Developing a Business Model Essay Example | Topics and Well Written Essays - 500 words

Developing a Business Model - Essay Example The company should allocate at least 50 percent of future American capacity to small and medium-size cars, so that it can adapt to what is turning out to be a permanent transition to a smaller and more gas-efficient cars. The company should also develop and incorporate flexible body shops in all its American assembly plants to facilitate quick response to evolving consumer needs (Trompenaars and Coebergh, 2014:47). In addition, it should make its entire engine and transmission plants flexible and able to manufacture different combinations of engine and transmission series. Between 2009 and 2011 Ford announced 4 more plant closures as well as its intent to sell or close 4 ACH plants that were remaining. It is imperative for the company to aggressively align its manufacturing capacity to actual demand. Regarding suppliers, the firm should work very hard to boost its US based supply operations, which represent eighty percent of its North American acquisitions. The firm should implement several business practices with its suppliers, aimed at maximising collaboration, supporting data transparency and expanding the capacity of business with desired suppliers, while enhancing its business model to make it m ore sustainable (Schein, 2012:53). The company should also be able to lower the total number of its production suppliers who qualify for significant sourcing, with more reductions to take place in the future. The company should pay special attention to enhancing its women and minority suppliers – which currently represent roughly $4 billion of its yearly $35 billion of acquisitions from American supplier bases. So far, consolidation initiatives have led to, and will lead to, more business for its chief suppliers which will maximise their financial strength. Regarding dealers, Ford currently has too many at its current and forecasted future market share. The

To Kill a Mockingbird Essay Example for Free

To Kill a Mockingbird Essay ‘Jem’s growing up now and you are too,’ She said to me. ‘we decided to have some feminine influence! ’ (I. ch. 13) In To Kill a Mockingbird, the protagonist is Atticus Finch, a father of two children named Jem and Jean Louis â€Å"Scout† Finch. His wife died when his children were very young. Atticus is quite an old, wise, white man. The book was set in the early 1930’s and it was very common for white men and women to be very racist towards others who aren’t the same race as them. But, Atticus was not like most of the white men and women. He was very kind to everyone not matter what their race was. It seemed as if he didn’t believe in racism. In the book, Atticus was a lawyer for a black man named, Tom Robinson, who was falsely accused of raping Mayella Ewell. He did everything he could to win that trial. But, deep down Atticus knew he would not win because Tom Robinson wasn’t a white man. After the trial ended, he still had to stay strong for his children even though he was worn out. Above all, Atticus was a widower and he was taking care of two growing children on his own. Although, he was a single father, he did raise his children correctly. He taught them not to be racist to others; he always knew exactly what to say. His children were growing up quickly and they needed a feminine figure in their life and that’s not something Atticus could on his own. That’s probably something Atticus will always struggle with. No matter what, children will always need a mother and a father in their life. Atticus was full of knowledge and whenever his children had a question, he would always answer perfectly. In chapter 28, Jem and Scout got attacked by Bob Ewell. Jem got knocked unconscious and Atticus stayed by his bedside until morning. I’m sure he didn’t even sleep. He’s willing to sacrifice his sleep for his children because that’s how good of a father he is. I’m sure he stayed there to make sure Jem wasn’t in pain or he wanted to be there right when Jem woke up. In conclusion, Atticus being a single father really will affect him and his children. Although, his children try not to show it, it is hard growing up without a mother. It just doesn’t balance correctly. Atticus taking care of his children by himself could affect his health at a great deal because he’s not so young, and taking of his children is very, very tiring.

Daughters of the Dust and Mama Day :: Julie Dash Gloria Naylor Literature Essays

Daughters of the Dust and Mama Day Although their plots are divergent, Julie Dash’s â€Å"Daughters of the Dust† and Gloria Naylor’s Mama Day possess strikingly similar elements: their setting in the islands off the coast of South Carolina and Georgia, their cantankerous-but-lovable matriarchs who are both traditional healers, and stories of migration, whether it be to the mainland or back home again. The themes of the film and the book are different but at the same time not dissimilar: Dash’s film emphasizes the importance of retaining connections to the ancestral past, while Naylor’s novel focuses more on love, loss, and reconciliation with the past that is part of the present and will continue into the future. Were Dash’s audience to return to the South Sea islands eighty years after â€Å"Daughters of the Dust† they might find the Gullah people and their lives similar to those of the Willow Springs of Naylor’s novel. Although nearly a century spans between them, these two people nevertheless share many traits. Many of the residents of Willow Springs answer to a nickname given them as a child; similarly, Viola Peazant reminisces about the nicknames given to children in Ibo Landing. Members of both communities, generations from Africa and steeped in â€Å"modernity,† still come to the traditional herbalist for help in matters of the body and spirit: Eula uses Nana’s medicine to contact the soul of her deceased mother; Bernice and Ambush come to Mama Day to heal Bernice when she becomes ill, and later for help in conceiving a child. Both Nana Peazant and Mama Day draw their knowledge from a life lived on their respective islands and their strength from their ancestors, whom they visit and tend at the village graveyards. And like Nana Peazant, Mama Day struggles to maintain a tie with her family members who have left the island and immersed themselves in the mainstream culture. Cocoa, however, is difficult to reconcile with just one character in â€Å"Daughters of the Dust.† Perhaps she is mostly like Yellow Mary, who has left Ibo Landing but returns in the â€Å"now† of the film. It is unclear, though, why Yellow Mary returns; unlike Cocoa, she is not in the habit of paying visits to her family, and she is hardly welcomed with the same enthusiasm as is Cocoa. Also, it seems that although both Mary and Cocoa share a closeness to their elder female relatives, Cocoa clashes more with Mama Day than Mary does with Nana.

