Management Essay Example | Topics and Well Written Essays - 500 words - 3

Management - Essay Example 2005). This phenomenon creates an integrated world economy where production, trading and selling of goods and services reach beyond national and territorial boundaries. More than 40 years ago, economist and managers all over the world have been highlighting the vital role of state in the process of economic development. Most of them pointed out that unregulated markets, left to their own devices would polarize the distribution of income where small and medium size companies will be suck-up into corporate giants. To some extent, this would create confusion, panics, crises, recessions, and depressions. Along this same line of framework, in order to survive, corporations and businesses would need to find more innovative strategies to cope with the emerging industrialization and economic developments. The pressure is now on the hands of international managers as how they can strengthen their companies in order to face the difficult changes of a highly competitive and open market. A key factor that often puts companies out of business is competition. This is a major headache among business managers and planners. However, on the positive side, competitors are essential to spur companies to strive to do better. Although competitors have a potential of derailing a business, they are also indispensable learning tools for managers who want to get ahead of the competition-both today and for the future. By replicating and enhancing the strategies of the opponent, one can beat the other in their own game. Before a manager takes a move, an inventory of competitors should be taken. In order to gain an upper hand, it is not enough that we study the competitor. We have to learn to anticipate their responses to certain situations through the use of game theory, simulations, scenario planning and conjoint analysis. This would broaden your range of options for reacting to moves of the competitor. Also, a deep understanding on how changes in technology and public policy can

Week 1 - Discussion 2 Coursework Example | Topics and Well Written Essays - 250 words

Week 1 - Discussion 2 - Coursework Example The motivation factors may include a rewarding system that recognizes groups or individual performance. According to Lockwood (2006, 4), â€Å"rewards and recognition also help both to retain talent and to improve performance.† Also, they should recognize and appraise the employees who are performing well and particularly those achieving progressive improvements records. Other forms of employees’ motivation may include promotion, financial and non-financial rewards, etc. Managers should be good leaders in their organizations to motivate and improve performance of their staff. They should inculcate best leadership skills such as ensuring effective communication of the organizational objectives to the employees and coordinating the workforce to relinquish the potential towards the right goals (Gregory, 2011). Also, they should build teamwork and delegate responsibilities to the employees as well as hold the groups or individuals accountable for what they achieve. This will also improve the decision-making process by reducing bureaucracy in the organization. Finally, employers can hire competent workers and initiate training programs to provide training to the employees so that they can advance their skills and acquire latest skills (Dreher & Dougherty,

Contingencies to Airasias Marketing Strategy Essay Example for Free

Contingencies to Airasias Marketing Strategy Essay Suggest three contingencies AirAsia should consider and rationalize your choice. What are the main modifications to the current marketing strategy should AirAsia undertake to respond to these contingencies. There are number of threats that AirAsia faces thus it should have well-prepared contingency plans in case certain situations occur. The following part focuses on analyzing three main contingencies that AirAsia should take into consideration as well as the modifications to the current marketing strategy that it would have to make to respond in case certain events occur. What if price war happens  To compete with the rivals, each airline introduced its own strategy. Famous full service carriers like Singapore Airlines and Thai Airways have set up low cost subsidiaries. Malaysia Airlines launched competitive promotion scheme while independent low-cost airlines like Valuair focused on improving customer services through offering additional benefits to customers. Obviously, the harsh competitiveness in the region strengthens the probability that price war might happen. Price war happens when almost all airline companies simultaneously start to reduce their prices and the region’s aviation industry as a whole fails to deliver profit. Price war might have a serious impact on AirAsia if it, together with other airlines in the region, starts to reduce its prices to compete. Customers now will have various choices and would be able to switch to the airlines that offer them the best price as well as best service. If price war does happen, AirAsia should make the following modification to its current strategy: Increase customer satisfaction by improving on-flight service quality as discussed in depth in the third paragraph of question one. What if customers decide to switch to other airlines Air Asia now has to face up with increasing competition not only from low cost subsidiaries of full service carries but also from the emergence of independent low cost airlines. With the increasing emergence of new airlines which provide customers with not only low fares but also â€Å"a level of service far beyond that expected†, the probability that customers switch to other airlines is very high. Recently, AirAsia has been receiving many complaints from passengers who are unsatisfied with the service quality. Focusing intensively on keeping costs low, AirAsia neglected the satisfaction and convenience of its customers. Thus, the company should consider the possibility that customers might switch to other airlines. In this case the following modifications to the strategy should be made: AirAsia should offer incentives for the customers to stay with the company by introducing frequent flyer bonus miles. To motivate customers’, AirAsia can also offer membership cards which would provide them not only with additional miles but also with regular customers’ discount on specific flights to specific destinations or at special period of time. What if AirAsia is unsuccessful in entering new markets such as China and India†¦ AirAsia is now looking for expanding routes to other countries in the region and China and India are a huge potential. However, these markets have completely different economies and therefore there is a probability that the market will not support a new airline. Also, for example, when going to China – a huge market, AirAsia needs to be ready to face tough competition. Besides good reputation in the market, well-established airlines in China such as China Airline, Cathay Pacific, etc. are offering very high quality service to customer. In addition to that in the meantime, AirAsia has to compete with many tough competitors in its local market. Thus, there is possibility that AirAsia might not take the lead when entering new markets and might not be able to reach its targets in new markets. Therefore, AirAsia should take into account the possibility of low demand and be ready to make modifications to its strategy in order to respond: The Olympic Games 2008 would be a great opportunity for AirAsia to strengthen its image in customers’ mind. To take this advantage, AirAsia should organize some activities to promote the company. Other big companies will certainly promote itself through taking part in such activities as Olympic Sponsorship, On-Air advertisement, etc. AirAsia should choose a different tactic. Instead, it can create association between AirAsia and the Olympic through programs spread via mass media such as: design logo for AirAsia used during the Olympic time or organize a lottery program the prizes of which would be Olympic tickets or flying tickets inside China. AirAsia can also use other promotion programs like offering round trip tickets flying to cities where the Games would take place at the price of 1 reminbi (Chinese currency) for the first 10 customers buying tickets at a random period of time during 6 months before the Olympics. This should help build up the demand for AirAisa’ services among the customers and enhance its position in customers’ mind. To conclude, it is important for AirAsia to be aware of all contingencies that may happen during its operations and to be ready to apply modifications to the strategy to protect itself from any possible issues that might occur. These contingencies may not come to reality but it is essential to have contingency plans and to be able to make necessary modifications to the strategy in case of the price war, or lost of the customers, or difficulties entering the new markets in order to adapt to these changes and continue to operate successfully.

