Mythology compare Research Paper Example | Topics and Well Written Essays - 1000 words

Mythology compare - Research Paper Example Social insights are much more prevalent as each culture is able to pull out those elements of a story that has specific meaning within that culture. In relaying important cultural and societal ideologies, myths are also useful learning tools for the young people of society as they begin to learn what is expected of them individually and the consequences if they fail to behave according to plan. These differences in social and individual outcomes are often due to the differences in religion and environment in the region in which the myth originated. These ideas can be best understood when comparing myths from two different cultures, such as the myth of creation found among the Iroquois people of the North American continent as compared to the Judeo-Christian creation myth we are more familiar with today. The Judeo-Christian creation myth is presented to us in the Book of Genesis in the Bible, which is purported to be the actual word of God given to us through the hand of man. In this myth, there is a divine being that exists in some kind of void. Tired of this existence, He decides to make something, which turns out to be the land as it is separated from the sky, the sun and the moon; then as it is separated from the sea and then as it is covered in plants and made to be teeming with life of various different forms. All of these things were created by this Divine Being, God, as He called them forward out of the nothingness during a period of five days. On the sixth day, He created people, one man and one woman, gave them the entire Earth to live on with one area in particular, the Garden of Eden, being the most perfect place for them to live as long as they didn’t eat from a specific tree. Of course, the people did eat from this tree and so they were banned from the garden an d forced to work for their welfare and to raise children to populate the earth. In Iroquois legend, the world was formed as a

Semiotics(symbolism) Essay Example | Topics and Well Written Essays - 750 words

Semiotics(symbolism) - Essay Example David stood up to the Philistine giant, Goliath, as Cuba stood up to the imperialist giant, America. The girl with the wooden doll is a symbol of proletariat simplicity and innocence (supporting the David metaphor), standing up to all that threatens and embracing the seed of the future. African dance and the Beatles were seen as potential distractions from revolutionary focus, just as they are seen by various religious groups today as sinful distractions from Christian focus. The absolute present of the material images that engulfed Edmundo, separating him from the hustle and bustle of New York City, might suggest the way a church acts as sanctuary and a place set apart, an embassy of God and spiritual presence. His reference to patriotic hymns and his repeated use of the term redemption also support this. To see the dream and the nightmare is to encounter Kali (creation and destruction), or the Father and the Son (wrathful vengeance and sacrificial love). Haydee and Celia, political leaders in the struggle against Batista, were not in the exhibit, solidifying this revolution as a patriarchal religion. ... I therefore see a patriarchal religious system unifying the various metaphors used. Edmundo: Photo Changes Photos are not static, if you know how to look at them. They change with time because images are like zucchini, taking on the flavor of what surrounds them. Photographs sustain relativity to socio-historical climate, culture, current events, observer perspective and attitude. As an example, consider a photograph by Ansel Adams, Moon and Half Dome, taken in Yosemite National Park, 1958. Until quite recently, anyone who looks at this photograph would see the majesty and timeless, natural beauty of Yosemite. The moon joins the powerful mountain to the heavens, emphasizing the verticality of Half Dome, The black and white medium, and juxtaposition of shadow and light, speaks of nature’s exquisite simplicity and honesty. That perspective of this photograph has probably been a typical one until this year, when this very mountain claimed the life of a hiker. The media described the horror of witnesses, who had to be airlifted out because they were too traumatized to hike back down themselves. The media has continued to report on more than a dozen deaths in Yosemite, this year. Now, when I look at this photo, I see malevolence, the interplay of life and death, the danger of nature, and the coldness of the moon. My childhood hiking memories are now threatened by a nagging suspicion of parental negligence. What was lovely and quietly evocative has become haunted and threatening, â€Å"Context of viewing is meaning (Desnoes).† Edmundo: Photograph as Metaphor A photograph may look, to some, like a static recording of a single fragment of life, bounded by subject, immediate context, background, and single mark upon linear time, In truth,

Planning and management of public relation campaigns Essay - 1

