Architecture Computers - Free Essay Example

Sample details Pages: 27 Words: 7971 Downloads: 10 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Introduction Outline Intentions The intention of my research is to investigate the role computers play as a visualization and representational tool in the architectural design process. The thesis proposes to ascertain an appropriate understanding of our experience of the emergent digital realms.This involves investigating the need to visualize a building before it is created in practice and the degree to which CAD programs are used as a design tool as a means of testing and evaluating architectural processes. As part of examining the benefits computers has in the field of architecture I assessed the degree to which they have distanced the practitioners in architecture from hand drawings and physical model making and how virtual architecture could be detrimental to the disciplinary field Involving the emergence of paper architecture showing theoretical proposals using visualizations. Don’t waste time! Our writers will create an original "Architecture Computers" essay for you Create order Many architects believe that the traditional hand renderings and conceptual sketches have now become a lost art to the cost of architectural design. The research examines how these digital technologies help architects to design and how visualizations act as a way of communication between client and designer. This involves researching into architectural graphics as a marketing tool and looking into the future of computational methods as a visual and development tool for building design. The question will therefore be proposed of whether architects and designers have maintained the hands on approach associated with the discipline, or whether this has been abandoned in favor of computer graphics as a visual tool. Are computers taking away from the traditional methods and if so what are their advantages to the discipline? Methodology To assess the degree to which CAD software helps architectural design firms, I looked at two firms which rely heavily on CAD software as a design tool and one firm, which not only believe in a traditional approach, but use predominantly models and hand drawings for conceptual stages. This involved assessing critics views, personal judgment and analyzing the pathways they took in relation to initial brief and concepts to construction stages. The three case studies selected are intended to show the varied use of computing software and its adaption to various styles of office organization and philosophies. A description of the three firms working methods is analyzed and comparisons drawn against these case studies focusing on the diverse working methods. The study then formed the basis of a conclusion in which a summary of the results is documented. Chapter 1:   Literature Review of Current Computation Trends What should be the exact scope of the computer involvement within the architectural discourse? This question has been present since the beginning of the use of computer aided architecture software. It is notable that many of the designs we see in todays architectural world could not have been achieved without use of computer visualizations and extensive 3D graphics, However the question of how much should computation techniques be used is always present. Will the age old two dimensional flattened image give way to the intelligent three dimensional digital models as a way of communication? As apparently simple as this question might be, the answers are considerably more complex. An architect throughout the ages has communicated via a pen or pencil and a piece of paper. They have quick ability to identify their projects functioning and particularities with a simple doodle.   This method of working has not changed.   However according to Vesselin Gueorguiev (2008, p.6) the architectural and design visualization industry is predicted to grow by 23% over the next 7 years'[2].   A new generation of structures and concepts is being created that recognizes the computer not only as a drafting and rendering tool, but also as a potentially powerful tool in the generation of designs themselves; in other words an intelligent drafting machine.   With the use of 3D modeling, renderings and visualizations, an architect has an excellent opportunity to play with your imaginations or thoughts, enabling the creation of pieces of architecture that could never have been rationalized with the use of pen and paper technique alone.   An increasing number of digital designs are now being published and praised by critics as meaningful and influential to the architectural field.   This emergence of paper and theoretical architecture is rapidly expanding with many architects adopting a research approach to practice, led dominantly by computers as a means of experimenting in forms, aesthetics and expressing the investigations achieved.   Helen Castle for instance describes how cities shapes might be grown in digital laboratories in order to aid evolved urban design (2009, p.4)'[3].   Evidence of this is shown in Figure 1 showing a digitally produced master-plan for a carbon-neutral resort and residential development on Zira Island in the Caspian Sea.   For a long time architecture was thought of as a solid reality and entity: buildings, objects, matter, place and a set of geometric relationships.   But recently, architects have begun to understand their products as liquid, animating their bodies, hyper-surfacing their walls, crossbreeding different locations, experimenting with new geometries.   And this is only the beginning (2005, p.22)[4]. It is undoubtedly evident that advanced rendering and 3D systems can help to envisage of what architecture might be, however the computer is not a human being and should not be treated as such.   Ultimately it is the architect who is controlling the ideas, programming and concepts and the computer merely facilitates instructions. Therefore the computer is just a way of copying, simulating or replacing manual methods of design, simply a tool to replace the pencil.   Kosta Terzidis concurs with the argument stating that unlike humans, computers are not aware of their environment (2006, p.37)[5].   In this computer age, architects are constantly striving to generate and introduce a new way of thinking about design.   The problem is that often neither the designer is aware of the possibilities that conceptual schemes can produce nor the software packages are able to predict the moves or personality of individual designers.   The result therefore is that the computer is used more as a medium of expression rather than a structural foundation for architectural experimentation.   Has the emergence of digital realms as a result of computer formulated design led to architecture being produced as a mass media image rather than a piece of beautifully crafted, functional and creative architecture? Architects such as Beatriz Colomina took the subject of media of architecture as an exhibition piece from the 1920s to the 1950s, therefore this fanciful image of architecture was not just brought to light by the digital age.   This notion of extremely visual 3D architecture has however been condemned by many critics, with many believing that the actual computer image is surpassing the reality of the building itself.   Branko Kolarevic points out the problem that; There seems to be a sense among the generation of school leavers that because they have mastered a software they are sufficient as architects, and they almost immediately seem to be leaving to set up their own practice, which usually turns into a graphics company for websites (2005, p.70).[6] The notion of using computers more as a marketing tool is very prominent in todays culture.   This is especially important in times of economic recession where every niche a practice has will be exploited to offer a more attractive service to the client.   Images sell buildings.   As a result, many architecture graduates are employed solely to use their skills of computer renderings rather than their knowledge of design; in effect turning into CAD monkeys and simply key based operators rather than architects.   The perception that computer graphics is enhancing buildings is viewed as a myth by many.   As [8] to simply draft the drawings required and preparing a project for construction and tender documentation.    For many designers, the computer is just an advanced tool running programs that enable them to produce sophisticated forms and to better control the realization of a design.   Critic Kosta Terzidis states that, whatever capabilities a computer may have it lacks any level of criticality and its visual effects are nothing but mindless connections to be interrupted by a human designer (2006, p.48).[9]   I agree with this point as to fully determine a solution; an architect should be intrinsically linked with their proposal via physical models, sketches and general hands on approaches.   A computer does not have the ability to reflect and respond to an environment set by the user; in other words the computer output is simply a response to the designers input.   Due to the nature of complexity in many 3D programs, architects can become lost in their designs with a loss of control over the fundamental solution to the problem.   Balakrishnan Chandrasekaran from Ohio State University states the very vagueness and ambiguity of sketches plays an important role in the early stages of design (2007, p.65),[10] see figure 2, which explains with the use of color to highlight the dominant architectural elements. It is vitally important that we do not loose this affinity with sketching that our architectural discourse has been built on.   