Film Sense Shot Essay

The development of formalist film theory was deeply connected with the formation of cinematograph as the autonomous art. The specific character of this theory, hence, should be understood in terms of theoretical and practical elaboration of film production instruments and thorny path of mastering various means for delivering cinematographic ideas and content to spectators. It should be noted that the basic elements of formalist film theory, such as montage, lighting, scoring, shooting etc. became generally accepted technical means in cinematograph, which were used irrespectively of theoretical approaches preached by a given director. However, it should be noted, that notwithstanding universal spread of major theoretical and technical findings of formalist theory, it has its own unique historical features, represented by the work of such notable contributors as S. Eisenstein and R. Arnheim. Generally speaking, formalist film theory may be described as the totality of views, which claim the centrality of technical and formal means of film production to maintaining its inherently artistic and cultural nature. Eisenstein, the pioneer of formalist theory, in his major works Film Form and Film Sense Shot claimed that montage is the central practice to film-making, because it covers its both technical and artistic aspects (Beyond the Shot, p. 13). The utilization of technical approaches to montage and shooting is essentially linked with general objectives of film production, as it is understood in formalist film theory, that is, creating meanings and artistic ideas through copulation/combination of images, shots and sound elements. Basic features and premises of the formalist film theory Formalist film theory is premised on the dialectical understanding of relations between form and content in film production. Technical means, including montage, shooting, lighting, sound are not neutral vis-a-vis artistic content of a given film. In contrast, their collision or sequence, help realize artistic ideas. Based on this theoretical underpinnings Eisenstein developed several approaches to montage, which should be utilized depending on specific goals director pursues. Eisenstein defines five basic approaches to montage such as metric, rhythmic, tonal, overtonal and intellectual (Eisenstein 1949 72-79). All these approaches are premised on the complexity of artistic ideas, which director delivers to spectators. The dialectical relations between shots in these types of montage are based on conflicts between volume, rhythm, scale, speed etc. Metric montage may be described as the control of time sequence of different episodes and images, irrespectively of their intellectual content. These include various formal transitions and interruptions in the visual sequence of shots. Rhythmic montage includes metric elements, but pays specific attention to the visual composition and content of shots, which is made to deliver complex meaning. One of the notable examples of this type of montage, developed by Eisenstein and practiced by his colleagues such L. Kuleshov and D. Vertov, is a famous scene from Eisenstein’s masterpiece Battleship Potemkin, often referred to as ‘Odessa Steps’. This scene portrays the massacre of protesters (including women and children) in Odessa by Imperial Cossack Forces. Metric and rhythmic approaches to montage are extensively used to portray the ugliness and brutality of Tsarist regime and its servants and the sufferings of ordinary people. To achieve this effect, Eisenstein ‘copulates’ shots of soldiers’ boots, marching down the steps with shots of baby carriage with a child in it, moving downstairs. Besides this, Eisenstein uses close images of people, who were killed and massive flight, caused by the gunfire. Temporal metric transitions, hence, are copulated with rhythmic elements, delivering emotional content (Eisenstein 1925). Tonal montage ranks the next stage in complexity of emotional appeal. It uses entire image to create certain emotional effects in spectator. Using specific lighting, sound techniques or special effects, a director creates certain aesthetic atmosphere, which communicates new artistic meanings to visual dimension of the episode. The next type of montage, which Eisenstein calls overtonal, represents combination of tonal, metric and rhythmic elements to produce complex psychological impact on the viewers. The characteristic features of each type of the montage are used in complex to capitalize on the volume, rhythm, scale and speed. And, finally, the most complex type of montage is intellectual montage, which does not only affect feelings, but imbues thinking and reflection. Objectives of formalist film theory Hence, the main objective of formalist film theory, as Eisenstein constantly repeats, is creating artistic effects and meanings, which are communicated to spectators. Eisenstein vividly showed this opportunity, provided by montage, referring to Japanese hieroglyphs, which create new meanings by adding new elements to already existing (Eisenstein, Beyond the Shot 14). Formalist theory’s basic objective may be described as creating conditions for artistic representation of reality in film production. According to Eisenstein and Arnheim, using technical means is not neutral vis-a-vis objective representation of reality. Inability to master technical means results in negative implications for films artistic content and precludes ‘intellectual’ perception of reality. Therefore, formalist film theory, seeks to overcome mere reproduction of reality, peculiar to commercial movie projects. Besides this, representatives of formalist theory hold that spectators should be influenced emotionally and intellectually in order to give them proper understanding of director’s ideas and subjective goals. This goal has its real historical reasons, because the formalist theory developed within a tradition of revolutionary propaganda films, such as Battleship Potemkin and Alexander Nevsky by S. Eisenstein. Arnheim, who is another important representative