Relationship between Architecture and Fashion

Relationship between Architecture and Fashion The body can be seen and thought of as a machine, a vehicle, as well as a building. Therefore it could be stated that dressing of an individual provides a definition of personal space as do architectural structures though they are bigger in scale. Fashion and architecture have many connections: they both aim to make shelter for the human being and reflect our taste. In this concept, it is widely accepted that fashion and architecture relation started with the earliest men who used the same material for their clothing and for housing/shelter. This relationship has lead closer connections between the two disciplines, such as, both fields have commonalities in their design process which makes them share the same boundaries: Both architects and fashion designers aim to create perfect, comfortable and beautiful forms for the human body. On the other hand, Architecture and Fashion differ in many ways, such as, Fashion is inevitable to die in shorter time than architecture, it is related to smaller scale, and most importantly, Fashion is more about marketing and consumption while Architecture is monumental and relates to eternity. These differences altogether create a thread of commodification and commercialisation for Architecture. Architecture acts as a shaper of space, i.e., it acts as a symbolic metaphor and an agent of the societys cultural values. Since the outer space reflects our inner spaces, this commodification and commercialisation might lead Architecture to lose its mission in the social life. Therefore this work suggests that Architecture should get engaged in human spaces, traditions and cultural values of the society, sustainability, eternity, and wholeness of the life, rather than temporality of fashion. This Masters Dissertation aims to explore the relationship between Architecture and Fashion from conceptual, imagery, materiality and global perspectives. This study proposes that in todays highly globalised world, it is almost impossible to practice architecture separate from fashion since both arts are responsive to the individuals and the societies culture and environment. In a conceptual sense, both Architecture and Fashion address psychological perceptions, and spatial structures. From the imagery visual view of point, both arts reflect the taste of the individuals who occupy those spaces, and from the materiality context, Architecture and Fashion have many in common, such as, use of fabrics and materials, use of technology, and from the global point of view, both arts and artists in these fields have an opportunity to interact closely with each other in especially socially responsive, more sustainable, and economical design. The work sets out to explore the role of Fashion in Architectural design and visa verse from exploratory and interpretive perspectives, presenting preliminary findings from the literature survey, visual materials, manifestos of the designers, and personal observations and interpretations. This study differs from the previous studies in the sense that although much of the literature finds out that the relation between Fashion and Architecture is almost a must and inevitable occurrence, and they propose closer relationships, this study proposes that this fact creates a risk for Architecture to depart from conceptualisation and to move towards commercialism and commodification. In this way, architecture becomes a consumer production, rather than the interpretation of the space. This thesis is further developed to design our Fashionable Hut. Architecturally, we aim to represent the timeless architecture tailored according to the timeliness of the contemporary era. Introduction The close relationship between Architecture and Fashion (hereafter AF) is often referred to the use of the same material for covering of his body and for building shelter of the earliest man. The recent exhibition on this relationship Skin + Bones (24 April 10 August 2008) has also explored several parallel practices between these two disciplines from 1980s to onwards. These practices included digital design process, use of complex geometry, colours, lines, lights, etc. Globalisation, which is widely accepted as the advancements in technology, particularly transportation and communication means, enabled both AF to develop more possibilities in design and flexibility in application. Thus one of the aims of this dissertation is to explore the common characteristics and interrelation between Architecture and Fashion in a global concept. In fact, this idea has arisen from the observation of parallel growth of materiality and identification in fashion and architecture designs and impleme ntations. On the other hand, as this masters dissertation main argument suggests, these close synergies between the two disciplines might create the risk of commodification and commercialisation in architecture and rather than an ideology, architecture might become a consumer product. The reason for this idea is that fashion is marketing of desire while architecture is monumental; fashion is destined to die in a short time, while architects aim eternity via their opuses; and most importantly, fashion is a tool for joining to the society, being a part of it while architecture provides privacy, i.e. isolation from the rest of the world. Our main argument is that, the close relationship between AF, could create a risk for architecture reducing the architectural ideology to the cladding and exterior picture, only. Regarding to the relation between AF, we take conceptual, visual-imagery, and contemporary age of globalisation approaches to explore the synergetic and disharmonious relation between the two fields. In the conceptual exploration, the concepts of beauty and its relation to architecture will be first explored in order to find out fashions and architectures common aim to create the beautiful or perfect shelter and dwelling for the human being. From the conceptual point of view, both AF reflects the taste, identity, and culture of the individual and the society at a given period. However, this period is greatly short for Fashion compared to the eternity of architecture. If style is the language of architecture, fashion represents the wide and swirling-cultural currents that shape and direct that language says Rybczynski, architectural reputation, as well as architecture comes on the fashions sway. Therefore, at its most basic, the mission of architecture is application of a style on a space in order to express our taste. On the identity side, the fashion system, as described by Barthes (1983, 277) is a cultural object, with its own original structure, and probably, with a new finality through the language which henceforth takes charge of it, Fashion becomes narrative. Therefore fashion manipulates the visual language as a means of reflecting the identity of individuals in