In this digital age the benefits computers can bring to the design process is profound however, we must not let computers control architecture.   Let humans control architecture and allow a combination of sketches, CAD or virtual models and computation control our future worlds.  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   However the terms, concepts and processes that seem inconceivable, unpredictable and impossible by a designer can be explored, implemented and tested into new design strategies and solutions within the digital world.   This experimentation has given rise to new design processes and concepts such as genetic algorithms, parametric design and isomorphic surfaces.   Branko Kolarevic (2005) makes the argument that; Digitally driven processes, characterized by dynamic open-ended and unpredictable but consistent transformations of three dimensional structures, are giving rise to new architectonic possibilities (2005, p. 2).[11] CAD programs assist in helping an idea to be physically realizable creating a new dynamic solution.   Computers simply assist in reinforcing our creativity and making us capable of doing things, which would be considered impossible by traditional means.   This rise of algorithmic design as a result of digital design may be particularly beneficial to that of urban master planning for the future of our cities.   Michael Batty for example talks about algorithms stating: This new species has mutated the way man perceives architecture and his place within it.   It has allowed a different thought process to be applied to how we exist in this world, and how we build up the world around us, and how the world builds itself (2009, p. 47).[12] From this quote it can be said that 3D visual programs can help us understand and analyze our cities and enable the designers to navigate them in new ways and pave a better way for the future.   However this notion of a digital city is merely conceptual at this point with Planners being unaware of the possibilities of new interventions derived from 3D analysis.   Therefore the spatial development of a digital city at this point in time is still untried, considered unresolved and unaware if the digital mutations emerging from our computers actually work functionally. In conclusion this chapter has emphasized that;all that is digital need not be a Trojan horse of marketisation and all theoreticians and designers that have embraced computer based design and manufacturing need not be neo-capitalistic zealots; Anthony Vidler (2008, p.111).[13] The emergence of computer simulation programs can open up new possibilities of design and push architectural skills in a direction previously not possible via pen and paper.   It is enlightening to know that new CAD programs have implemented change in the design discourse in terms of freedom of experimentation.   The seemingly impossible is now very much realizable thanks to the computer.   However the worry by many critics is that architecture becomes more about novelty as a result.   It has become apparent that the image produced on screen can often be misleading and act as a misrepresentation of the actual materiality. To summarize Digital technologies act as almost organic rather than prosthetic and provide an extension to the hands of the maker, freeing up time for other important work to be done.   Problem solving is an action which we perceive in multiple modalities and so various methods should be encouraged to benefit the future of architecture.   However when and to what degree we should use CAD as a form developer, visual agent and general helper to the design process? The next chapters will use case studies to examine how three well known architect firms use CAD in their practices.   It will highlight the various positions and attitude towards the use of CAD software and determine the stages at which computer visualization software is used in the design process as a development tool. Chapter 2:   Caruso St. John Architects:   The attraction of tradition Since their inception in 1990 established by Adam Caruso and Peter St John, Caruso St. John architects have strove to maintain traditional qualities of architecture such as ornament and decoration, texture and color.   Caruso and St. John have learned from figures like the Smithson, Robert Venturi and Adolf Loos that architecture is good when it is enmeshed in the patterns of everyday reality and not virtual reality.   Over the last 20 years, the partnership has very much avoided the high tech, shiny newness associated with the modern world of architecture.   The trend of globalization and constant expansion is a route which this firm has not taken.   This non-heroic stance has involved rejecting new methods of technology engaging solely on the past as a generator for the future of the city.   As David Leatherbarrow states, originality is only genuine when it is unsought (2009)[14].   This rationality and belief in the architects hand, callin g upon memory and feelings is what makes Caruso St Johns work remarkable in a modern way.   It should become apparent in the following case study that computer digital aids can be used sparingly and effectively to produce emotional, human led architecture. It is unrealistic and utterly frivolous to reject computer aided software completely and Caruso St John is no exception to this.   It is however more about the way in which they embrace the computer as an architectural design tool and at precise working stages that is of particular interest.   The computer does not rule their practice, rather the architect controls the decisions via skills intrinsically and traditionally linked with the architect.   Adam Caruso in a conversation with Paul Vermeulen states, Foreign Office Architects say that new overlaid programmes and, more bizarrely, new ways of working with computers will allow you to have new spatial urban possibilities, and that architecture, rather than being resistant to the forces of global capitalism, should respond, should represent it.   I still believe that architecture should be resistant (2002, p. 88).[15] It is clear that Caruso St John follow a framework of refraining from the extensive use of technology in a rhetorical way.   In their approach to a project, the firm use a lot of large models to visualize the projects internally, however they tend not to do many presentation drawings using CAD renderings.   Rather they take photos of models (evident in Figure 3), use sketches and perform verbal presentations with their clients.   They avoid at all costs the shiny visualizations associated with computer visual programs. Even with the negative feelings towards computer led architecture, the firm use CAD software quite early as a design tool and as Adam Caruso in an Architects Journal article states, we dont think it changes the form of our architecture.   Our production drawings are much like what they were when we were hand drawing (2006).[16]   Inevitably the partnership still use the hand as a design tool in which the architect creates spaces to which they are emotionally linked, while a tangible connection is made in relation to the computer at the appropriate stage of the design. Rowan Moore an architectural critic states the point that where other architects give primacy to technology, or the image of modernity or abstract form making, the consistency of Caruso St Johns work is in the attitudes behind it (2002).[17]   Caruso St John has no predetermined attitudes towards modern or traditional design methods but choose to select the appropriate at a particular moment in time.   The firm has carefully embraced CAD as a design tool within the office without it superseding their principles and beliefs where a pen and paper should sit comfortably beside a computer running CAD software. CAD drawings, graphics and photos were translated into machine milling instructions, allowing positives to be cut from resin board and hard latex moulds then made to form the faÃÆ' §ade of the building.   Without the ability to produce a 3D computer model this would never have been achieved.   Caruso St Johns approach is not simply about knowing how to apply CAD techniques, but when to apply them to achieve the best response.   Models and sketch drawings will always lead the way within this office, however CAD software is consistently used to aid with ideas, facilitate construction drawings and to rationalize themes and ideas.   Its all about moving between the two worlds of the real and the virtual to achieve a homogenous whole.   Caruso St John often remark on how little computer technology has affected the development of architectural form and in their essay Frameworks the duo state they are doubtful whether completely new forms can exist (1996, p.41)[18].   For them, it is cheating to muck around with algorithms and mapping programs to generate forms.   Adam Caruso in Tyranny of the New states his distaste for computers used in this way condemning how the forms: lack the complexities and ambiguities that are held within the tradition of architectural form, these shapes quickly lose their shiny novelty and achieve a condition of not new, but also not old or ordinary enough to become a part of the urban background (1998, p.25)[19].   Effectively the belief is that computer generated forms have no place in our current urban context and lack any particular sense of place.   In Contemporary Architecture and the Digital Design Process Andrew Kane remarks that there is an increased belief amongst experienced clients that digital representation of design proposals is essential to close the gap between their understanding of the conceptual ideas and the realized finished form (2005 p.vii)'[20].   