Forward Contracts Essay Example | Topics and Well Written Essays - 500 words

Forward Contracts - Essay Example Although these simple arrangements can easily mitigate foreign exchange rate risks, there are several advantages and disadvantages of using them to hedge foreign exchange risks (Feng, 2007). The first advantage of using forward contracts to hedge foreign exchange risks is that future rates can be fixed in advance. This therefore eliminates the downside risk exposure. Secondly, forward contracts are more flexible with respect to the amount of money to be covered. Thirdly, forward contracts are relatively simple and straightforward to both comprehend and organize (Feng, 2007). On the other hand options allow the contracting party to settle forward contracts at an agreed and fixed exchange rate, but at any time between two specific dates. This means that option-date forward exchange contracts can be settled at the agreed rate if currency cash-flows occur between the two set dates (Meera, 2009). Although forward exchange contracts are simple agreements that can mitigate exchange rate risks, they have some shortcomings. In particular, it may be difficult to get a counter party who will agree to fix future exchange rates for the time period as well as the amount in question. Secondly, forward contracts do not provide an opportunity for the parties to benefit from favorable fluctuations in the exchange rates. Thirdly, forward markets only exist for major world trading currencies such as the Dollar, Euro, Pound or Yen, but they do not exist for exotic currencies (Doupnik & Perera, 2007). The main disadvantage with options is that the issuer of the option receives the fees upon the specified date and is obligated to buy the securities at the other party’s option. Additionally, options are subject to basis risks and only provide a partial hedge (Meera,

Best war ever Essay Example | Topics and Well Written Essays - 500 words

Best war ever - Essay Example How to make this Planet Earth heaven-like? The answer is simple and straightforward. Eyes full of understanding, hearts full of love and the life that refuses conflicts-enough, these alone are enough! But when the war is declared, the objective of the country involved in the war, is to win the war, no matter how it wins! The advanced technology was brutally used in World War II, and it served very well, the ultimate purpose of any war—to win the war, to end the war and to secure peace! The main objective of the war-related technology is to win the war with minimum casualties. Technologically, America was superior on all counts than its enemies in war. It helped to contain and defeat its foremost enemy, Japan. To start with, â€Å"Japan’s naval technology and fighting methods, innovative in the beginning-stages of the war, quickly lagged behind the Allies. Japan lost naval air-battles because its ships and planes did not have the radar.†(Adams, p.62) Air-power dominated during II World War. There was not much difference in their roles like reconnaissance, bombers, fighters and ground-support though each area was technologically far advanced. Some additional roles were seen for the aircrafts in WW II. Airlift the fighting forces and move quickly high-priority supplies, strategic bombing, targeted bombing of the civilian areas to hamper enemy industrial production and inflict casualties to destroy the morale. At the beginning of the war aeronautical warfare played limited role and little success was achieved. But actions at Pearl Harbor, the South China Sea, Taranto, and the Coral Sea changed the complexion of the war. America had the decided advantage in technology. â€Å"For many, including a majority of survivors from the era, the war years have become America’s golden age, a peak in the life of society when everything worked out and the good guys

A poem in which the poet creates a picture Essay Example for Free

A poem in which the poet creates a picture Essay Task-Choose a poem in which the poet creates a picture of a heroic or corrupt figure. Discuss the means by which the personality is clearly depicted. A poem in which the poet creates a picture of a corrupt figure is Porphyria’s Lover by Robert Browning. The poem written in 1837 is in the form of a dramatic monologue which helps to show the true nature of the corrupt sociopath. Throughout the poem Browning uses a series of literacy devices to help convey this idea. The form of the poem, dramatic monologue, is significant as the reader only ever experiences the speaker’s feelings and recollections of events. This forces the reader to doubt the narrator at various points throughout the poem. This form also leaves the reader believing that the situation is less straightforward than that being described. It is clear from the outset of the poem that the speaker in the poem is troubled. Through Browning’s use of pathetic fallacy in the first four lines of the poem he does not only illustrate the extreme weather conditions but also the speaker’s mind set: â€Å"It tore the elm-tops down for spite† This effectively highlights the speakers’s bitterness due to Porphyria’s failure to appear for their arranged meeting. Browning deliberately compares the speaker’s emotional condition to the weather as these are all negative emotions. The words sullen, spite and vex are the first early clues that the reader sees about the speaker’s true nature; being that of violence and aggression. The fact that the narrator is so distraught at the idea of not seeing Porphyria is the first slight indication towards his obsession with her. Also, the fact that the speaker is waiting for Porphyria immediately suggests that she in is control of their relationship; something that would have been extremely unusual and possibly slightly shocking to the Victorian audiences that the poem was written for. This idea is also suggested by the title of the poem. The title Porphyria’s Lover suggests that the speaker is dissatisfied; he wants to be more than just her Lover and feel less emasculated by her strong character. Browning also drops a hint of the speaker’s corrupt nature through the rhythm and rhyme scheme in the poem. The rhythm of the poem is iambic tetrameter which in this poem serves to create a regular pattern. The point in using this rhythm is to make the speaker seem rational, calm and normal while effectively disguising his true nature. However the Rhyme in the poem follows the scheme of ABABB. Unlike the regular, naturalistic rhythm of the poem the rhyme scheme is asymmetrical and adds intensity to the speaker’s words. This is possibly a hint to the speaker’s unstable nature and the madness within his head. The speaker’s obsession with Porphyria is developed when she eventually enters the cottage. He describes her as having â€Å"glided† in which shows she moved elegantly and gracefully. This