Light in Interior Architecture: Annotated Bibliography

Light in Interior Architecture: Annotated Bibliography Architecture and space are always defined by light. Architecture is the masterly, correct and magnificent play of masses brought together in the light and our eyes are made to see forms in light, said Le Corbusier. (Curtis, 1987) light become more important part of the interior architecture. Le Corbusier thinks the characteristic features of architectural spaces only come to life with light and there are no architecture spaces without light. Hence light is the way it is arranged gives an appreciation of the space and generates specific emotive and aesthetic responses. The architect, through the different forms of light, realizes an order that is a pure creation of peoples mind and the light affects our senses intensely. The light deep resonances to influence architecture and control space. It is undeniable that sometimes in a building environment, shape, color or light can be used as a theme element, that is, the creator wants to highlight a certain aspect of the information. And app reciation is indeed in this area has been clear and strong feelings. But despite this, the emphasis on one aspect does not mean that this factor can accomplish the creation of the whole atmosphere and that it must be used synthetically. Since we look at the architecture interior space changed, the modern architecture also starts to focus on the light. They use the artificial lighting as the main method to gives a new definition to space. Richard Kelly was one of the pioneers of this techniques Glass House was the significant artificial lighting works by Philip Johnson and Richard Kelly. At some transparent architecture, the biggest challenge is the clear glass which turns into a mirror at night and to reflecting the interior lighting. By illuminating the surrounding trees and minimizing the interior lighting has played a flow from the daytime into the night. In The Structure of light (Meden, 2011) Articles, it reflected his theory of lighting. That was a great influenced by the light effects found in nature. Nowadays his terminology is used to describe some conceptual background for numerous lighting solutions. In particular, his concept of distinct types of lighting: Focal glow and ambient luminescence. Focal glow is for Kelly a way to point out important elements and the Ambient luminescence is the background lighting that serves to perceive the environment in general. Use Artificial lighting to creating architecture space become central to our modern architecture and Kellys perspective is a valuable source of inspiration to use lighting to creating images of such iconic power. According to the traditional Japanese interpretation, architecture is always connected with nature. Further connections with nature are effected by the subtle transformations caused in part by delicate contrasts of light and shade. (Pare, 1996) So, Thus, you can clearly see the natural light performance in Andos architecture. In Japan, the Church of the Light was one of Tadao Andos signature Japanese architectural style work. The Church of the Light clearly pointed out that Andos personal architecture characteristic between nature and architecture, through the way in which light can define spaces is also can through the light to create new space perceptions equally. The Church of the Light was completed in 1999. The church of light focus on the cross. Andos to put the cross on the east facade allows for light to pour into space throughout the early morning and into the day. It has a dematerializing effect on the interior concrete walls transforming the dark volume and bring it from d arkness to light. Use the simple