This is not the case in Caruso St Johns practice.   A multitude of models and a close communicative relationship with their clients ensures complete understanding of the project on both without the need for extensive use of computer generated form.   Through a physical and verbal understanding of design elements, a computer can have no advantage over a close relationship developed with a client. To summarize, it must be noted that this affiliation with traditional values and qualities is an admirable approach in the face of modernity in a high tech world.   The formulation of design within Caruso St Johns office involves a multitude of mediums with CAD software being one of those.   However, their use of it doesnt restrict the design formalities but merely assists them in engaging with the project more intrinsically.   Computers are used frequently within the office like every other architects business; however they do not use its powers as a form, plan or aesthetic generator.   Caruso St John avoid the extensive use of the computer image generation path and the stardom associated with this archetype in favor of being linked with the physicality, a model or a pen and paper can bring, rather than the autonomous production of a drawing filtered via a software program with no sense of personal touch.   To conclude it can be stated that Caruso St John have avoided the nostalgia of digital realms of visualization but have embraced the use of CAD software programs as a communicative tool with contractors, as an aid in production design and as an aid in visualizing their initial sketch idea in its contextual environment. The next chapter is the second case study of a practice with a different approach to the use of CAD in their everyday work.   Chapter 3:   Zaha Hadid:   Towards a new realm This chapter will use the practice of Zaha Hadid to examine how they use CAD in their working methods and allow an examination of the effect it has had on their design philosophies and the work they produce. Zaha Hadid has defined a radically new approach to architecture by creating buildings with imaginative geometry to evoke the hectic nature of modern life.   She transcends the realm of paper architecture to the built form creating archetypes never envisaged before.   Her work is known widely for the dramatic images produced of seemingly impossible pieces of architecture yet many of these complex images have been realized and built contrary to many beliefs. All of this would not have been impossible without the advent of computer-aided software to allow architects almost infinite freedom to create any shape they wanted.   In particular the use of computer aided manufacturing (CAM) has become increasingly popular in Hadids practice.   The ability to manufacture a physical model from a 3D computer model has allowed the firm to fabricate scale models using CAM technology and therefore allow an appreciation and review of what could be realized at full scale on site.   Subsequently full scale components are then created from the computer model.   It is through this extensive use of computers, that has enabled Zaha Hadid to minimize the need to dumb down her architectural wonders and requires contractors to build her works of complexity.   Her decision to virtually leave the drawing board in the 1980s in favor of graphic paintings to express her visions was a bold statement.   One of her paintings displayed in Figure 5 demonstrates the complexity of her ideas.  Ãƒâ€šÃ‚   The emergence of computer visualizations simply begged Hadid to embrace it to express her bold, flowing spaces. The critic Aaron Betsky remarks how she does not invent forms of construction or technology; she shows us a world in new ways by representing it in a radical manner (2009, p6).[22] The influence of the computer in Hadids working method is clearly visible in the Phaeno Science Center in Wolfsburg, where the architects started the project at conceptual stages by deforming a hypothetical grid and depressing it at points using a 3D visualization program.   This push and pull of elements using CAD software is evident in Figure 6.   However often what happens in practice is that the more experienced architect such as Hadid will delegate the computer generative work to a younger colleague to visualize.   As Aaron Betsky remarks; she sketches and does all the precise lines that indicate her design objectives, her co-workers render the work at a larger scale and fill in the spaces between her gestures she now produces paintings that are only white lines on black paper, ghosts of a future city (2009, p.11).[23]   It is notable therefore that the perceived heroes of the architectural world such as Hadid still will connect with their spaces and concepts via a pen and paper before ever conceiving any manifestations on a computer.   The question that keeps coming back to us therefore is whether all architecture still stems from the simplicity of the hand?   Patrik Schumacher a partner in the office proclaims of the primacy of the computer, arguing that it is the technologies that rely on its power that are allowing us to create what we consider to be truly modern structures (2009, p.14).[26]   As her paintings and sketches disappear into computer renderings and forms, their imaginative qualities begin to disappear too as a flattened, sterile computer visual image can never be a substitute for the emotion a hand drawing can bring.   The digitally produced image can often be a misrepresentation of the actual building product The use of computer visualization programs in Hadids office however has enabled the emergence of reweaving reality.   Joseph Giovannini states that, In Hadids laboratory, the mediums of design were not tethered to representation but instead encouraged ways of seeing released from convention.(2006, p.23)[27]   Computers allowed Hadids office to break away from conventional architectural expression in favor of shifting simulations of representation.   The pedestrian bridge at Zaragoza, Spain is based on a computer procedure called lofting, a term used in the computer program Rhino.   It involves the continuous morphing of one architectural section into another as the initial shape transforms through the ends of its trajectory.   Figure 8 demonstrates this morphing shape achieved via this CAD process.   Something never possible via traditional means.   As Aaron Betsky states, The latest software allows her to take the existing landscape and unfold it, to pan, swoop, swerve, cut, slow down and speed up (2009, p.12).[28]   The software allows her to intertwine elements and shift forms too complicated to model quickly via conventional methods.   Therefore I would argue that the use of computational tools actually allows for speed of manipulation and not creation itself. Zaha Hadid has an extraordinary ability to transform perceptions and dream like paintings and drawings into representations.   The firm quite clearly relies on computer software to create fully integrated, large scale buildings and manage the process from conceptual stage to practical completion however, whether or not she can pull off many of these virtual worlds as realized functional buildings remains to be seen.   Zaha Hadid has an enormous catalogue of conceptual designs but surprisingly a small number of developed projects. Therefore this tendency towards graphic representation in the conceptual stage via computer has yet to be truly tested at construction stage.   This pastiche of virtual worlds created in Hadids studios is very much intriguing to the architectural world however pursuing the elusive commissions remains another matter.   In Hadids office, the computer acts as an enabler to model on screen, pushing and pulling objects similar to a han ds on approach and as Joseph Giovannini states, like all tools she has used, the computer helps Hadid become more Hadid (2006, p.32).[29] To summarize this chapter has shown that to create complex forms and shapes such as that of the work of Zaha Hadid, CAD modeling used in conjunction with CAM offers extraordinary benefits and acts as a communication tool to reassure clients and contractors that the design is possible.   It has emerged that computer software is more of a business tool, with the birth of a concept and design still stemming from the hands of the maker via a sketch or painting.   The problem identified is that the final computer images do not accurately reflect the finished product as the shiny, reflective and vibrant colors and textures viewed on the computer screen does not follow through in the finished building. The next chapter is the third case study of a practice with another different approach to the use of CAD in their everyday work, where working methods, beliefs and outcomes in relation to computers will be assessed.   Chapter 4:   Greg Lynn:   Architectural animation and the paperless office The majority of architectural practices produce paper drawings, then use design visualization software to assess the form and produce a full repertoire of working drawings, however Greg Lynns paperless practice located in California brings computers into the design mix from the start.   He is considered one of the most influential figures in computer generated architecture and has been named in Times magazine 100 innovators of the next century.   Considering he is the pioneer of computer designed architecture using biomorphic shapes and the creator of blob architecture, the architectural critics of CAD software can undoubtedly be impressed with his merging of science, calculus, art, photography, film, organisms and architecture all into one futuristic idea.   