N1 Assignment Example | Topics and Well Written Essays - 250 words

N1 - Assignment Example Communication is one of the primary steps that can dissolve the â€Å"silo† culture of care. The independence and autonomy practice by patients, care teams, organizations, and the healthcare environment should be replaced with interdependence between them (Yong & Olsen, 2010). All the highlighted stakeholders should collaborate in the provision of care to ensure that the goals of care are effectively met. Although the autonomy of each of the above should be maintained, the independence aspect should be replaced with cooperation and collaboration. In other words, all the above stakeholders should work together, instead of operating as single and independent units. A delivery model that seeks to dissolve the â€Å"silo† culture should also encompass redesigning the relations aspect of the model in a way that defines proper relationships between all the stakeholders involved. On the same note, the objectives and goals of health care should be formulated and implemented at an organizational level, as opposed to department-based pursuits of achieving these goals and objectives (Yong & Olsen, 2010). With that, each of the aforementioned stakeholders would partially contribute towards the final outcome. That is to say, the primary goals would be the summation of the achievement of the stakeholders and their

The Relationship between the Director and Directee Essay

The Relationship between the Director and Directee - Essay Example This in essence means that spiritual directors should have love for their spiritual directees. In the video, we also learn that good spiritual directors should be humble and should not impose their views or their wishes on their spiritual directee; this point is actually supported by Barry and Connolly when they say that humbleness is one of the pre-requisite of good spiritual direction. Again, we learn from the video that good spiritual directors should be competent in their work, and that they should have a good grasp of the teachings of the church; this view is supported by Barry and Connolly when they say that competent spiritual directors should undergo specialized training meant to prepare them for the ministry of spiritual direction. The other important point that we learn from the video is that competent spiritual direction requires confidentiality on the part of the spiritual director; in the video, we find Fr. Cain as the spiritual director quite confident in his work in di recting Virginia Blass, his spiritual directee. Lastly, we learn from the video that a good spiritual director should be a good listener, this view is emphasised by Barry and Connolly in their writing. In this interview, my interviewee is Pastor Eric Brown. Pastor Brown has been involved in the ministry of spiritual direction for the last five years. The following is a summary of my conversation with Pastor Brown. Answer: I recognized my call to the ministry of spiritual direction after being a pastor for five years. Before I became a spiritual director, I was involved in the ministry of preaching the word and I had travelled to many places preaching the word, including to places like Africa and India. During this time, many people whom I preached to inquired from me how they could know the ways of the Lord in their lives. After reflecting for quite a long time about how I could help