medium of creating a pure, unadorned space. The intersection of light and solid raises the temporal and spiritual cognition of audience. As a modern architecture, those minimalist structures use lots of factors of light into interior space. light is an important controlling factor in Andos architecture. Light is the original source and the wellspring of all the laws of nature, whether known to human science or not. In Kahns words, matter is extinguished light. When light ceases to be light it becomes matter. Silence tends to express something, and light creates it, gives It form. (Giurgola, 1979, p. 16) Another different contrast or form of light is the shadow to express the meaning of light. Louis I. Kahn in this regard also made great achievements and he believed that the dark shadow is a natural part of the light, Kahn never attempted a space for a formal effect with no light. For him, a rarely of light to show the level of darkness: A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it is. Each space must be defined by its structure and the character of its natural light. (Kahn, 1993, p. 36) Thus, the light as a source is often hidden behind louvers or secondary walls, thus concentrating attention on the effect of the light and not on its origin. Like the MIKVEH ISRAEL SYNAGOGUE, Louis I. Kahn works on the ceiling, the ceiling as a smooth and white surface, when the wall opening, it will cast starkly pronounced patterns of shadow and light o to this surface. It is the particular technique in his architectural forms. Material lives by light, Wrote Louis I. Kahn. You are spent light, the mountains are spent light, the trees are spent light, the atmosphere is spent light. All material is spent light. (Giurgola, 1979, p. 36) As for the performance of the texture of the material, but also with the help of the role of light. Such as the original band structure arranged together in the suns exposure, in addition to the structure itself, the three-dimensional sense of the obvious, but also for the wall or the ground shed a shadow, this change in the formation of a visual contrast, also stressed the rhythm of the building and the depth of space, often gives a clear, simple impression. le Corbusier use the site of Ronchamp to make the establish relationship between the light and materials. Corbusier wanted the space to be meditative and reflective in purpose.   The stark white walls add to this purist mentality that when the light enters the chapel there becomes this washed out, ethereal atmosphere.   The effect of the light evokes expressive and emotional qualities that create heightened sensations in tune with the religious activities. The walls of Ronchamp give the building its sculptural char acter and each wall becomes illuminated by these differing window frames, which in conjunction with the stark whitewashed walls gives the walls luminous qualities punctuated by a more intense direct light. Rather the light is what defines and gives meaning to the chapel experientially. References Curtis, W., 1987. Le Corbusier: nature and tradition. London: Arts Council of Great Britain. Meden, R., 2011. The Structure of light: Richard Kelly and the illumination of modern architecture. Richard Kelly and the illumination of modern architecture, 48(12), p. 2299. Pare, T. a. 1.-R., 1996. ando,tadao,1941-;ArchitectureJapanHistory20th century. London: Phaidon. Baek, J., 2009. Shintai and the Empty Cross: Tadao Andos Church of the Light. Architectural Theory Review, 01 04, pp. 55-70. Giurgola, R., 1979. Louis I. Kahn. 5th Spanish/English ed. ed. Barcelona: Editorial Gustavo Gili . Kahn, U. B. 1.-. L. I., 1993. Louis I. Kahn : Licht und Raum = light and space. Basel ; Boston: Birkhà ¤user Verlag.