He envisages ideas of science fiction as Mark Rappolt states: Gregs work has become a form of porn pored over, leered at, and more or less successfully emulated thats resolutely hardcore in its use of the new digital technologies and pioneering exploration of new (architectural) positions in the latest special effects (2008, p.6).[30]  Ãƒâ€šÃ‚   His use of computers and other advanced digital technologies as a design tool has paved the way for the future of the architectural discourse.   Undoubtedly graphic content in architecture has opened up the discourse to popular media; however Gregs use of visualization software goes beyond the mere formulated, repetitive and regular approaches to expand the possibilities of the building world.   For example in the design for Cabrini Green Urban Design Competition in 1993, Greg used adjustable triangles, a computer spreadsheet for dimensions, a ruler and a parallel bar.   Existing buildings in the Cabrini Green neighborhood were measured and drawn along a linear bar and then their shape and size averaged from one to another.   A technique subsequently adopted and used in new computer programs Alias and Maya 5 years later as blend shape tools.   The harmonious scales are shown in figure 9. This project was also one of the last achieved in his office by hand initially on a drawing board and simply extruded by the computer.   Everything is now done digitally.   His approach to projects involves the use of computers from the initial brief and one method adopted is testing the boundary of animation software called editing spline functions.   As Greg Lynn points out, the very first projects designed using animation software did operate through happy accidents:   the port authority competition and citron house, specifically (2008, p.280).[31]   Basically trial and error methods were used using basic CAD packages until a satisfactory outcome emerged from the screen.   In the port authority triple bridge gateway competition (1995) animation tools and splines were used as a design medium for the first time by any architect and was more a computer analysis outcome than a design project.   The project was produced in less than a week using dynamics and the pseudo-quantitative indexing of statistical data.   The outcome is shown in Figure 10. This then became a primary technique for Gregs future projects using blebs'[34]   It must be stated that in Gregs office computer design software is never simply used as a representative medium but more as an architectural tool to expand the possibilities and boundaries of architecture.   For example prototypes of concepts are built at Lynns office during the design phases using his own computer controlled 3D cutter known as Computer Numerical Control.   The intent as a result is to really focus on how these amorphical forms are created to achieve the maximum potential of a computer, as well as actual build-ability using CAM.   Full scale models are built of sections of buildings to allow a person to physically walk through and engage with a product not yet reality.   An example of this is shown in Figure 11 detailing the construction of large scale mockups for the design of the Embryological House prototype. The architecture derived from Gregs office is a result of decisions made using parameters releasing control of the design process to the computer software, however as Greg states The visual qualities of computer generated images may be important but it seems misguided to understand geometry in terms of style (1998, p.20).[35]   Gregs clear understanding that flat animated architectural images are not architecture alone is prominent and possibly the reason why he has had great success in using the computer as a design aid.   He does not simply churn out flashy images of preconceived futuristic architecture but carefully balances the traditions and history of his discipline to create dare I say new architecture for the ever developing contemporary world.   The computer software used simply facilitates his approach in achieving prototypes to suit the new modern world.   The decision to adopt a paperless office is merely a representation of the modern way of working, using the potential of technology to benefit the architectural cause.   Greg often points out the fact that the construction industry and car manufacturing industry is much more advanced than the discipline of architecture and that designers in the architectural field has much to learn from these automated approaches.   As Chris Bangle points out, Cars have got surface and you (architecture) dont.   But by judging the number of twisting facades, bubbly reflecting glass panels, and compound curved roofs often seen in current architectural proposals, your computer renderings indicate that at least you think you have it, if only acquiring a culture was an easy push of the surface button (2008, p. 42)[36]   Greg in venturing into unknown territory with regard to computer manipulations and avoids the belief of many that these unimaginable volumes are simply not believable or incapable of articulating such complexity.   This is evident in many of his sculptural projects that mix art and architecture into unusual, seemingly impossible pieces such as The Tingler (shown in Figure 12) made for Secession Museum in Vienna and The Predator located in the Wexner Center for the Arts. Both of the projects were modeled carefully using mathematical calculus in computer software programs.   Projects like his Embryological House (1999) explored how animation software could be used to revolutionize mass-produced suburban housing, creating an infinite number of mutations, each with its own unique beauty.   Clearly Gregs extensive use of computer visualization programs goes beyond the conventional but is this future food for thought for architecture and will these calculated, simulated forms stir up our traditionalistic cities and cultures? Greg Lynn is very much setting the benchmark towards new forms facilitated digitally.   Our world today is undoubtedly becoming more high tech and digital oriented yet relatively few architectural pieces exist to represent this coming of age.   Greg believes now is the time for a turning point in architecture where we should entrust our ideas into computer animation software and remove the stigma associated with computer developed architecture that it is detrimental to traditional methods and teachings.   Culture, technology, industries and science are all making vast leaps forward with regard to change.   They have adapted and changed with computation and it is Lynns belief that so too must architecture to shape our new cities with unconventional blob and genetic forms derived from the computer analysis software.   To conclude, this chapter has identified further possibilities of using CAD software with experimentation being the primary benefit.   Greg uses CAD software in conjunction with CAM to test new ideas of structures, materials, textures and forms and creates a new style of prototype architecture.   It has become evident that an idea does not necessarily always start with a sketch.   An idea or concept can now be envisaged directly on a computer screen and therefore enabling the architectural concept to be tested in terms of structure and build-ability from the beginning.   However the trial and error of using CAD software identified has many potential problems in architecture with practitioners loosing a projects architectural intent because of the endless possibilities a computer visualization package can deliver. Following the assessment of the three case studies the next chapter proposes to compare and contrast the case studies in terms of the diverse beliefs, philosophies, uses and working methods in relation to CAD.   Chapter 5:   Comparison of Case Studies It has become apparent that the three architectural offices highlighted in the case studies are very different in terms of philosophies, approaches, organization and structure.   However it is the computer that appears to be the element that often defines the characteristics, style and produce of the three firms studied.   The use of computer software has determined critics perceptions of their work and ultimately a finished architectural product is always related back to the design stages, which evidently expresses the methods through which important decisions have been made.   It could be seen as detrimental to a practice to not accept the use of computer design aids in architecture given it has major possibilities to the discipline, however through looking at these three case studies it has become apparent that it is the way a designer enters, manipulates or stores information, which affects the product.   Digital methods can therefore be seen as a proc ess and not an actual product.   Practices with the same software can use it very differently to achieve remarkably different results, meaning, novelty does not reside in the software but the designer who understands it and uses it to meet their needs. Computer software has been embraced by all three of the case studies but with different approaches and results.   Caruso St. Johns office have allowed CAD software to affect the design approach of their office very little, however it has enabled them to achieve new patterns and forms, previously too complex to achieve using a drawing board.   They have no signature style, which could be due to the fact that they refrain from using a computer as a design inventor or a marketing tool.   Visualization software can often be much predefined and limit solutions forcing a designer to use library based components leading to similar products for each and every brief.   