Planning and management of public relation campaigns - Essay Example Third, the Chartered Institute of Public Relations (CIPR) defined â€Å"public relations [as] about reputation† and â€Å"the planned and sustained effort to establish and maintain goodwill and mutual understanding between an organization and its publics† (Langley, 2009). The roles of public relations practitioners are diverse, depending on the size, nature, and aims of their organizations. Their roles can include, but not limited to, the following: (1) cause or relationship marketing- creating and preserving relationships to build customer loyalty; (2) communication- sharing ideas, messages, or opinions through verbal/nonverbal/oral expressions; (3) community relations- build relationships between/among organizations that impact one another; (4) crisis management- responding to different kinds of crises and maximizing potentially positive outcomes; (5) integrated marketing communication (IMC)- merging PR, marketing, and advertising to attain a uniform marketing approach; (6) issues management- identifying organizational issues and responding to them; and (7) media relations- creating relationships between media and the organization (Johnston & Zawawi, 2014). The goal of this paper is to describe how a PR campaign is planned and managed in general ac ross different organizations and sectors. The purpose of planning PR campaigns is to attain order and some control and predictability over them (Gregory, 2010). Planning provides a sense of direction, clarification of important aims and goals, and ability to manage objectives, as well as processes and outcomes (Austin & Pinkleton, 2015). In addition, public relations must function to support and align itself with organizational vision, mission, and goals (Gregory, 2010). Strategic planning improves the ability of PR to determine PR’s contribution to the company, the processes and steps involved to attain aims and objectives, and metrics and standards for evaluation (Gregory, 2010). Planning refers to analyzing

Homiletical Perspective Essay Example | Topics and Well Written Essays - 750 words

Homiletical Perspective - Essay Example In a bid to evaluating various homiletic challenges in this story, the issues of significant concern include the preacher to preach this text, problems arising from the text for a contemporary congregation, and surprise twists within the story. In addition, the paper attempts to identify different ways through which image and story can be used beyond strict analogy in shaping the lives of contemporary Christians. It is evident from this paper that there are different ways through which sermons on the story can be used to shape lives of Christians. Effects of the text on life of a community as well as the future of this story form part of the paper. Evidently, anyone who can understand and interpret various messages in this long passage can preach the text. After all, preaching simply entails delivering a sermon or religious address to a group of followers. Preaching also includes teaching or proclaiming some religious messages3. Therefore, it is possible that anyone having the abilit y to address a gathering or assemblage of persons can preach this text. Nonetheless, not all preachers will find this text good to preach4. Other than its length, the text poses homiletic issues especially with reference to contemporary Christians. What’s more, preaching this text requires an emotionally strong preacher who can overcome emotions especially from the congregation given that this scripture evokes a lot of emotions. Two main homiletic challenges that make this text not appealing to many preachers are that Mark does not talk about the resurrection of Jesus Christ and the fact that Mark through his story evokes a lot of emotions from the listeners. Amazingly, Mark vividly describes the trials and death of Jesus Christ without mentioning His resurrection5. This provides the first homiletic challenge. Salvation according to Christians is the death and resurrection of Jesus Christ. Christians strongly believe that through the death of Jesus Christ on the cross all the sins were washed. His resurrection on the other hand depicts a new dawn in respect to salvation. Consequently, it becomes difficult for a preacher to talk about salvation without mentioning resurrection of Jesus Christ as it is in this text. Surprisingly, this text is used during Palm Sunday, which forms the foundation of Christian faith. If Jesus Christ had died without resurrecting then they would not have been salvation of mankind. In his story, Mark only addresses trials and the death of Jesus Christ. Secondly, Mark’s story of Jesus Christ’s trials and death evokes a lot of emotions from the listeners as well as readers. There is no doubt that emotions impair ability to critically and rationally think. When the congregation in question starts becoming emotional, the preacher may be affected as well hence impeding his/her sermon6. The text in this gospel vividly describes how Jesus Christ was