
excluding, redundant rather than simple, vestigial as well as innovating, inconsistent
and equivocal rather than direct and clear. I am for messy vitality over obvious unity. I
include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of meaning; for the implicit
function as well as the explicit function. I prefer "both-and" to "either-or," black and
white, and sometimes gray, to black or white. A valid architecture evokes many levels
of meaning and comb.
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxjeremylockett77
This document outlines an argument for embracing complexity and contradiction in architecture. It begins by stating that complexity exists in other fields like mathematics, poetry and painting. In architecture, complexity is inherent in balancing various needs like function, structure and expression. The document criticizes some modern architecture for being too simplistic and argues complexity does not mean superficial ornamentation. Truly complex architecture reflects genuine complexity in programs and structures through tensions and ambiguities in a unified whole.
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxketurahhazelhurst
1. Nonstraightfoward Architecture:
A Gentle Manifesto
I like complexity and contradiction in architecture. I
do not like the incoherence or arbitrariness of incompetent
architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contra-
dictory architecture based on the richness and ambiguity of
modern experience, including that experience which is in-
herent in art. Everywhere, except in architecture, complex-
ity and contradiction have been acknowledged, from
Godel's proof of ultimate inconsistency in mathematics to
T. S. Eliot's analysis of "difficult" poetry and Joseph Albers'
definition of the paradoxical quality of painting.
But architecture is necessarily complex and contradic-
tory in its very inclusion of the traditional Vitruvian ele-
ments of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single buildings in simple contexts, are
diverse and conflicting in ways previously unimaginable.
The increasing dimension and scale of architecture in urban
and regional planning add to the difficulties. I welcome the
problems and exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by
the puritanically moral language of orthodox Modern archi-
tecture. I like elements which are hybrid rather than ''pure,"
compromising rather than "clean," distorted rather than
"straightforward," ambiguous rather than "articulated," per-
verse as well as impersonal, boring as well as "interesting,"
conventional rather than "designed," accommodating rather
than excluding, redundant rather than simple, vestigial as
well as innovating, inconsistent and equivocal rather than
direct and clear. I am for messy vitality over obvious unity.
I include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of
meaning; for the implicit function as well as the explicit
function. I prefer "both-and to "either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels of meaning and combina-
tions of focus: its space and its elements become readable
and workable in several ways at once.
But an architecture of complexity and contradiction
has a special obligation toward the whole: its truth must be
in its totality or its implications of totality. It must embody
the difficult unity of inclusion rather than the easy unity of
exclusion. More is not less.
2. Complexity and Contradiction vs.
Simplification or Picturesqueness
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their attempt
to break with tradition and start all over again, they ideal-
ized the primitive and elementary at the expense of the
diverse and the sophisticated. As participants in a revo.
The document summarizes three reaction papers by a student on architectural theory readings. The first discusses Le Corbusier's view that revolution has improved society through new tools and industrialization but also reduced humans, arguing that architecture and revolution both aid evolution. The second covers Robert Venturi's preference for complexity and contradiction in architecture over simplicity. The third summarizes Juhani Pallasmaa's perspective that architecture should evoke feelings through memories and experiences rather than just visual elements.
- Le Corbusier argues that architecture can avoid revolution by addressing social problems and creating a better world through reform rather than overthrowing the existing order. He believes new construction methods and materials require new architectural styles rather than clinging to old styles.
- Robert Venturi argues architecture should embrace complexity and contradiction rather than simplification. Modernism oversimplifies by excluding certain elements, while complexity emerges from layers of previous architectural methods and addresses all parts together.
- Juhani Pallasmaa argues architecture has strayed from its origins by prioritizing visual form over how spaces are experienced. Architecture should focus on stimulating people's consciousness and senses through meaningful spaces shaped to those experiencing them.
Complexity and contradiction in architecture by Robert venturi Siva Raman
This presentation is about the critical review of the book Complexity and contradiction in architecture by Robert venturi focusing on the issues related to critical regionalism
Robert Venturi was a prominent postmodern architect who rejected the modernist ideas of "less is more." He argued that great architecture should be "complex and contradictory," with multiple meanings and layers of interpretation. Two of his early and influential works that demonstrated these ideas were the Vanna Venturi House (1961-1964), which incorporated both simple and complex elements, and the Guild House (1961-1963), which prioritized the client's tastes and context over the architect's vision. Venturi's theories challenged modernism and helped establish postmodernism as an architectural movement.
The document discusses four readings related to architecture theory. It summarizes Frank Lloyd Wright's philosophy of organic architecture that harmonizes with nature. It also summarizes discussions on architecture as self-expression, as a spatial representation of time, and the relationship between architecture and the human body. Critical regionalism is described as a means to balance local and universal influences in architecture.
The document summarizes four reaction papers written by Muatasimah Billah analyzing various articles on architecture theory. The papers discuss concepts such as individualism in architecture, organic unity, architecture as an expression of desire, the importance of senses in architectural experience, critical regionalism, and developing architecture with a sense of place. Overall, the reaction papers analyzed key ideas from the source articles and expressed agreement with perspectives that architecture should reflect individuality, integrate with nature, create places for desire, engage multiple senses, and connect to local culture and context.
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxjeremylockett77
This document outlines an argument for embracing complexity and contradiction in architecture. It begins by stating that complexity exists in other fields like mathematics, poetry and painting. In architecture, complexity is inherent in balancing various needs like function, structure and expression. The document criticizes some modern architecture for being too simplistic and argues complexity does not mean superficial ornamentation. Truly complex architecture reflects genuine complexity in programs and structures through tensions and ambiguities in a unified whole.
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxketurahhazelhurst
1. Nonstraightfoward Architecture:
A Gentle Manifesto
I like complexity and contradiction in architecture. I
do not like the incoherence or arbitrariness of incompetent
architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contra-
dictory architecture based on the richness and ambiguity of
modern experience, including that experience which is in-
herent in art. Everywhere, except in architecture, complex-
ity and contradiction have been acknowledged, from
Godel's proof of ultimate inconsistency in mathematics to
T. S. Eliot's analysis of "difficult" poetry and Joseph Albers'
definition of the paradoxical quality of painting.
But architecture is necessarily complex and contradic-
tory in its very inclusion of the traditional Vitruvian ele-
ments of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single buildings in simple contexts, are
diverse and conflicting in ways previously unimaginable.
The increasing dimension and scale of architecture in urban
and regional planning add to the difficulties. I welcome the
problems and exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by
the puritanically moral language of orthodox Modern archi-
tecture. I like elements which are hybrid rather than ''pure,"
compromising rather than "clean," distorted rather than
"straightforward," ambiguous rather than "articulated," per-
verse as well as impersonal, boring as well as "interesting,"
conventional rather than "designed," accommodating rather
than excluding, redundant rather than simple, vestigial as
well as innovating, inconsistent and equivocal rather than
direct and clear. I am for messy vitality over obvious unity.
I include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of
meaning; for the implicit function as well as the explicit
function. I prefer "both-and to "either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels of meaning and combina-
tions of focus: its space and its elements become readable
and workable in several ways at once.
But an architecture of complexity and contradiction
has a special obligation toward the whole: its truth must be
in its totality or its implications of totality. It must embody
the difficult unity of inclusion rather than the easy unity of
exclusion. More is not less.
2. Complexity and Contradiction vs.
Simplification or Picturesqueness
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their attempt
to break with tradition and start all over again, they ideal-
ized the primitive and elementary at the expense of the
diverse and the sophisticated. As participants in a revo.
The document summarizes three reaction papers by a student on architectural theory readings. The first discusses Le Corbusier's view that revolution has improved society through new tools and industrialization but also reduced humans, arguing that architecture and revolution both aid evolution. The second covers Robert Venturi's preference for complexity and contradiction in architecture over simplicity. The third summarizes Juhani Pallasmaa's perspective that architecture should evoke feelings through memories and experiences rather than just visual elements.
- Le Corbusier argues that architecture can avoid revolution by addressing social problems and creating a better world through reform rather than overthrowing the existing order. He believes new construction methods and materials require new architectural styles rather than clinging to old styles.
- Robert Venturi argues architecture should embrace complexity and contradiction rather than simplification. Modernism oversimplifies by excluding certain elements, while complexity emerges from layers of previous architectural methods and addresses all parts together.
- Juhani Pallasmaa argues architecture has strayed from its origins by prioritizing visual form over how spaces are experienced. Architecture should focus on stimulating people's consciousness and senses through meaningful spaces shaped to those experiencing them.
Complexity and contradiction in architecture by Robert venturi Siva Raman
This presentation is about the critical review of the book Complexity and contradiction in architecture by Robert venturi focusing on the issues related to critical regionalism
Robert Venturi was a prominent postmodern architect who rejected the modernist ideas of "less is more." He argued that great architecture should be "complex and contradictory," with multiple meanings and layers of interpretation. Two of his early and influential works that demonstrated these ideas were the Vanna Venturi House (1961-1964), which incorporated both simple and complex elements, and the Guild House (1961-1963), which prioritized the client's tastes and context over the architect's vision. Venturi's theories challenged modernism and helped establish postmodernism as an architectural movement.
The document discusses four readings related to architecture theory. It summarizes Frank Lloyd Wright's philosophy of organic architecture that harmonizes with nature. It also summarizes discussions on architecture as self-expression, as a spatial representation of time, and the relationship between architecture and the human body. Critical regionalism is described as a means to balance local and universal influences in architecture.
The document summarizes four reaction papers written by Muatasimah Billah analyzing various articles on architecture theory. The papers discuss concepts such as individualism in architecture, organic unity, architecture as an expression of desire, the importance of senses in architectural experience, critical regionalism, and developing architecture with a sense of place. Overall, the reaction papers analyzed key ideas from the source articles and expressed agreement with perspectives that architecture should reflect individuality, integrate with nature, create places for desire, engage multiple senses, and connect to local culture and context.
The document summarizes three reaction papers by an architecture student analyzing readings on architectural theory. The first discusses Le Corbusier's view that modern architecture must change to avoid social revolution. The second analyzes Robert Venturi's argument that architecture should embrace complexity rather than simplify. The third examines Juhani Pallasmaa's view that architecture should prioritize user experience over physical form.
The document discusses key concepts in architectural theory through a series of debates. It introduces the book "Introducing Architectural Theory" which presents architectural subjects like tectonics, use, and site as conversations between historical theorists. Each chapter introduces questions to help readers develop their own theories. The book structure includes original texts by architects, reflective texts by critic-architects, and philosophical texts. It aims to get readers thinking critically about architecture. Debates discussed in the book include simplicity vs complexity, ornament vs austerity, and materiality vs immateriality. These debates illustrate how architecture involves ongoing discussion around aesthetics, structure, function and other topics.