of the formalist film theory, showed that representation of reality peculiar to cinema, essentially differs from physical contours of reality. Hence, according to Arnheim, formal elements of film-making have great significance for creating emotional and intellectual effects (Arnheim 323). Arnheim gives vivid examples of unique modes of reality perception, generated by films. As he states, film images can not be reduced to physical dimensions. Neither a position of shooting, nor its objects can not be defined mathematically, because they are premised on artistic taste and understanding of reality. Moreover, as Arnheim states, film and visual realities significantly differ in depth, as films are ‘neither absolutely two-dimensional, nor three-dimensional, but something in between†(Arnheim 324) For instance, in Ruttmann’s film Berlin, the director creates interesting juxtaposition of two physical dimensions, depicting trains moving in the opposite directions (Arnheim 324). Tensions and Contradictions within Formalist Film Theory Notwithstanding positive elements, inherent in the formalist film theory, it has certain contradictions and inner tensions, which are often mentioned by the representatives of opposing film theories. For instance, Andre Bazin, one of the most prominent representatives of realist film theory, claimed that formalist understanding of form and technique of film production is manipulative and precludes genuine communication between spectators and artistic subjects (Bazin 48). Besides this, it should be noted that heavy emphasis of formalist film theory on formal and technical means prevents directors from focusing on objective cognition of reality and its representation, making it (reality) a hostage of subjective manipulation with it. However formalist film theory claims that it provides the tools for objective representation of reality, in fact, it is one of the most subjective approaches, even more subjective than auteurship film theory. According to Bazin, formalist film theory breaks world into many small separate pieces, which are then linked to produce structured, but subjective worldview (Bazin 48). Advantages of formalist film theory and its relation to other film theories Formalist film theory has its unique advantages, which are proved by the widespread utilization of its theoretical findings and innovations by film currents, which theoretically contradict its main premises. The importance of montage and other technical procedures was recognized by the majority of directors, who worked after S. Eisenstein. Today, we can not imagine any film, which does not use montage to produce certain artistic affects. Even documentary films, which represent a separate genre, essentially focus on montage. Besides this, deep connections are obvious between formalist film theory and auteur theory, which both put significant emphasis on the role of subjective artistic appeals and aims, which are necessary to maintain cinematograph as a genuine form of art. Both auteur and formalist film theories oppose neutral and quasiobjective film production, which is prone to standardization of techniques and approaches to achieve certain commercial results. In such kind of film production standard genre elements, ideological prejudices and common sense significantly erode the instance of auteurship, transforming films into faceless (without auteur) products of cinema conveyer. It should be noted, however, that formalist film theory is characterized by excessive emphasis on such elements of film production, which often have negative effect on the quality and artistic value. The parasitizing on formal elements and conscious manipulation, as it was noted, is harshly criticized by representatives of realist film theory. It seems that this critique has proper theoretical grounds. Realist film theory, represented by Bazin, calls upon to following the continuity of real images and events and finding artistic meanings in their mere existence. In this view artistic truths should be found in difficult relations between time and space, which entails montage, having subordinate function. Moreover, unlike realist film theory, formalism leaves practically no room for the freedom of interpretation and understanding, aggressively imposing already designed meanings and interpretations on spectators. Such important elements used in realist film theory as deep shot and focus, which help meet its theoretic goals, are ignored in formalist film theory. Failing to master these tools leads to losing visual integrity of reality, which is, according to Bazin, is even more important than montage (Bazin 49). Formalism in Hitchcock’s Spellbound We have already mentioned the use of formalist theory of montage in Eisenstein’s film Battleship Potemkin. However, it should be noted that crucial aspects of formalist film theory may be found in films, directed by people, who are not openly associated with this tradition. This is, for instance, the case with Hitchcock, who based his techniques of film production on Expressionist approach. Hitchcock’s film is based on psychoanalytic and surrealist subjects, which may be proved by its plot and extensive use of Dali’s designs in the Brown’s mysterious dream. One of the major characteristics of Spellbound, which links it with formalist film theory, is that it distorts normal physical perception of time and space in reality. As we remember, Arnheim’s main requirement for film production referred to its creative approach to time and space, designed to break false continuity and present artistic sequence. Hitchcock pays primarily attention to the characterization of different protagonists and objects, but not on their appearances and actions, which is so characteristic of mainstream thrillers. The characters of Constance, false Dr. Edwards, Dr. Murchison are developed in a coherent way, following strict formal structure of plot development. Besides this, Hitchcock utilizes other techniques of formalist film theory, such as fragmentary editing, psychological collision of