word choice captures the speaker’s passion for Porphyria. The reader learns from the poem that she is from a higher social class than the narrator, which in turn makes the reader suspect that their relationship is a forbidden affair. However, this is left ambiguous and for the reader to decide. â€Å"straight/She shut the cold out and the storm† The poet’s use of enjambment here emphasises the power of Porphyria’s arrival and this also helps to continue the idea that she holds the dominant role in their relationship. The poet uses transferred epithet to stress the immediacy of the change in atmosphere after Porphyria’s arrival. Her practical actions represent the change in the speaker’s mind set. This example of transferred epithet effectively represents the immediate effect that Porphyria’s entrance had on the speaker. At the beginning of the story his heart was cold and his mind was stormy whereas following her entrance he feels content and calmed by her presence as she has metaphorically shut the storm out of his mind. Another aspect of the poem which would have been somewhat shocking to a Victorian audience is the unusually sexual manner in which Porphyria next behaves. She removes her outdoor clothing, lets her hair hang lose, puts her arm around the narrator, positions his head on her bare shoulder then proceeds to declare her love for him. However the narrator’s reaction to this takes the reader by surprise. A dash is used to introduce a change in tone as the speaker begins to describe Porphyria in a negative light: â€Å"Too weak, for all her heart’s endeavour† Here, Browning writes in an almost contemptuous tone. The narrator is disapproving as he believes that- although Porphyria wants nothing more than to be with him- she is unable to leave behind other ties in her life which are preventing her from being with the speaker forever. The narrator’s resentment towards these complications out-with his control is portrayed as resentment towards Porphyria and this sudden change in mood offers the first slight indication that the narrator is not mentally stable. At this point in the poem the reader does not know whether to trust all that the speaker is saying. We are shocked by the speaker’s lack of interest and lack of love towards Porphyria. However, the speaker then experiences the sudden realisation later in the poem that Porphyria worshiped him. This is a very strong emotional word which goes past simple passion and suggests he believes that he is the only thing Porphyria really cares about. It also shows that the speaker thinks of himself as almost god-like in her eyes. He is vain and narcissistic. Any sane person would be content with the declaration of love however not the speaker. The reader being sane finds his next actions even more shocking. He is not sane, he is troubled and his corrupt nature is beginning to show. The poem reaches the shocking and disturbing turning point when becomes clear that the speaker is going to strangle Porphyria: â€Å"I found\ A thing to do†.

Needs Analysis Essay Example for Free

Needs Analysis Essay Majority of students lack understanding of mathematical language and show weakness in basic numerical computation. The students make frequent errors because they misread operation signs when adding or subtracting integers or carry numbers incorrectly when multiplying whole number and decimals. Furthermore, these students have difficulty understanding written or verbal directions or explanations, and find word problems especially difficult to translate. Current Conditions The current data shows that only 15 percent of the students were able to understand and perform the necessary computation with minimal errors on application problems to pass the semester exam with a 70 or above. Thus 85 percent were unsuccessful on the semester exam that focus on computation skills and understanding application word problems. Desired Conditions The optimal goal is to increase the student’s performance from its current state by 200 percent. By increasing the student’s performance, the students should be able to understand, define, and use mathematical terminology to solve difficult application problems without minimal computation errors. Data Collection Processes Discussion of Data Collection Instruments Used In order to determine what problems students had in school and what tools math teachers thought students should emphasize, interviews and focus groups were used due to the speed of receiving the results. Test score data was gathered from the district as it was already mandated by the district and results were already given. Test scores and the data retrieved from the district is meant to be similar to the state assessment that will be given towards the end of the 5th six weeks. Discussion of Sources of Data Surveys and other short interviews were given to the 6th, 7th, and 8th grade math teachers at the middle school campus. It is believed that it is partially due the lack of reviewing their own work is a potential source of the low test scores. Survey question was introduced by creating a baseline of how often teachers believed students should be checking their work. By first understanding this, it would allow a determination if there was in fact a difference between students’ actual reviewing patterns and the actual reviewing patterns. Additionally, an issue with reviewing would be if students are unfamiliar with how to check their work. By determining which skills the teachers deem to be the most productive when practicing their computation, the teachers will then be able to create a vertical alignment where instruction is built on those review skills. This would provide students with a foundation where their knowledge can be increased without the troubles of having to learn a new way to review. Typically the reverse operation would be done in order to check for the correct answer. However, if there is an issue in the basic computation it would hinder students being able to check their work. This was the reason why students were also given survey questions and were interviewed. Students would be asked how often they check their work and they would also identify their self-efficacy in computation of problems with decimals. If there is a need in that students do not check their work and if they do not feel competent in completing the problems with decimals, then it would dictate a need to reteach the material. Surveys and interviews were given to students due to their speed and their ability to quickly assess where a need was. Data Analysis Techniques Used The first survey question asked the students about the percentage of the time they reviewed their work after completing a math problem. The answer choices included: between 0-20 percent, between 20-40 percent, between 40-60 percent, between 60-80 percent, and between 80-100 percent.