The Return: Shadow Souls Chapter 29

Someone was trying to make her drink out of a glass. Elena's sense of smell was so acute that she could taste what was in the glass already – Black Magic wine. And she didn't want that! No! She spat it out. They couldn't make her drink. â€Å"Mon enfant, it is for your own good. Now, drink it.† Elena turned her head away. She felt the darkness and the hurricane rushing up to take her. Yes. That was better. Why wouldn't they leave her alone? In the very deepest trenches of communication, a little boy was with her in the dark. She remembered him, but not his name. She held out her arms and he came into them and it seemed that his chains were lighter than they had been†¦when? Before. That was all she could remember. Are you all right? she whispered to the child. Down here, deep in the heart of communion, a whisper was a shout. Don't cry. No tears, he begged her, but the words reminded her of something she couldn't bear to think of, and she put her fingers to his lips, gently silencing him. Too loud, a voice from Outside came rumbling in. â€Å"So, mon enfant, you have decided to become un vampire encore une fois.† Is that what is happening? she whispered to the child. Am I dying again? To become a vampire? I don't know! the child cried. I don't know anything. He's angry. I'm afraid. Sage won't hurt you, she promised. He's already a vampire, and your friend. Not Sage†¦ Then who are you afraid of? If you die again, I'll be wrapped in chains all over. The child showed her a pitiable picture of himself covered by coil after coil of heavy chains. In his mouth, gagging him. Pinning his arms to his sides and his legs to the ball. Moreover, the chains were spiked so that everywhere they dug into the child's soft flesh, blood flowed. Who would do such a thing? Elena cried. I'll make him wish he'd never been born. Tell me who's going to do this! The child's face was sad and perplexed. I will, he said sadly. He will. He/I. Damon. Because we'll have killed you. But if it's not his fault†¦ We have to. We have to. But maybe I'll die, the doctor says†¦ There was a definite lilt of hope in the last sentence. It decided Elena. If Damon was not thinking clearly, then maybe she wasn't thinking clearly, she reasoned out slowly. Maybe†¦maybe she should do what Sage wanted. And Dr. Meggar. She could discern his voice as if through a thick fog. † – sake, you've been working all night. Give someone else a chance.† Yes†¦all night. Elena had not wanted to wake up again, and she had a powerful will. â€Å"Maybe switch sides?† someone – a girl – a young girl – was suggesting. Little in voice, but strong-willed, too. Bonnie. â€Å"Elena†¦It's Meredith. Can you feel me holding your hand?† A pause, then very much louder, excitedly, â€Å"Hey, she squeezed my hand! Did you see? Sage, tell Damon to get in here quick.† Drifting†¦ â€Å"†¦drink a little more, Elena? I know, I know, you're sick of it. But drink un peu for my sake, will you?† Drifting†¦ â€Å"Trs bon, mon enfant! Maintenant, what about a little milk? Damon believes you can stay human if you drink some milk.† Elena had two thoughts about this. One was that if she drank any more of anything, she might explode. Another was that she wasn't going to make any foolish promises. She tried to speak but it came out in a thread of a whisper. â€Å"Tell Damon – I won't come up unless he lets the little boy free.† â€Å"Who? What little boy?† â€Å"Elena, sweetie, all the little boys on this estate are free.† Meredith: â€Å"Why not let her tell him?† Dr. Meggar: â€Å"Elena, Damon is right here on the couch. You've both been very sick, but you're going to be fine. Here, Elena, we can move the examination table so you can talk to him. There, it's done.† Elena tried to open her eyes, but everything was ferociously bright. She took a breath and tried again. Still much too bright. And she didn't know how to dim her vision anymore. She spoke with her eyes shut to the presence she felt in front of her: I can't leave him alone again. Especially if you're going to load him with chains and gag him. Elena, Damon said shakily, I haven't led a good life. But I haven't kept slaves before, I swear. Ask anyone. And I wouldn't do that to a child. You have, and I know his name. And I know that all he's made of is gentleness, and kindness, and good nature†¦and fear. The low rumble of Sage's voice, â€Å"†¦agitating her†¦Ã¢â‚¬  the slightly louder murmur of Damon's: â€Å"I know she's off her head, but I'd still like to know the name of this little boy I'm supposed to have done this to. How does that agitate her?† More rumbling, then: â€Å"But can't I just ask her? At least I can clear my name of these charges.† Then, out loud: â€Å"Elena? Can you tell me what child I'm supposed to have tortured like this?† She was so tired. But she answered aloud, whispering, â€Å"His name is Damon, of course.† And Meredith's own exhausted whisper, â€Å"Oh, my God. She was willing to die for a metaphor.†

