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Tag: Architecture and Design Case Studies & Problem Sets

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    – 2 years ago **files (4)** – IMG_8971.png – IMG_8970.png – IMG_8967.png – IDES326-WEEK43ARESUMES2CCOVERLETTERS2C26INTERVIEWSKILLS.pdf **IMG_8971.png** This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8971-png) **IMG_8970.png** This file is too large …

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  • [Solved] Architecture and Design Assignment two

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    – 2 years ago **files (4)** – IMG_8967.png – IMG_8969.png – IMG_8968.png – IDES326-WEEK43ARESUMES2CCOVERLETTERS2C26INTERVIEWSKILLS.pdf **IMG_8967.png** This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8967-png-10193833) **IMG_8969.png** This file is t…

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  • [Solved] Architecture and Design Assignment one

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    – 2 years ago **files (5)** – IMG_8966.png – IMG_8965.png – IMG_8964.png – IMG_8967.png – IDES326-WEEK43ARESUMES2CCOVERLETTERS2C26INTERVIEWSKILLS.pdf **IMG_8966.png** This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8966-png) **IMG_8965.png** This fi…

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    Check to help me make sure grammer is okay – 2 years ago **files (4)** – ## Heresa2.5-pagecritiqueforLorettaLynnYoureLookingatCountryLegendsinConcertfollowingtherequiredformatandrubric..pdf.pdf – IMG_6210.png – IMG_6209.png – IMG_6208.png **## Heresa2.5-pagecritiqueforLorettaLynnYoureLookingatCou…

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    Check to help me make sure grammer is okay

    – 2 years ago

    **files (4)**

    – ## Heresa2.5-pagecritiqueforLorettaLynnYoureLookingatCountryLegendsinConcertfollowingtherequiredformatandrubric..pdf.pdf

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    – IMG_6209.png
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    **## Heresa2.5-pagecritiqueforLorettaLynnYoureLookingatCountryLegendsinConcertfollowingtherequiredformatandrubric..pdf.pdf**

    Concert Critique: Loretta Lynn – You’re Looking at Country – Legends in Concert

    Loretta Lynn’s You’re Looking at Country – Legends in Concert features the Queen of
    Country herself performing a collection of her greatest hits. This concert showcases her

    signature style of storytelling through song, blending traditional country music with her
    personal life experiences. Loretta Lynn is a legendary singer-songwriter, known for her
    bold lyrics and authentic sound. Born in 1932 in Butcher Hollow, Kentucky, she rose to

    fame in the 1960s with hits like Coal Miner’s Daughter and You Ain’t Woman Enough.
    Loretta has won numerous awards, including multiple Grammys and Country Music

    Association honors. By the time of this performance, she had already solidified her
    place in country music history. I chose this concert because Loretta Lynn is an icon
    whose music has influenced generations, and I was eager to experience her live

    performance style. Her professionalism and decades of experience were evident
    throughout the concert.

    The concert featured a variety of songs from di�erent stages of Loretta’s career,
    highlighting the depth and range of her catalog. She performed classic hits like You’re

    Looking at Country, Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind), and One’s
    on the Way. The music was rooted in traditional country, with strong influences of
    honky-tonk and bluegrass. Loretta’s voice, even after years of performing, remained

    strong and expressive, perfectly suited for the heartfelt storytelling that defines her
    music. The instrumentation was classic country, featuring acoustic guitar, steel guitar,

    fiddle, piano, and upright bass. The combination of these instruments created a rich,
    authentic sound that stayed true to the traditional country genre.

    Most of the music performed in the concert falls within the country music style of the
    1960s and 1970s. Songs like You’re Looking at Country reflect a cheerful, upbeat tempo

    with a steady rhythm, while others, such as Dear Uncle Sam, slow down to a more
    somber pace, reflecting the emotional depth of the lyrics. The dynamic range varied
    throughout the concert, with Loretta and the band adjusting volume and intensity to

    match the mood of each song. The texture was relatively simple, with a focus on melody
    and clear, narrative-driven lyrics. For instance, during Coal Miner’s Daughter, the

    accompaniment was minimal, allowing Loretta’s voice and the song’s nostalgic lyrics to
    take center stage. This simplicity enhanced the emotional resonance of the
    performance, drawing the audience into her story.

    The performers executed the music with precision and heart. Loretta’s vocal
    performance was consistently on pitch and full of emotion, capturing the essence of

    each song. Her ability to connect with the audience through her storytelling made the
    performance truly special. The band’s playing was tight and well-rehearsed, supporting

    Loretta’s vocals without overpowering them. The steel guitar and fiddle players, in
    particular, stood out for their expressive solos, adding color and texture to the music.