Frank Lloyd Wright argues that architecture should focus on honesty, simplicity, and integrating with nature. He believes styles should not be limited and that architecture is best when created independently with variety. Pallasma discusses how human senses interact with architecture through experiences of space, light, shadows, and other qualities. Frampton advocates for critical regionalism, where architecture derives elements from a place to strengthen regional identity while engaging with modern techniques and universal values.
and Contradiction in Architecture Robert Venturi .docxdurantheseldine
This document is the introduction to Robert Venturi's book "Complexity and Contradiction in Architecture." It summarizes that Venturi's book provides an alternative viewpoint to Le Corbusier's "Towards a New Architecture" by embracing complexity and contradictions rather than seeking purity and order. It argues that Venturi learned from urban facades in Italy rather than Greek temples, and proposes accommodation rather than heroic singular visions. The introduction positions Venturi's work as a necessary response to the failures of large-scale urban renewal, and compares his philosophy to that of humanism rather than technology.
This document is the foreword to Robert Venturi's book "Complexity and Contradiction in Architecture." It summarizes that Venturi's book challenges established opinions in architecture and advocates for embracing complexity and contradictions. It compares Venturi's work to Le Corbusier's "Toward an Architecture," noting they take opposite approaches but both learned from architecture of the past. It praises Venturi's work for recognizing complexity and accommodating what exists, providing an antidote to purist urban renewal that has damaged cities. It describes Venturi as a thoughtful, humanistic architect in the great tradition of Philadelphia architects, with influences including Kahn, Aalto, and the pop artists.
This document is the introduction to Robert Venturi's book "Complexity and Contradiction in Architecture". It summarizes that Venturi's book provides an alternative viewpoint to the purist, abstract notions of order promoted by Le Corbusier's early writings. Whereas Le Corbusier celebrated isolated architectural forms in nature, Venturi finds inspiration in the complex facades of Italian cities that accommodate multiple uses. The introduction argues that Venturi's embrace of complexity and contradiction offers a necessary response to the failures of large-scale urban renewal projects that followed Le Corbusier's ideas.
The document summarizes four reaction papers written by a student for an architecture theory class. Each paper analyzes and critiques a different reading on architectural theory. The first paper discusses Frank Lloyd Wright's views on integrating nature and individual expression into architecture. The second analyzes Jacques Derrida's philosophy of deconstruction and its links to architecture. The third examines Juhani Pallasmaa's critique of vision-centric Western philosophy and its influence on architecture. The fourth analyzes Kenneth Frampton's theory of Critical Regionalism and its relevance to contemporary architecture.
Architecture . an introduction to the history and theory of the art of buildi...JoaniPaulusCovaleski1
This document provides an introduction to architecture and its history. It discusses the origins of architecture, defining it as the art of building and arranging buildings. Architecture began through responding to needs for shelter and developed a magical or mystical element as well. Early architecture incorporated elements of sacredness, ritual, and the worship of stones and columns representing gods. While materials, techniques, and styles have changed greatly over time, the fundamental origins of architecture in utility and human symbolic expression have endured.
- The document summarizes four reaction papers written by Nicole Foo Shuli on theories of urbanism and architecture.
- The first paper discusses Louis Wirth's theory that urbanization leads to problems like spatial segregation, impersonal interactions, and anonymity.
- The second paper examines the idea that architecture should be an "extension of human inner landscapes" and create memorable experiences through sensation.
- The third paper explores Juhani Pallasmaa's view that experiencing space and art involves embodiment that helps with memory and emotion over time.
- The fourth paper outlines Kenneth Frampton's theory of "Critical Regionalism" where modern architecture considers local context, climate, and tactile experience.
Reaction Papers toward Theories of Architecture & UrbanismJoyeeLee0131
The document summarizes four reaction papers written by a student for an architecture course. The first paper discusses Jane Jacobs' book "The Death and Life of Great American Cities" and her criticism of urban planning theories of the time. The second paper examines semiotics in architecture and how buildings can signify cultural meanings. The third paper discusses Juhani Pallasmaa's book "The Geometry of Feeling" and how architectural beauty is experienced emotionally rather than just visually. The fourth paper analyzes Kenneth Frampton's theory of Critical Regionalism and how it seeks a middle ground between modernism and preserving local culture and context.
Synopsis 3: Geometry of Feeling by Juhani PallasmaaCalvinSuah
The document summarizes a reaction paper by Calvin Suah Jake Ginn about the reading "The Geometry of Feeling" by Juhani Pallasmaa. The key points made in the reading are that architects should prioritize how a building makes people feel over its physical form. A building's image is more important than its design elements. The reading also discusses how perception can lead to various interpretations of art and architecture, and how spaces should be designed to evoke feelings and memories for their occupants.
Synopsis of Theories of Urbanism and Architecturejernjack
- The document discusses four reaction papers written by a student named Lim Jern Jack in response to readings about architecture and theory.
- The first paper discusses a text by Frank Lloyd Wright about architecture complementing nature rather than being driven by technology.
- The second paper examines a text interviewing Jacques Derrida about deconstructive architecture and how it creates new histories.
- The third paper analyzes a text about how senses and memory shape perceptions of space.
- The fourth paper considers Kenneth Frampton's ideas about critical regionalism and resisting placelessness in large urban regions.
Unit 5 Experiencing architecture by A.Sivaraman M.ArchSiva Raman
This document discusses how architecture can be experienced through various aspects like mass and cavities, contrasting solids and voids, and as color planes. It provides examples from buildings in Rome, Venice, and France to illustrate these concepts. The key points made are that architecture involves experiencing the spaces created by subtracting mass as well as the solids, and that some buildings are perceived more as two-dimensional color planes rather than masses. Details like ornamentation, materials, and light can transform the experience and perception of a building.
The document provides a synopsis and reaction paper for a course on theories of architecture and urbanism. It summarizes the key ideas from four readings on urban planning, semiotics in architecture, phenomenology of architecture, and critical regionalism. The student agrees with the authors' views and hopes future work can apply their concepts of semiotics, phenomenology, and critical regionalism to better understand cultural identity and context in architecture.
The document summarizes a reaction paper about the article "The Geometry of Feeling" by Juhani Pallasmaa. The article questions whether modern architecture provides the same feelings as older architecture due to today's focus on materialism. It states that the planning of architectural form nowadays does not consider how people will experience spaces. However, great modern architects like Tadao Ando design with phenomenology in mind. While form can stimulate senses, the meaning of a work of art does not lie in its forms but in the feelings and images they convey. In conclusion, meaningful architecture awakens the imagination through multisensory experiences and allows people to experience history through old architectural elements.
BUS 1 Mini Exam – Chapters 05 – 10 40 Points S.docxhartrobert670
BUS 1
Mini Exam – Chapters 05 – 10
40 Points
Short Answer – Mind your time
Answer four questions from #1 - #6. Must answer #3 and #6. Answer
the XC question for extra credit. Question point count weighted equally.
It is all about business, so make sure to demonstrate / synthesize the bigger picture of business in each and
every answer.
Like all essays, specifying an exacting target word count is rather problematic. I am thinking each answer
would be about 250 - 300 words each, depending upon writing style. If you tend to be descriptive and whatnot,
that number could be 350 - 450 words.
Sidebar: Gauge your knowledge level in this way. This exam should take about 90 – 120 minutes to complete.
Students taking much longer may want to work with me to assess / discuss ways to help master this material in
a future conference session.
1. Although most new firms start out as sole proprietorships, few large firms are organized this way. Why
is the sole proprietorship such a popular form of ownership for new firms? What features of the sole
proprietorship make it unattractive to growing firms?
2. List and discuss at least three causes of small business failure. Workarounds, fixes, or methods to avoid
failure should be discussed.
3. Describe three different leadership styles and give an example of a situation in which each style could be
most used effectively.
4. Discuss Max Weber's views on organization theory. Is there a few principles that particularly resonate
in business today?
5. How has the emphasis of quality control changed in recent years? Describe some of the modern quality
control techniques that illustrate this change in emphasis.
6. Explain how managers could motivate employees by using the principles outlined in expectancy
theory? Create a story/example of expectancy theory at work, incorporating the three questions that
according to expectancy theory employees will ask.
7. XC – What is selective perception? Can you describe a business-centric scenario where selective
perception may hinder a businessperson’s ability to respond to a customer need?
I
Fireworks, Manifesto, 1974.
The Architectural Paradox
1. Most people concerned with architecture feel some sort
of disillusion and dismay. None of the early utopian ideals
of the twentieth century has materialized! none of its social
aims has succeeded. Blurred by reality! the ideals have turned
into redevelopment nightmares and the aims into bureau
cratic policies. The split between social reality and utopian
dream has been total! the gap between economic constraints
and the illusion of all-solving technique absolute. Pointed
Space
out by critics who knew the limits of architectural remedies,
this historical split has now been bypassed by attempts to
reformulate the concepts of architecture. In the process, a
new split appears. More complex, it is not the symptom of
prof ...
2. complexity and contradiction in architecture synopsisSarah Esa
The document summarizes a reaction paper about the article "Complexity and Contradiction in Architecture" by Robert Venturi. It discusses how Venturi believes complexity and contradiction reflect the richness of modern experience. Venturi argues modern architects often try to oversimplify problems rather than embrace complexity. The document agrees that "less is more" philosophy leads to boring architecture for non-architects. It concludes Venturi is right that restricting complexity results in monotonous buildings, as complexity can breed interest and meaning that engages people more fully.
- The document discusses Frank Lloyd Wright's essay "In the Cause of Architecture" which critiques a lack of integrity in contemporary architects. Wright argues integrity should be given to all aspects of a building.
- Wright also predicts the end of architectural styles and a rise in individualistic expressions as architecture becomes more democratic. While his prediction was partially correct, debates around sincerity and integrity still remain.
- The author questions if pursuing integrity is itself an act of integrity, and whether strictly following philosophies limits one's own honest self-expression. They believe true integrity comes from manifesting one's own primal attachment to a specific form.
ZAHA RADm ARCHITECTS, BEUING CENTRAL BUSINESS DISTRICT COM.docxdanielfoster65629
ZAHA RADm ARCHITECTS, BEUING
CENTRAL BUSINESS DISTRICT COM
PETITION PROPOSAL, 2010. STUDIES
OF FORMAL MUTATIONS. ALL IMAGES
COURTESY ZAHA RADIO ARCHITECTS.
Patri!? Schumacher
Editor's Note: This text is
excerpted from a lecture Patri!?
Schumacher gave in Los Angeles
at SCI-Arc in September 2010.