specific, and the culture of the society in general while architecture, in a broader sense goes beyond manipulating the visual language, but is more sophisticated in terms of manipulating the concept of the whole space. Fashion is somewhat a reflection of the collective identity of a given group, such as, same gender, age group, occupational group, and so on, while architecture is for everyone in a given society. While fashion is shaped by the individuals, architecture shapes the society through the spatial applications. In sum, fashion can be described as the wall of the body while architecture is the body itself and the dwelling s urrounding that body. On the visual and imagery approach, AF share more in common, especially with the developments in material and digital techniques, such as, high tech textiles, pliable building materials, computer assisted design (CAD) software, and all that. One commonly observed contemporary fact that architecture and fashion are both enjoying the use of pliable and flexible materials which enables architects, such as, Zaha Hadid and Rem Koolhass to borrow pleating techniques from the fashion designers and fashion designers, such as, Lucy Orta and Yeohlee Teng borrowing from the concept of urban space and durability from architects However, these borrowings today are observed so frequently that it holds a danger for architecture to be reduced to surface, and the harmony between the outer and inner of the structure is almost lost (this will be further explored and discussed in the globalisation concept). From the contemporary view, several issues will be explored: It can be said that contemporary era conditions, such as, computer aided designs, flexible and durable materials, technology and communication means which are available almost to everyone in the world as pushing factors Fashion, Architecture and other science and art branches interact better than those in the past. The contemporary era is, of course, not without problems: environmental issues, limited sources (such as energy and water), global warming, immigration and civil rights, and so on. Hereof, it is observed that contemporary era[1] designers should be more socially responsible and interact in these issues more. That is to say, design should not be consumed so fast, designers should act more environmental conscious and socially responsive, sameness in global cities might create a catastrophe, commodification and commercialisation should be avoided, the harmony between the inner and outer surfaces and dwellings should not be avoided. If these cannot be done because of the mass media and mass production, than fashioning the architecture is inevitable which is represented in our Fashionable Hut. From a simple viewpoint, the role of fashion within architecture is persistent especially on the surfaces and faades, finishes, and appliqus. The purpose of this investigation is to object to the typical relationship between FA. The position of this thesis is that architecture should go back to its earliest form. This idea is further developed with the design component which attempts to build a wearable space in order to change the surface easily in line with clothing fashion. The architectural investigation centres on the question: can architecture be fashioned rather than conceptualised? The rest of the work is catalogued as follows. Dissertation Statement In todays ever changing environment art fields and designers are influenced by each other. However, when it comes the Fashion and Architecture interactions this relationship goes back as early as the Ice Age. This dissertation explores three dimensions of AF interactions with special interest on the African influence on Modernity: cultural, visual-imagery and global concept where each of these will conduct individual sections throughout the work. Objectives Fashion and Architecture have many parallels in terms of their objectives and use of scales in addition to use of colours, angles, light, etc. The aim of this dissertation is twofold: to understand the relationship between AF from the past practices and to design a structure representing the timelessness of the architecture compared to the short life of fashion. Methodology As for many arts and humanity studies, the nature of this dissertation is a qualitative one. Thus, data will be collected through sources, such as designers works, websites, and interviews in addition to analysis of exhibitions, collections, designs, and structures. Background: Origins In the clich form, the relationship between these two disciplines back to the earliest mans use of the same materials for sheltering himself and for covering his body. At its most simplistic description, construction started with the earliest man building a shelter for him and so did the started when he covered his body (with the same material). The evolution of this interaction, mainly from Sempers view of point will be discussed in the theoretical chapter of this work. For the time being, we first aim to distinguish fashion from clothing and architecture from construction by referring to their meanings. The word fashion comes from the Latin word facia meaning to make or a particular make or shape (Kawamura, 2005, p. 3). Although fashion is mostly used to express clothing trends, especially, womens clothing[1] however, in a broader term (and for the purpose of this study) it refers to the rapid changes in trends that occurred especially after the nineteenth-century industrialization as a result of the developments in producing new fashion quickly and somehow inexpensively. Fashion constructs desire, and it is a momentary process. Architecture, on the other hand, is not simply making or shaping the structure, as Colomina defines it architecture is the interpretation of the space. It is an experiential, interpretative and critical, consequence. Therefore architecture is a monumentary conceptual, ideological, and philosophical process which constructs vision in contrast to fashions visual aspects. AF interaction starts in a way of displaying the identity of an individual and creating the perfect spatial surface and structure, both fields share the idea of the human body and on ideas of space, volume, and movement and as well because both are a layer that communicates between the environment and body with the ability to convey identity on the personal, political, cultural and other levels within life and society . In linguistic terms, fashion could be described as the visualization of the image identity that the users want to reflect to the society. This identity is not necessarily to be the real identity of the person; it is rather about what we want the society to think about us, but not really what we are in real life. Taking architecture as a language defined by Jencks, contemporarily, architecture could be both defined as the visualization of our REAL identities, and identity does not change as often as