tried, mocked, struck on the head, and later on crucified. Most Christian s of course have watched movies on the passion of Jesus Christ. There is likelihood that whenever this scripture is read most Christians always imagine the real action. This evokes emotions of the Christians, which may also in turn cause the preacher to be emotional. Though the length of the scripture does not cause much problem to many preachers, there are those who find it too long to preach on. In any case, the text addresses various aspects of Jesus Christ’s trial, crucifixion, death, and burial. Many preachers try to link these aspects of Christ in a bid to passing the desired message to the congregation7. Notably, when a text or scripture has various aspects it is always advisable to pick on a specific aspect and provide sermon on the same. After all, there is no universal or specific

Disaster Rehabilitation Complex Essay Example for Free

Disaster Rehabilitation Complex Essay Bamboo Hybrid Building Construction Material Foldable emergency houses through Bamboo Hybrid Building Construction Material. A revolutionary way of construction where the bamboos are being combined with structural Bolt Ball steel to act as struts (replacing the steel/aluminium material) and form as a structural joints to achieve stability and flexibility. Together with Contex-T: textile architecture, a fiber reinforced structural element that will act as the roofs and walls which provide good insulation, maximum flexibility in design and maximum mobility with a short construction period; and Liter of Light: soda bottle solar light, an innovative invention that will turn a soda bottle into a 50-60 watts light bulb during the day, which will be attached customarily to the bamboo struts in different areas of the foldable houses. -source; Building with Bamboo by Gernot Minke; WHAT IS THE PROJECT ABOUT? DESCRIBE. (STATEMENT OF USE/FUNCTION AND PURPOSE OF THE BUILDING BASED ON NBC) Philippine Red Cross Disaster Rehabilitation Complex: An Evacuation and Rehabilitation Facility under, Group D – Institutional (Government and Health Services) Division-1 No. 4 Principal use of The 2004 Revised IRR of P.D no. 1096 (as published by the DPWH), dedicated for the disaster and calamity victims, and also will become the new headquarters of   Red Cross; a development that will change the image of unsystematic and unorganized evacuation center in the Philippines that aims to educate people in their condition during calamities while providing them a complete set of recreational, medical, educational, conventional and administration facilities dedicated for their fully rehabilitation directly from Philippine Red Cross, while eliminating the issue of politics and providing an immediate response during and after the calamity. A formal evacuation center in the Philippines that can cater a huge amount of evacuees while providing them comfort, care and medical attention and a comfortable emergency houses through Bamboo foldable houses, where a locally found bamboo’s are being modified and turn it into a unique hybrid construction material where it is incorporated with structural bolt steel and organic fiber reinforced textile material that can provide a recyclable, flexible, and a faster installation while reducing the cost and maintaining the stability and the proper standards for an emergency houses. LOCATION (OPTIONAL) Tent City of Tacloban Marcos Highway cor. Amang Rodriguez Ave., Barangay Dela Paz, Pasig City. TARGET USERS: PRIMARY:Evacuees and victims of disaster and calamities SECONDARY:Volunteers Doctors Medical Staff’s TERTIARY: People in needs of medical assistant Security personnel Donors Visitors NO. OF USERS: (approximate no.) 100,000 Families OWNER(S) OR CLIENT(S): Philippine Red Cross PROJECT OBJECTIVE(S) OF THE OWNER (WHY IS THERE A NEED FOR THE PROJECT?) 1. To erase the image of the Philippine’s chaotic evacuation center 2. To provide new Headquarters of Philippine Red cross that will become a center of their public service and donations 3. To educate and raise the awareness of the people to the Emergencies, Calamities, and Disasters 4. To help people recover from their condition, in a faster service with a complete facility dedicated for them. 5. To reduce the health casualties occurring in the un-organized evacuation center. BUDGET/FINANCING SCHEME: The amount of financial funds will be according to the donations collected by the Philippine National Red Cross from the different organizations of the Government especially From Department of Interior and Local Government (DILG) and National Disaster Risk Reduction Management Council (NDRRMC) and from private sectors and individual charitable donations. Structural3,000 per square meter Electrical and telecoms1,000 per square meter Sanitary 2,500 per square meter Sprinkler1,000 per square meter Mechanical1,500 per square meter Architectural 5,000 per square meter Emergency houses550,000 (estimated cost of bunk houses of government) Note: the cost of land acquisition for the site is not yet included in the above mentioned costing.