shots, various lighting effects, and extreme angles. Moreover, Hitchcock uses different approaches to montage, elaborated by Eisenstein. Rhythmic and tonal types of montage are extensively used in scenes, designed to produce strong emotional effects on the spectators. Rhythmic montage is used in the scene depicting Ballantine/Brown/false Edwards phobia of seeing black lines on white things, when these objects are juxtaposed with protagonists’ scared look. Another example includes Constance reading false Edward’s book on the guilt complex and notices that Dr. Edward’s signature differs from that of the man who is the author of the book (real Dr. Edwards). Intellectual type of montage, developed by Eisenstein is evident in surrealist dream scene, when false Dr. Edwards looks at the wall covered with eyes. The same episode includes rhythmic juxtaposition of the close-up shots of Constance and Brown, looking at each other, as well as purely technical tool of shots’ imposition, which creates flexible and vague atmosphere of surrealist dream. Another episode including this type of montage is when Constance, while recollecting Brown’s dream, realizes that the real murderer is Dr. Murchison. In this scene, her recollection of the dream is juxtaposed with her thinking process and eventual discovery. To sum it up, we have analyzed basic characteristics of formalist film theory, its objectives, positive and negative aspects and relation to other film theories. Practical realization of formalist film theory was researched based on the examples of Eisenstein’s Battleship of Potemkin and Hitchcock’s Spellbound. Works Cited Arnheim, Rudolf. Film as Art. University of California Press,1957. Bazin, Andre. What is cinema? Vol. 1 & 2 (Hugh Gray, Trans. , Ed. ). Berkeley, University of California Press, 1967-71. Eisenstein, Sergei, Film Form: Essays in Film Theory, New York, Hartcourt. Trans. Jay Leyda, 1949. Eisenstein, Sergei. dir. Battleship Potemkin, 1925, USSR. Hitchcock, Alfred. dir. Spellbound. 1945, USA, Vanguard Films. Ð °

Magic Springs

Khiana Carr Professor Ansbro ENGL 1010 16 November 2012 Magic Springs Many family and friends love to visit and enjoy the many attractions and fun from amusements parks. Every state and city has at least one good loveable memory about it. The hot and enjoyable attraction in Hot Springs, Arkansas is the awesome water and amusement park Magic Springs and Crystal Falls. There are many activities to do in Hot Springs like the following: shopping area, cite seeing in the mountains, the spa, and more. Most people go to enjoy the exciting attractions of Magic Springs, a place the entire family could enjoy.Magic Springs and Crystal Falls, Magic Springs for short, is a combination of an amusement park and water park all in one. Magic springs have everything for the family entertainment, including an Amphitheater for a variety of musical events and more. The park is open weekends from April through October and daily late-May through mid-August. The owner has really put in a lot of work to make the park what it is today. One can learn the history of Magic Springs, the many rides and thrilling descriptions there are, and many reviews from satisfied visitors.For those who love Six Flags and Disney World would also love Magic Springs. Magic Springs opened around 1978 in July in Hot Springs, Arkansas. In the beginning the park was going through a quite bit of financial problems. The park was sold in the mid 1980 to a businessman by the name of Melvin Bell. Soon after the inventors had landed into a huge pile debt, then Bell was forced to close down the park in 1995. The park was up for sale in an auction and reopened in 2000 as Magic Springs and Crystal Falls.The new management by CNL Lifestyle Properties and operation by Amusement Management Partners, LLC turned the park into an ongoing attraction for many. Ever since, Magic Springs has gotten innumerous visits from people all the country. Magic Springs is an amusement park offering a lot of attractions for the whole family, from fearless daredevil to the gentlest cat. There is a total of 20 rides throughout the park including the water rides. For the thrill seekers there are a good select few one would love to take for a ride. The top three amazing thrilling rides are the Gauntlet, the Hawk, and the Arkansas Twister.The Gauntlet is a â€Å"eight-story drop into a whirling dervish of inverted loops and mind-blowing bends† (Magic Springs), it is a 2,2000 feet 50 mph ride that will for sure take anyone on the ride of their lives. The Hawk is a 70feet 13 rpm speed exciting twirling machine that will take a person to new heights. The ride has many loops and turns and even rotates360 degrees clockwise and counter-clockwise throughout the ride it might even stop, while you hanging upside down! The Arkansas Twister is a wild 50 mph 3,300 feet heart pounding thrill.It is a 90 feel drop rollercoaster with all the heart racing effects, â€Å"to experience Magic Springs, one must experience the Arkansas T wister† (Magic Springs). With accommodating all the thrill seekers of the world Magic Springs have rides for little children as well. The two most enjoyable kiddie rides are the Li’l Leapin’ Lizard and Looney Ballooney. The Li’l Leapin’ Lizard zooms into the air and gently returns to the ground, just enough excitement for the little ones. A ride that reaches the sky and beyond is what all the kids want to go on, all the kids love being in the spinning hot air balloon Looney Ballooney.The park has many separate rides that ignite the fun in every member of the family, but there are a couple family rides everyone can enjoy together. The number one family favorite is the Old No. 2 Logging Company Log Flume. The ride takes off as it twists and turns into a water maze that ends with a splash of cooling water. Last but not least, the many water rides and pools. All the rides are loveable for every family member, which is what keeps the satisfied visitors c oming back for more. The park has had many reviews and has been rated A+ by the BBB business