Developing Nature in Architecture

Developing Nature in Architecture Nature is not what it used to be. Or at least that is what we may think, when we look at the way humans and their technologies have treated nature. When we speak of nature, however, we are essentially talking about our relationship with nature, never nature itself. What we refer to as nature or natural has always been as much about what we see, as it is about what we think is out there. And trying to bring nature into view is equally ambivalent. Images of nature cannot be taken at face value either. It is not the straightforward case of what we see, is what we get. What is at stake are our cultural perceptions of nature. In viewing nature we can only talk about what we call nature.(Michiel Schwarz,2005) To the extreme, to differentiate what is nature and what is not is always a matter of contention. Of course, nature will always be something that can be looked at, literally. The relationship between nature and culture can catch the attention of human in which the opinions and requirement of human towards nature are being changed and distorted. Thinking of arbitrary designing method is available in architecture; people actually play a passive role in their own space. Firstly, we must refuse the arbitrary imparting of uprooted greenery in design, then regain and give back the original characteristics to nature by creating a pathway in between inside (architectural) and outside (environmental) for humans to play an initiative role in approaching nature. Nowadays, people are more likely to stay in the architectural interior space than in the nature. Because of that, architects and designers just simply apply the greenery into the space and create so-called green architecture. But that is actually a kind of artificial design, and it will mislead the human to the perceptions of nature. Nature doesnt have a design problem. People do. Instead of using nature as a Mere tool for human purposes; we can strive to become tools of nature that serve its agenda too. What would it mean to become, once again, native to this place, the Earth the home of all our relations? (William McDonough and Michael Braungart, Cradle-to-Cradle) Its a challenge for designer to design a habitat for people and create a rich communication with surrounding natural sources within the living space. People will have to evaluate what nature actually is, in order to have a common view on that, it tends to give a justice to space instead of adopting the ideas of arbitrary design by imparting uprooted greenery into interior space. If not, nature will just become an object as part of human design in this age of genetic engineering, artificial beaches, virtual environment or uprooted greenery for decoration purposes. Regrettably, people will soon forget about the spirit and the value of the real nature and occupied by all the fake surface of nature. Body Sometimes, people will loose the idea of the original and change according to human perception. It may be hard to draw a line between these two boundaries. It is interesting to combine these two things together and have a discussion over it. Natures open-ended completion by architecture and the landscapes fundamental openness to architectural rewriting indicates unfolding of nature into culture through landscape, architecture and technology is the move from first to second nature. It may be seen as unfair to the human and nature itself when everyone imparts the artificial greenery in the space and that is so called sustainable green design. (Fig.1,2) Those small countries with limited space like Japan, architects try to maximize the interior living space and creating interior garden within the house. People tend to stay in the space and seldom approach to the outside world. An alternative approach is to differentiate between natural and artificial processes. Some processes can take place as a result of human action; but not others. For example, water flowing is a natural process; bathing is an artificial one. In this view, cultural processes are the clear result of purposeful human action; invention and control of the human will result in the culture. Some question may be pop out: Will there be any needs for functional buildings or spaces that aimed to be success as a decorative nature objects? The feeling of the users will be influenced by the concern for the nature and artificial green object directly. But, does such an aesthetic response show us the responsibility of the designers or do justice to either beauty or design? A beautiful world is what a human being pursues in their mind. So, it did urge us to design for the dwellings and tools are seemed as old as humanity. The problem is that the real aesthetics of nature are being forgotten by human being and only stay inside the spaces and play with the uprooted greenery. This becomes a requirement of people instead of the original meaning of the nature and the interaction between human and environment itself. The deeper side of beauty is the knowledge of living truth as an ongoing process of creation that is hard to understand. This is the beauty of inner purpose that emerges to our amazement because we try to discover those new things. The perception of an old nature is just getting more and more basically nurtures. Another question for this: Whether opposite equal to possible or impossible? The optimistic thinkers will probably believe that the control over the nature will continue until we get used with that and cannot waive it off. On the contrary, we can have our own dominant nature and the way people imparting nature in the spaces is an illusion. Nature will keep on changing with the footstep of human governs nature. The boundaries between nature and culture will never change. Thanks again to the science and technology, which blurred the line between nature and culture and abandon the real nature and separate them with the human being. The natural setting in our world make the space become compelling, it is because that it provides such a rich source of these properties, and the site specific architectural design takes