    The chemistry between Loretta and the band was evident, and they worked seamlessly
    together to create a cohesive and engaging performance. It was clear that the musicians
    were not just technically proficient but also deeply connected to the music.

    The most moving part of the concert for me was Loretta’s performance of Coal Miner’s

    Daughter. The autobiographical nature of the song, combined with her heartfelt
    delivery, made it an emotional highlight. It’s a song that resonates deeply because it’s a
    true story of resilience and hardship, and Loretta’s ability to bring that story to life

    through her performance was powerful. I also enjoyed You’re Looking at Country
    because of its upbeat tempo and celebration of country living. The lively
    instrumentation and joyful energy made it impossible not to smile. There wasn’t much I

    didn’t enjoy about the concert, but I would have liked to hear even more of her lesser-
    known songs to gain a deeper appreciation of her full catalog.

    In conclusion, Loretta Lynn’s You’re Looking at Country – Legends in Concert was a
    captivating and heartfelt performance that highlighted her unique talent and enduring

    legacy in country music. Her authenticity and storytelling ability set her apart from
    many other artists in the genre. I would highly recommend this concert to anyone who

    appreciates traditional country music or is interested in the history of the genre. Loretta
    Lynn is a living legend, and seeing her perform—even through an online concert—was a
    special experience. I would gladly watch her again and encourage my friends and family

    to do the same.

    **IMG_6210.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6210-png)

    **IMG_6209.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6209-png)

    **IMG_6208.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6208-png)

    **IMG_6208.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6208-png)

    **## Heresa2.5-pagecritiqueforLorettaLynnYoureLookingatCountryLegendsinConcertfollowingtherequiredformatandrubric..pdf.pdf**

    Concert Critique: Loretta Lynn – You’re Looking at Country – Legends in Concert

    Loretta Lynn’s You’re Looking at Country – Legends in Concert features the Queen of
    Country herself performing a collection of her greatest hits. This concert showcases her

    signature style of storytelling through song, blending traditional country music with her
    personal life experiences. Loretta Lynn is a legendary singer-songwriter, known for her
    bold lyrics and authentic sound. Born in 1932 in Butcher Hollow, Kentucky, she rose to

    fame in the 1960s with hits like Coal Miner’s Daughter and You Ain’t Woman Enough.
    Loretta has won numerous awards, including multiple Grammys and Country Music

    Association honors. By the time of this performance, she had already solidified her
    place in country music history. I chose this concert because Loretta Lynn is an icon
    whose music has influenced generations, and I was eager to experience her live

    performance style. Her professionalism and decades of experience were evident
    throughout the concert.

    The concert featured a variety of songs from di�erent stages of Loretta’s career,
    highlighting the depth and range of her catalog. She performed classic hits like You’re

    Looking at Country, Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind), and One’s
    on the Way. The music was rooted in traditional country, with strong influences of
    honky-tonk and bluegrass. Loretta’s voice, even after years of performing, remained

    strong and expressive, perfectly suited for the heartfelt storytelling that defines her
    music. The instrumentation was classic country, featuring acoustic guitar, steel guitar,

    fiddle, piano, and upright bass. The combination of these instruments created a rich,
    authentic sound that stayed true to the traditional country genre.

    Most of the music performed in the concert falls within the country music style of the
    1960s and 1970s. Songs like You’re Looking at Country reflect a cheerful, upbeat tempo

    with a steady rhythm, while others, such as Dear Uncle Sam, slow down to a more
    somber pace, reflecting the emotional depth of the lyrics. The dynamic range varied
    throughout the concert, with Loretta and the band adjusting volume and intensity to

    match the mood of each song. The texture was relatively simple, with a focus on melody
    and clear, narrative-driven lyrics. For instance, during Coal Miner’s Daughter, the

    accompaniment was minimal, allowing Loretta’s voice and the song’s nostalgic lyrics to
    take center stage. This simplicity enhanced the emotional resonance of the
    performance, drawing the audience into her story.

    The performers executed the music with precision and heart. Loretta’s vocal
    performance was consistently on pitch and full of emotion, capturing the essence of

    each song. Her ability to connect with the audience through her storytelling made the
    performance truly special. The band’s playing was tight and well-rehearsed, supporting

    Loretta’s vocals without overpowering them. The steel guitar and fiddle players, in
    particular, stood out for their expressive solos, adding color and texture to the music.

    The chemistry between Loretta and the band was evident, and they worked seamlessly
    together to create a cohesive and engaging performance. It was clear that the musicians
    were not just technically proficient but also deeply connected to the music.