The Eisenstein And Architectural Montage Film Studies Essay

The Eisenstein And Architectural Montage Film Studies Essay From a lump of clay a vessel is made, what makes it useful is space within the vessel, for a room, we make doors and a window, but what makes a room habitable is the empty space, so while theres advantages in the tangible, it is in the intangible that theres use.  [1]   Lao Tzu, Tao Te Ching, c.550 BC Tzu describes a space which is not empty but which is a gap, a gap which is waiting to be transformed by experience. These spatial gaps are inherent in fragmentation. In his book Actions of Architecture, Jonathan Hill focusses on these spatial gaps and discusses the Chora L. Works by Jacques Derrida and Peter Eisenman. The book is split into three sections. It doesnt start at the beginning nor does it end at the end. The first and last sections are penetrated by nine holes whilst the middle section has only conceptual holes. Hill states the intention of this was to convey that the absence of a section doesnt mean the absence of meaning. In the book, Eisenmann and Derrida declare that solid and voids are architectural representations of presence and absence. Voids have as much of a presence as solids in the book, as users can fill in missing words with their own meaning. Montage: In Actions of Architecture, Jonathan Hill discusses the use of montage in architecture. He uses Alvar Aaltos Sanatorium and Le Corbusiers 1931 rooftop apartments for Charles de Beistegui as examples of buildings where montage was used as a strategy for architectural composition. In Aaltos Sanatorium, montage is used as a strategy to join two dissimilar aspects of the building which have no connection expect for being adjacent to each other. Aalto achieved this by utilizing two distinct fragments.  [2]   In Le Corbusiers rooftop apartments, the architect departs from his traditionally rational design approach. Various surfaces of the apartment are juxtaposed with elements of the surrounding city. Important fragments of the city are isolated from the rest of the urban context below with the use of high walls surrounding the perimeter of the terrace. By doing this, Le Corbusier twinned the fireplace with the Arc de Triomphe in the far distance. The architect revealed selected views of the city with sliding walls. A periscope in the centre was the only means by which the entire city could be seen as a spectacle.  [3]   Space Between: Hill explains montage as a spatial exercise where fragments are brought from other sites to a new location while maintaining to some extent the essence of the older location. He uses film to explain this. In film, we perceive fragments through the arrangement of components. In Baldessaris artwork, the artist claims the process is as important as the final result. He juxtaposes unrelated components as he opposes the predictability and linearity of film.  [4]   Jose Quetglas suggests that Mies is concerned with the creation of visual perspective that acts as a guide to movement.  [5]  A Miesian plan is primarily concerned with compositional aspects of perspective painting than that of the anti-perspective intentions of the De Stijl. Jonathan Jones, a researcher at the Applied Visual Research Unity in Derby University found that according to his research, it is impossible to comprehend a painting in its entirety at once. A single glance is not sufficient to take in everything. Visual perception is fragmentary in nature. Our visual field is quite small so to focus on objects results in the background becoming blurred. Similarly in a film by a montage director, the world is viewed through a series of glances.  [6]   While designing the Barcelona Pavilion, Mies drew an axial line over and over from which he measured asymmetries against.  [7]  Mies orientated the Pavilion along an East West axis. Through termination of axis and spaces, movement was diverted. Mies used this technique to formulate movement sequences. Zimmerman states movement flows on the outer of planes in contrast to the delimiting floor and ceiling planes.  [8]  Mies contrasts symmetry and asymmetry and slices space with elements of the building which is characteristic of postmodernism.  [9]   In his book Neoclassicism Architecture Rowe analyses the work of Mies. He states the centre is diminished by the international style and emphasis is placed on dispersion along the axis in which Mies creates a composition of balanced symmetry.  [10]  The Pavilion is an example of decomposition of a volume which is deconstructed into individual planes. Through Mies Pavilion we see a focus on multiple viewing positions as opposed to a single perspective of the classic. The positions of internal walls are determined by the use of triangulated lines. Mies aligns corners and end points of planes using this technique.  [11]  His attention was divided between the fragmentation of the space and the integration of visual perception through this method. The image was fragmented by The Cubist Art Movement which created multiple points of view. As discussed, in Mies Pavilion we see a shift from centrality, abstractions of geometries and facades with frontal relations.  [12]  Buildings such as this cannot be experienced or understood from a static position. Cinema Montage is composition and the assembly of movement images. This comprises an image of time.  [13]  These parts succeed each other creating a parallel alternate montage. Eisenstein criticises Griffith for what he see as the juxtaposition of parts and not a unity of production. A cell, which makes its own part by division and differentiation. Eisenstein agrees with Griffiths idea of an organic composition as an assembly of movement images to the transformed situation through the transcendence of opposition.  [14]   Deleuze investigates cinema in terms of movement, the philosophical and the technical. Movement informs our understanding of the formation of worlds in terms of the types of information it selects and generates as new forms. Deleuze discusses cinema in terms of framing the movement image. In a relatively closed system; framing, type of shot and cut are the vital aspects for the films quality creating what he calls a set of values.  [15]  The speed and rhythm of the shots affects the image. Cinema Montage: Dleuze looks at four schools of montage. American, French, German and Soviet. Deleuze situates montage in the relation the movement of time. In the Deleuzian system, montage is the determination of the whole of the image, achieved through the techniques of cutting and creating continuities. Montaged images creates sets of images. Montage creates movement which in turn produces specific modes of time that are not fixed but events that are contextually reproduced over the passage of chronometric time. He regards montage as the coming together of images to create a whole whose final form is in movement. He refers to the work of Bob Dylan as an example of the long preparation for creating work. To him things are made after an encounter with other things, people but also with after encounters with movement, other ideas, events, entities. Cinema is comprised of a number of different kinds of images, Deleuze calls this image- assemblage montage. Through connections as of yet un-thought, un-named, but intuited through things already manifested in forms and the performance of those intuited spaces. Montage makes possibilities take new forms. Eisenstein: Architectural Montage. For Eisenstein, a relentless vertigo is determined from the architectural forms interacting with each other. Eisenstein intention was for architectural representations of space to explode into successive stages of montage from decomposition to recomposition as though it were an array of shots. From this, Eisenstein claimed the principles of montage are embodied by architecture. In Montage and Architecture by Eisenstein, he sets out this theory. Two paths of spatial perspectives are contrasted, where the viewer follows an imaginary line created among a series of objects. Varying positions moving in front of a spectator and the architectural, where, the viewer moves through an array of carefully positioned elements which he has viewed in order with a visual sense. Eisenstein claims that the perspective path of the Acropolis constructed by Auguste Choisy depicts composition of the site.  [16]  He asks the reader to view it with the eye of a film maker. Eisenstein claims there are carefully sequenced perspectives here. He suggests that there is a relationship between the viewers pace of movement and the rhythm of the buildings. To him, Choisy has set up a combination of a film shot effect, producing new impressions from each new emerging shot. This creates according to Eisenstein a montage effect, where effect is gained from sequential juxtaposition of these shots. In the movie street Eisenstein shows his interest of cause and effect as a notion of movement. Shots are decomposed and recomposed. Architectural composition is compared to cinematic montage by Eisenstein in an essay on two Piranesi engravings for the early and late states of the Carceri series. The flux of form which contains the potential to explode into a series of successive states Eisensteins theory of space constructions depicted new ideas of architecture as frozen music. Eisenstein compared the basis of architectural composition, massing and the establishment of rhythmic elements to that of music, painting and cinematic montages. Montage: As Frozen Music In The Culture of Fragments Gianmarco Vergani puts forward a proposition for the unification of interdisciplinary arts to create an original art form. This is an area which offers a depth of experimentation. According to the author, the merging of architecture and music can be achieved through two principles, synchronic and diachronic expression.  [17]  He terms music as a diachronic art form as it is derived from change and continuous transformations in time. Architecture on the other hand, is synchronic, it a fixed medium consisting of structure and volumetric elements. This leads to two methodologies by which to create architecture through music. First, music must be reduced to its architectonic dimensions outside of time. Music is then seen as a synchronic structure in which it can be applied to architecture. In the diachronic approach, architecture unfolds through time. Space is read sequentially in time increments and is experienced through the observers movement.  [18]  This is a reversal of positions as the observer is required to move in order to experience the architectural composition unlike the listening of music where the observer remains static whilst enveloped in music. Relationships are formed between the two elements. The author proposes that in music; tone timbre, pitch, dynamics and duration can be extracted while in architecture; texture, material, light, colour, scale. These can be transposed into architectural spaces. In music the pitch is transposed into colour, tones and timbres are transposed into textures and materials. The dynamics of a piece of music can be read as contradiction and increasing scale.  [19]   However, he does claim some limitations in this methodology. He states the art form is not truly fluid or dynamic as it can only become such through the participation of the observer. Architecture is static; representing time in this medium cannot be fully executed. The author proposes that a truly diachronic visualization of music is needed. Folding In Folding in Architecture Greg Lynn declares the importance of defining compositional complexity in architecture. Gregg seeks a progression from the collage aesthetics of Robert Venturis Complexity Contradiction in Architecture and the spatial collage of Deconstructivist Architecture. Greg terms Intricacy as a fusion of components into a continuity creating a whole in which the various elements form a larger composition.  [20]   According to the author, this intricacy is unlike compartmentalisation or hierarchy. Instead it is the variation of components. He aims for the term to move from an understanding of detail in architecture as an isolated component. What is proposed is an architectural system where there are no details in the traditional sense. Instead the detail is everywhere continuously variegated throughout the whole. As mentioned in previous chapters, the loss of structure to Greg was in favour of an infinitesimal component and displacement of a fragmentary collage.  [21]   The infinitesimal is a fragmentary approach to form. It is based on the slipping between single frames and interconnections. From a distance the form possess similarity and in a coherence of detail between varying elements that compromise the structure. According to the author, the composition of the intricate is organic, in that every component interacts and communicates simultaneously. Every instance is affected by every other instance. The outside is not a fixed limit but a moving matter animated by peristaltic movements, folds and foldings that together make up an inside: they are not something other than the outside, but precisely the inside of the outside. Deleuze Foucault p.96-97 Le Pli, the concept of the fold, is Deleuzes architectural philosophy. In which, the fold is seen as continuous multiplicity of differentiation Thus a continuous labyrinth is not a line dissolving into independent points, as flowing sand might dissolve into grains, but resembles a sheet of paper divided into infinite folds or separated into bending movements, each one determined by the consistent or conspiring surroundingà ¢Ã¢â€š ¬Ã‚ ¦ A fold is always folded within a fold, like a cavern in a cavern. The unit of matter, the smallest element of the labyrinth, is the fold, not the point which is never a part, but a simple extremity of the line.  [22]   The fold is the integration of elements that are unrelated into a continuous form. Deleuzes philosophy of the fold offers continuity and variation in the development of a form. To him the form is the conclusion and the process. The Inflection as Delezue describes is the point at which a curve begin to form as either convex or concave. Inflection is the ideal genetic element of the variable curve or fold. The essence of a fold is the temporal nature in which it develops from the inflection to its subsequent position. A memory is maintained of its previous position.  [23]   to unfold is to increase, to grow; whereas to fold is to diminish, to reduce, to withdraw into the recesses of a world.  [24]   An example of this can be viewed in Origami. The folds of which shift from enfolding, unfolding to enveloping. After the first fold, the context begins to reduce in size. The form is unpredictable, after each fold the shapes from the previous fold cease to exist. According to the author, in this instance memory can be enacted through unfolding. A variation of this is Kirigami. The continuity of the folds becomes obstructed by cuts in the fold. This demonstrates conflict and contradiction instead of smoothness and continuity. The folds in origami act as bounding agents between other folds, in Kirigami when a conflict arises, the folds deviate from their continuity and exhibit but not resolve the occurring confliction. In this way, Origami is like folding architecture seeking to realize conflict and contradiction whereas Kirigami is similar to Deconstructivist architecture, it exhibits them. According to Deleuze, multiple is not many parts. It is something that has been folded in many ways. This becomes a unity that envelopes a multiplicity.  [25]   As a by-product of the fold, form and context become surfaces with no distinct interiority or exteriority. The continuous nature of the fold implies a dialogue between time and environment. Case Studies: Montage Strategies Rem Koolhaas who had involvement in cinema as a scriptwriter conveys cinematographic image in some of his plans. In his proposal for the City Hall in The Hague, we see a transfer of the Manhattan skyline to the European City. The famous skyline which is seen so many times in film is utilized here as a movie set made into architecture. Koolhaas breaks down the overall volume into various slabs and uses a series of prisms of differing heights. From a distance, the effect appears like a series of skyscrapers compressed on a flattened image, as would be the view from the opposite side of the river in Manhattan. Since the latter decades of the 20thCentury, fragmentation has been a central issue in architecture. The many different guises of architecture today from postmodern, Deconstructivist and to all subsequent trends are based on fragmentation. A transcript of Rem Koolhaas and Sarah Whilings conversation is quite revealing in this aspect. as an entire object from the exterior of a building. That is what seems to unite the biggest project competitions from 1989 (Zeebrugge, ZKM and Bibliotheque). In some of the projects, the architectural language is quite unstable. The facades and the angles of Porto Case de Musica and Seattle are odd structures which no longer possess a unified identity. For the most parts these projects appear more decon now than they did as part of the 1988 Deconstructivist Exhibition.  [26]   For Koolhaas, the characteristic of Deconstructivism was not in the strange forms, but in the fragmentation. According to Koolhaas, each new building insisted on assembly and integration, the construction of a new whole, which may be unstable but which remains a single entity.  [27]  An example of this are the Seattle and Porto projects which have forms that cannot be recognized as regular geometric shapes but they have in their volume a unity of materials on the outside. In terms of metropolitan scale, Koolhaas has said, A city can obtain a coherence in its planned composition through a system of fragments.  [28]   This is evident in his large scale urban projects where he strives to achieve coherence. According to Koolhaas when a building gets beyond a certain size, it becomes a big building. The volume can no longer be articulated by one architectural gesture nor a combination of gestures. It is this which initiates the autonomy of its elements. This is not fragmentation as the elements remain committed to the overall building. To establish links between independent elements, Koolhaas relies on the programmatic hybridizations, frictions, overlaps, proximities and the superimpositions that are possible in a building of large scale. Montage itself was founded to organize relationships between independent elements. As Maholy-Nagy stated in 1929. The technique of montage is present as efficient in many fields of design. It can be found in methodology, in text, writings and in painting through collage.  [29]   In Soviet avant-garde cinema, Lev Kuleshovs idea of montage can be viewed as an analysis, a dissecting into parts, with the aim of reintegration or as he stated, Montage is a two way operation Montage is the basis of cinema. It enables us to fragment and to reconstruct and finally to remake the material.  [30]   Dualities: Koolhaas utilizes these methods of montage in the urban planning and architectural projects his office undertake. A dualism is present in his use of montage. A decomposition and a reintegration. For example, in Lille Congrexpo, there are three independent sections. The zenith, the conference and the expo which are all juxtaposed without any articulation as though the three sections had been cut from one complete form. The CCTV HQ project in Beijing can be viewed as a single skyscraper which has been divided up into six parts which contain functionally different divisions. In these examples the concept was to concentrate all the activity and program into a single system. The Hyper Building in Bangkok is an assemblage of a series of pieces that maintain their independence in the final building. This is both sculptural and architectural. The building was designed by Koolhaas as a veritable city that groups a vast array of programs together giving the essence of a hybrid building on an urban scale. According to Koolhaas, several buildings fuse together into a larger singular whole which brings together the coexistence of real space and cyberspace, of electronics and real facilities. To him the montage consists of material bodies and immaterial flows. Montage as a collision: Urban Complexity Koolhaas compares the work of an architect with the cinematic montage. Im certain the work of a screenwriter and the processes of an architect are methods based on editing, in creating programmatic, cinematographic or spatial sequence  [31]   The complexity of urban life such as infrastructural congestion is the central themes to many of Koolhaas projects. He highlights these elements through the collision of contrasting elements. As with Eisenstein  [32]  , this collision sometimes occurs at several scales in Koolhaas projects, from the urban scale down to the encounter between materials. The Kunsthal in Rotterdam is an example of this