review and more.The happy visitors left wonderful reviews of Magic Springs. On satisfied customer said, â€Å"Me and my family enjoyed the water and the gospel concert held at the park that day. I plan to get the season family passes next year we had so much fun† (Trip advisor). â€Å"I live not too far from Hot Springs and have heard how cool it is to go, but finally made my way there with other friends and family. It was an awesome experience. There are plenty of areas for small children and plenty of rides adults are able to enjoy. My personal favorite was the Gaunlet, so much so I rode it twice. † (Trip advisor).The Gaunlet is the number one favorite of all rides at Magic Springs. â€Å"The park was VERY clean, the workers we encountered were friendly overall, and there were NO lines. We rode every ride that we wanted to at least once and many of them twice with no waiting . Every ride was up and running. We went to Crystal Falls after that to cool off and stayed until it closed at 6 pm. It was wonderful as well. Not crowded at all and a great variety of play/pool areas for all ages† (Trip advisor). â€Å"Love the rides, the music, the water and the water rides! Lots to do here. You can spends days and never get bored! (Trip advisor), it is very self-explanatory that the Magic Springs is a very enjoyable place for fun in the sun. In conclusion, Magic Springs and Crystal Falls have been recognized for family entertainment they have attracted people all over the country. Hot Springs have plenty of activities for any family member. Magic Springs have gotten a lot of good reviews and awards from the public. The water park is extraordinary the rides are full thrilling fun; the park is really a lot of fun in the sun. Including the Amphitheater, the amusement park has a lot of famous concert performances.The new owners of Magic Springs and Crystal Fal ls have really turned out the new park for the best. All the heart racing roller coaster to the gentle carousel does well accommodating to the entire family. The many reviews and increasing number of visitors show that the Magic Springs will not be losing any business any time soon. Works Cited â€Å"Magic Springs and Crystal Falls – Hot Springs, Arkansas – combination family amusementpark and water park. † www. city-data. com. 2012. 06 Nov. 2012. www. citydata. com/articles/Magic-Springs-and-Crystal-Falls-Hot. html â€Å"Magic Springs & Crystal Falls. Magic Springs & Crystal Falls. Web. Np. Nd. 06 Nov. 2012http://www. magicsprings. com â€Å"Magic Springs Water and Theme Park. † – Hot Springs. Web. Np. Nd. 06 Nov. 2012http://www. arkansas. com/attractions/detail. aspx? id=23423. Magic Springs & Crystal Falls, Hot Springs. † Magic Springs & Crystal Falls. N. p, n. d. Web. 15 Nov. 2012. http://www. tripadvisor. com/Attraction_Review-g60856-d2 74499Reviews-Magic_Spr ings_Crystal_Falls-Hot_Springs_Arkansas. html Going up up away Ready to ride. People in front ready for the Arkansas Twister to take off! my sister ready to swim. On the way tooooMagic Springs!!

Harold Washington Library

Harold Washington Library Abstract The largest library in Midwest is Harold Washington Library Centre that confirms to both traditional and postmodern elements of designing. The building is a neat amalgamation of traditional motifs from mythology and culture of Chicago and Midwest as well as postmodern architectural styles.Advertising We will write a custom research paper sample on Harold Washington Library specifically for you for only $16.05 $11/page Learn More The building is different in its construction and design from its contemporary library buildings due to its incorporation of both designing and not just that of functionality as is done in most modern buildings. This paper discusses architectural design of the building in detail. The libraries being built in the 21st century are, according to Terry Webb, â€Å"more than just a repository of information and knowledge, and epitomizes a higher aspiration that is fundamental to civilization and its persistence.† (Webb 5) In other words, modern day library construction is moving beyond just technical requirements of construction. Traditionally architectural designs of libraries had entirely reflected upon the practicality and functionality aspect of the building, completely doing away with the designing aesthetics. Therefore, such public buildings have been designed with â€Å"preeminence of function and significance in a construction virtually devoid of pleasing form.† (Webb 7) Library designing is essentially designing of the interior space area such that there is a distinct reading area, circulation area, stacks area, etc. It has also been suggested that the simplest and most efficient shape for a library building is a rectangle (Webb 7). Classical architecture of libraries usually has a fortress like appearance with heavy bronze doors and small often-barred windows (Webb 8). However, this has changed considerably with the advent of the modern libraries built in the 21st century. Libraries today has become more post modern in their orientation, with a lot of stress being put on the aesthetics of designing than simply catering to the functional requirements of the building. This paper discusses the background and building of one such example of modern day library. It is the Harold Washington Library Centre (HWLC) at Chicago built in 1990-2 is the main library of the Chicago Public Library (Watkin 682). The paper first provides a brief description of the background of the location and culture surrounding the building. Then provide an understanding of how it was built and in the end understand how it would have been built had it been built today. This paper presents a detailed architectural review of the modern library and its importance to architecture.Advertising Looking for research paper on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More HWLC is a monumental building and was commissioned as a part of th e renewal of the urban landscape of the city. The designer of the building was Thomas Beeby of Hammod, Beeby, and