fashion trends do. However, as we conceive of it today (and for the purpose of this study), architecture is an experiential, critical, and interpretative practice rather than being about construction only. Therefore it dates back to the Greek Mythology of the Labyrinth (BC 3) where Daedalus who built the Cretan Labyrinth is regarded as the first architect. Nevertheless, be due to the interpretative nature of architecture, contrary to the myth, Daedalus was not the first architect since he built the labyrinth but did not understand its structure, Ariadne who interpreted the structure with the help of a device (a thread) should be regarded as the first architect (Colomina,). Fashion, on the other hand, developed in a different manner, while architecture aimed to shape the society, fashion was shaped by the society itself. In fact, apart from clothing as an ordinary definition, fashion started only in the AD 1700s in line with the merchant capitalism and accelerated during and after the Industrial Revolut ion since the working class could effort to compete with the upper class in terms of clothing and dressing up [2]. Therefore, from the historical perspective, we can talk about the links between AF only relating the period after the 18th C. But, what drove such a relationship? In other words, how did architecture collide in the realms of fashion, or vice-versa? Next section aims to answer these questions in order to maintain a theoretical background to our criticism regarding to todays condition. Conceptuality Architectural history, it turns out, was ideally situated to deal with the double connotation of fashion as the history of clothing styles and the more specific use of fashion to designate the process of change peculiar to capitalism. Because architects active around the turn of the last century were concerned directly with dress-either as an effort to reform modern appearance or as part of the scenography of interiors-and because they were deeply engaged with the temporal problematic of creating a modern style, their debates betray an interesting conflation of clothing as artifact and fashion as process, which in other fields has created ambiguity. To this they brought a theoretical heritage concerned with the origins or primordial basis of architecture as a fabrication of enclosure, shelter, or dwelling; analogies to covering the body were standard, and textiles were postulated to have played a crucial role. Dress design has been an aspect . In fact, the closest relation between AF might be stated as to create the absolutely beautiful structures and spaces for the body. In order to interpret the space, as an architect, one should experience it, and the centre of the experiential world is the human body. Our bodies and movements are in constant interaction with the environment; the world and the self inform and redefine each other constantly . Then, is the mission of fashion to provide the most suitable and comfortable coverings for the body to sense the space? While the importance of body (as proportion, movement, etc.) was emphasised by Vitruvius in the BC20s, it was only in 1900s when corset was abolished from fashion, and more recent, in 1960s that (feminist) women argued dressing in a manner of unrestricting their actual movements. While the body and architecture and the body and fashion are so close, on the one hand, as Wigley emphasizes, architects tried to escape from the temporality and futility of fashion (represented as feminine ornaments in architecture) during the Modern Era, by their judgment that fashion (represented in ornament in architecture) is something feminine and ugly, on the other, many of those (male architects) Henry Van de Velde, Josef Hoffmann, Lilly Reich, Frank Lloyd Wright or their wives (Anna Muthesius, Lilli Behrens) designed clothes. Others, notably Otto Wagner, Adolf Loos, and Hermann Muthesius, wrote about fashion . In order to understand this paradox, Kinney proposes to understand the post-modernism first. However, in a reductionist way, we will follow the historical manner. The metaphor of human body as an architectural space is not a new concept; or it is not a concept that appeared only in the Modernism intervals, it can be traced as back as Vitruvius[3] who explored the body as a proportion to the structure. According to Vitruvius, no building can be said to be well designed which wants symmetry and proportion. In truth they are as necessary to the beauty of a building as to that of a well formed human figure, which nature has so fashioned (De Architectura, Gwilt Translation, 1826, p. 78)[4]. In order to create the rhythm, buildings should be designed according to three correlated elements: utilitas, venustas, and firmitas[5] (Rasmussen, 1959). So, as to Vitruvius, architectural design should refer to the unquestionable perfection of the bodys symmetry and proportions[6]. Even so, The issue of beauty had been problematic for Vitruvius. On the one hand he made allusions to the harmonic ratios of Pythagorean musical theory, suggesting there was a higher cosmic order underlying the judgment of beauty. On the other hand he gave architects the right to vary proportions if the eye calls for corrections, or as the arts make progress . As the perfect beauty is rarely found in the nature, thus ornament, as the mediating element between raw nature (materials) and the ordering lines of the architecture (Mallgrave op cit) was needed. This mediating element between the raw nature (body) and the perfect look is clothing and accessories in the fashion sense. As Ruskin states, this ornamentation should be whatever God has created, such as, abstract lines and the whole range of systemized organic and inorganic forms . Nonetheless, after rediscovery of Vitruvius in the 15th C, people interpreted him according to their own way be due to language obstacles , the fashionable ornamental excesses of the Rococo and in the medievalism of the Gothic and especially in the Renaissance Era, architectural ornament heavily relied on the human figures. 