Zaha Hadids office on the other hand is non conformist allowing the computer to represent the notions of a future world.   Renowned for the visual images of architectural intent she is seen as a computer based architect however following research this is not necessarily the case.   Initially an architectural concept is envisaged via a sketch and it is her design team, which create and represent the expression of the hand drawing.   Therefore has Hadids architecture really been influenced by visual software or has it merely assisted her in creating her ideas already present?   Design is about the emergence of an idea and the formation of a mental image.   For Hadid this is managed and achieved via computer visual programs but not really affecting her perceived outcome.   It simply sells her architecture to the media and confirms the build-ability of her designs.   Greg Lynn on the other hand approaches computers in a totally innovative way going beyond the mere visualization of an idea.   He strives to avoid the notion that CAD software is a way of experimentation and using such programs to simply evoke something architectural.   Greg uses the software to really assess his work producing 1:1 models rather than using a visual image, which could be seen as untried and untested.   This is evident in his design The Predator shown in Figure 13, which illustrates the power a computer has in generating a full scale model produced from CAM equipment.   He does not simply lift an image off a computer screen as a representation piece but follows a careful path of using computer calculus and modeling.   But is this architecture or really just a form of science?   Computers have perhaps allowed architects to embrace other disciplines and incorporate elements such as cellular structure into designs.   The computer identifies potential problems that might otherwise go undetected for Greg Lynn and tests these various theories. Computer based design allows for changes of mind and constraints to be achieved.   This is apparent in all the selected case studies.   Often the CAD software is used more as a business tool in a way that images attract attention and therefore media interest and effectively clients with money to spend are lured in, therefore computer based design has an element of marketability.   Zaha Hadid unlike Caruso St. John designs from the outside in, extruding and manipulating forms and as Julie Dorsey states, In typical architectural CAD systems the focus is on specifying the space defining elements, such as walls, rather than the space contained within them (1998, p.46).[37]   This is precisely the problem with many architects engaging with visualization software.   Without physically modeling a room or a building section such as Caruso St. John and Greg Lynn do, it can be difficult to inhabit a space in architectural terms.   However card models a nd pen drawings have their limitations and Hadid and Lynn often point out the limitations of the human mind in expanding imagination via simulations and computer mutations using blobs, blebs, algorithms and splines discussed earlier in the case studies. Adam Caruso points out that: Many architects continue to pursue novelty as their prime objective, transplanting forms from product design, statistical analysis and other disciplines.   It is necessary to understand these new possibilities more deeply and to find new ways to accommodate these shifts within the body of architecture (2002, p.8).[38]   Greg Lynn is beginning to achieve these possibilities in his architectural models for the future culture while Zaha Hadid is achieving these new possibilities by expanding the possibilities of build-ability merging architecture with technology advancements for a new age.   The problem is achieving a balance between reality and virtuality and knowing when to express both and this is still an on going dispute within the architectural world. The worry is that with increasing amount of architects using similar CAD packages and visualization programs new architecture will all be of a similar quality and contrary to belief hinder inventiveness.   This is precisely the reason why Caruso St. John are inventing patterns for their facades rather than selecting a material dictated by a computer rendering, which can often appear very differently when actualized. To summarise the dissertation began on the premise that all of the design approaches from the selected firms have their merits and pitfalls in relation to computer use.   The decision to avoid using simulation programs to design will result in personal, carefully crafted site specific designs to be achieved however it often limits the appeal to change the future of architecture with relatively little strides in terms of style, novelty or technological advancement.   On the other hand adopting a thoroughly digital approach can encourage experimentation, the ability to stir up urban environments and cause debate although does a software driven archetype succeed over its proven historical styles and will it really create a better future architectural world for our modern society?   Effectively this still remains to be seen with computer generated buildings still being viewed as young and ultimately have yet to last the test of time. Chapter 6:   Conclusion The debate over computer graphics, simulations, animations and CAD software has raged through the discipline over the last 20 years however it is now that the computer has the power to really cause chaos in the building world.   Modeling and animation tools have changed the way geometry is used in the design process.   Digital design in architecture need not be perceived as a mere marketing tool anymore with new processes of form development being rigorously tested using highly advanced software.   The computer should be seen as an extension to the hands of the designer but only as a part of the process.   An architect must not forget the tools of which the craft is built upon and the vast array of traditional methods, styles and mechanisms still prominent in many offices today.   Often the computer is used as a representation tool alone, which is fine but it has the power to become a real part of the creative process.   Architecture is about new experiences and if a visualization package can provide this then it should be embraced.   Ultimately though, design is about an idea generated by the brain of a designer and a computer is not this designer.   There is no theoretical interest in something conceived via an array of prefixed components determined by a CAD package.   A computer only follows a set of rules defined by its user but what if this progresses or manifests into something more advanced? The correct use of a computer in conjunction with carefully thought out ideas and architectural intent can really generate some interesting outcomes with the possibility of generating a digital city to match the digital society in which we live today. Architecture is destined to make a progressive leap forward soon like that of the product manufacture and technology markets and this can be facilitated through computer visual programs.   The computer opens up architecture to the mass media, it enables designers to create forms to generate both conflict and interest but effectively it is merely an elaborate extension to the hands of the maker and the route of all new ideas still stems from an architectural intent conceived by the designer, not the computer.    Bibliography Books Betsky, A. The Complete Zaha Hadid, Thames Hudson, 2009. Deon, L. Hafliger, T.   Caruso St.John architects: Knitting Weaving Wrapping Pressing, Birkhauser Verlag AG, 2002. Geovannini, J Mertins, D.   Zaha Hadid: Thirty Years of Architecture, Guggenheim Museum Publications, 2006. Kalay, Y. E.   Architectures New Media:   Principles, Theories, and Methods of Computer-Aided Design.   M.I.T. Press.   2004. Kolarevic, B.Architecture in the Digital Age: Design and Manufacture, 2005. Lynn, G.   Animate Form, Princeton Architectural Press, 1998. Lynn, G.   Greg Lynn:   Form, Rizzoli International Publications, 2008. Puglisi, L. P.   Hyper Architecture: Spaces in the Electronic Age, 1999. Rattenbury, K.   This is Not Architecture: Media Constructions.   Routledge.   2002. Szalapaj, P.   Contemporary Architecture and the Digital Design Process, Architectural Press, 2005. Terzidis, K. Algorithmic Architecture, Architectural Press, 2006.   Vidler, A.   Architecture: Between Spectacle and Use.   Yale University Press.   2008. Zampi, G.   Virtual Architecture.   B.T. Bradsford Ltd.   2005. Journals Castle, H.   4dspace:   Interactive Architecture.   Architectural Design, Vol. 75, No.1.   Jan/Feb 2005. Castle, H.   Digital Cities.   Architectural Design, Vol. 79, No.4.   Jul/Aug 2009. Dorsey, J.   Computer graphics and architecture:state of the art and outlook for the future, ACM SIGGRAPH Computer Graphics, Volume 32, Issue 1, February 1998. Articles/websites https://wwwfaculty.arch.usyd.edu.au/kcdc/books/VR99/Chandra.html Chandrasekaran, B. Multimodal Perceptual Representations and Design Problem Solving, 2007.   https://www.nbu.bg/PUBLIC/IMAGES/File/departments/informatics/Proekti/Proekt_Desi_Georgieva.pdf Gueorguiev, V. Georgieva, D.   Architectural Visualization: Understandings and Misunderstandings.   International Scientific Conference Computer Science, 2008. https://www.architectsjournal.co.uk/the-critics/books/caruso-st-john-the-feeling-of-things-and-almost-everything/5202844.article https://www.slate.com/id/2144044/ https://www.dontpaniconline.com/magazine/greg-lynn [1] Gueorguiev, V. Georgieva, D.   