Pararnetricisrn
And the Autopoiesis
Of Architecture
It's great to be at SCI-Arc. I had two great days to see what's
going on here, and I think what I have to say speaks, to a
certain extent, critically to what is going on here. The lecture
is a variation on a lecture I have been giving this year. I've
added an element that relates to my forthcoming book, The
Autopoiesis ofArchitecture, which is an attempt to create a
comprehensive and unified theory of architecture, and which
features parametricism as the last chapter of volume two. The
argument is that parametric ism continues the autopoiesis of
architecture, which is the self-referential, closed system of
communications that constitutes architecture as a discourse
in contemporary society. The book is in two volumes. Volume
one, a new framework for architecture, is coming out in
December [released December 7,2010] and then a new agenda
for architecture appears in volume two, probably four to six
months later. It is difficult to summarize, but just to raise a
bit of curiosity about this, I will make an argument for
a comprehensive unified theory is of interest.
A comprehensive unified theory of and for architecture
is important if you are trying to lead 400 architects across a
multiplicity of projects, touching all aspects and components
of contemporary architecture in terms of programmatic
agendas and at all scales. With a unified theory one is better
prepared to manage the different designs, designers, and
approaches that run in different directions, fight each other,
contradict each other, and stand in each other's way. I am also
teaching at a number of schools, the Architectural Association
Design Research Laboratory [AA DRL] being one of them, an
expanding group that is now 150 to 160 students. Here again
there is an issue in trying to converge efforts so that people
don't trip over each other and get in each other's way. The
need for a unified theory is first of all to eliminate contradic
tions within one's own efforts - so one doesn't stand in one's
own way all the time. If you go around from jury to jury,
from project to project, you one thing here, another thing
there, and further ideas come to mind; by the third occasion
63
you might be saying and doing things that don't gel, don't
cohere. You might be developing ideas about architecture's
societal function. You might be concerned with what is
architecture, what is not architecture, to demarcate against
art, engineering, etc. You might think of yourself as pan of
something like an avant-garde and try to develop a theory of
the avant-garde. Or think about design media, the .
KATIES POST The crisis case I chose to discuss this week is th.docxdonnajames55
KATIE'S POST:
The crisis case I chose to discuss this week is the Tennessee Valley and the Kingston ash slide. On December 22, 2008, Tennessee Valley Authority who uses coal to generate electricity, had one of their containment pods that holds sludge from the ash wall begin to leak. The leak then caused the wall to eventually crumble. The leak then flowed into the Emory River that is located nearby. The river flowed into a nearby community, destroyed several houses, and forced families to evacuate the area.
Chapter 5 discusses the importance of organization members accepting that crisis can start quickly and unexpectedly. Two months before the leak, TVA was informed of a wet spot located on one retaining wall that suggested a leak was present. The moisture was eroding the structure's integrity, but TVA continued to add ash to the pond. TVA organization leaders ignored the warning signs of a potential crisis. TVA then accepted blame for the spill and began dredging the Emory River shortly after the incident. No other independent party was allowed to assess the dredging plan before it launched. If TVA's plan failed, the organization would have been at fault once again.
Upon further investigation of the crisis, lawyers were able to identify six primary failures in TVA's systems, controls, standards, and culture. “Lack of clarity and accountability for ultimate responsibility, lack of standardization, training, and metrics, siloed responsibilities and poor communication, lack of checks and balances, lack of prevention priority and resources, and being reactive instead of proactive” (Ulmer, Sellnow,& Seeger, 87).
Unfortunately, this unintentional crises could have been avoided had the proper crisis management, quality assurance, and procedures been put in place. TVA's negligence cost people their homes, polluted the river, and the uncertainty of long-term health conditions from being exposed to the ash's toxins. "The community was not able to locate reliable information about potential short- and long-term health effects, uncertainty about the extent of environmental damage, and feared plummeting property values" (Ritchie, Little, & Campbell, 179). TVA was at fault for several things, but the most significant fault they did not consider is the risk of storing large volumes of fly ash near the Emory River that flowed into a nearby community.
Ulmer, R. R., Sellnow, T. L., & Seeger, M. W. (2017). Effective crisis communication: Moving from crisis to opportunity. Sage Publications.
Ritchie, L. A., Little, J., & Campbell, N. M. (2018). Resource Loss and Psychosocial Stress in the Aftermath of the 2008 Tennessee Valley Authority Coal Ash Spill. International journal of mass emergencies and disasters, 36(2), 179.
.
Kate Chopins concise The Story of an Hour. What does Joseph.docxdonnajames55
Kate Chopin's concise "The Story of an Hour".
* What does Josephine represent in the story? What does Richards represent?
*The doctors said Mrs. M. died of "heart disease - of joy that kills." How is this ironic?
* What are some themes in the story? What are some symbols?
.
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The document summarizes three reaction papers by an architecture student analyzing readings on architectural theory. The first discusses Le Corbusier's view that modern architecture must change to avoid social revolution. The second analyzes Robert Venturi's argument that architecture should embrace complexity rather than simplify. The third examines Juhani Pallasmaa's view that architecture should prioritize user experience over physical form.
The document discusses key concepts in architectural theory through a series of debates. It introduces the book "Introducing Architectural Theory" which presents architectural subjects like tectonics, use, and site as conversations between historical theorists. Each chapter introduces questions to help readers develop their own theories. The book structure includes original texts by architects, reflective texts by critic-architects, and philosophical texts. It aims to get readers thinking critically about architecture. Debates discussed in the book include simplicity vs complexity, ornament vs austerity, and materiality vs immateriality. These debates illustrate how architecture involves ongoing discussion around aesthetics, structure, function and other topics.
Frank Lloyd Wright argues that architecture should focus on honesty, simplicity, and integrating with nature. He believes styles should not be limited and that architecture is best when created independently with variety. Pallasma discusses how human senses interact with architecture through experiences of space, light, shadows, and other qualities. Frampton advocates for critical regionalism, where architecture derives elements from a place to strengthen regional identity while engaging with modern techniques and universal values.
and Contradiction in Architecture Robert Venturi .docxdurantheseldine
This document is the introduction to Robert Venturi's book "Complexity and Contradiction in Architecture." It summarizes that Venturi's book provides an alternative viewpoint to Le Corbusier's "Towards a New Architecture" by embracing complexity and contradictions rather than seeking purity and order. It argues that Venturi learned from urban facades in Italy rather than Greek temples, and proposes accommodation rather than heroic singular visions. The introduction positions Venturi's work as a necessary response to the failures of large-scale urban renewal, and compares his philosophy to that of humanism rather than technology.
This document is the foreword to Robert Venturi's book "Complexity and Contradiction in Architecture." It summarizes that Venturi's book challenges established opinions in architecture and advocates for embracing complexity and contradictions. It compares Venturi's work to Le Corbusier's "Toward an Architecture," noting they take opposite approaches but both learned from architecture of the past. It praises Venturi's work for recognizing complexity and accommodating what exists, providing an antidote to purist urban renewal that has damaged cities. It describes Venturi as a thoughtful, humanistic architect in the great tradition of Philadelphia architects, with influences including Kahn, Aalto, and the pop artists.
This document is the introduction to Robert Venturi's book "Complexity and Contradiction in Architecture". It summarizes that Venturi's book provides an alternative viewpoint to the purist, abstract notions of order promoted by Le Corbusier's early writings. Whereas Le Corbusier celebrated isolated architectural forms in nature, Venturi finds inspiration in the complex facades of Italian cities that accommodate multiple uses. The introduction argues that Venturi's embrace of complexity and contradiction offers a necessary response to the failures of large-scale urban renewal projects that followed Le Corbusier's ideas.
The document summarizes four reaction papers written by a student for an architecture theory class. Each paper analyzes and critiques a different reading on architectural theory. The first paper discusses Frank Lloyd Wright's views on integrating nature and individual expression into architecture. The second analyzes Jacques Derrida's philosophy of deconstruction and its links to architecture. The third examines Juhani Pallasmaa's critique of vision-centric Western philosophy and its influence on architecture. The fourth analyzes Kenneth Frampton's theory of Critical Regionalism and its relevance to contemporary architecture.
Architecture . an introduction to the history and theory of the art of buildi...JoaniPaulusCovaleski1
This document provides an introduction to architecture and its history. It discusses the origins of architecture, defining it as the art of building and arranging buildings. Architecture began through responding to needs for shelter and developed a magical or mystical element as well. Early architecture incorporated elements of sacredness, ritual, and the worship of stones and columns representing gods. While materials, techniques, and styles have changed greatly over time, the fundamental origins of architecture in utility and human symbolic expression have endured.
- The document summarizes four reaction papers written by Nicole Foo Shuli on theories of urbanism and architecture.
- The first paper discusses Louis Wirth's theory that urbanization leads to problems like spatial segregation, impersonal interactions, and anonymity.
- The second paper examines the idea that architecture should be an "extension of human inner landscapes" and create memorable experiences through sensation.
- The third paper explores Juhani Pallasmaa's view that experiencing space and art involves embodiment that helps with memory and emotion over time.
- The fourth paper outlines Kenneth Frampton's theory of "Critical Regionalism" where modern architecture considers local context, climate, and tactile experience.
Reaction Papers toward Theories of Architecture & UrbanismJoyeeLee0131
The document summarizes four reaction papers written by a student for an architecture course. The first paper discusses Jane Jacobs' book "The Death and Life of Great American Cities" and her criticism of urban planning theories of the time. The second paper examines semiotics in architecture and how buildings can signify cultural meanings. The third paper discusses Juhani Pallasmaa's book "The Geometry of Feeling" and how architectural beauty is experienced emotionally rather than just visually. The fourth paper analyzes Kenneth Frampton's theory of Critical Regionalism and how it seeks a middle ground between modernism and preserving local culture and context.
Synopsis 3: Geometry of Feeling by Juhani PallasmaaCalvinSuah
The document summarizes a reaction paper by Calvin Suah Jake Ginn about the reading "The Geometry of Feeling" by Juhani Pallasmaa. The key points made in the reading are that architects should prioritize how a building makes people feel over its physical form. A building's image is more important than its design elements. The reading also discusses how perception can lead to various interpretations of art and architecture, and how spaces should be designed to evoke feelings and memories for their occupants.
Synopsis of Theories of Urbanism and Architecturejernjack
- The document discusses four reaction papers written by a student named Lim Jern Jack in response to readings about architecture and theory.
- The first paper discusses a text by Frank Lloyd Wright about architecture complementing nature rather than being driven by technology.
- The second paper examines a text interviewing Jacques Derrida about deconstructive architecture and how it creates new histories.
- The third paper analyzes a text about how senses and memory shape perceptions of space.
- The fourth paper considers Kenneth Frampton's ideas about critical regionalism and resisting placelessness in large urban regions.
Unit 5 Experiencing architecture by A.Sivaraman M.ArchSiva Raman
This document discusses how architecture can be experienced through various aspects like mass and cavities, contrasting solids and voids, and as color planes. It provides examples from buildings in Rome, Venice, and France to illustrate these concepts. The key points made are that architecture involves experiencing the spaces created by subtracting mass as well as the solids, and that some buildings are perceived more as two-dimensional color planes rather than masses. Details like ornamentation, materials, and light can transform the experience and perception of a building.