18th C is marked as this heavily use of ornament (specifically human figures, Laugier (1755) was responded only in the Modernist Era. Dont let us be profuse in ornaments, let us put much plain, something negligent, with the elegant and magnificent, let us pass in common from the negligent to the plain, from the simple to the elegant, from the elegant to the magnificent: Sometimes let us go briefly from one extreme to the other through opposition, the boldness of which strikes the fight and may produce very grand . This heavily reliance of ornament should have been in a way that would not a dilemma between the ornament use and refute which probably best reflected by Winckelmann[7] (1755). Once he stated that sameness or monotony as defects in architecture which result building without decoration and is like a healthy person who is reduced to poverty, something no one looks upon as a good thing, then later he proposed that beauty is represented by simplicity and serenity, (mainly by the Grecian designers). The Greeks alone seem to have thrown forth beauty as a potter makes his pot (because Greeks were close to the nature and they had copied it) which he calls this beauty as noble (Lefaivre Tzonis, 2004, pp. 369-370). While Winckelmann was somehow vague between the ornamented and simplified beauty, his contemporary, and main challenger -Italian architect- Giovanni Battista Piranesi was clear about absolute beauty which came as the concept of sublime placed above beauty in the hierarchy . From an architectural view, Piranesi supported heavily ornamented late-empire Roman architecture in opposition to the rigorists . Similarly, Owen Jones who is regarded as one of the most influential design theorists and architects of the 19th C believes that ornament and proportion should serve for the architectural perfection. In his words: construction should be decorated As in every perfect work of Architecture a true proportion will be found to reign between all the members which compose it, so throughout the Decorative Arts every assemblage of forms should be arranged on certain definite proportions; the whole and each particular member should be a multiple of some simple unit every ornament arises quietly and naturally from the surface decorated. . That is to say, the ideal beauty till the 18th C was represented by proportion, symmetry, and rhythm which were found in the human body, naturally. In the short space of a single section of such a humble study, one can say little about the wide gamut of the whole debate of beauty, ornament, nature, and all the above issues reviewed above[8]. Rather, we intend to provide a short background to the closer relationship between clothing and architecture with special reference to Sempers Theory of Dressing, Sullivans nude buildings, and Loos absolute rejection of ornament in bodies and buildings altogether created fundamental changes in clothing and style[9], too in the Modern Era. Identity Gottfried Semper, who broke the Vitruvian high ideals by his Four Elements of Architecture, could be regarded as the first who directly pointed out the AF connection though arguably he might have led reducing architecture to the wall and roof by emphasizing only the application of the evolution theory to these structures. According to Semper, idea of the wall evolved from the sequence of spatial enclosures and the stages of the evolution were: primitive screen or woven mat, then metal sheathing and, eventually, carpets, whose colourful images were applied to the surface of masonry building to evoke a sentiment of monumentality. Further, Semper developed his Theory of Dressing aimed two aspects: first, to underline the importance of the textile industry in the origins of architecture and second, Semper was concerned with the difficulty involved in the artistic use of iron in monumental architecture . . Among them Viennese Architect Otto Wagner examined the relationship between architecture and fashion both in theory and practice . However, his contemporary, Adolf Loos is most known for his interest in fashion (as taking Sempers ideals further and implementing them) and absolute rejection and obsession with the ornament in the human body and in buildings. It must be noted here that, while primitivism referred to simplicity and purism for Semper, however, Loos took it as uncivilized world (for him Papuans referencing Africa). He (Loos) stressed that the more ornament the human being uses (such as tattoos and piercings) the most likely he / she is to commit crime. Architects such as Le Corbusier, Hermann Muthesius and Peter Behrens also perceived the building as a nicely garmented body and thus appreciated Loos lessons on dressing and building. By doing so, Modernism, particularly as expressed by Le Corbusier, aimed to break from the utopian life by eliminating the medieval inequaliti es of social classes, destroy the distinction between the streets and stripes, through art, especially architecture since architecture is the art of living. Among the fashion designers, Coco Chanel is best known for her style in line with Loos ideas (this concept and relationship will be examined further in the next chapter of this study), however, Loos main significance for this study is that He was the first among those who declared the fashion and architecture relationship sharply. Ever since Louis Sullivan called for called for refraining entirely from the use of ornament for a period of years, in order that our thought might concentrate acutely upon the production of buildings well formed and comely in the nude (we might also add Adolf Loos proposition to connect ornament with crime and primitivism[10]) till Moussavis work on the Function of Ornament and Domeises Re-Sampling Ornament exhibition, recently ornament has been a dirty word in architectural circles for decades . In fact, ornament was associated with gender, mainly femininity and sexuality by the Modern Architects and thus it should have been omitted and FORM is to FOLLOW FUNCTION. This functionalism, as Loos puts it, for Modernist architecture is that the house does not have to tell anything to the exterior; instead all its richness must be manifest in the interior (cited from Colomina: 1996, p 32). Colomina further declares that the outside is only the cover of the book, it is clothing, it is mask . However, inside it is a meditation between the space and the individual. While fashion is the graphical translation of the individual human body while architecture is the non-verbal communication between the space and the society. Fashion as a Mask is satisfies our quest for individuality within the context of a society while architectural construction is a tool for satisfying the need for isolating ourselves, it is the real shelter. While fashion performs uniformity in the society, architectural manifest refuses restrictions. This disjunction further brings out the refusal of fashion-able as in Le Corbusiers statement: What we wished to express in art was the Universal and Permanent and to throw to the dogs the Vacillating and the Fashionable. [11] However, with Chanels response to that functionalism, in her little black dress that can be a party dress with accessories, such as, a pearl necklace, and also it functions as a day dress with a cardigan or worn plainly, it can be said that fashion felt in the realms of architecture, or looking at Le Corbusiers statement above, we can say that fashion invaded architectures space. This irony that on the one hand, while architectural ideas tried to escape from the fashion, fashion designers, such as, Chanel, Schiaparelli, and Dior adored architectural ideas on functionalism and omitting ornaments and applied architectural styles in their designs, on the other hand, while stating how ugly the feminine fashion, architects did not keep away from fashions