Early Childhood Research and Practice Essay

From the heading I am able to see that the journal is going to be about â€Å"Learning Stories and Children’s Powerful Mathematics. † There are three authors in total who were part of the publishing of the journal, they are Bob Perry, Sue Dockett and Elspeth Harley. It is possible to find out a great deal of information about the authors, for example what university they attended, their current job roles and what they are interested in researching. The journal was published in the Early Childhood Research Practice, and it can only be found here. The journal has been peer reviewed. From reading the title and the abstract, I have learnt that â€Å"The approaches to teaching and learning mathematics in Australian preschools and schools can be quite different. † It is believed that different cultures are taught in different ways, however I would have to disagree with this statement, as schools today have multicultural classes, therefore every child has an equal opportunity and is taught the core subjects in the same way. The introduction made it clear that there is often conflict between this increase in formality and the play-based, child-centred philosophies of prior-to-school settings (Thomson, Rowe, Underwood, & Peck, 2005). They key to the research was to investigate young children’s mathematical experiences. The article was set out under numerous headings, separating key information into paragraphs. With-in the articles there are also tables showing how maths can be linked with play and whether it is a successful way of teaching the younger generation. Two of the authors of this paper worked with a small group of early childhood educators for two days in 2005 and two days in 2006. This paper reports how the powerful mathematical ideas and the developmental learning outcomes were brought together by a group of practicing early childhood educators into a numeracy matrix that encouraged the educators to plan, implement, and assess their practices. It also considers the use of learning stories by the early childhood educators to assess the mathematics learning of preschool children. Their list bears many similarities to other such lists (see, for example, Greenes, Ginsburg, & Balfanz, 2004; National Council of Teachers of Mathematics, 2000). Learning Stories are qualitative snapshots, recorded as structured written narratives, often with accompanying photographs that document and communicate the context and complexity of children’s learning (Carr, 2001). Luke has been given the opportunity, through the provision of time, materials, and space, to â€Å"participate purposefully in spatial tasks† and to â€Å"demonstrate flexibility and to make choices. † The article was easy to follow and fulfilled all of its set aims. Through their use of the numeracy matrix, the educators are now able to see how each of the powerful ideas contributes to the DLO. One of them was able to suggest that the work with the numeracy matrix had helped them see how the DLOs were the capstones to all that they were trying to do in all learning areas The purpose of this paper was to introduce the numeracy matrix, which has been developed as part of the Southern Numeracy Initiative in South Australia. subjective evidence from the participants in the Southern Numeracy Initiative suggest that the use of the numeracy matrix and the thinking behind it have had positive effects on the pedagogical practices of the early childhood educators involved. However some educators disagreed with this and the source can’t be trusted. The article gave a to the point review of what they were trying to achieve and also gave references so if you wanted to further your knowledge on the topic or similar reports then you could do so. Unlike previous articles, this one did not relate to anything that I have previously read. It interested me as I believe that maths is over looked and there is a great amount of ways in linking it in with everyday play and practice; however some educators do not do that. With Australia now putting this â€Å"matrix† into place others may follow suit and see the positive outcomes. References Australian Association of Mathematics Teachers and Early Childhood Australia. (2006). Position paper on early childhood mathematics. Retrieved March 7, 2010, from http://www.aamt. edu. au Carr, Margaret. (2001). Assessment in early childhood settings: Learning stories. London: Paul Chapman. Carr, Margaret, & Claxton, Guy. (2002). Tracking the development of learning dispositions. Assessment in Education, 9(1), 9-37. Greenes, Carole; Ginsburg, Herbert P. ; & Balfanz, Robert. (2004). Big math for little kids. Early Childhood Research Quarterly, 19(1), 159-166. Thomson, Sue; Rowe, Ken; Underwood, Catherine; & Peck, Ray. (2005). Numeracy in the early years: Project Good Start. Melbourne: Australian Council for Educational Research.

Essay on Online Social Networking and Politics - 2683 Words

Introduction The internet is one of the most dynamic inventions in the history of mankind. It spreads knowledge and allows for rapid communication amongst untold numbers of people on a scale previously unimaginable. It has revolutionized countless aspects of the modern world, ranging from its effects on business practices and the economy to creating new forms of leisure activities and educational content. The multitude of ways the internet has affected the modern world is truly astonishing. Online social networking is a relatively recent phenomenon of the internet. Online social networks have permeated their ways into millions of peoples’ lives. People create digital identities of themselves, updating and maintaining their online†¦show more content†¦Dean trailed in the polls miserably, garnering support that was typically less than the margin of error. But Dean was a unique candidate. Part of his appeal was that he was not a traditional polished politician, but was an â€Å"outs ider† to the political game. The Dean campaign was not getting much media coverage (Trippi called them â€Å"dismissive†). The Dean camp felt the only way to succeed was to bypass the traditional means of building a campaign and â€Å"appeal directly to the American people† (Rampton, 2004). Joe Trippi brought with him a background of working for dot-coms in Silicon Valley, giving him significant exposure to the web. He noticed that while Dean trailed in the polls, the social networking portal Meetup.com (where users group up on a specific topic and propose meeting times at local venues) had 432 members for the Howard Dean group, more than any other political candidate. Trippi put a link to the Meetup.com portal on the Dean campaign site—membership leapt to 2,700, while the next closest Democratic candidate, John Kerry, had only 330 members (Rampton, 2004). 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