Medical Marijuana Essay Example | Topics and Well Written Essays - 1750 words

Medical Marijuana - Essay Example The medical use of marijuana by human beings was first time registered in the Chinese pharmacopoeia in 2727 BC. It was allowed to usage in the U.S until the federal government prohibited it by the Marijuana Tax Act of 1937. In the 1970th The Controlled Substance Act established five categories of schedules depending on the danger of the drug. Marijuana was put in the 1st Schedule, to the drugs with the high potential for abuse. It was said to be a drug with "no currently accepted medical use in treatment in the United States." (Mathre, 1997) Humans have been using marijuana for thousands of years already as an antidepressant, a pain killer, a medicine against the nausea, and just for fun. Despite of the fact that cannabis was forbidden in the U.S in thirtieth, people have been smoking till the present moment. Of course, all of that enormous market is illegal now; the government doesn't get a cent from this business. Those, who use cannabis are under the threat of being caught and accused of drug abuse by the police, but it doesn't stop them from smoking. Doctors now say that cannabis makes less harm than nicotine does. Thus, it's obvious that marijuana should be legalized, just to let the government control its use, prevent abuse, and get taxes from those who run this business. Cannabis is considered to occupy the fourth place in the list of drugs most often used in the U.S and Europe, outrun only by alcohol, caffeine and nicotine. Thus, cannabis is mostly seen as a recreational drug, despite of the proved medical efficiency it has. Scientists prove that in discussions of the use of cannabis one of the biggest problems over the past few years has been the difficulty in separating the debate on the recreational use from that on the therapeutic use. (Groman, 1997). This is one of the main reasons for which the debates led on the medical use of cannabis in the U.S are so severe. Numerous opinions exist about the effect of cannabis on human's health, and about the consequences of its legalization. The supporters of marijuana legalization for medical purposes prove that it helps to reduce unwanted symptoms of migraines, glaucoma, AIDS, depression and many other conditions. In the same time, the opponents point that marijuana is suspected to cause mental illnesses and induce addiction. Nevertheless, numerous researches exist that prove the effectiveness of using cannabis for treating the illnesses listed. Smoking marijuana really relives the symptoms of various conditions, including even the nausea in pregnant woman. (Mathre, 1997). It's obvious that lots of people still buy marijuana to relieve the symptoms of their diseases despite of the existing laws. So, it would be logical to legalize cannabis for medical purposes, as it's helpful and people still use it regardless of the fact it's forbidden. Let's also recall that cannabis is one of the leaders of the list of drugs used by Americans. The current research displayed, that 70 millions of Americans have tried marijuana (Dale, 2004). So it would be unfair to refuse the sick people the thing that healthy ones use frequently. The supporters of legalization of

HOW TO MAKE STUFF Research Paper Example | Topics and Well Written Essays - 750 words

HOW TO MAKE STUFF - Research Paper Example The term DIY itself is a self-explanatory terminology. Many individuals and companies are coming forward and making DIY a commercial venture especially with the advent of internet and modern advertisement techniques. Question # 3 (b) The most important thought that can be observed by the interview in the article is about the documentation of the things made locally on DIY principles. The sole idea of creating new things is that it can be improved by another person. This can only be done if proper videos and documents are present of the original thing. Limor Fried explains that a simple invention can be converted into a complex one when two or three people work on it simultaneously. This can only be done when the information is transferred from one DIY worker to another. To prove her argument, she explained an example about wave shield, which is a self-made audio add-on for the Auduino board. It adds audio quality to the already present audio hardware. Limor explains that this is the first step. Not a long time will be required by someone to convert into a complex machine. Question # 3 (c) The kind of equipment being used by the young generation is very high-tech state of the art which includes microcontrollers and computers. The software which are being used more nowadays are, the ones which help in simulating a scenario. These software include CAD/CAN which help in simulating 3D objects and speculate their properties rather than wasting time and money on making the actual thing physically. This equipment is cheap when compared to the prototype equipment or the ones that were first used in their respective categories. The equipment that I have seen in the article and which is familiar to me is the microcontroller and the lathe machine. I haven’t used the lathe machine but with the proper training, it would not be very difficult. The microcontroller is the one device I have actually used and programmed using PIc device. Question # 3 (d) The article  "How to make stuff out of plastic† was picked because there is not a lot of heavy machinery that has to be set up for this kind of a project. Making miniature plastic items, which are scaled down versions of actual size objects, is a very unique and eye-catching theme. If I get the required hardware and software for such project, I will make small decoration pieces, for placing in show cases. A lot of different kinds of cars, buildings and decorative objects can be carved out of plastic using the 3D model technique that has been described in the article. This can be taken up as a hobby as well as small business, selling miniatures online. Question # 3 (e) Arduino Laser Tripwire is the article I have picked. I chose this article because the thought of having a personal security alarm system is a very attractive feat for me, if somebody actually achieves it. I will put this system outside my corridor and wire the alarm or flash light in my room so that if somebody is coming towa rds my room, I know it before they come. It can be very handy when one is awake and you parents wanted you to sleep. Even before the parents enter the room, one will be tucked up it bed nicely. Question # 3 (f) â€Å"Kickstarter† is a website where armature inventors can post about their ideas and request for financial assistance. Eager people find what projects they like and can help the inventors on the financial side