space. Art, craft, architecture, style one for all The above ideas summarize Bauhaus (and, International Style, after the World War II and migration of Bauhaus members to other countries, mainly USA) further to create rational societies through rational design. Bauhaus was revolutionary school of art, architecture and design established by the pioneer modern architect Walter Gropius at Weimar in Germany in 1919 (Tate Modern). It was a place of learning and implementing where the borders between art and science and man and machine were eliminated. This design issue was not restricted to only architecture, but included almost all branches of art and design, such as, designing factories, their catalogues and even stationeries, or designing houses and offices, their furniture, the paintings, etc. (from the Manifesto of Bauhaus by Gropius). The idea is straightforward: in order to unite the universe, as artists we must unite our styles and International Style, could supply a framework for this. The principles are: down with frontiers, up with the grid, no curved lines, so that art will be collective for the universal, and general grammar of the shape would be geometry[12]. . The stage workshop was an interaction between all performance arts, i.e., music, dance, theatre. Led by Schlemmer (an architect, paint, designer) Bauhaus costumes were designed in order to express philosophical and compositional expression of key body types: pure, clear, and clean. Costume, architecture, body, and space were dynamic and inextricably linked for Schlemmer. His single subject was the human figure. He reduced to puppet-like, two-dimensional shapes that were expressive of the human body as a perfect system of proportions and functions analogous to the machine age (Bauhaus Archive Webpage). Schlemmers costume designs were playful and disruptive, and restrictive for the human body that inhabited his costumes reflecting Schlemmers theory that human types were artificial constructions. The function of costume is to emphasize the identity of the body or to change it. Costume expresses the bodys nature or it purposely misleads us regarding it (extracted from: History of Modern Drama, Emory University). The skectches of body and costumes designed at Bauhaus will be further explored and critised in the next chapter. Meantime, from the chronological point of view, the true beauty of the Bauhaus movement according to the author, is that its dictum anounced by Ludwig Mies van der Rohe: less is more[13] The concept is simplicity and clarity lead to high-quality design. From the perspective of an architect, it is a working method in which aesthetic seeks to astonish in a simple way and without unnecessary elements. The spaces are adapted to an idea of life that is intended to be simple, the walls linear, the floors with smooth texture and as a whole the structure that allows fascination. The virtue is absence, absence of ornament, unneeded details that will result more sensation. Since fewer elements mean fewer possibilities, minimalist architecture is more difficult to achieve perfection. Thus it represents the aesthetics of the silence, the space of culture. The space functions create a rehearsal with the mind and isolates us from the outside. Modernism and its principles as an architectural movement were well set, as emphasised in the dictums, manifests and practices of the scholars and designers. However, two paradoxes could be observed here: one is that although its principles were well set and communicated, its implications diverted from country to country (mainly be due to vernacular and dwellings of those places) hence a uniformed design could not be implemented, second, although the word modern refers to contemporary, being contemporary, adopting the developments, etc. Modernist architects were more utopian in their principles as the only acceptable truth in design issues. Skin and Bones, that is architecture, no needles The following years, with Ludwig Mies van der Rohes revolution, the glass house, the principles of Modern architecture, i.e. functionalism, concreteness, transparency, cleanness and lightness all came to life. His dictum less is more represented the idea of less structural frame with mo

Repression of Women Exposed in The Yellow Wallpaper -- Yellow Wallpape

Repression of Women Exposed in The Yellow Wallpaper      Ã‚  Ã‚  Ã‚   The short story "The Yellow Wallpaper" by Charlotte Perkins Gilman gives a brilliant description of the plight of the Victorian woman, and the mental agony that her and many other women were put through as "treatment" for depression when they found that they were not satisfied by the life they had been given.      Ã‚  Ã‚  Ã‚  Ã‚   In the late nineteenth century when the Yellow Wallpaper was written, the role of wife and mother, which women were expected to adopt, often led to depression or a so-called "hysteria".   Women of this period were living in a patriarchal society where they were expected to be demure and passive, supportive yet unquestioning of their husbands, and good mothers to their husband's children.   The conflict for women in the society thus became a question of how to be all of these things while still conserving herself as a person and most importantly, conserving her sanity (Wagner-Martin 51).   In this Victorian society "the boredom and confinement of affluent women fostered a morbid cult of hypochondria - 'female invalidism'"- where it became popular and even appropriate for women to fall into bed at the slightest provocation with a "sick headache" or "nerves" (Ehrenreich 92-93).   Charlotte Perkins Gilman, author of the Yellow Wallpaper (among oth er things), said of this phenomenon that "American men 'have bred a race of women weak enough to be handled as invalids; or mentally weak enough to pretend that they are-and like it.'" (93).      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As a result of this "female invalidism" the respected physician, Dr. S. Weir Mitchell developed a rest cure "which depended upon seclusion, massage, electricity, immobility and overfeedi... ...ublications, 1997. 1-15.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   ---The Living of Charlotte Perkins Gilman: An Autobiography Univ of Wisconsin Press, Reissue edition   1991. Hedges, Elaine R. Afterword. The Yellow Wallpaper. 1973: 37-63. Twentieth-Century Literary Criticism 9. Detroit: Gale: 1988. Schopp-Schilling, Beate. "' The Yellow Wallpaper': A Rediscovered Realistic Story."' American Literary Realism 1870-1910. 8 (1975): 107-108. Shumaker, Conrad. "'Too Terribly Good to Be Printed': Charlotte Gilman's The Yellow Wallpaper'" American Literature. 57 (1985): 194-198. Treichler, Paula A. "Escaping the Sentence: Diagnosis and Discourse in The Yellow Wallpaper"' Tulsa Studies in Women's Literature. 3 (1984): 61-77. Wagner-Martin, Linda. "The Yellow Wallpaper." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. 981- 982.   