The document provides a synopsis and reaction paper for a course on theories of architecture and urbanism. It summarizes the key ideas from four readings on urban planning, semiotics in architecture, phenomenology of architecture, and critical regionalism. The student agrees with the authors' views and hopes future work can apply their concepts of semiotics, phenomenology, and critical regionalism to better understand cultural identity and context in architecture.
The document summarizes a reaction paper about the article "The Geometry of Feeling" by Juhani Pallasmaa. The article questions whether modern architecture provides the same feelings as older architecture due to today's focus on materialism. It states that the planning of architectural form nowadays does not consider how people will experience spaces. However, great modern architects like Tadao Ando design with phenomenology in mind. While form can stimulate senses, the meaning of a work of art does not lie in its forms but in the feelings and images they convey. In conclusion, meaningful architecture awakens the imagination through multisensory experiences and allows people to experience history through old architectural elements.
BUS 1 Mini Exam – Chapters 05 – 10 40 Points S.docxhartrobert670
BUS 1
Mini Exam – Chapters 05 – 10
40 Points
Short Answer – Mind your time
Answer four questions from #1 - #6. Must answer #3 and #6. Answer
the XC question for extra credit. Question point count weighted equally.
It is all about business, so make sure to demonstrate / synthesize the bigger picture of business in each and
every answer.
Like all essays, specifying an exacting target word count is rather problematic. I am thinking each answer
would be about 250 - 300 words each, depending upon writing style. If you tend to be descriptive and whatnot,
that number could be 350 - 450 words.
Sidebar: Gauge your knowledge level in this way. This exam should take about 90 – 120 minutes to complete.
Students taking much longer may want to work with me to assess / discuss ways to help master this material in
a future conference session.
1. Although most new firms start out as sole proprietorships, few large firms are organized this way. Why
is the sole proprietorship such a popular form of ownership for new firms? What features of the sole
proprietorship make it unattractive to growing firms?
2. List and discuss at least three causes of small business failure. Workarounds, fixes, or methods to avoid
failure should be discussed.
3. Describe three different leadership styles and give an example of a situation in which each style could be
most used effectively.
4. Discuss Max Weber's views on organization theory. Is there a few principles that particularly resonate
in business today?
5. How has the emphasis of quality control changed in recent years? Describe some of the modern quality
control techniques that illustrate this change in emphasis.
6. Explain how managers could motivate employees by using the principles outlined in expectancy
theory? Create a story/example of expectancy theory at work, incorporating the three questions that
according to expectancy theory employees will ask.
7. XC – What is selective perception? Can you describe a business-centric scenario where selective
perception may hinder a businessperson’s ability to respond to a customer need?
I
Fireworks, Manifesto, 1974.
The Architectural Paradox
1. Most people concerned with architecture feel some sort
of disillusion and dismay. None of the early utopian ideals
of the twentieth century has materialized! none of its social
aims has succeeded. Blurred by reality! the ideals have turned
into redevelopment nightmares and the aims into bureau
cratic policies. The split between social reality and utopian
dream has been total! the gap between economic constraints
and the illusion of all-solving technique absolute. Pointed
Space
out by critics who knew the limits of architectural remedies,
this historical split has now been bypassed by attempts to
reformulate the concepts of architecture. In the process, a
new split appears. More complex, it is not the symptom of
prof ...
2. complexity and contradiction in architecture synopsisSarah Esa
The document summarizes a reaction paper about the article "Complexity and Contradiction in Architecture" by Robert Venturi. It discusses how Venturi believes complexity and contradiction reflect the richness of modern experience. Venturi argues modern architects often try to oversimplify problems rather than embrace complexity. The document agrees that "less is more" philosophy leads to boring architecture for non-architects. It concludes Venturi is right that restricting complexity results in monotonous buildings, as complexity can breed interest and meaning that engages people more fully.
- The document discusses Frank Lloyd Wright's essay "In the Cause of Architecture" which critiques a lack of integrity in contemporary architects. Wright argues integrity should be given to all aspects of a building.
- Wright also predicts the end of architectural styles and a rise in individualistic expressions as architecture becomes more democratic. While his prediction was partially correct, debates around sincerity and integrity still remain.
- The author questions if pursuing integrity is itself an act of integrity, and whether strictly following philosophies limits one's own honest self-expression. They believe true integrity comes from manifesting one's own primal attachment to a specific form.
ZAHA RADm ARCHITECTS, BEUING CENTRAL BUSINESS DISTRICT COM.docxdanielfoster65629
ZAHA RADm ARCHITECTS, BEUING
CENTRAL BUSINESS DISTRICT COM
PETITION PROPOSAL, 2010. STUDIES
OF FORMAL MUTATIONS. ALL IMAGES
COURTESY ZAHA RADIO ARCHITECTS.
Patri!? Schumacher
Editor's Note: This text is
excerpted from a lecture Patri!?
Schumacher gave in Los Angeles
at SCI-Arc in September 2010.
Pararnetricisrn
And the Autopoiesis
Of Architecture
It's great to be at SCI-Arc. I had two great days to see what's
going on here, and I think what I have to say speaks, to a
certain extent, critically to what is going on here. The lecture
is a variation on a lecture I have been giving this year. I've
added an element that relates to my forthcoming book, The
Autopoiesis ofArchitecture, which is an attempt to create a
comprehensive and unified theory of architecture, and which
features parametricism as the last chapter of volume two. The
argument is that parametric ism continues the autopoiesis of
architecture, which is the self-referential, closed system of
communications that constitutes architecture as a discourse
in contemporary society. The book is in two volumes. Volume
one, a new framework for architecture, is coming out in
December [released December 7,2010] and then a new agenda
for architecture appears in volume two, probably four to six
months later. It is difficult to summarize, but just to raise a
bit of curiosity about this, I will make an argument for
a comprehensive unified theory is of interest.
A comprehensive unified theory of and for architecture
is important if you are trying to lead 400 architects across a
multiplicity of projects, touching all aspects and components
of contemporary architecture in terms of programmatic
agendas and at all scales. With a unified theory one is better
prepared to manage the different designs, designers, and
approaches that run in different directions, fight each other,
contradict each other, and stand in each other's way. I am also
teaching at a number of schools, the Architectural Association
Design Research Laboratory [AA DRL] being one of them, an
expanding group that is now 150 to 160 students. Here again
there is an issue in trying to converge efforts so that people
don't trip over each other and get in each other's way. The
need for a unified theory is first of all to eliminate contradic
tions within one's own efforts - so one doesn't stand in one's
own way all the time. If you go around from jury to jury,
from project to project, you one thing here, another thing
there, and further ideas come to mind; by the third occasion
63
you might be saying and doing things that don't gel, don't
cohere. You might be developing ideas about architecture's
societal function. You might be concerned with what is
architecture, what is not architecture, to demarcate against
art, engineering, etc. You might think of yourself as pan of
something like an avant-garde and try to develop a theory of
the avant-garde. Or think about design media, the .
Similar to Complexity and Contradiction TodayUsing the posted excerpt from .docx (20)
KATIES POST The crisis case I chose to discuss this week is th.docxdonnajames55
KATIE'S POST:
The crisis case I chose to discuss this week is the Tennessee Valley and the Kingston ash slide. On December 22, 2008, Tennessee Valley Authority who uses coal to generate electricity, had one of their containment pods that holds sludge from the ash wall begin to leak. The leak then caused the wall to eventually crumble. The leak then flowed into the Emory River that is located nearby. The river flowed into a nearby community, destroyed several houses, and forced families to evacuate the area.
Chapter 5 discusses the importance of organization members accepting that crisis can start quickly and unexpectedly. Two months before the leak, TVA was informed of a wet spot located on one retaining wall that suggested a leak was present. The moisture was eroding the structure's integrity, but TVA continued to add ash to the pond. TVA organization leaders ignored the warning signs of a potential crisis. TVA then accepted blame for the spill and began dredging the Emory River shortly after the incident. No other independent party was allowed to assess the dredging plan before it launched. If TVA's plan failed, the organization would have been at fault once again.
Upon further investigation of the crisis, lawyers were able to identify six primary failures in TVA's systems, controls, standards, and culture. “Lack of clarity and accountability for ultimate responsibility, lack of standardization, training, and metrics, siloed responsibilities and poor communication, lack of checks and balances, lack of prevention priority and resources, and being reactive instead of proactive” (Ulmer, Sellnow,& Seeger, 87).
Unfortunately, this unintentional crises could have been avoided had the proper crisis management, quality assurance, and procedures been put in place. TVA's negligence cost people their homes, polluted the river, and the uncertainty of long-term health conditions from being exposed to the ash's toxins. "The community was not able to locate reliable information about potential short- and long-term health effects, uncertainty about the extent of environmental damage, and feared plummeting property values" (Ritchie, Little, & Campbell, 179). TVA was at fault for several things, but the most significant fault they did not consider is the risk of storing large volumes of fly ash near the Emory River that flowed into a nearby community.
Ulmer, R. R., Sellnow, T. L., & Seeger, M. W. (2017). Effective crisis communication: Moving from crisis to opportunity. Sage Publications.
Ritchie, L. A., Little, J., & Campbell, N. M. (2018). Resource Loss and Psychosocial Stress in the Aftermath of the 2008 Tennessee Valley Authority Coal Ash Spill. International journal of mass emergencies and disasters, 36(2), 179.
.
Kate Chopins concise The Story of an Hour. What does Joseph.docxdonnajames55
Kate Chopin's concise "The Story of an Hour".
* What does Josephine represent in the story? What does Richards represent?
*The doctors said Mrs. M. died of "heart disease - of joy that kills." How is this ironic?
* What are some themes in the story? What are some symbols?
.
K-2nd Grade
3rd-5th Grade
6th-8th Grade
Major Concepts, Principles, and Learning Theories (To be completed in Topic 3)
Cognitive
Linguistic
Social
Emotional
Physical
.
Just Walk on By by Brent Staples My firs.docxdonnajames55
Just Walk on By
by Brent Staples
My first victim was a woman—white, well dressed, probably in
her early twenties. I came upon her late one evening on a deserted street
in Hyde Park, a relatively affluent neighborhood in an otherwise mean,
impoverished section of Chicago. As I swung onto the avenue behind her,
there seemed to be a discreet, uninflammatory distance between us. Not so.
She cast back a worried glance. To her, the youngish black man—a broad
six feet two inches with a beard and billowing hair, both hands shoved
into the pockets of a bulky military jacket—seemed menacingly close.
After a few more quick glimpses, she picked up her pace and was soon
running in earnest. Within seconds she disappeared into a cross street.