Architectural Visualization: Understandings and Misunderstandings.   International Scientific Conference Computer Science, p.6, 2008. [2] Vidler, A.   Architecture: Between Spectacle and Use.   Yale University Press.   2008, p.20. [3] Castle, H.   Digital Cities.   Architectural Design, Vol. 79, No.4.   Jul/Aug 2009, p. 4. [4] Castle, H.   4dspace:   Interactive Architecture.   Architectural Design, Vol. 75, No.1.   Jan/Feb 2005, p.22. [5] Terzidis, K. Algorithmic Architecture, Architectural Press, 2006, p.37. Kolarevic, B.Architecture in the Digital Age: Design and Manufacture, 2005, p. 70. Puglisi, L. P.   Hyper Architecture: Spaces in the Electronic Age, 1999, p.67. [8] Determines the general approach to the layout, design and construction in order to obtain authoritative approval of the client on the outline proposals. The project brief will be fully developed and detailed proposals will be made and compiled, generally in a Stage D report. The application for full development control approval will be made at this point. [9] Terzidis, K. Algorithmic Architecture, Architectural Press, 2006, p.48) Multimodal Perceptual Representations and Design Problem Solving, 2007, p.65.   Kolarevic, B.Architecture in the Digital Age: Design and Manufacture, 2005, pg.2. [12] Castle, H.   Digital Cities.   Architectural Design, Vol. 79, No.4.   Jul/Aug 2009, p.47. [13] Vidler, A.   Architecture: Between Spectacle and Use.   Yale University Press.   2008, p.111. [14] Leatherbarrow, D.   The Architects Journal, 2nd June, 2009.   Review article of Caruso St. John: The Feeling of Things and Almost Everything. [15] Deon, L. Hafliger, T.   Caruso St.John Architects: Knitting Weaving Wrapping Pressing, Birkhauser Verlag AG, 2002, p.88. [16] Zierer, F.   Better than Pencil and Paper, www.worldarchitecturenews.com, 2006. [17] Moore, R.   A Pebble on the Water,   www.carusostjohn.com, 2002. [18] Caruso, A St. John, P.   Frameworks, A+T ediciones(Vitoria-Gasteiz, Spain: 1996) Issue 8, pp.38-51. [19] Caruso, A.   Tyranny of the New, Blueprint(London, UK: May 1998) Issue 150, pp.24-26 [20] Szalapaj, P.   Contemporary Architecture and the Digital Design Process, Architectural Press, 2005. [21] Betsky, A. The Complete Zaha Hadid, Thames Hudson, 2009, p.6 [22] Geovannini, J Mertins, D.   Zaha Hadid: Thirty Years of Architecture, Guggenheim Museum Publications, 2006, p.29. [23] Betsky, A. The Complete Zaha Hadid, Thames Hudson, 2009, p.11. [24] Betsky, A. The Complete Zaha Hadid, Thames Hudson, 2009, p.14. www.slate.com, June 21st, 2006. [26] Betsky, A. The Complete Zaha Hadid, Thames Hudson, 2009, p.12. [27] Geovannini, J Mertins, D.   Zaha Hadid: Thirty Years of Architecture, Guggenheim Museum Publications, 2006, p.23. [28] Betsky, A. The Complete Zaha Hadid, Thames Hudson, 2009, p.12. [29] Geovannini, J Mertins, D.   Zaha Hadid: Thirty Years of Architecture, Guggenheim Museum Publications, 2006, p.32. [30] Lynn, G.   Greg Lynn:   Form, Rizzoli International Publications, 2008, p.6. [31] Lynn, G.   Greg Lynn:   Form, Rizzoli International Publications, 2008, p.280. www.arch.columbia.edu. [33] Lynn, G.   Animate Form, Princeton Architectural Press, 1998, p.19. [34] Lynn, G.   Animate Form, Princeton Architectural Press, 1998, p.19. [35] Lynn, G.   Animate Form, Princeton Architectural Press, 1998, p.20. [36] Lynn, G.   Greg Lynn:   Form, Rizzoli International Publications, 2008, p.42. [37] Dorsey, J.   Computer graphics and architecture:state of the art and outlook for the future, ACM SIGGRAPH Computer Graphics, Volume 32,Issue 1, February 1998, Pg. 45-48. [38] Deon, L. Hafliger, T.   Caruso St. John Architects: Knitting Weaving Wrapping Pressing, Birkhauser Verlag AG, 2002, p.8.

Online Shopping Is A Major Trend Right Now - 1117 Words

Online shopping is a major trend right now; it has become so popular that it is estimated that 72 percent of millennials now shop online prior to, or in place of, a store (CMO). I am no different. I find it an entertaining boredom buster; however, my appreciation can be halted by the dangers that accompany the activity. Most often, my shopping revolves around clothing, and sometimes my desires get a little excessive. I would not say I have a constant desire to shop but I do get in certain moods where I think about how much I need something new. When I get in these moods, I turn to my phone or computer and enter the world of online shopping, a frequent territory of mine. Online shopping is a detrimental hobby of mine. I see it as such a danger, because I buy more than I should, I have an inaccurate impression of what I buy, and I find it too convenient. Too often when I make my online purchases, I will buy more than I should. 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Ap Literature East Of Eden Essay Example For Students

Ap Literature East Of Eden Essay Literary analysis of East of EdenIn Websters Encyclopedic Unabridged Dictionary of the English Language, the word love is defined as a profoundly tender, passionate affection for another person. Love can bring two people together but it can also have a person be rejected by another because of love. In the novel East of Eden by John Steinbeck, the main character, Adam Trask, confronts a feeling of love throughout the whole book but he either rejects the love of people who care about him or has his love rejected by the people that he cares about. When Adam was a young man in the beginning of the novel, his father, Cyrus Trask loved him but Adam did not love him back and when Adam went into the army he did not come back home until his fathers death. Later on in the story Adam really loved his wife, Cathy, but she didnt love him back and so when she tried to leave him and he would not let her, she shot him. Even though Adam survived he was demoralized for most of his life because he stil l loved her. Through Adams experiences of love in the novel, John Steinbeck shows that Adam Trask has an inability to handle love. When he first appears in the novel, Adam Trask is a young man who is not loved by his brother or mother but only by his father. Cyrus had punished Adam before and had tried to teach him to be a soldier and so Adam hated him for that and when Cyrus told him he loved him, Adam did not accept his love. Cyrus tells Adam, I think youre a weakling who will never amount to a dog turd. Does that answer your question? I love you better. I always have. This may be a bad thing to tell you, but its true. I love you better. Else why would I have given myself the trouble of hurting you? (Steinbeck 28). Cyrus is telling Adam that he has always loved him and that the only reason that he punished him is because he loved him. He wants Adam to go into the army because he knows that Adam would be courageous and since Cyrus was in the army, he wants to pass on the legacy. When Adam came home from his discharge, his brother and him were talking about their father and Adam told him the truth. I wasnt sure until now, said Adam. I was all mixed up with how I was supposed to feel. No. I did not love him (69). Adam is telling Charles that after thinking about it, he never loved his father and so he rejected his love. Charles is now not jealous of Adam because he knows that Adam does not love his father and he still does. In contrast to Charless behavior Adam rejects the only love that loved him so far in the novel. As the novel progresses, Adam meets his one true love but she in contrast does not love him back. Adam meets Cathy Ames and then after a while he marries her but she, does not really marry him. He breathed harshly. I already been with a whore. Youre a pretty strong boy. Move over a little. How about your broken arm? Ill take care of that. Its not your worry. Suddenly Charles laughed. The poor bastard, he said, and he threw blanket to receive her (125). Cathy shows that she does not love Adam because she goes and sleeps with his brother. This is showing that Cathy is rejecting Adams love and that she is filled with hatred. Another example of Cathy showing her hatred and rejecting Adams love is when she leaves him. Her voice came from so near that he jerked his head back. He heard richness in her voice. Dear, she said softly, I didnt know you would take it so. Im sorry, Adam. she held his .44 Colt, and the black hole in the barrel pointed at him. He took a step toward her, saw that the hammer was back. She shot him (202). Cathy had told Adam that she had not loved him and that she was going to leave him but because he loved her so much, he did not let her go and so she shot him. Adams inability to handle love caused Cathy to shoot him because he could not control his love for her and that it almost cost him his life. Not only did Adam lose his only love of his life but also his twin sons would have no mother. .u8c40d4843355713eed9cc15a62da0f45 , .u8c40d4843355713eed9cc15a62da0f45 .postImageUrl , .u8c40d4843355713eed9cc15a62da0f45 .centered-text-area { min-height: 80px; position: relative; } .u8c40d4843355713eed9cc15a62da0f45 , .u8c40d4843355713eed9cc15a62da0f45:hover , .u8c40d4843355713eed9cc15a62da0f45:visited , .u8c40d4843355713eed9cc15a62da0f45:active { border:0!important; } .u8c40d4843355713eed9cc15a62da0f45 .clearfix:after { content: ""; display: table; clear: both; } .u8c40d4843355713eed9cc15a62da0f45 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8c40d4843355713eed9cc15a62da0f45:active , .u8c40d4843355713eed9cc15a62da0f45:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8c40d4843355713eed9cc15a62da0f45 .centered-text-area { width: 100%; position: relative ; } .u8c40d4843355713eed9cc15a62da0f45 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8c40d4843355713eed9cc15a62da0f45 