Learning Patience and Responsibility at Hells Pizza Essay -- Peter Pi

Learning Patience and Responsibility at Hell's Pizza Even the job from hell can teach you patience and responsibility. When you hear the name Peter Piper Pizza, you may think a fun family restaurant. When I hear Peter Piper Pizza I get chills down my spine. Having worked there for about two years, I started to get annoyed over every little thing that was a part of my job. I had the worst position that they had, Game Technician. When I first applied for the job, the game guy was going to be the easiest job that I could find. Little did I know that this position taught me the more about being patient and responsible than any other experience I have had. It was mid sophomore year of high school when I started the job hunt. I applied to many places, grocery stores, restaurants, and even the movie theaters. No reply from any of them. It was about a month and a half when Bob from Peter Piper Pizza called me up looking for new employees. â€Å"Hey this is Bob from Peter Piper Pizza, is this Brandon† Bob asked. â€Å"Yes it is† I replied. â€Å"How would you like to come in and work for us at Peter Piper Pizza† asked Bob? â€Å"I would love to,† as I smiled with a huge grin on my face. â€Å"Well ok I will see you tomorrow for your interview† Bob stated. â€Å"Ok see you there† I said. I was so excited that I was finally going to have a job. I was a little nervous about the job interview, but that was a piece of cake. The interview lasted only about five minutes. An easy question here and an easy one there, and before I knew it I was the new game technician at Peter Piper Pizza. I was so happy once the interview was over; I was telling everyone that I had just got a job. Right after the interview me any my mom went and got me my food handlers card. ... ...Brandon there are customers at the prize counter† Bob stated. I would deal with this working environment every day. With so much responsibility and work to complete, my manager would sometimes think that it was fine if I would work the oven on my shift. So now I have to hand out all of the prizes, fix any broken game and ones that were acting up, hand out lost tokens to customers, get the pizza out of the oven to cut it and call it over the intercom to the customers. Working this job for nearly two years, it made me significantly more responsible and taught me many things about being patient. Having to deal with many different things at once, I learned how to balance things and take duties one step at a time and not get overwhelmed. This job was like taking a two year class on how to be responsible and be patient when difficulties are stacking up against you.