That was more than a decade ago. I was 23 years old, a graduate
student newly arrived at the University of Chicago. It was in the echo of
that terrified woman’s footfalls that I first began to know the unwieldy
inheritance I’d come into—the ability to alter public space in ugly ways. It
was clear that she thought herself the quarry of a mugger, a rapist, or
worse. Suffering a bout of insomnia, however, I was stalking sleep, not
defenseless wayfarers. As a softy who is scarcely able to take a knife
to raw chicken—let alone hold it to a person’s throat—I was surprised,
embarrassed, and dismayed all at once. Her flight made me feel like an
accomplice in tyranny. It also made it clear that I was indistinguishable
from the muggers who occasionally seeped into the area from the
surrounding ghetto. That first encounter, and those that followed signified
that a vast unnerving gulf lay between nighttime pedestrians—particularly
women—and me. And I soon gathered that being perceived as dangerous
is a hazard in itself. I only needed to turn a corner into a dicey situation,
or crowd some frightened, armed person in a foyer somewhere, or make
an errant move after being pulled over by a policeman. Where fear and
weapons meet—and they often do in urban America—there is always the
possibility of death.
In that first year, my first away from my hometown, I was to
become thoroughly familiar with the language of fear. At dark, shadowy
intersections in Chicago, I could cross in front of a car stopped at a traffic
light and elicit the thunk, thunk, thunk, thunk of the driver—black, white,
male, or female—hammering down the door locks. On less traveled streets
after dark, I grew accustomed to but never comfortable with people who
crossed to the other side of the street rather than pass me. Then there were
the standard unpleasantries with police, doormen, bouncers, cab drivers,
and others whose business it is to screen out troublesome individuals
before there is any nastiness.
I moved to New York nearly two years ago and I have remained an
avid night walker. In central Manhattan, the near-constant crowd cover
minimizes tense one-on-one stre.
Just make it simple. and not have to be good, its the first draft. .docxdonnajames55
Just make it simple. and not have to be good, it's the first draft.
I want it a complete essay of 2 pages before 10 am on Sunday.
The instructions in the second file. There is a picture in the third file.
CDT (Central Daylight Time)
UTC/GMT -5 hours
.
JUST 497 Senior Seminar and Internship ExperienceInternationa.docxdonnajames55
JUST 497: Senior Seminar and Internship Experience
International Film Critique: The Whistleblower
· Due: April 3
· Reaction Paper: 10 Points
· Presentation: 5 Points
Your first written assignment was to critique a newspaper article dealing with misconduct and/or corruption at a local level within the United States. The capstone essay asks you to consider a social injustice and its consequences that occur on a national level. The International film assignment asks you to consider issues of international law and justice.
The Whistleblower based on a true story depicts the horrors of human trafficking and human rights violations across international borders.
Please choose Assignment A or B.
Assignment A
Write a 3-4 page Reaction Paper to the above film. Summarize the producer’s main message in no more than a half page. The remainder of the paper should reflect your opinion of the content of the film based on your knowledge of international law. Make specific references to scenes in the film that correlate with information you have gained in previous or current coursework. Cite all sources in-text according to the Hacker & Sommers APA Manual of Style.
Cautionary Notes
· Do not summarize the video.
· Cite specific information from the film using the required APA Manual of style.
· Use 12 font, double spacing and 1 inch margins.
Students who need a special accommodation and cannot find a copy of a closed caption video, must meet with their instructor to design an alternative assignment.
Assignment B
The Whistleblower implicates the United Nations, the U.S. State Department, and private contractors in post war Bosnia in an organized human trafficking scheme. Kathryn Bolkovac discovers a lucrative, far-reaching operation involving the local police and United Nations peacekeepers, many of them protected by diplomatic immunity. This film is based on a true story and reflects the international concern with corruption and human trafficking.
Cast
· Kathryn Bolkovac: Nebraska police officer who accepts an offer to work with the U.N. International Police in Bosnia run by a private company in the U.K., Democra Security
· Madeleine Rees: Head of the United Nations Human Rights Commission
· Nick Kaufman: Kathryn’s Field Commander
· Peter Ward: Internal Affairs Specialist
· Luba, Raya and Irka: teenagers sold to the sex trafficking ring
· Fred Murray: Democra Security Officer
· John Blakely: Head of Human Resources
Based on the movie, address the following questions. Answers should be in a Question and Answer format and not essay style.
1. Discuss the suffering and oppression witnessed by (not experienced by) the main character. Cite specific scenes from the movie to support your discussion.
2. In whatspecific ways does Kathryn advocate for the victims she encounters? Cite scenes from the movie to support your answer.
3. Discuss how both local citizens and higher ranking officials contribute to organized corruption in post-war Bosn.
July 2002, Vol 92, No. 7 American Journal of Public Health E.docxdonnajames55
July 2002, Vol 92, No. 7 | American Journal of Public Health Editorial | 1057
⏐ EDITORIAL
A Code of
Ethics for
Public Health
The mandate to ensure and pro-
tect the health of the public is an
inherently moral one. It carries
with it an obligation to care for
the well-being of communities,
and it implies the possession of an
element of power to carry out
that mandate. The need to exer-
cise power to ensure the health of
populations and, at the same time,
to avoid abuses of such power are
at the crux of public health ethics.
Until recently, the ethical na-
ture of public health has been im-
plicitly assumed rather than ex-
plicitly stated. Increasingly,
however, society is demanding ex-
plicit attention to ethics. This de-
mand arises from technological
advances that create new possibil-
ities and, with them, new ethical
dilemmas; new challenges to
health, such as the advent of HIV;
and abuses of power, such as the
Tuskegee study of syphilis.
Medical institutions have been
more explicit about the ethical
elements of their practice than
have public health institutions.
However, the concerns of public
health are not fully consonant
with those of medicine. Thus, we
cannot simply translate the princi-
ples of medical ethics to public
health. In contrast to medicine,
public health is concerned more
with populations than with indi-
viduals, and more with prevention
than with cure. The need to artic-
ulate a distinct ethic for public
health has been noted by a num-
ber of public health professionals
and ethicists.1–5
A code of ethics for public
health can clarify the distinctive
elements of public health and the
ethical principles that follow from
or respond to those elements. It
can make clear to populations and
communities the ideals of the pub-
lic health institutions that serve
them, ideals for which the institu-
tions can be held accountable.
THE PROCESS OF
WRITING THE CODE
The backgrounds and perspec-
tives of people who identify
themselves as public health pro-
fessionals are as diverse as the
multitude of factors affecting the
health of populations. Articulating
a common ethic for this diverse
group is a formidable challenge.
In the spring of 2000, the gradu-
ating class of the Public Health
Leadership Institute chose writing
a code of ethics for public health
as a group project. The institute
provides advanced leadership
training to people who are al-
ready in leadership roles in pub-
lic health. Because the fellows
bring a wealth of experience from
a wide variety of public health in-
stitutions, they are uniquely able
to represent diverse perspectives
and identify ethical issues com-
mon in public health.
At the 2000 meeting of the Na-
tional Association of City and
County Health Officers, the group
added a non-institute member
( J. C. Thomas) and charted a plan
for working toward a code. The
plan included receiving a formal
charge as the code of ethics work-
ing group at the annual meeting of
the American Public Health Asso-
c.
Journals are to be 2 pages long with an introduction, discussion and.docxdonnajames55
Journals are to be 2 pages long with an introduction, discussion and conclusion. They must be double spaced. Your formatting, sentence structure, spell checking, etc., will all be taken into account.
Utilizing YouTube, do a search for and listen to at least two perspectives from CNN, Fox News and/or MSNBC regarding culture wars. Provide me with an analysis that discusses two different perspectives. I typed in CNN/Fox News/MSNBC and then culture war, and was able to find quite a few 5 minute vignettes with regard to the topic. If you find a discussion of the culture wars either in written form or at another site, you must insure that it is a legitimate source and provide a link to the site.
Make sure to first provide your understanding of the definition of culture wars as outlined in the text readings, then provide me with your analysis obtained from the news outlets.
.
Judgement in Managerial Decision MakingBased on examples fro.docxdonnajames55
Judgement in Managerial Decision Making
Based on examples from one of the recommended articles selected by you, the lecture notes, the text, and other sources, discuss one or several of the themes: the nature of managerial decision making, the steps in the managerial decision making, organizational learning and creativity, judgmental heuristics, common biases in managerial decision making, bounds of human judgment, strategies for making better decisions.
.
Joyce is a 34-year-old woman who has been married 10 years. She .docxdonnajames55
Joyce is a 34-year-old woman who has been married 10 years. She has three children, all less than 10 years old: Sheena (age 9), Jack (age 6), and Beth (age 2). Her husband is a prominent attorney. They present an ideal picture of an upper-middle-class family. They live in a fashionable suburb. The husband has been successful to the extent that he has been made a full partner in a large law firm. The family is very active in church, the country club, and various other social organizations. Joyce is an active member of several charitable, civic, and social groups. Joyce’s initial call to the abuse center was vague and guarded. She expressed an interest in inquiring for “another woman” in regard to the purpose of the center. After she had received information and an invitation to call back, a number of weeks elapsed. Joyce’s second call occurred after receiving a severe beating from her husband.
Joyce tells the crisis worker in the phone:"Well, last night he beat me worse than ever. I thought he was really going to kill me this time. It had been building up for the past few weeks. His fuse was getting shorter and shorter, both with me and the kids. It’s his work, I guess. Finally he came home late last night. Dinner was cold. We were supposed to go out, and I guess it was my fault . . . I complained about his being late, and he blew up. Started yelling that he was gonna teach me a lesson. He started hitting me with his fists . . .knocked me down . . . and then started kicking me. I got up and ran into the bathroom. The kids were yelling for him to stop and he cuffed Sheena . . . God, it was horrible! (Wracked with sobs for more than a minute. CW waits.) I’m sorry, I just can’t seem to keep control."
As the crisis worker:
1-What typical dynamics did you see occurring—denial, guilt, fear, rationalization, withdrawal, and so on—in the victim? How would you as the crisis worker handle them?
What are some of the domestic violence intervention strategies? Pick one and how would you apply it to the scenario
.
Journal Write in 300-500 words about the following topic.After .docxdonnajames55
Journal: Write in 300-500 words about the following topic.
After watching some news and some television shows, including movies and anime. What are some portrayals of sexual harassment and rape myths that are perpetuated by social media, entertainment media, and news outlets?
What is the motivation of rapists on TV and in the movies?
What “types” of women get raped or sexually assaulted and harassed in movies and television?
Some research suggests that on TV and in the movies nontraditional women get raped more often than traditional women as a means of putting nontraditional women “in their place.”
How does what you saw compare to the research? How do gender stereotypes perpetuate rape and harassment culture?
In your experience or opinion, what are some ways society can address some of these issues around sexual assault and sexual battery, especially on college campuses and workplaces?
.