    The most moving part of the concert for me was Loretta’s performance of Coal Miner’s

    Daughter. The autobiographical nature of the song, combined with her heartfelt
    delivery, made it an emotional highlight. It’s a song that resonates deeply because it’s a
    true story of resilience and hardship, and Loretta’s ability to bring that story to life

    through her performance was powerful. I also enjoyed You’re Looking at Country
    because of its upbeat tempo and celebration of country living. The lively
    instrumentation and joyful energy made it impossible not to smile. There wasn’t much I

    didn’t enjoy about the concert, but I would have liked to hear even more of her lesser-
    known songs to gain a deeper appreciation of her full catalog.

    In conclusion, Loretta Lynn’s You’re Looking at Country – Legends in Concert was a
    captivating and heartfelt performance that highlighted her unique talent and enduring

    legacy in country music. Her authenticity and storytelling ability set her apart from
    many other artists in the genre. I would highly recommend this concert to anyone who

    appreciates traditional country music or is interested in the history of the genre. Loretta
    Lynn is a living legend, and seeing her perform—even through an online concert—was a
    special experience. I would gladly watch her again and encourage my friends and family

    to do the same.

    **IMG_6210.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6210-png)

    **IMG_6209.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6209-png)

    **IMG_6208.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6208-png)

    **## Heresa2.5-pagecritiqueforLorettaLynnYoureLookingatCountryLegendsinConcertfollowingtherequiredformatandrubric..pdf.pdf**

    Concert Critique: Loretta Lynn – You’re Looking at Country – Legends in Concert

    Loretta Lynn’s You’re Looking at Country – Legends in Concert features the Queen of
    Country herself performing a collection of her greatest hits. This concert showcases her

    signature style of storytelling through song, blending traditional country music with her
    personal life experiences. Loretta Lynn is a legendary singer-songwriter, known for her
    bold lyrics and authentic sound. Born in 1932 in Butcher Hollow, Kentucky, she rose to

    fame in the 1960s with hits like Coal Miner’s Daughter and You Ain’t Woman Enough.
    Loretta has won numerous awards, including multiple Grammys and Country Music

    Association honors. By the time of this performance, she had already solidified her
    place in country music history. I chose this concert because Loretta Lynn is an icon
    whose music has influenced generations, and I was eager to experience her live

    performance style. Her professionalism and decades of experience were evident
    throughout the concert.

    The concert featured a variety of songs from di�erent stages of Loretta’s career,
    highlighting the depth and range of her catalog. She performed classic hits like You’re

    Looking at Country, Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind), and One’s
    on the Way. The music was rooted in traditional country, with strong influences of
    honky-tonk and bluegrass. Loretta’s voice, even after years of performing, remained

    strong and expressive, perfectly suited for the heartfelt storytelling that defines her
    music. The instrumentation was classic country, featuring acoustic guitar, steel guitar,

    fiddle, piano, and upright bass. The combination of these instruments created a rich,
    authentic sound that stayed true to the traditional country genre.

    Most of the music performed in the concert falls within the country music style of the
    1960s and 1970s. Songs like You’re Looking at Country reflect a cheerful, upbeat tempo

    with a steady rhythm, while others, such as Dear Uncle Sam, slow down to a more
    somber pace, reflecting the emotional depth of the lyrics. The dynamic range varied
    throughout the concert, with Loretta and the band adjusting volume and intensity to

    match the mood of each song. The texture was relatively simple, with a focus on melody
    and clear, narrative-driven lyrics. For instance, during Coal Miner’s Daughter, the

    accompaniment was minimal, allowing Loretta’s voice and the song’s nostalgic lyrics to
    take center stage. This simplicity enhanced the emotional resonance of the
    performance, drawing the audience into her story.

    The performers executed the music with precision and heart. Loretta’s vocal
    performance was consistently on pitch and full of emotion, capturing the essence of

    each song. Her ability to connect with the audience through her storytelling made the
    performance truly special. The band’s playing was tight and well-rehearsed, supporting

    Loretta’s vocals without overpowering them. The steel guitar and fiddle players, in
    particular, stood out for their expressive solos, adding color and texture to the music.

    The chemistry between Loretta and the band was evident, and they worked seamlessly
    together to create a cohesive and engaging performance. It was clear that the musicians
    were not just technically proficient but also deeply connected to the music.

    The most moving part of the concert for me was Loretta’s performance of Coal Miner’s

    Daughter. The autobiographical nature of the song, combined with her heartfelt
    delivery, made it an emotional highlight. It’s a song that resonates deeply because it’s a
    true story of resilience and hardship, and Loretta’s ability to bring that story to life

    through her performance was powerful. I also enjoyed You’re Looking at Country
    because of its upbeat tempo and celebration of country living. The lively
    instrumentation and joyful energy made it impossible not to smile. There wasn’t much I

    didn’t enjoy about the concert, but I would have liked to hear even more of her lesser-
    known songs to gain a deeper appreciation of her full catalog.