Racism and Non-Western Discrimination Essay

Slavery dates a thousand years back and now comes to be one of the sources of dismay for people who are relatively concerned with their neighbors. Africans are the main victim of this atrocious treatment, having a different color and being considered to be the most underdeveloped human being compared to their European and white counterparts. This classification of people, through their skin color and place of birth, accompanied by extreme feeling of hatred and disgust is widely known as racism. It attracts other people to look at a person’s natural characteristics, their nose, hair, complexion, etc., as basis of their capacities. Thus came more superior races because of being more desirable and developed than the others.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Racism has been evident in the past decades and has been the basis of bloody wars and genocide. Hitler’s hatred over the Jews killed thousands of these religious descendants because of his belief that his bloodline is supreme than that of David. Until now, the holocaust denial movement insists that there are no mass murder committed against the Jews. This anti-Semetic treatment over Jews continue until now, evident mostly in their war in the Middle East (â€Å"Anti-Semitism,† 2001, n.p). The concept of Deicide, or the killing of a God, has intensified this hatred in the rise of Christianity. Radical racism has encouraged separatism, a tradition where the inferior race is removed of the benefits enjoyed by their superior counterparts (â€Å"Racism,† 2001, n.p). In the U.S., white supremacist groups continue to establish racism against the blacks, spreading the word of inequality all over the country with their skin-head members.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   One recent issue that needs appropriate concern is the interne-hate. It is an online propaganda, primarily using internet websites, to conjure and express hatred and discriminate people of perceived inferior race (â€Å"Internet Hate,† 2001, n.p). Because of internet’s free environment, almost absolutely allowing every person with access to express their thoughts, it became the battle ground and sanctuary for many racist activities all over the world. Publication of hate inciting materials in the world wide web has been greatly tolerated because of the lack of internet related laws prohibiting or limiting the freedom it offers to its users. Furthermore, the growth of this technology helped in proliferating violent messages to millions of users around the world, including children.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Other means of racist behavior before have included pamphlets, brochures, posters, and magazines. Racism also manifested through radio and TV shows, theater plays, and movies. Taking advantage of recent technological advances, racists elevated their campaign against other races through the internet, where information is sent in a split second to millions of users. They can send electronic mails to private users and fellow racists, comment on internet contents, join discussion groups, upload hateful videos and music, and incite violence through blogs without being identified. They can literally hide their identities, use multiple profiles, and present pictures not their own.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Racism can also be widely encouraged through this system. Racists can easily find other racists who can strengthen their claims and remove them of any dissonance. They can also insist that they are backed up by thousands of other racists, to scare their targets and attract supporters. One particular website is the BlackMonitor. It contains articles and discussion posts from unknown sources. Articles are primarily against blacks – black athletes, celebrities, families, criminals, perverts, politicians, and terrorist. There are criticisms against even talented blacks, like Fifty Cent (â€Å"Nigger 50 Cent Hates Alicia Keys,† 2008, n.p) and Wesley Snipes (â€Å"Nigger Wesley Snipes off to Nigger College,† 2008, n.p). Most particularly, presidential candidate Barrack Obama has been targeted with so much criticism, a comment even asked for an assassination (Lies, 2008).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The internet phenomenon is deemed to be the most influential source of information being easily accessed by millions of users. Also, the lack of rules because of its international coverage is primarily the reason for its wide use for racist activities. Local and federal laws may exist, other countries may have implemented strict censorship, and some websites may have established their own guidelines for publication. However, these may not be enough to stop this hateful attitude toward people perceieved to have inferior race.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Racism itself is hard to vanish. No matter how hard we try in alleviating discrimination, some people who will always think that they are better than the other and will resolve to violent attacks against them. However, there are basic solutions we can employ to help the abused people. Counter superior-inferior racial notions Implement equal opportunities, blacks and Asians remain less developed because their white counterparts are being entertained well in many companies. Incorporate anti-racism in childhood education and enforce it well in the preceeding years. Encourage international and intercultural education. Specify racial crimes and establish punishments for it. Dissolve racist groups and give its members appropriate measures and education.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Racism basically becomes violent because of misinformation. By removing the wrong notions about racial classifications and implementing effective education on children and young adults, and enforcing laws against racism we can minimize this long criticized issue.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Internet Hate in particular can be limited through censorship and establishment of necessary laws to stream its contents. This may limit freedom of expression and thought, but freedom is never absolute. There are details that should be removed because of their harmful contents. States have a great responsibility in prohibiting malicious contents in their areas since international laws may be hard to enforce in local cities. Registration of websites can also be an effective solution. Through this we can identify who owns and manages a website and have people to blame in cases of discrminatory contents. Censors may also be established to have constant checks, though this may be very exhausting due to the thousands of websites that are active in the world wide web. However, users reporting malicious contents can help in determining websites that should be sanctioned and ordered for closure. Again, this may bar certain rights and privacy policies, but if we are really serious in removing inequalities and minimizing those discriminatory eyes against our unfortunate friends, we can take this step in alleviating racism.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Many of us may think that freeing this world of racism is impossible. Lawmakers, who are secretly racist themselves may oppose such acts. Nationalist movements and groups may also prevent us from reaching our goal of equality and non-racial classification. However, many people have suffered enough because of this kind of treatment, of constantly giving them a hateful stare, beating them on their way home, treating them like dogs, under paying them, and lastly trafficking these innocent people. These actions may force them to be aggressive towards us, and that gives us new reasons for discriminating them. It just won’t stop this way. Indeed, there will always be inequality, but at least, let us, more developed individuals, be more compassionate and understanding of their situation. References Anti-Defamation League. 2001. Anti-Semitism. Retrieved 29 April 2008. http://www.adl.org/hate-  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   patrol/antisemitism.asp Anti-Defamation League. 2001. Internet Hate. Retrieved 29 April 2008. http://www.adl.org/hate-  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   patrol/internet_hate.asp Anti-Defamation League. 2001. Racism. Retrieved 29 April 2008. http://www.adl.org/hate-  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   patrol/racism.asp Blackpubwatch. Nigger 50 Cent Hates Alicia Keys. Black Monitor. Retrieved 29 April 2008.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   http://blackmonitor.wordpress.com/2008/04/20/nigger-50-cent-hates-alicia-keyes/ Blackpubwatch. Nigger Wesley Snipes off to Nigger College. Black Monitor. Retrieved 29 April   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   2008. http://blackmonitor.wordpress.com/2008/04/20/nigger-wesley-snipes-off-to-nigger-  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   college/ Black    Monitor. Lies. Comment on Barack Obama – Pathological Liar Extraordinaire by blackpubwatch.   Retrieved 29 April   Ã‚  Ã‚  Ã‚   2008. http://blackmonitor.wordpress.com/2008/04/26/barack-`  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   obama-pathological-liar-extraordinaire/