Babka (Watkin 682). After refurbishing the Chicago Cultural Center in 1977, it was found that the building was outgrowing its collection (Becker). Then pursued a long debate on the contraction of a new library building in the city but was derailed due to lack of funding. Ultimately, in 1983, the then mayor of Chicago, Harold Washington, supported the construction of a new central library (Duff 91). Then in 1988 a designing competition was held that drew five entries and was eventually shortlisted to two designs – that of Hammond, Beeby, and Babka, and Helmut Jahn’s (Plootnik 565). The later was not selected because the design was consider too expensive a project. Figure 1: Harold Washington Library, Chicago (Harold Washington Library) In 1986, Harold Washington offered two square blocks for the construction of the library (Duff 91). The designing of the lib rary was done under a lot of enthusiasm of the city dwellers for construction of a well-designed building. The designing competition was conducted under the specification that the construction of the project should not exceed $144 million and the area under construction should be 700,000 square feet. The construction of the project began with funding from the state and private funding, the construction of the library began that covered an entire block. It is the largest public library in the world and is named after the mayor who supported its initiation, Harold Washington (Watkin 682). The library is located at the south end of Chicago loop (Watkin 682). It was built in 1991 and $195 million was spent in its construction (Knox and Belcher 62). The building is approximately of 750,000 square feet (Watkin 683). The next section of the paper presents the culture that prevailed during the construction of the library. The building exemplifies the words of its pioneering initiator Harold Washington: â€Å"With the same adventurous spirit of Jean Baptist DuSable when he founded Chicago, we are going to do some great things together.† (Duff 91) Chicago city has a rich tradition in urban architectural landscaping. When the city was almost destroyed in the 1871 Great Chicago Fire, the city was rebuilt with the help and inspiration of architects like William LeBaron Jenney, John Wellborn Root, Louise Sulivan, and so on (Duff 91). The city has a rich architectural heritage and the HWLC is yet another addition to it. Basic information available regarding the construction of HWLC is as follows:Advertising We will write a custom research paper sample on Harold Washington Library specifically for you for only $16.05 $11/page Learn More SEBUS group designed the building and its construction was finished in 1991. The size of the building is 756,640 square feet and the cost of construction was $144 million. There are 2337 readers’ seats available in the library and 70.85 mile shelving space. The library houses 2,000,000 books and 8,585 periodicals. The building is built in 10 storeys and at the top has an intriguing winter garden. The building is essentially a postmodern architecture with an equal blend of Chicago’s traditional architectural heritage and modern architecture. The building is highly functional and has a space of 520,000 square feet without the winter garden (Plootnik 565). The building is located in the Loop area of Chicago that has a skyscraper clad urban landscape. It houses some of the most famous architectural works as well as works of outdoor art like that of Pablo Picasso, Joan Miro, etc. This area is culturally rich with the art and music school of Chicago located in the area. The next section enumerates on the exterior and interior designing of the exterior and interior of the building. The building is a blend of contemporary and old architectural elements. The exterior design of the library is presumably inspired from other Chicago landmark buildings like the Rookery, Monadnock buildings, and Auditorium in the Loop neighborhood (Duff 92). The bottom of the building is made of granite blocks and it has large arched doorways. The windows are set in natural bronze frames (Duff 92). The ornamental base is similar to that of the Auditorium Building in Chicago. The maximum of the exterior is made with red brick. The prevalence of use of granite at the bottom of the building and use of red brick for exterior walls is representative of the Beaux-Art style of the nineteenth century. Further adaptation from this style is heavy use of adornment of the exterior walls and dominant axial symmetry (Schulze and Harrington). The main aim of the designers was to make the building similar to the grand civic buildings of the classical western civilizations. That is why the building has a monumental presence in the city. The arched windows are five storey tall breaks the monotonies of the red brick walls. They break the walls on three sides of the building. The windows are linked with cast stone ornamentation (Harold Washington Library). The arched windows are similar to the work of Sullivan, Root, and Daniel Burnham on the three buildings present in the Loop that are the Auditorium building, the Rookery and the Monadnocks (Duff 92). The flatter expanse of the red brick wall is small, rectangular windows that are linked together with cast stone ornamentations. This technique used by the designers is reminiscent of Chicago’s Revival Movement. The granite bottom blocks and the brick walls were divided using wall decorations that were sculpted in the form of â€Å"Ceres and ears of corn† (Schulze and Harrington). The western faà §ade of the library is different from that of the other three Chicago buildings. This is due to the use of modern elements and material in its construction. On the western side of the building, facing the Plymouth, is made of glass, steel and aluminum. The pediment attic is also made of glass, aluminum and steel components enhances its modernistic look.Advertising Looking for research paper on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More Therefore, this sense of designing bears close resemblance to the Mannerist