advantage from each of the part. Interior materials, colors, patterns, textures, and artwork will draw the qualities and features of the architecture and landscape inside enhancing a seamless interior/exterior sensory experience. But, it is not telling us to use the same materials, but rather materials that consist of the qualities and features most derived from the architecture and the landscape. By integrating the natural elements of the site into the form of the architecture itself, human being will have the chance of experiencing the unique relationships between inside and outside from multiple perspectives as we move from space to space within the space. Furthermore, the boundaries of indoor rooms and outdoor spaces among visual and physical can be dissolving into a mosaic of inside-outside spaces. By using the walls and wings of the space to define outdoor rooms, the experience of living is extended into a sheltered natural environment. For this, both distant views and views of nearby nature are essential. Distant views link us with the nature of the site, while nearby nature links us to the confusion and immediate sensory pleasures of the design instead of move the nature into the space to approach the human being. We have no longer an outside and an inside as two separate things. Now the outside may come inside and the inside may and does go outside. They are of each other. Form and function thus become one in design and execution if the nature of material and method and purpose are all in unison. (Wright 1954 p.50) By the way, world and nature can be seeing as in the same level; there is no still form. Every form in becoming alive should move Man. Nature is the only source for architecture to keep on moving. Living architecture is used to enhance the spirit of human being and change the architecture into a living being. There are many ways of imparting nature to architecture, it is necessary to differentiate between two approaches: one which uses nature as a composing element and one favors leaving nature as much as possible untouched or as element of worship. This first result in ignorance and bring down the characteristics of nature; the second approach will influence directly to the separation among the built and unbuilt environment, or to stimulate human feeling and thinking by the organic architecture. When we discuss about imparting greenery into space and design, we will link to Biophilic design, which coined in 1984 by a Harvard biologist, Edward O. Wilson, to elaborate what he thought the inherent human attraction to nature: Incorporates real or simulated natural elements in an effort to promote well being. It is a quirky, lesser-known cousin of green design, and is concerned more with speaking to our emotions, our ancient genetic predilections, probably fundamental, for interaction with a natural world. Unlike green design, it is more focus on energy and protects natural resources, but not focuses on sustainable building practices. In another hand, Biophilic design is more concerned with appearances and natures relaxing effect. (Edward O. Wilson, 1984) Biophilic architecture is a part of a new concept in architecture, that work intensively with human health, ecology and sustainability precepts, such as integral part of architectural formation which must be in optimal proportion with other buildings material. However, the interpretation and final implementation of Biophilic design must have a regional dimension with regard to environment and culture. In accurate, there are twelve attributes identified, including color, water, air, sunlight, plants, animals, natural materials, views and vistas, faà §ade greening, landscape, habitats and fire. Human design has made nature more natural than natural: it is now becoming kind of hypernatural. Actually, this will never exist. It has surpassed the real thing; hypernatural nature is always just a little bit prettier, slicker and safer compared to the old kind. Lets be honest: its actually culture. The more we learn to control trees, animals, atoms and the climate, the more they lose their natural character and enter into the realms of culture. So, next nature will be start from cultural products that is complex and we can only integrate them with man-nature relationship. (Stephen R. Kellert) The basic dimension of Biophilic design is a place-based or vernacular dimension; it can be described as buildings and landscapes that connect to the culture and ecology of a locality or geographic area. Sense, spirit of place, underscoring how buildings and landscapes of meaning to people are the dimensions that become integral to their individual and collective identities, metaphorically transforming inanimate matter into something that feels lifelike and often sustains life. People want to experience the sensory, emotional, and spiritual satisfactions that can be obtained only from an intimate interplay, indeed from identification with the places in which they live. This interplay and identification generate the spirit of the place. The environment acquires the attributes of a place through the fusion of the natural and human order. (Rene Dubos, 1980,110) Human always connects theirs sensory such as physical, visual, material between interiors and nature. Compared to nature, most of the built environments support somewhat shallow and limited experiences, while Biophilic design can fulfill all of the senses fullyfor example like walking along the beach, camping in the forest, or watching sunrise. It is an active experience that awakens us every moment that we are living and going on with our daily life. Distinction between sustainable design (or green design) and Biophilic design can be considered as a challenge for the designers as it indicates how they can address the method to incorporate into our spaces. There are two primary reasons for Biophilic design in architecture; first, the clear ideas of benefits link with human performance, emotional well being, learning, stress reduction and healing. Secondly, from the environment viewpoint, it is an effort to eliminate pollution and greater protection