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8c40d4843355713eed9cc15a62da0f45 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8c40d4843355713eed9cc15a62da0f45:hover .ctaButton { background-color: #34495E!important; } .u8c40d4843355713eed9cc15a62da0f45 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8c40d4843355713eed9cc15a62da0f45 .u8c40d4843355713eed9cc15a62da0f45-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8c40d4843355713eed9cc15a62da0f45:after { content: ""; display: block; clear: both; } READ: A lesson before dying 2 EssayLater in the story, Adam builds a binding love between his two twin sons, except there is only one problem in the love that Adam builds. Adam really loves his good son Aron and rejects his dark son Caleb, when Aron begins to hate Adam and Caleb begins to really love him. When the Trask family move to Salinas, Adam tries to have an iceberg lettuce traveling company. His idea fails and so everyone at school calls Aron Lettuce Head; Aron never forgave Adam. Suddenly Aron broke down. I want to go away. Its a dirty town. I dont belong here. I wish we hadnt ever come here. I dont know whats the matter with me. I want to go away. His voice rose to a w ail (493). Aron is just upset that his father failed at the lettuce company. He is ashamed of Adam and rejects Adams love that Adam is trying to give him. Unlike Caleb, Aron is self-centered and only cares for himself but Adam does not realize that so he still rejects Caleb. I dont want the money, Cal. And the lettuceI dont think I did that for a profit No. I wont ever want it. I would have been so happy if you could have given mewell, what your brother haspride in the thing hes doing, gladness in his progress (543-544). Cal is trying to show Adam that he loves by giving him the money that he lost on his lettuce company but Adam is rejecting his love. Adam still loves Aron more than Cal even though Aron does not love him back but Adam wants Cal to be like Aron not knowing that Aron is a bad person. Adam Trask tries to force his love into the people that do not love him but refuses to the end, to accept the love of his son Caleb. Throughout the whole novel Adam Trask struggles with theme of love, and the author John Steinbeck shows Adams inability to handle love. At first, his father loves Adam but Adam does not love him back. Then as Adam gives his love out to Cathy and Aron, they reject it like it was not even there; and when Aron and Cathy die at the end and Adam realizes that only Cal did love him, he does not praise him but only tells him timshel which means thou mayest. Steinbeck, throughout the whole novel showed what love can do to people and how rejection can imply on the ability of handling love but at the end you still ask yourself: What is love? According to East of Eden, there is no answer.

Rice And Genetic Engineering Essays - Rice, Oryza Sativa

Rice And Genetic Engineering Rice is the main food for about one-third to one-half of the world's population. A mature rice plant is usually two to six feet tall. In the beginning, one shoot appears. It is followed by one, two, or more offshoots developing. There are at least five or six hollow joints for each stalk, and a leaf for each joint. The leaf of the rice plant is long, pointed, flat, and stiff. The highest join of the rice plant is called the panicle. The rice grains develop from the panicles. (Jodon, 300) Rice is classified in the grass family Gramineae. Its genus is Oryza and species O. sativa. It is commonly cultivated for food in Asia. Some varieties of rice include red rice, glutinous rice, and wild rice. (Jodon, 303) The kernel within the grain contains most of the vitamins and minerals (298). The kernel contains thiamine, niacin, and riboflavin (299). Rice has many enemies that destroy a majority of the rice crops. The larvae of moth, stem borers, live in the stems of the rice plants. Some insects suck the plant juices or chew the leaves. Birds, such as bobolink, Java sparrow, or paddybird, would eat the seeds or grains. Disease causing factors such as fungi, roundworms, viruses, and bacteria also destroy the rice plants. Blast disease is caused by fungi which causes the panicles containing the grains to break. (Jodon, 300) There are various types of rice grown all over the world. A majority of rice grown is cultivated rice. When rice is grown with water standing on the fields, it is called lowland, wet, or irrigated rice. Rice plants grown in certain parts of Asia, South America, and Africa are called upland, hill, or dry rice because they are raised on elevated lands that cannot be flooded, but with plentiful rainfall. Wild rice is grown along lake shores of Canada and the Great Lakes. It is usually eaten by people in India. Scented rice is the most expensive because is has long grains and tastes like popcorn when cooked. Glutinous rice is waxy rice consumed by Asians. It is cooked to a sticky paste and is used for cakes and confections. (Jodon, 299) Rice was thought to have originated in southeast Asia when Alexander the Great invaded India in 326 B. C(Jodon, 303). Further research revealed that rice was cultivated around or at the Yangtze River in China, around 4000 to 11,500 years ago. One archaeologist, Toyama, surveyed data on 125 samples of rice grains, plant remains, husks, and other factors from numerous sites along the length of the Yangtze River. "He reported that the oldest samples. . . are clustered along the middle Yangtze in Hubei and Hunan provinces. Samples from the upper and lower portions of the Yangtze River were found to be younger, around 4,000 to 10,000 years old. "This pattern.. .suggests that rice cultivation originated in the middle Yangtze and spread from there". Archaeologists see more than a decade of excavation of the Yangtze River and nearby sites to confirm that the Yangtze River is where rice was first cultivated. (Normille, 309) The Greeks learned of rice when Alexander the Great invaded India around 326 B. C. Spain was introduced to rice when it was conquered by the Moors during the 700's A.D. Spain then introduced rice to Italy, around the 1400's. The Spanish also introduced rice to the West Indies and South America, around the 1600's. Rice was introduced to the United States when a Madagascar ship docked in the Charleston, South Carolina harbor. The ship captain presented the governor with a sack of seed rice. It was then grown in states south of the Ohio River and east of Mississippi. (Jodon, 303) Rice is usually grown in lowland fields divided by dirt walls (Jodon, 300) A majority of the rice crops are grown with water standing on the fields (Jodon, 299). On level land, these paddies and dirt walls are built in wavy or straight lines. On hill-like land, they follow the slopes and form paddies that rise like steps. The dirt walls are used to hold in water for the fields. (300) Cultivation of the rice plant requires controlling the water supply and weeding the rice fields. Water must be two to six inches deep for the seeds to germinate properly. After the grains germinate, the water is drained. The rice plant is then cultivated by hand. (Jodon, 301) Besides steaming the rice for consumption, it is also used for other products. Enriched rice

Hamlets Character Essays - Characters In Hamlet,

Hamlet's Character In Hamlet's speech in act three, scene three Hamlet discloses many facets of his character to us, aspects that we have thus far only been able to see as fragments in other speeches. He reveals himself to be an over-analytical man who often procrastinates. He also shows that he does not really want to kill Claudius but feels compelled to out of a sense of duty to his dead father. Hamlet demonstrates his over-analytical nature in line seventy-three of the speech when he says "That would be scann'd:", meaning that he should examine his situation more closely. Instead of simply killing Claudius while he had the chance he over-analyses and eventually decides to postpone Claudius' murder, missing the best chance he will obtain in the play. Hamlet is also a procrastinator and this is demonstrated many times in the play. In line eighty he says "Why, this is hire and salary, not revenge". He knows that he must kill Claudius but he postpones it. This almost suggests that Hamlet does not really want to kill Claudius, but feels obligated to do so. Through his over-analysis he seems to be almost talking himself out of doing his job. One of Hamlet's most renown traits is his over-analysis of conversational topics and situations in which action must be taken. An example of his over-analytical nature is apparent in his speech in act one, scene four, line 13. He begins his speech quite normally, replying with a simple answer to Horatio's inquiry but then his thoughts begin to wander and he starts to analyze and philosophize about topics unrelated to Horatio's question. Another trait of Hamlet is the way he procrastinates. For example, in act two, scene two, line 603 he convinces himself that his plan to add sixteen lines to the play and watch Claudius' reaction, rather than completing his task, is the best plan of action. Although in the end he postpones the murder of Claudius, beginning on line 570 he acknowledges his lack of action. This also shows that Hamlet does not really want to kill the king and that he will go to great lengths to postpone his duty. In fact, Hamlet reveals to us about his unwillingness to kill Claudius early in the play. In act one, scene five, line 189 he says "O cursed spite,/That ever I was born to set it right!", meaning that he is angry that he is now put in the position of having to kill the king and he is sorry that he was born with this destiny.