issue. The concept was a square with two routes crossing it. The collision between these routes gives rise to the project. These two infrastructures also cross over other collisions, crossing between ramps and staggered planes, and between these and the horizontal planes. A similar instance can be found in The Euraille project. A tower was placed over the TGV station, this solution was the symbol of infrastructural and programmatic congestion that characterized the architectural operation. Similarly with Eisensteins films, through collisions, the visual and mental conflict involved in this montage is what expresses the concept. In The Hague, a service tunnel comprising of a subway with a station at either end and two car parks with pedestrian entrances, was not designed by Koolhaas to resemble a tree like system. Instead it is a hybrid project, building and infrastructure. The different program elements interpenetrate spatially and form an assemblage in which the flow and the visuals are participants an altering but not segregated perception. The strategy utilized here is that of the montage in which collisions between constituent environments and elements give rise to a richer and clearer spatial experience. The Villa Savoye marked a high point in Le Corbusiers promenade architecturale As a critic explains The movement, in one sense, is more virtual than real, to progress through the building you must engage your imagination  [33]  and if entertainment is associated with the displacement of the viewer, then the house becomes the source of that entertainment. It does this by choreography; there is no fixed image but a series of overlapping images. This architectural effect is clearly associated with cinema  [34]   Sequences There are three relations in an architectural sequence. The first deals with the working method. Secondly, external relations where spaces are juxtaposed and thirdly the program. The mode by which architects traditionally draw implies a transformational sequence. Layers of transparent paper are placed on top of each other. Each has a variation around a theme. An open system of sequencing sees transformation through the addition of new elements which are juxtaposed according to criteria such as narrative or programmatic. However, not all architectural sequences are linear and comprised of spatial additions. Fragmented montages produce structure where meaning is found through order of experience rather than the order of the composition. Mies Pavilion as discussed in previous chapters is an example of this fragmentation of space. Its sequence is organised around a thematic structure and variations.

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There are a lot of women suffering from different types of prolapses with uterine being one of the most common and they do not seek medical attention due to being embarrassed or just scared. It is somewhat considered taboo and isn’t spoken of as often as say, having a hysterectomy or other female conditions. Most women are unaware of the symptoms and therefore don’t seek medical attention before it becomes a more serious issue that will most likely require surgery to fix. The definition of uterine prolapse is the uterus gradually descends into the vagina and often times takes the upper portions of the vagina with it. Most often a prolapse is caused by weakened pelvic floor muscles and ligaments. It can present at any stage but often comes in three distinct stages. Once it descends into the vagina walls it can continue to descend until it actually protrudes out of the vagina entrance. In the 1st degree the cervix is still inside the vagina. In the 2nd degree the cervix appears outside the vagina opening and the labia can become irritated and ulcerative. In the 3rd degree there is a complete prolapse outside of the body and it can contain the bladder, uterus and rectum. This condition is sometimes called a complete procidentia. It can be caused by a multitude of reasons. Multiple vaginal births, having larger babies, excessive straining from constipation, heavy lifting or being overweight, weak pelvic floor muscles due to lack of use, aging or going through menopause. Although uterine prolapse can happen to anyone at any age, it’s most common in women who have gone through menopause and for many of the reasons stated above. Some of the symptoms of pelvic floor organ prolapse are: havin... ...ith prolapsed organs. Maintaining a healthy diet to include lots of fruits and vegetables and fiber is the best way to prevent constipation as well as drinking plenty of fluids. It has been recommended to drink half your body weight in ounces every day to maintain a healthy inner eco system. Drinking plenty of water helps maintain balance of hormones, bowel functions and cellular health. Other preventive measures can be taken when heavy lifting is required, be sure to used legs when lifting heavy objects or while working out. Proper lifting techniques will also prevent other injuries. By maintaining a healthy weight you will also prevent undue pressure on lower pelvic floor muscles. By practicing good prevention techniques not only will the pelvic floor be in good health but the rest of the body will benefit as well. Here’s to pelvic floor health! W/C 1184