to support clean environment. Frankly, health and healing are the clear ideas of benefits that are given by the Biophilic design. In advance, contacting with nature involves exposure to natural light or sunlight, yet another pain-reduction mechanism may come into play. When these advantages are known and agreed by the human, they will just have to try to impart greenery in the design as much as possible. From an environmental viewpoint, to inspire interest and appreciate nature, to incorporate Biophilic design features and elements in spaces are essential. This appreciation can be explained as a motivation for people to care for the environment and at the same time to protect it. Coming to the resolution of conflicts and achieving balance of Biophilic design link the connection with nature has been found to enhance healing and recovery from illness. Likewise, it also reduces health problems as well as social problems. Even the presence of limited amounts of vegetation such as grass and trees has been regarded as an adaptive behavior. The missing link in current sustainable design is a basic that will narrow down the focus on avoiding harmful environmental impacts. Low environmental impact design fails to address the critical needs equally of diminishing human separation from nature, enhancing positive connection with environmental processes and this important objective of Biophilic design. Human being may neglect some of the part in terms of modern architecture and construction, a condition the eminent architectural historian Vincent Scully described in this way: The relationship of manmade structures to the natural world, has been neglected by architecture. There are many reasons for this. Foremost among them, is the blindness of the contemporary urban world to everything that is not itself, to nature most of all. Lacking of experience is the main cause for this blindness; it indicates and reveals the illogical and self-defeating results of designing in oppositional relation to the natural environment. (Vincent Scully, 1991:11) So, by creating the element for example likes windows, doors, voids, and opening, those elements can support the space and connect it to the outside environment. Windows are very important for the interior spaces; they ensure access to views, daylight, sunlight, fresh air, outdoor spaces and activities, seasons, natures sounds, smells, and life. Windows help to connect building occupants with a richness that may be critical to the individual and at the same time, they also offer those outside building with a level of transparency, oversight, and contact with lifes activities that is critical to community. While a direct connection from the indoors to the natural diversity of outdoor places may be critical for human health and inspiration, the direct connection from outdoors to inside is equally critical. Windows reveal the spirit of place, as an important element for the spaces window act as a mirror of nature. The view of the nature outside or even the reflection of the environment being created by human is in a way non-arbitrarily defined as in between inside and outside. It incorporates a threshold whereby a strong dialogue between the inside and outside occurs with a unique in-between experience as the result. In human relationship with nature, we can also gain invaluable models from non-arbitrary architecture for current design education by showing an architecture that derives from and speaks to human beings existence in the world. By using this method, it shows a great planning and developing for the content of site, many opportunities can be get and created for human to view and approach the outside nature. Instead of applying greenery in the interior space as design tool, the in between transition space of inside and outside enhance the relationship of architectural spaces and environmental nature surrounds. By the way, the natural symbols can help us to think about how our buildings might be made more thoughtful instead of telling us on how to build.   Moreover, a deep understanding is more important when come to the question of creating a non-arbitrary architecture grounded in human being-in-the-world. The philosopher Karsten Harries writes that a key task of architecture is interpreting the world as a meaningful order in which the individual can find his place in the midst of nature and in the midst of a community. Harries argues that, too often, buildings dont respond to the needs of human dwelling because they are made arbitrarily instead of being let to arise out of the real-world requirements of particular people, places and landscapes. To give an annotation to human life, design both listen and incorporate nature and culture can be part of a non-arbitrary architecture. Harries claims that one need in creating a non-arbitrary architecture understands what he calls natural symbols: The underlying patterns of experience that mark the essential qualities of human nature and life, for example, qualities of direction, of weight, of materiality, of light and so forth. Natural symbols often express themselves in lived dialectics like up and down, vertical and horizontal, and center and boundary. (Harries 1993) Thus, architects and designers play an important role to explore the nature symbols in between the living spaces and environment, which will provide and enhance the dialogue between human and nature. The creation of an inside automatically shapes an outside, which then relates to inside into a dialectic relationship. Inside establishes physical security and safety from natures elements and societys demands and also facilitates a sense of identity for the person and group. In fact, eye catching interior spaces in the built environment often appear to have a connection with the outside environment. These areas indicate the changing of nature with culture. Furthermore, impressive design forms in the built environment that shows its quality in terms of porches, foyers, atriums, and interior gardens. So, the relationship within inside and outside bound of the areas is the criteria that we need to take into