Journal Supervision and Management StyleWhen it comes to superv.docxdonnajames55
Journal: Supervision and Management Style
When it comes to supervising and managing personnel in human services organizations, everyone has his or her own leadership style. Some styles are effective and supportive; others may be ineffectual and unhelpful. When supervising and managing staff, it is important for human services administrators to first identify their leadership style and examine personal strengths and weaknesses related to their leadership style. Understanding how to utilize strengths and address weaknesses in leadership style is important for administrators to be both effective and supportive when supervising and managing.
In order to complete the Application Assignment, you must first complete the "Types of Leadership and Patterns of Management" interactive graphic provided in the Learning Resources. Once you have done so, take note of your leadership style and think about your areas of strengths and weaknesses.
After completing the self-assessment tool in this week’s Learning Resources, reflect on the results.
RESULTS:
I am very good at executing the work of a task, though I like clarity about the desired outcome.
1.
Engaging
2.
I really prefer to be peaceful and calm, finding ways to help others achieve their goals
3.
Achieving consensus among followers assures the best success
4.
It is ok to breech boundaries if we can all move in the same direction
5.
Being a change agent is never easy, but it is very stimulating for me
6.
I really prefer to be in control, though it does not have to be out in public
7.
Challenges should be addressed head on
8.
I like predictability
9.
I like to always put my best foot forward
10.
I am known to sometimes be argumentative, I believe it is the way new ideas emerge
11.
The best way to succeed is to trust oneself
12.
When determining goals to reach, we should always challenge ourselves a little beyond what we can see ourselves accomplishing
13.
The best way for me to relax is to spend some time alone quietly.
14.
When decisions are necessary my primary concern is its effect on the persons involved
15.
I am confident and assertive
16.
I am a compassionate person and there is significant value in the person (s) knowing where it comes from
17.
I am a very consistent person and am guided by my values
18.
I am a compassionate person but would rather show it behind the scenes
19.
I am conscientious and organized
20.Next
I like to focus on group cohesion
21.
When decisions are necessary I can make them easily and quickly as circumstances demand it
22.
My strong ability to envision the future makes me a result oriented leader
23.
Building and sustaining a strong image is a principle contributor to progress
24.
I see the big picture
25.
The best way for me to relax is to be reflective with a friend
26.
I am known to create harmony among others as it creates an optimal working environment. I am unimpressed with conflict
27.
Realistic
28.
I lik.
Journal of Social Work Values & Ethics, Fall 2018, Vol. 15, No.docxdonnajames55
Journal of Social Work Values & Ethics, Fall 2018, Vol. 15, No. 2 - page 37
Ethnicity, Values, and Value Conflicts of African
American and White Social Service Professionals
Andrew Edwards, MSW, Ph.D.
Cleveland State University, Emeritus
[email protected]
Mamadou M. Seck, Ph.D.
Cleveland State University
[email protected]
Journal of Social Work Values and Ethics, Volume 15, Number 2 (2018)
Copyright 2018, ASWB
This text may be freely shared among individuals, but it may not be republished in any medium without
express written consent from the authors and advance notification of ASWB.
Abstract
This aspect of a broader study included 110 (68
White/European American and 42 Black/African
American) social service professionals. The primary
focus of this aspect of the study was to verify the
value orientation or core beliefs of the practitioners
who deliver services to clients through social service
agencies and programs. The conceptualization
of the core beliefs explored the values and value
conflicts in relation to professional practice. The
participants were employed in a Midwestern
metropolitan region. They responded to a survey
instrument that included vignettes, closed-ended
items, scaled responses, as well as either-or type
items. Major categories of the exploration included:
life and death issues, lifestyle, domestic and
social perspectives, value conflicts with the social
work profession, and personal responses to value
conflicts. Specific items measuring values related
to abortion, homosexuality, religiosity, euthanasia,
and corporal punishment were included. Study
results showed statistical significance on 26 issues
as African American participants were compared
with White participants.
Keywords: value conflicts, social work, ethical
dilemmas, ethnicity, professional relationship
Introduction
The complexity of American society (Jarrett,
2000), specifically due to its historic, economic,
social, and ethnic makeup, requires that social
work professionals take their clients’ ethnicity,
values, and professional-client value conflicts
into consideration. Historical dynamics, such as
unproductive treatment, have contributed to the
reluctance of various population groups to engage
with professional service providers. This history
(Barker, 2014) has influenced the adoption of
guidelines that require social workers to be culturally
aware during interventions and recognizing that
diversity-related characteristics have influence upon
an individual’s thoughts, feelings, and behaviors.
Barker (2014) further noted that the concept of
values is influenced by one’s perceptions of what
comprises appropriate principles, practices, and
behaviors. An individual’s personal values are often
considered as a representation of one’s core beliefs
and what an individual may perceive as right.
Therefore, these beliefs do not require supporting
evidence for those who embrace them and may
result in behavio.
Journal of Personality 862, April 2018VC 2016 Wiley Perio.docxdonnajames55
Journal of Personality 86:2, April 2018
VC 2016 Wiley Periodicals, Inc.
DOI: 10.1111/jopy.12301Unique Associations Between Big
Five Personality Aspects and
Multiple Dimensions of Well-Being
Jessie Sun ,
1,2
Scott Barry Kaufman,
3
and
Luke D. Smillie
1
1
The University of Melbourne
2
University of California, Davis
3
University of Pennsylvania
Abstract
Objective: Personality traits are associated with well-being, but the precise correlates vary across well-being dimensions and
within each Big Five domain. This study is the first to examine the unique associations between the Big Five aspects (rather
than facets) and multiple well-being dimensions.
Method: Two samples of U.S. participants (total N 5 706; Mage 5 36.17; 54% female) recruited via Amazon’s Mechanical Turk
completed measures of the Big Five aspects and subjective, psychological, and PERMA well-being.
Results: One aspect within each domain was more strongly associated with well-being variables. Enthusiasm and Withdrawal
were strongly associated with a broad range of well-being variables, but other aspects of personality also had idiosyncratic
associations with distinct forms of positive functioning (e.g., Compassion with positive relationships, Industriousness with
accomplishment, and Intellect with personal growth).
Conclusions: An aspect-level analysis provides an optimal (i.e., parsimonious yet sufficiently comprehensive) framework for
describing the relation between personality traits and multiple ways of thriving in life.
Keywords: Personality, aspects, Big Five, subjective well-being, psychological well-being
When multiple positive end states are examined, it becomes
apparent that aspects of psychological well-being may be
achieved by more people than just the nonneurotic, extra-
verted members of society. (Schmutte & Ryff, 1997, p. 558)
The large literature describing the associations between person-
ality traits and well-being suggests that Extraversion (the tendency
to be bold, talkative, enthusiastic, and sociable) and Neuroticism
(the tendency to be emotionally unstable and prone to negative
emotions) are especially strong predictors of well-being (e.g.,
Steel, Schmidt, & Shultz, 2008). But is well-being only accessible
to the extraverted and non-neurotic? We propose that more
nuanced insights can be revealed by examining the relation
between narrower traits and a broader spectrum of well-being
dimensions. The goal of the current study is to comprehensively
describe the unique associations between personality aspects and
dimensions of well-being across three well-being taxonomies.
Personality Traits and Three Taxonomies
of Well-Being
Personality traits and well-being dimensions can each be
described at different levels of resolution. The Big Five domains
provide a relatively comprehensive framework for organizing
differential patterns of affect, behavior, and cognition (John,
Naumann, & Soto, 2008). These broad traits can be further bro-
ken dow.
Journal of Personality and Social Psychology1977, Vol. 35, N.docxdonnajames55
Journal of Personality and Social Psychology
1977, Vol. 35, No. 9, 677-688
Self-Reference and the Encoding of Personal Information
T. B. Rogers, N. A. Kuiper, and W. S. Kirker
University of Calgary, Canada
The degree to which the self is implicated in processing personal information
was investigated. Subjects rated adjectives on four tasks designed to force
varying kinds of encoding: structural, phonemic, semantic, and self-reference.
In two experiments, incidental recall of the rated words indicated that adjec-
tives rated under the self-reference task were recalled the best. These results
indicate that self-reference is a rich and powerful encoding process. As an
aspect of the human information-processing system, the self appears to func-
tion as a superordinate schema that is deeply involved in the processing, inter-
pretation, and memory of personal information.
Present research and theory in personality
appear to be placing more and more empha-
sis on how a person has organized his or her
psychological world. Starting with Kelly's
(1955) formulation of personal constructs,
we see a gradual emergence of a number of
avenues of inquiry that use this as their focal
point. In person perception, the concept of
lay personality theory stresses that the ob-
server's analytic network of expected trait
covariations is an integral part of how he
processes (and generates) interpersonal data
(Hastorf, Schneider, & Polefka, 1970). Bern
and Allen (1974), in their embellishment of
Allport's (1937) idiographic position, argue
that an important determinant of predictive
utility of trait measurement is the manner
in which the respondent has organized his or
her view of the trait being measured. These
authors see the overlap between the respond-
ent's and the experimenter's concept of the
trait as a necessary prerequisite of predic-
tion. Attribution theory (Jones et al., 1971)
is another example of this increased accent
on personal organization. Here the emphasis
is on how the subject explains past behavior
This research was supported by a grant from the
Canada Council. We would like to thank the fol-
lowing persons for their useful ideas and comments
on earlier drafts: F. I. M. Craik, E. J. Rowe, P. J.
Rogers, H. Lytton, J. Clark, J. Ells, C. G. Costello,
and especially one anonymous reviewer.
Requests for reprints should be sent to T. B.
Rogers, Department of Psychology, The University
of Calgary, Calgary, Alberta, Canada, T2N 1N4.
and how these explanations are organized in
an attributional network. The common
thread in all of these contemporary research
areas is the notion that the cognitions of a
person, particularly their manner of organ-
ization, should be an integral part of our
attempts to explain personality and behavior.
Of concern in the present article is the
construct of self and how it is implicated in
the organization of personal data. Our gen-
eral position is that the self is an extremely
active and powerful agent in the organizati.
Journal of Pcnonaluy and Social Psychology1»M. Vd 47, No 6. .docxdonnajames55
Journal of Pcnonaluy and Social Psychology
1»M. Vd 47, No 6. 1292-1302
Copynghi I9S4 by the
American Psychological Association. Inc
Influence of Gender Constancy and Social Power
on Sex-Linked Modeling
Kay Bussey
Macquarie University
New South Wales, Australia
Albert Bandura
Stanford University
Competing predictions derived from cognitive-developmental theory and social
learning theory concerning sex-linked modeling were tested. In cognitive-develop-
mental theory, gender constancy is considered a necessary prerequisite for the
emulation of same-sex models, whereas according to social learning theory, sex-
role development is promoted through a vast system of social influences with
modeling serving as a major conveyor of sex role information. In accord with
social learning theory, even children at a lower level of gender conception emulated
same-sex models in preference to opposite-sex ones. Level of gender constancy
was associated with higher emulation of both male and female models rather
than operating as a selective determinant of modeling. This finding corroborates
modeling as a basic mechanism in the sex-typing process. In a second experiment
we explored the limits of same-sex modeling by pitting social power against the
force of collective modeling of different patterns of behavior by male and female
models. Social power over activities and rewarding resources produced cross-sex
modeling in boys, but not in girls. This unexpected pattern of cross-sex modeling
is explained by the differential sex-typing pressures that exist for boys and girls
and socialization experiences that heighten the attractiveness of social power
for boys.