style (Schulze and Harrington). The western part is done with continuous glass curtain wall with dark green aluminum frames. These ascend to the cornice and the pediment made of glass on the tenth floor. The top of the building has a cross-axial roof and is centered in the skylight for the Winter Garden (Duff 92). The roof is ornamented with numerous foliates. To these five cast mental owls each of fourteen inches painted in green would be added to match the ornamentation of the building designed by Raymond Kaskery and Kent Bloomer had designed painted aluminum acroteria. The acroteria on the Congress Parkway shows seedpods signifying natural bounty of the Midwest. Owl is used in the ornamentation of the building top, as it is the Greek mythological symbol of knowledge. The figures shows the owls perched in the acroteria foliage. The ornamentation of the library is truly used as a revival can vas for the his tory in the building. The designer wanted to revive the classical architectural history of Chicago as well as blend in the aesthetics of postmodern architecture. The iconography used in the buildings represents Midwest and Chicago. The â€Å"head of Ceres† who is the â€Å"roman goddess of grain† are present in the medallion on the wall along with â€Å"ears of corn† that represent prairie type of agriculture prevalent in Midwest (Schulze and Harrington). The â€Å"cornice railing† on the ninth floor of the building that marks the uniformity of the building heights as proposed in the 1909 â€Å"Plan of Chicago† by Daniel Burnham and Edward Bennett (Schulze and Harrington). Further, it also has the Windy City Man installation high on the faà §ade that is self-explanatory in its significance. The public door of the buildings leads the visitors to the lobby. The northern entrance leads to the lobby that has brown, orange, and pink lines to ascent the walls. The corridor leads to the south of the lobby or the Central Hall. The Central Hall can be reached through all the three public entrances. This is similar to the classical design of a central hall. It is a three-storey hall. The hall’s floor is laden with marble and from its center, the lower laden auditorium of the library consisting of 385 sitting arrangements is available. This can be seen though the center space of the central hall. And the ceiling also has a circular open area through which the children’s library on its top is visible. The floor is stacked with large collection of artwork that are visible on the walls, floors, and ceilings of the hall. The hall also includes the mosaic Events in Life of Harold Washington by Jacob Lawrence in the floor. The other areas of importance like the auditorium, the main exhibition hall, meeting rooms, etc. are easily accessible through the central hall. The building has a square footage area of 75000 square foot. Ev en though the building is huge and complex in its architectural design, visitors to the library find is least difficult to find their way around. All the floors within the building are accessible through escalators or elevators. The second floor of the buildings has the children’s library names Thomas Hughes Children’s Library. This section is the largest collection of children’s books in the Midwest. The children’s library has a size of 18,000 square feet of space. The children’s library also has a theatre for puppet shows and magic performances (Duff 92). From the third through the eighth floor are the core HWLC. These are connected through en elevator and a centrally placed elevator. These floors hold the sections for the four subject divisions of the library. The users of the library can browse through the library collections, research, or use other services like inter-library loan, etc. these also have computer assisted references, language le arning center, reading machines for blind people, and learning center for adults (Duff 92). Figure 2: Design and layout of the library, (Duff 92) The reading room of the library is monumental. The public space is done in â€Å"marble, terrazzo, bronze, and maple† to match the elegance of traditional libraries (Duff 93). The space is designed to give out the feeling of scholarly, comfortable, and relaxed atmosphere, but not overbearing. The ambience of the room is derived more out of the layout and design of the room, and due to the use of light colored raw material in construction of the interiors and the use of indirect lighting. The furnishings in the reading room are made of natural maple wood. The plastered walls are painted in a light shade of gray that runs throughout the building. The Turkish and Italian marbles used on floors, countertops, and wainscots are mainly used in light colors. The carpeting and the terrazzo too are done in soft colors. The indirect pendant li ghts with light colored tiled ceilings are considered good for both reading and preservation of books. Almost all the books in the library are shelved in open stack shelves. On the eastern part of the library, there are 50 smaller reading areas for the library users. There are ten reading rooms with ample of natural lighting from the large arched windows running along the State Street. Further, this section also has eight refurbished patron tables from the old Chicago Public Library of 1897 (Duff 93). There are one-storey alcoves that provide a quieter study area using maple carrels for the patrons. The ninth floor houses the Winter Garden that provides the most spectacular effect to the architecture of the HWLC building. It is an atrium with lots of sun light filtering though the glass ceiling. The patrons can read or can relax in the garden. This also allows for private parties or events at night. The garden is filled with olive trees and ivory covered walls. The administrative bl ock of the library is on the tenth floor overlooking the garden and is attached by a bronze-railed bridge connecting the north and south halves of the building. On the north, side of the Winter Garden is the Harold Washington Archives that is led through the double doors. On the other side