consideration. As a result, it makes the continuity linkage for it strongly. To show the familiarity and predictability, the connection to the geographic of an area must be secured. An example is the case study of Falling Water by Frank Lloyd Wright, which creates a powerful sense of insideness and is expressed in roughly; cladded stonewalls to melt the architecture space in the nature outside. In a contrasting way, the transparency of glass windows opens inside to outside and thereby connects the two spaces. In-betweeness involves a place neither inside nor out. It incorporates a threshold whereby a strong dialogue between the inside and outside occurs with a unique in-between experience as the result. (Fig.3) The fusion of interior and exterior-the cave and the clearing- so that the two melded and flowed together was Wrights great achievement, so of his contemporaries worked with the same way of opening the house to the outside world. In spite of his own rhetoric, Wright knew that an architecture that ignores the images of both cave and clearing is invalid, and he incorporated this knowledge into his finest work. The other example will be the famous house designed by Le Corbusier near Paris, Ville Savoy. The visible wall is at the other side of the interior courtyard. The ambiguity between the functional wall of glass and the visible wall is confusing and inharmonious. The developing technology of the twentieth century was regarded with a peculiar romantic fervor by architects. (Fig.4) By using nature as a component and mostly invisible, abstract one if a residential or urban complex is in the chaos of the citys built environment and borrowed nature if the building is embedded in unspoiled, open sites. The spirit of the nature will not appear itself automatically. Nature is an addition when it comes to unite the human and natural worlds and pay attention to revealing natures will as well as human souls embedded in nature. My goal has not been to communicate with nature as it is, but rather to try to change the meaning of nature through architecture by rendering nature abstract through architecture. All of my works are trying to create the confrontation between architecture and nature.'(Tadao Ando) On account of the boundary of spaces, people will also shows their strong feeling over it where they cherish the delineated spaces within the build environment, it helps to enhance the knowledge of clear and consistent boundaries and place demarcations. For that reason, how can the design itself create a pathway in between inside and outside so that the architectural space offers people to approach the outside nature instead of impart greenery arbitrarily? Architects should maintain a certain ambiguity and an unwillingness to entirely dissolve the boundary between culture and nature. It does so, not only through its visual identity, through a negotiation between emergence and disappearance, but more particularly through the contrast between the visual and the spatial realm, where one is simultaneously part of and distanced from the external environment. In advance, comfort can be gained through transitional spaces within and between built and natural environments by providing access from one area to another; hence, thresholds, portals, doors, bridges, and fenestration are the main factors of a built environment. Therefore, the transitional area in the space will be the boundaries among the interior space with the outside environment. Positively, people are showing their concern to the natural and built environments when variability has been united by integrated and patterned wholes. Moreover, people prefer in natural and built environments the feeling that breaks apart including an overall emergent property consisting of to the sun of the individual parts. The threshold not only separates and binds human beings; it also connects the private, intimate realm to an outside, public, workaday world. Interior space can be described as a magnet that can be found around us in any of the direction to which they can bring home with their gathered experience. The threshold that both disjoin and integrate an inside and outside sets in exercise a momentum of leave-taking and homecoming that sets the temporal rhythm of work and play, of an active and ruminative life. An interior space can be shown from that and it cannot exist apart from the path leading from its doorsteps to the doorsteps of another space and another realm. This pathway not only connects to interior spaces but also links a to a world that we know. (Fig.5) Human beings can interact with nature only if the urban geometry permits such interactions. In addition to visual line-of-sight, we pay attention to pedestrian access and the in between transition spaces. Having some uprooted plant life available is only first step: we need to make it accessible to pedestrians and design an environment in which such an interaction can be maintained and connected. Frequently, ornamental plants may be seen but not approached. We must create gardens that are physically hostile environment for the pedestrian. Pathways are exposed in the middle of this space, between the interior spaces and the forbidden green lawn. Private lawns are out-of-bounds, while any bushes and trees form a protective wall around a house, instead of belonging to the public land. We have to question this habit, breaking up outside environment into inside architectural spaces crisscrossed by paths. The other example that shows how transition spaces can define the space and function is The Museum of Modern Art in Ney York City. The Museum is an art museum located in Midtown Manhattan in New York City designed by Yoshio Taniguchi. (Fig.6) In Taniguchis MoMA design, the primary elements that internalize external space are vast windows that bring aspects of the city into the building, creating a layered effect that loosens the intensity and simplicity inherent in the modernist elements, and also declares the act of viewing art to be part of a multifaceted urban lifestyle. Transition spaces as a connector in between every separated space. It is important to