Most theories of sex role development as-
sign a major role to modeling as a basic
mechanism of sex role learning (Bandura,
1969; Kagan, 1964; Mischel, 1970; Sears,
Rau & Alpert, 1965). Maccoby and Jacklin
(1974) have questioned whether social prac-
tices or modeling processes are influential in
the development of sex-linked roles. They
point to findings that in laboratory situations
children do not consistently pattern their
This research was supported by Research Grant No.
M-S162-21 from the National Institute of Mental Health,
U.S. Public Health Services, and by the Lewis S. Haas
Child Development Research Fund, Stanford University.
We thank Martin Curland, Brad Carpenter, Brent Sha-
phren, Deborah Skriba, Erin Dignam, and Pamela Minet
for serving as models. We are indebted to Marilyn
Waterman for filming and editing the videotape modeling
sequence, to Eileen Lynch and Sara Buxton, who acted
as experimenters, and to Nancy Adams, who assisted in
collecting the data. Finally, we also thank the staff and
children from Bing Nursery School, Stanford University.
Requests for reprints should be sent to either Kay
Bussey, School of Behavioral Sciences, Macquarie Uni-
versity, North Ryde, Australia, 2113, or to Albert Bandura,
Department of Psychology, Stanford University, Building
420 Jordan Hall, Stanford,.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
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إضغ بين إيديكم من أقوى الملازم التي صممتها
ملزمة تشريح الجهاز الهيكلي (نظري 3)
💀💀💀💀💀💀💀💀💀💀
تتميز هذهِ الملزمة بعِدة مُميزات :
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2- تحتوي على 78 رسم توضيحي لكل كلمة موجودة بالملزمة (لكل كلمة !!!!)
#فهم_ماكو_درخ
3- دقة الكتابة والصور عالية جداً جداً جداً
4- هُنالك بعض المعلومات تم توضيحها بشكل تفصيلي جداً (تُعتبر لدى الطالب أو الطالبة بإنها معلومات مُبهمة ومع ذلك تم توضيح هذهِ المعلومات المُبهمة بشكل تفصيلي جداً
5- الملزمة تشرح نفسها ب نفسها بس تكلك تعال اقراني
6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
واخيراً هذهِ الملزمة حلالٌ عليكم وإتمنى منكم إن تدعولي بالخير والصحة والعافية فقط
كل التوفيق زملائي وزميلاتي ، زميلكم محمد الذهبي 💊💊
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A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
Complexity and Contradiction TodayUsing the posted excerpt from .docx
1. Complexity and Contradiction Today
Using the posted excerpt from Complexity and Contradiction as
your foundational text, please choose a building or architectural
project (it can be unbuilt) from 1960 – 2016 that supports /
illustrates Venturi’s argument. This chosen work should be
something you can research and cite.
Complexity and Contradiction is just that – complex and
contradictory. There are many ways you could interpret the text.
Focus on one perspective of what Venturi believes in. Use
quotations from Venturi’s work to clarify which aspect of his
writing your chosen building or project supports.
Use images/photographs/diagrams/drawings, etc. to help support
your argument. Citations are required. Appx 700 words in
length.
Robert Venturi,
Excerpts from Complexity and Contradiction in Architecture
(1966)
I like complexity and contradiction in architecture. I do not like
the incoherence or
arbitrariness of incompetent architecture nor the precious
intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and
contradictory architecture based
on the richness and ambiguity of modern experience, including
that experience which
is inherent in art. Everywhere, except in architecture,
complexity and contradiction
have been acknowledged, from Godel's proof of ultimate
inconsistency in
2. mathematics to T. S. Eliot’s analysis of "difficult" poetry and
Joseph Albers' definition of
the paradoxical quality of painting.
But architecture is necessarily complex and contradictory in its
very inclusion of
the traditional Vitruvian elements of commodity, firmness, and
delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single
buildings in simple contexts, are diverse and conflicting in ways
previously
unimaginable. The increasing dimension and scale of
architecture in urban and
regional planning add to the difficulties. I welcome the
problems and exploit the
uncertainties. By embracing contradiction as well as
complexity, I aim for vitality as well
as validity.
Architects can no longer afford to be intimidated by the
puritanically moral
language of orthodox Modern architecture. I like elements
which are hybrid rather than
"pure," compromising rather than "clean," distorted rather than
"straightforward,”
ambiguous rather than "articulated," perverse as well as
impersonal, boring as well as
"interesting," conventional rather than "designed,"
accommodating rather than
excluding, redundant rather than simple, vestigial as well as
innovating, inconsistent
and equivocal rather than direct and clear. I am for messy
vitality over obvious unity. I
include the non sequitur and proclaim the duality.
3. I am for richness of meaning rather than clarity of meaning; for
the implicit
function as well as the explicit function. I prefer "both-and" to
"either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels
of meaning and combinations of focus: its space and its
elements become readable
and Workable in several ways at once.
But an architecture of complexity and contradiction has a
special obligation
toward the whole: its truth must be in its totality or its
implications of totality. It must
embody the difficult unity of inclusion rather than the easy
unity of exclusion. More is not
less.
[...]Orthodox Modern architects have tended to recognize
complexity
insufficiently or inconsistently. In their attempt to break with
tradition and start all over
again, they idealized the primitive and elementary at the
expense of the diverse and
the sophisticated. As participants in a revolutionary movement,
they acclaimed the
newness of modern functions, ignoring their complications. In
their role as reformers,
they puritanically advocated the separation and exclusion of
elements rather than the
inclusion of various requirements and their juxtapositions. As a
forerunner of the Modern
movement, Frank Lloyd Wright, who grew up with the motto
"Truth against the World,"
wrote: "Visions of simplicity so broad and far-reaching would
open to me and such
4. building harmonies appear that . . . would change and deepen
the thinking and
culture of the modern world. So I believed." And Le Corbusier,
co-founder of
2
Purism, spoke of the "great primary forms" which, he
proclaimed, were "distinct . . . and
without ambiguity." Modern architects with few exceptions
eschewed ambiguity.
But now our position is different: "At the same time that the
problems increase in
quantity, complexity, and difficulty they also change faster than
before," and require
an attitude more like that described by [author and
philanthropist] August Heckscher:
"The movement from a view of life as essentially simple and
orderly to a view of life as
complex and ironic is what every individual passes through in
becoming mature. But
certain epochs encourage this development; in them the
paradoxical or dramatic
outlook colors the whole intellectual scene. . . . Amid simplicity
and order rationalism is
born, but rationalism proves inadequate in any period of
upheaval. Then equilibrium
must be created out of opposites. Such inner peace as men gain
must represent a
tension among contradictions and uncertainties. . . . A feeling
for paradox allows
seemingly dissimilar things to exist side by side, their very
incongruity suggesting a kind of
truth."
5. Rationalizations for simplification are still current, however,
though subtler than
the early arguments. They are expansions of Mies van der
Rohe's magnificent paradox,
"less is more." Paul Rudolph has clearly stated the implications
of Mies' point of view: "All
problems can never be solved. . . . Indeed it is a characteristic
of the twentieth century
that architects are highly selective in determining which
problems they want to solve.
Mies, for instance, makes wonderful buildings only because he
ignores many aspects of
a building. If he solved more problems, his buildings would be
far less potent""
The doctrine "less is more" bemoans complexity and justifies
exclusion for
expressive purposes. It does, indeed, permit the architect to be
"highly selective in
determining which problems [he wants] to solve." But if the
architect must be
"committed to his particular way of seeing the universe," such a
commitment surely
means that the architect determines how problems should be
solved, not that he can
determine which of the problems he will solve. He can exclude
important
considerations only at the risk of separating architecture from
the experience of life and
the needs of society. If some problems prove insoluble, he can
express this: in an
inclusive rather than an exclusive kind of architecture there is
room for the fragment, for
contradiction, for improvisation, and for the tensions these
produce. Mies' exquisite
6. pavilions have had valuable implications for architecture, but
their selectiveness of
content and language is their limitation as well as their strength.
I question the relevance of analogies between pavilions and
houses, especially
analogies between Japanese pavilions and recent domestic
architecture. They ignore
the real complexity and contradiction inherent in the domestic
program-the spatial
and technological possibilities as well as the need for variety in
visual experience.
Forced simplicity results in oversimplification. In the Wiley
House, for instance, in contrast
to his glass house, Philip Johnson attempted to go beyond the
simplicities of the elegant
pavilion. He explicitly separated and articulated the enclosed
"private functions" of
living on a ground floor pedestal, thus separating them from the
open social functions in
the modular pavilion above. But even here the building becomes
a diagram of an
oversimplified program for living-an abstract theory of either-
or. Where simplicity cannot
work, simpleness results. Blatant simplification means bland
architecture. Less is a bore.
The recognition of complexity in architecture does not negate
what Louis Kahn
has called "the desire for simplicity." But aesthetic simplicity
which is a satisfaction to the
mind derives, when valid and profound, from inner complexity.
The Doric temple's
simplicity to the eye is achieved through the famous subtleties
and precision of its
7. 3
distorted geometry and the contradictions and tensions inherent
in its order. The Doric
temple could achieve apparent simplicity through real
complexity. When complexity
disappeared, as in the late temples, blandness replaced
simplicity.
Nor does complexity deny the valid simplification which is part
of the process of
analysis, and even a method of achieving complex architecture
itself. "We oversimplify
a given event when we characterize it from the standpoint of a
given interest." But this
kind of simplification is a method in the analytical process of
achieving a complex art. It
should not be mistaken for a goal.
An architecture of complexity and contradiction, however, does
not mean
picturesqueness or subjective expressionism. A false complexity
has recently countered
the false simplicity of an earlier Modern architecture. It
promotes an architecture of
symmetrical picturesqueness—which [World Trade Center
architect] Minoru Yamasaki
calls "serene"—but it represents a new formalism as
unconnected with experience as
the former cult of simplicity. Its intricate forms do not reflect
genuinely complex
programs, and its intricate ornament, though dependent on
industrial techniques for
execution, is dryly reminiscent of forms originally created by
8. handicraft techniques.