Investments Math Problem Example | Topics and Well Written Essays - 1000 words

Investments - Math Problem Example (iii) Estimating factor premia. If any on do it nicely he/she can identify a better stock for investment to make lot of money. But these identification and estimation is itself a tough task. Part C: Answer: If we talk about portfolio risk options trading looks a lot more versatile than futures trading and the main reason behind it is a profit in all direction can be created by using option strategies. But if we look at the future trading it is single directional that is the direction of money id directly proportional to the direction of the stock price. So we can say that futures' trading is one of the important risk management tool and at the same time a speculative technique whereas options' trading involves a strategic investment on its own. Hence we can say that both trading instruments can place themselves in every well diversified portfolio for the investor. Question 5: Part A: (a) Answer: As we know that, According to CAPM, Where, R(i)=Expected rate of return R(f)= Risk free rate of return R(m)= Market rate of return =beta So, Hence the expected rate of return=12% (b) Answer: The expected rate of return with =0 is equals to the risk free rate of return. (c) Answer: According to CAPM, Now as the share will be sold of after 1 year, Value of share price after one year=$41 Expected dividend=$3 Hence, Hence the share is underpriced. Part B: As we can see from the graph here the x-axis represents the portfolio return and the y-axis represents the risk factor. Portfolio can't be expected above this efficient frontier line. At the lower level we can see that a low risk represents lower return, medium risk medium return and high risk high return. Question 6: Part A (a) Answer: As we know that: So, (b) Answer: The revised... If we talk about portfolio risk options trading looks a lot more versatile than futures trading and the main reason behind it is a profit in all direction can be created by using option strategies. But if we look at the future trading it is single directional that is the direction of money id directly proportional to the direction of the stock price. So we can say that futures' trading is one of the important risk management tool and at the same time a speculative technique whereas options' trading involves a strategic investment on its own. Hence we can say that both trading instruments can place themselves in every well diversified portfolio for the investor. As we can see from the graph here the x-axis represents the portfolio return and the y-axis represents the risk factor. Portfolio can't be expected above this efficient frontier line. At the lower level we can see that a low risk represents lower return, medium risk medium return and high risk high return. Supportive argument: The manager performance only reflects in the return of the portfolio. i.e. when manager perform well the portfolio will also perform well.

Criminal justice Individual project & Discussion Board Essay

Criminal justice Individual project & Discussion Board - Essay Example hich has the guidelines for the prevention of juvenile delinquency (1), and Juvenile Justice Planning Committee, whose mission is â€Å"to provide resources for youth who are at-risk of becoming delinquent due to individual, school, family, peer or community factors. These resources will also provide services for youth who are delinquent, undisciplined or involved in the juvenile court process from intake through aftercare† (2). The United Nations Guidelines consists of some chapters: Fundamental Principals of the Guidelines, Scope of the Guidelines, General Prevention, Socialization Processes (in turn it consists of the following sections: Family, Education, Community, Mass media), Social Policy, Legislation and Juvenile Justice Administration, and Research, Policy Development and Co-ordination. The purpose of the United Nations programme is to underline the key-point factors of the juvenile delinquency prevention and the main issues to be researched and studied in this topic. The programme underlines that the prevention of juvenile delinquency is one of the main purposes of our society. A child must be in the center of the Guidelines orientation. All the means of community should be attracted to develop the processes of socialization and juvenile delinquency prevention: â€Å"Community-based services and programmes should be developed for the prevention of juvenile delinquency, particularly where no agencies have yet been established. Formal agencies of social control should only be utilized as a means of last resort† (1). The United Nations Guidelines appals to the work with youth and has the description of appropriate means concerning namely juvenile delinquency prevention. But in addition to that, it appals for adults – adult family members, teachers, other community subjects and mass media officials should be reliable for the youth development and their successful adaptation and socialization in our society. The programme links to school and other

Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.