create a passage in between different defined function of space. These corridor or verandah design can be a breathing place for people before entering another space. People used to be the participant in the space when theres physical access to outside by the solid walls but everything changed after the glass being used and applied. Visually, the solid wall was replaced by glass. The consequent interaction between the interaction between the interior space and the outside world is the most striking change to be noted in the design of contemporary buildings. So, how to create a new design modular system to solve the problem of people being an observer in the space nowadays? The very traditional layout and volumes of the house is connected and less of opening. So by creating an internal corridor/ verandah in the space can bring in the natural lighting and good in air ventilation. The principle of separating the volumes applied by the rearranging of independent volumes. (Fig.7) This figure is a diagram that experimented based on an existing house and show how the concept of separating volumes can be created by add in the internal corridor. People can enjoy different spaces and lifestyle, but not fixing the dwelling space. The volumes have a free layout but are connected by linear corridor and verandah elements. The verandah itself becomes a transition area between volumes and rooms. It separated the volumes and creates a additional distance for people to transit. The points of transition, in the old time design or architecture, provided physical passage as well as visual access. Until recently, the windows and doors were always operable and were required for ventilation. System of mechanical air circulation made it possible to have visual access to the outside world without direct physical access, and visual access to the outside world without direct physical access, and people experience exterior/surrounding space in most apartment buildings, hotels, and office structures passively, as an observer, not a participant. For this environmental isolation we will unavoidable pay a price. How can an architect achieve the Biophilic design by taking into consideration the elements/ structures that are placed in between interior and exterior? For example the sheltered structure is designed to decrease the direct sun coming in the interior space by creating the sun break. The very first step towards passive Biophilic design is to reflect upon the energy distribution in the building form and volume. Distribution of the energy needs to correspond to the function and activity of those spaces. (Fig.8) The advantages of natural cooling for human comfort and long-term health should be compared to the impact of variable and constant cold air blown through diffusers. The quantity and quality of outdoor air that can be delivered through natural cooling should be compared to that delivered by a range of mechanical systems, over time. Conclusion A bioregional approach to sustainable habitat design considers local origin a fundamental to its architectural methodologies, played out especially in the types of construction materials used and the source of these materials. (Fig.9) Biophilic exposure as well as passive and active solar hear gain. So the iterative process in sustainable development become very important for a bioregional built environment. The design related strategies included outdoor comfort/ ventilation and solar access/ sky exposure. An important consideration is user and pedestrian comfort. Studies of transition spaces assist designers in minimizing negatives wind effect while maximizing beneficial ventilation conditions. Some of these typically wind effects and their counter strategy applied, are: tunnel effect, downdraft, redirection, tear of edges and acceleration. Real curtains are an important part of the design, to nuance the outdoor light or define indoor spaces. (Fig.10) This figure shows how the form and opening of the blocks can affect to the daily natural lighting and air ventilation within the space. The requirements for solar and light access and sky exposure can be met on several different levels-right of way width, dwelling orientation, building faà §ade reflectivity, heights and massing, distribution of function and glazing percentage. To create new modular principles for define the new balance between the arbitrary design and non-arbitrary design in sustainability context. By balancing the openness and refuge/ sheltered element in the living space with an increased ability to view out and feel connected to others in the environment could be the better solution.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Due to the different situation and local context, just like Singapore that is lacking of natural elements and limited possibility of natural views, we should have certain methodologies and principles to guide and achieve the Biophilic Design. So there is many constraints and guideline for architects or designers to study and analyze before design. With well study of the site context and environment surrounded the building, can easily enjoy the benefit from the natural world. From the orientation of the buildings, form study and even every single opening can actually create a robust connection in between human, nature and space. So, there is no other way to approach nature world within architectural space only by applying the elements and attributes of Biophilic Design. Those artificial greenery and arbitrary way of imparting fake nature will only stop people to approach nature and forget about what is the real nature. Therefore, there is no artificial production and solution for people to approach nature within the architectural space but only a physical access/connector from inside to outside. And the transition pathway between inside and outside is the important role and the elements to encourage people approach the surrounding environment. Architects or designer should study the site condition and apply the attributes of Biophilic Design to enhance the living standard and create a robust connection between nature, people and space.