Michael Porters Strategy Essays

Michael Porters Strategy Essays Michael Porters Strategy Essay Michael Porters Strategy Essay Michael Porters Strategy Michael Porter is the University Professor (the highest honor in Harvard University) in Harvard Business School. He is acknowledged as the father of competitive strategy. He has two main theoretical perspectives; one is â€Å"the five forces model of competition†, and the other one is just the â€Å"three competition strategies† (Michael Porters Strategy). The three competition strategies are cost leadership strategy, differentiation strategy and segmentation strategy. These strategies are used for people to achieve, maintain and even increase their competitiveness of their business. Porter thought that the purpose of these strategies is to make the business of the enterprises better than their competitors: some of the enterprises can gain higher revenue in some industries; however, in some other industries, the success of one of the strategies may just give the enterprise a little bit profit. Porter also said that the possibility could be very low that the basic goal of an enterprise may be more than one. Because enterprises need to try their best to achieve one strategy and they also need organizational arrangement to support the strategy. If the enterprise has more than one goal, these resources will be dispersed. Cost leadership strategy. This strategy asks the enterprises to establish efficient production line, decrease the cost on the basis of their experience, and control the cost of management and production cost, so as to reduce the costs of RD (research and development), service, marketing, advertising, etc. In order to reach these goals, management need to be highly concentrated. If the enterprise has low cost, it means that this enterprise can earn more value when other enterprises lose profit in competition. Enterprises need to obtain high relative market share or other strength, such as good communication with raw material suppliers, to get the good status of the lowest total cost. This status is very attractive; because once an enterprise wins the status, they can get higher marginal profit, as well as invest to new equipment and modern equipment to keep their leading position of cost. This kind of re-invest is the precondition of keeping the condition of low cost. Differentiation strategy. Differentiation strategy is to make the products or service differently to make them special. There are many ways to achieve this strategy: design the brand image, make technic unique, perform distinctive, provide customer service, build business network and make other aspect unique. The best way is that the enterprise has many differentiation characters. If this strategy implemented well, it can make the enterprise get high level of profit. Porter thought that building differentiation strategy means that the enterprise needs to think clearly because of the exclusiveness of it. The strategy cannot stay with increasing market share. Enterprises need to spend high cost when establishing this strategy. Though clients know clearly about the special strength of the enterprise, they may not have the ability or they are not willing to pay for the high cost the enterprises asked them to pay. Segmentation strategy. This strategy focuses on a special client group, or a small area of the production line or a special market. Segmentation strategy focuses on better service a special target, while the other two strategies focus on the whole industry. The precondition of this strategy is that the business of the enterprise can provide better service and higher efficiency to its special strategic target, so as to exceed other competitors in broader area. Porter said that this strategy could both achieve differentiation and low cost. However, this strategy means that the market share is limited. Segmentation strategy cannot increase both profit rate and the amount of sales. Porter indicated that enterprises need to make sure about the three strategies and they should make a fundamental strategic decision to close up to the three strategies, but not hesitate at the crosswords. Once the enterprise does not make the decision, they will spend much money and time. Using these strategies one by one will be failed, cause the requirement of them are totally different. Baike, 2013, â€Å"Michael Porter†, Biaduoedia, viewed at March 12th 2013, http://baike. baidu. com/view/431563. htm Wiki, 2013, â€Å"Porter’s generic etrategy†, wiki article, viewed at March 12th 2013, http://en. wikipedia. org/wiki/Porters_generic_strategies;

Imperial Tobacco- International Management Report Essay

Imperial Tobacco- International Management Report - Essay Example Imperial predominantly deals in manufacturing, marketing, distribution and sales of a diversified portfolio of cigarettes, tobaccos, cigars, rolling papers and filter tubes. It holds world leader position in premium, high-end cigar and fine-cut tobacco market. The corporation also delivers logistics and distribution services for tobacco and other associated products. In terms of size, it is one of the top four tobacco companies in the world earning operating revenues of ?29,223m in 2011 (Imperial Annual Report, 2011). The four principal tobacco companies: Philip Morris International, British American Tobacco, Japan Tobacco and Imperial Tobacco constitute about 45% of the overall global market or 74% of the total, excluding China (Ash, 2011). Its strong market position, a diversified brand and product portfolio allow Imperial to grow sustainably. However, growing health consciousness, strict government regulations and restrictions on the industry, high excise duties and illicit trade of tobacco products are key threats to Imperial. Overview of Imperial’s Internationalization Owing to increased globalization and competition, volatile environment within nations, Internationalization strategies by corporations have become more and more relevant for their sustainability. With lowering barriers to trade, access to capital and technological innovation, progressively more organizations are exploring options for higher profit and growth by going international. Imperial became public, by listing in London Stock Exchange, in 1996. At that time, Imperial main source of revenues was UK with only 20% of its revenues coming from other parts of the globe (ScanSafe, 2007). Since 1996, the company has accelerated its global expansion plans, acquiring businesses across the world. As of today, the corporation functions in more than 160 markets with 60% of its products sold in the ‘emerging markets’ of Africa, Middle East and Eastern Europe, and 40% in the †˜mature markets’ of Western Europe and USA. Imperial boasts of a strong global footprint with around 50 factories across 160 countries and employing 38,000 people across the globe. The company divides its operations into EU and non-EU countries. Key markets in EU include France, Spain, Germany and UK while key non-EU markets for Imperial are USA, Australia, Morocco, Taiwan, Russia and Ukraine. Since past two decades, the key drivers of internationalization for the company have been declining growth rate in mature markets such as Europe and US, increase in excise duties on tobacco products, overall slump in economy and rise of anti-smoking culture in advanced countries. Non-EU and emerging markets such as North Africa and Asia have indicated favorable macro dynamics such as GDP growth, population growth and female smoking as well as other growth drivers such as consistent market growth in Asia, Africa and Middle East and margin potential in Eastern Europe. Modes of Internatio nalization Like most other companies, Imperial Tobacco Corporation has adopted Internationalization as a key strategy for sustainable growth and maximizing shareholder value. As learnt in the course, there are several modes by which a company enters an international market. These modes include exporting, licensing, international agents and distributors,