of the winter garden are the colorful murals from Chicago artists. This leads to the professional section of the library with the section of science, and history. On the side of the building overlooking South Loop is the public restaurant. There is also a lounge on the ninth floor, the laboratory for preserving the books, and Special collection department (Duff 94). The HWLC is a combination of the traditional architectural form with modern functionality. However, if the library had to be built with the modern perspective in mind, the building would have looked similar to the Seattle Central Library or the Picture Book Museum at Iwaki City. The HWLC library confirms to both design and functionalit y. But design has a greater predominance with lots of ornamentation and stress on detailing works. However, modern library design would be more minimalistic in nature will less stress on ornamentation, and more space. The library space, as perceived by many, is believed to be a stuffy space. Therefore, proper use of space, light, and air is important to remove the stuffy feeling. This element is found missing in the HWLC library, that has a more dominance traditional walled concept of the library. The reading room of HWLC is found to be large though walled from all sides, with light gray walls that make the rooms morose to some extent. However, a reading space with lots of light filtering though glassed walls would provide a great respite for readers, as they would be in constant connection with the external world and the stuffiness of the books all around can be removed. Therefore, the functions of the library should dictate what the look of the building should be rather than desig ning the looks and then fitting in the functions. A modern building would use less of the classical material like marbles, red bricks, granite, etc. The library building in a modern sense would use materials like concrete, glass, and aluminum. However, a particular blend of modernity and traditional architectural form in the exteriors can become confusing. One simple usage of this blend can be in allowing the exterior of the building resemble a traditional classical architectural design, while the interior being designed to attain optimum functionality through modern minimalistic style. However, a mix of both in the exterior as well as in the exterior creates a confusion of designs. Becker, Lynn. Sleekness in Seattle. 2006. Web. Duff, John B. The Harold Washington Library Center. Library Journal (1991): 91-96. Print. Harold Washington Library. Harold Washington Library Center. 2011. Web. Knox, Janice and Heather Olivia Belcher. Chicagos Loop. San Francisco, CA: Arcadia Publishing, 2002. Print. Plootnik, Art. Chicago to Build nations largest municipal library. American Libraries August 1988: 565-66. Print. Schulze, Franz and Kevin Harrington. Harold Washington Library Center. 2003. Chicagos Famous Buildings. Web. Watkin, David. A history of Western architecture. London: Laurence King Publishing, 2005. Print. Webb, Terry. Building libraries for the 21st century: the shape of information . North Carolina: McFarland, 2000. Print.

How to Answer the Question Whats Your Desired Job Title

How to Answer the Question Whats Your Desired Job Title It may seem like the most obvious thing in the world: your desired job title on your resume is the job you are applying for†¦ duh, right? Turns out, it’s not quite so simple. It’s true that every time you send your resume in for a job application, you should tailor it to match the position you’re applying for. But that doesn’t necessarily mean you should put, verbatim, the job title of the position you’re applying for. Seem counter intuitive? Here are a few things to keep in mind.1. Help the hiring manager out.Remember that your resume is just one of hundreds or thousands the HR department is filtering through. Listing the job title you want at the top of your resume helps them sort you into the right search and get your materials seen by the right people. Don’t leave the hiring manager guessing as to what job you are after.2. Reference your target job.Be a little ambitious and list the position title for the job you really want at the c ompany. Not CEO or anything, but perhaps a rung or two up from the position you might be applying in with. This shows your ambition and your commitment to growing and moving forward- hopefully at this company.3. Reference your old job.Unless you’re trying to move up or laterally or between fields, you might find it easiest to list your current job title. This only really works if you’re going for the exact same job at a different firm or company. But can be very helpful because your experience ought to match the position title perfectly.4. Don’t play it safe by trying to keep your options open.You might think listing a job title on your resume will limit your options- say the company doesn’t have that position open, only one below it? But the risk is much higher if you keep HR in the dark. And you just might get considered for a higher-up position.5. List multiple titles.If you qualify for more than one open position, you might feel the urge to list both. As long as these positions are similar enough- or at least in the same department, with different level gradations, this is fine. Just note, if this is for a resume, write it like this: â€Å"Software Developer/Web Programmer,† separating the two titles with a slash. (If you are really applying widely, try not to apply for two drastically different positions at the same company to avoid having to say: â€Å"Front Desk Manager/CPA.† That just makes it look like you are taking lazy shortcuts and/or don’t know what you want to be when you grow up.6. Be realistic, but strive for the best.Again, you don’t want to list a position three pay-grades away from anywhere you could possibly hope to be. But do set your sights on something a little better than your current position, especially if your skills and experience aren’t far off from reaching that level and you believe you’d be well up for the challenge.