Gothic tracery and Rococo rocaille were not only expressively
valid in relation to the
whole, but came from a valid showing-off of hand skills and
expressed a vitality derived
from the immediacy and individuality of the method. This kind
of complexity through
exuberance, perhaps impossible today, is the antithesis of
"serene" architecture, despite
the superficial resemblance between them. But if exuberance is
not characteristic of
our art, it is tension, rather than "serenity" that would appear to
be so.
The best twentieth-century architects have usually rejected
simplification—that
is, simplicity through reduction—in order to promote
complexity within the whole. The
works of Alvar Aalto and Le Corbusier (who often disregards
his polemical writings) are
examples. But the characteristics of complexity and
contradiction in their work are
often ignored or misunderstood. Critics of Aalto, for instance,
have liked him mostly for
his sensitivity to natural materials and his fine detailing, and
have considered his whole
composition willful picturesqueness. [...] Aalto's complexity is
part of the program and
structure of the whole rather than a device justified only by the
desire for expression.
Though we no longer argue over the primacy of form or
function (which follows
which?), we cannot ignore their interdependence.
The desire for a complex architecture, with its attendant
contradictions, is not
9. only a reaction to the banality or prettiness of current
architecture. It is an attitude
common in the Mannerist periods: the sixteenth century in Italy
or the Hellenistic period
in Classical art, and is also a continuous strain seen in such
diverse architects as
Michelangelo, Palladio, Borromini, Vanbrugh, Hawksmoor,
Soane, Ledoux, Butterfield,
some architects of the Shingle Style, Furness, Sullivan,
Lutyens, and recently, Le
Corbusier, Aalto, Kahn, and others.
Today this attitude is again relevant to both the medium of
architecture and the
program in architecture.
First, the medium of architecture must be re-examined if the
increased scope of
our architecture as well as the complexity of its goals is to be
expressed. Simplified or
superficially complex forms will not work. Instead, the variety
inherent in the ambiguity
of visual perception must once more be acknowledged and
exploited.
Second, the growing complexities of our functional problems
must be
acknowledged. I refer, of course, to those programs, unique in
our time, which are
complex because of their scope, such as research laboratories,
hospitals, and
4
10. particularly the enormous projects at the scale of city and
regional planning. But even
the house, simple in scope, is complex in purpose if the
ambiguities of contemporary
experience are expressed. This contrast between the means and
the goals of a
program is significant. Although the means involved in the
program of a rocket to get
to the moon, for instance, are almost infinitely complex, the
goal is simple and contains
few contradictions; although the means involved in the program
and structure of
buildings are far simpler and less sophisticated technologically
than almost any
engineering project, the purpose is more complex and often
inherently ambiguous.
[...]
A play of order and compromise also supports the idea of
renovation in building, and of
evolution in city planning. Indeed, change in the program of
existing buildings is a valid
phenomenon and a major source of the contradiction I am
endorsing. [...] Much of the
richness of the Italian urban scene at eye level results from the
tradition of modifying or
modernizing every several generations the commercial ground
floor interiors, for
example, the frankly stylish contemporary bars, located in the
frames of old palazzi. But
the building's original order must be strong. A good deal of
clutter has not managed to
destroy the space of Grand Central Station but the introduction
of one foreign element
casts into doubt the entire effect of some modern buildings. Our
11. buildings must survive
the cigarette machine.
I have been referring to one level of order in architecture—that
individual order
that is related to the specific building it is part of. But there is
convention in architecture,
and convention can be another manifestation of an
exaggeratedly strong order more
general in scope. An architect should use convention and make
it vivid. I mean he
should use convention unconventionally. By convention I mean
both the elements and
methods of building. Conventional elements are those which are
common in their
manufacture, form, and use. I do not refer to the sophisticated
products of industrial
design, which are usually beautiful, but to the vast accumulation
of standard,
anonymously designed products connected with architecture and
construction, and
also to commercial display elements which are positively banal
or vulgar in themselves
and are seldom associated with architecture.
The main justification for honky-tonk elements in architectural
order is their very
existence. They are what we have. Architects can bemoan or try
to ignore them or
even try to abolish them, but they will not go away. Or they will
not go away for a long
time, because architects do not have the power to replace them
(nor do they know
what to replace them with), and because these commonplace
elements
accommodate existing needs for variety and communication.
12. The old clichés involving
both banality and mess will still be the context of our new
architecture, and our new
architecture significantly will be the context for them. I am
taking the limited view, I
admit, but the limited view, which architects have tended to
belittle, is as important as
the visionary view, which they have tended to glorify but have
not brought about. The
short-term plan, which expediently combines the old and the
new, must accompany
the long-term plan. Architecture is evolutionary as well as
revolutionary. As an art it will
acknowledge what is and what ought to be, the immediate and
the speculative.
[...] Are we today proclaiming advanced technology, while
excluding the immediate,
vital if vulgar elements which are common to our architecture
and landscape? The
architect should accept the methods and the elements he already
has. [...] Present-
5
day architects, in their visionary compulsion to invent new
techniques, have neglected
their obligation to be experts in existing conventions. The
architect, of course, is
responsible for the how as well as the what in his building, but
his innovating role is
primarily in the what; his experimentation is limited more to his
organization of the whole
than to technique in the parts. The architect selects as much as
creates.
13. These are pragmatic reasons for using convention in
architecture but there are
expressive justifications as well. The architect's main work is
the organization of a unique
whole through conventional parts and the judicious introduction
of new parts when the
old won't do. Gestalt psychology maintains that context
contributes meaning to a part
and change in context causes change in meaning. The architect
thereby, through the
organization of parts, creates meaningful contexts for them
within the whole. Through
unconventional organization of conventional parts he is able to
create new meanings
within the whole. If he uses convention unconventionally, if he
organizes familiar things
in an unfamiliar way, he is changing their contexts, and he can
use even the cliché to
gain a fresh effect. Familiar things seen in an unfamiliar context
become perceptually
new as well as old.
Modern architects have exploited the conventional element only
in limited ways.
If they have not totally rejected it as obsolete or banal, they
have embraced it as
symbolic of progressive industrial order. But they have seldom
used the common
element with a unique context in an uncommon way. Wright, for
instance, almost
always employed unique elements and unique forms, which
represented his personal
and innovating approach to architecture. Minor elements, like
hardware by Schlage or
plumbing fixtures by Kohler of Kohler, which even Wright was
14. unable to avoid using,
read as unfortunate compromises within the particular order of
his buildings, which is
otherwise consistent.
Gropius in his early work, however, employed forms and
elements based on a
consistent industrial vocabulary. He thus recognized
standardization and promoted his
ma chine aesthetic. The inspiration for windows and stairways,
for instance, came from
current factory architecture, and these buildings look like
factories. Latter-day Mies
employs the structural elements of vernacular American
industrial architecture and also
those of Albert Kahn with unconscious irony: the elegant frame
members are derived
from standard steel manufacturers' catalogues; they are
expressed as exposed
structure but they are ornament on a fire-resistant frame; and
they make up complex,
closed spaces rather than the simple industrial spaces they were
originally designed for.
It was Le Corbusier who juxtaposed objets trouvés and
commonplace elements, such
as the Thonet chair, the officer's chair, cast iron radiators, and
other industrial objects,
and the sophisticated forms of his architecture with any sense of
irony.
[...] Poets, according to Eliot, employ "that perpetual slight
alteration of
language, words perpetually juxtaposed in new and sudden
combinations."
Wordsworth writes in his preface to the Lyrical Ballads of
choosing "incidents and
15. situations from common life {so that] ordinary things should be
presented to the mind in
an unusual aspect." And Kenneth Burke has referred to
"perspective by incongruity." This
technique, which seems basic to the medium of poetry, has been
used today in
another medium. The Pop painter gives uncommon meaning to
common elements by
changing their context or increasing their scale. Through
"involvement in the relativity of
perception and the relativity of meaning," old clichés in new
settings achieve rich
meanings which are ambiguously both old and new, banal and
vivid. [...]Pop Art has
demonstrated that these commonplace elements are often the
main source of the
6
occasional variety and vitality of our cities, and that it is not
their banality or vulgarity as
elements which make for the banality or vulgarity of the whole
scene, but rather their
contextual relationships of space and scale.
Another significant implication from Pop Art involves method
in city planning.
Architects and planners who peevishly denounce the
conventional townscape for its
vulgarity or banality promote elaborate methods for abolishing
or disguising honky-tonk
elements in the existing landscape, or, for excluding them from
the vocabulary of their
new townscapes. But they largely fail either to enhance or to
16. provide a substitute for
the existing scene because they attempt the impossible. By
attempting too much they
flaunt their impotence and risk their continuing influence as
supposed experts. Cannot
the architect and planner, by slight adjustments to the
conventional elements of the
townscape, existing or proposed, promote significant effects?
By modifying or adding
conventional elements to still other conventional elements they
can, by a twist of
context, gain a maximum of effect through a minimum of
means. They can make us
see the same things in a different way.
[...]
In [the 1964 book] God's Own Junkyard [architect/critic] Peter
Blake has compared the
chaos of commercial Main Street with the orderliness of the
University of Virginia.
Besides the irrelevancy of the comparison, is not Main Street
almost all right? Indeed, is
not the commercial strip of a Route 66 almost all right? As I
have said, our question is:
what slight twist of context will make them all right? Perhaps
more signs more
contained. Illustrations in God's Own Junkyard of Times Square
and roadtown are
compared with illustrations of New England villages and
arcadian countrysides. But the
pictures in this book that are supposed to be bad are often good.
The seemingly
chaotic juxtapositions of honky-tonk elements express an
intriguing kind of vitality and
validity, and they produce an unexpected approach to unity as
17. well.
It is true that an ironic interpretation such as this results partly
from the change in
scale of the subject matter n photographic form and the change
in context within the
Tames of the photographs. But in some of these compositions
there is an inherent sense
of unity not far from the surface. It is not the obvious or easy
unity derived from the
dominant binder or the motival order of simpler, less
contradictory compositions, but
that derived from a complex and illusive order of the difficult
whole. It is the taut
composition which contains contrapuntal relationships, equal
combinations, inflected
fragments, and acknowledged qualities. It is the unity which
"maintains, but only just
maintains, a control over the clashing elements which compose
it. Chaos is very near;
its nearness, but its avoidance, gives . . . force." In the validly
complex building or
cityscape, the eye does not want to be too easily or too quickly
satisfied in its search for
unity within a whole.
Some of the vivid lessons of Pop Art, involving contradictions
of scale and
context, should have awakened architects from prim dreams of
pure order, which,
unfortunately, are imposed in the easy Gestalt unities of the
urban renewal projects of
establishment Modern architecture and yet, fortunately are
really impossible to achieve
at any great scope. And it is perhaps from the everyday
landscape, vulgar and
18. disdained, that we can draw the complex and contradictory
order that is valid and
vital for our architecture as an urbanistic whole.