Rhythmic Foundations, and the Necessary Aesthetic in Peirce’s Categories :: Philosophy Philosophical Papers

Rhythmic Foundations, and the Necessary Aesthetic in Peirce’s Categories ABSTRACT: There has been a tendency in scholarship to steer quite clear of discussions of Peirce and Aesthetics, and I believe that the main reason that Peirce’s works lacks, perhaps even intentionally, a clear aesthetic theory is because his entire architectonic of experience is aesthetically founded. This thesis is based, in part, on the necessary aesthetic descriptions one is forced to use when describing something such as the categories. For example, Secondness necessarily elicits aesthetic descriptions of relations and tensions, Thirdness is described most accurately with words such as harmony and arrangement, and the process by which we come to attain a belief is an "aesthetic" endeavor aimed at satisfaction. Focusing particularly on the categories, and secondarily on the method for attaining belief, I hope to show that Peirce’s foundation is, itself, an aesthetic awareness of life. There has been a tendency to steer quite clear of discussions of Peirce and Aesthetics. Over and over, statements by Peircean scholars attest to the lack of philosophical guidance regarding the status and judgment of art that is available in his writings.(1) Peirce himself states that, "My notion would be that there are innumerable varieties of esthetic quality, but no purely esthetic grade of excellence."(2) Doug Anderson also states that a Peircean aesthetic is hard to piece together because it was a "very late addition to Peirce’s classification of the sciences." That is, even though aesthetics is presupposed by ethics, logic, and metaphysics, in Peirce’s prioritization of the sciences, his intention was that aesthetics was to be understood through the work he had already done in the other branches of his system.(3) This vagueness hasn’t, however, prevented scholars from speculating on the aesthetic in Peirce’s works. Yet even so, we are still faced with many problems. First is the "paleontological reconstruction", as Herman Parret states, of the various minuscule references by Peirce regarding the aesthetic. Second, it is claimed that if any approach to a Peircean aesthetic is going to be worthwhile, it will probably be too large to handle because it must incorporate his views on logic, metaphysics and theology.(4) Third, as pointed out by Beverly Kent, Peirce seems to conflate two senses of the aesthetic, where it is both a quality that is immediately present and an ultimate ideal.(5) I will argue that the main reason that Peirce’s works lacks, perhaps even intentionally, a clear aesthetic theory is because his depiction of experience is aesthetically founded.

Use of Performance Enhancing Drugs in Sports Essay -- Doping in Sports

The use of performance enhancing drugs in sports (doping) is done to improve athletic performance. Doping in sports has become a highly controversial topic among professional sporting venues and in the media. With the increased pressure to perform, high priced contracts, increased competition, and advanced training methods today’s athletes will try to gain an edge by any means necessary. Performance enhancing drugs used by athletes today include Human Growth Hormone (HGH), anabolic steroids, peptide hormones, amphetamines, insulin and stimulants. The reason athletes use performance enhancing drugs is to increase the amount of testosterone produced in the body. The increased testosterone in the body increases muscle strength by enabling new muscle growth. Although there are laws passed with the intention of ridding sports of the use of performance enhancing drugs, it is still a highly debated topic. Supporters argue it is beneficial for the sport. The opposition argues against it. A syndicated political columnist argues â€Å"Drugs that make sport exotic drain it of its exemplary power by making it a display of chemistry rather than character—actually, a display of chemistry and bad character† (Will). In light of the overwhelming evidence, one must agree with the 2004 Anabolic Steroids Act, which attempts to ban the use of anabolic steroids in U.S sporting events. The use of performance enhancing drugs in sports is dangerous, unethical and ruins the integrity of the specific sport, by giving an unfair advantage to the user over their competitors. No one can deny that the use of performance enhancing drugs in sports makes it much more entertaining for fans. Watching home run records get shattered, and new world record times being set,... ...iego: Greenhaven Press, 2006. At Issue. Rpt. from "testimony before the U.S. Senate Subcommittee on Consumer Affairs, Foreign Commerce, and Tourism." 2002. Gale Opposing Viewpoints In Context. Web. "We Should Accept Performance-Enhancing Drugs in Competitive Sports." Writ. Radley Balko. Intelligence Squared US debate. Intelligence2 debates. 15 Jan. 2008. Web. 26 Apr. 2012. West, Doug. "Steroids Are Harmful." Steroids. Ed. Laura K. Egendorf. San Diego: Greenhaven Press, 2006. At Issue. Rpt. from "Steroid Abuse—Getting Bigger." Youthcultureï ¼  today. 2002. 20-24. Gale Opposing Viewpoints In Context. Web. Will, George F. "Steroids Are Destroying Baseball." Steroids. Ed. Laura K. Egendorf. San Diego: Greenhaven Press, 2006. At Issue. Rpt. from "Steroids Scandal Is Damaging to Baseball." Conservative Chronicle (15 Dec. 2004): 25. Gale Opposing Viewpoints In Context. Web.