    In conclusion, Loretta Lynn’s You’re Looking at Country – Legends in Concert was a
    captivating and heartfelt performance that highlighted her unique talent and enduring

    legacy in country music. Her authenticity and storytelling ability set her apart from
    many other artists in the genre. I would highly recommend this concert to anyone who

    appreciates traditional country music or is interested in the history of the genre. Loretta
    Lynn is a living legend, and seeing her perform—even through an online concert—was a
    special experience. I would gladly watch her again and encourage my friends and family

    to do the same.

    **IMG_6210.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6210-png)

    **IMG_6209.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6209-png)

    **IMG_6208.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-6208-png)

  • [Solved] secarcMOD7

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    **## ch-34-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 34

    Exoticism

    1830 – 1920s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Exoticism

    Inspired by revivalism, eclecticism, novelty in 2nd half 19th century

    Designers look to non-Western cultures for inspiration & borrow their forms, colors, motifs.

    Learn about other cultures through international expositions, books, periodicals, travel, advances in technology

    Romantic image of faraway lands & mysterious people

    Styles: Egyptian Revival; Moorish, Islamic, Turkish, Saracenic, Arab Style; Indian, Mogul

    Never completely surpass other fashionable styles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Concepts

    Fascination with non-Western cultures gives rise to exotic styles

    Egyptian Revival, Turkish or Islamic styles, Indian or Mogul style

    All adapt cultural elements to tastes & needs of Westerners

    Each associated with particular building or room types

    Conveys particular visual image: timelessness, monumentality, touch of exotic

    Assemblages of elements & motifs applied to contemporary Western forms

    Few attempts to live as other cultures

    Associations & evoking an image more important

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Motifs

    Egyptian Revival

    Geometric forms, column, architectural details

    Real or fake hieroglyphs, scarabs, Egyptian figures, lotus, papyrus, crocodiles, sphinxes, sun disk

    Islamic or Turkish

    Onion domes, minarets, lattice, horseshoe arches, multifoil arches, ogee arches, peacocks, carnations, vases, arabesques, flat & intricate patterns

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    34.1

    Motifs: Turkish, Persian, Indian, and Egyptian designs published in The Grammar of Ornament, 1856 by Owen Jones.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first motif has a vase with different kinds of flowers in an oval and rectangle frame. The second motif has different types and different colors of flowers and a flowering plant. The third motif has four ogee-shaped flowers with different colors and alternating flower borders. The fourth motif has acanthus leaf and flower plants. The fifth motif has the flowering plant extending in a wavy manner with flowers.

    5

    Architecture

    Few examples in comparison to other styles

    Exotic styles, like others, used for particular building types

    Conveys purpose

    Symbolism important design context & characteristic

    Egyptian Revival

    First conscious revival c. 1810, another at mid-century, another 1920s

    Forms & motifs used in other styles

    Building types: cemeteries, prisons, libraries, medical buildings, fraternal organizations

    Turkish or Moorish rare in architecture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    34.2

    Architectural Detail: Wall elevation, mid 19th century. Islamic influence.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.3

    Philadelphia County Prison, Debtors’ Wing, 1836; Philadelphia, Pennsylvania; Thomas W. Walter. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.4

    New York City Halls of Justice and House of Detention (The Tombs); New York City. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a flat or low pitched roof typical, cavetto cornice, cornice or lintel, plain and rounded molding on corners, and battered or canted plain wall. Egyptian columns define entry and portico. Slanted columns frame windows in a symmetrical composition.

    9

    34.5

    Egyptian Building, Medical College of Virginia (now part of Virginia Commonwealth University), 1844–1845; Richmond, Virginia; Thomas S. Stewart. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.6

    First Presbyterian Church and nave, 1848-1851; Nashville, Tennessee; William Strickland. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.7

    Isaac M. Wise Temple, 1866; Cincinnati, Ohio; James K. Wilson. Turkish/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.8a

    Olana, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.8b

    Stair, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The interior has stenciling with exotic motifs, pointed arches, Moorish style colors, oriental rugs from drapery, Niche with Buddha, Persian ceramics, exotic floor candlestick, Brassware decorative accents, and Moorish style table with ivory inlay.

    14

    Interiors

    Most eclectic of all styles

    Combine details, motifs, furniture or decorative arts of several cultures or styles.

    Associations important for choosing an exotic interior style

    Particular rooms associated with particular styles

    Egyptian Revival not common in residences, but some in public buildings

    Turkish, Islamic, or Indian: billiard or smoking rooms, reserved for males

    Turkish or cozy corners popular 1870s-1890s

    Usually only a room or two in houses or particular building type

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    34.9

    Hotel lobby, 1902; United States. Turkish Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16

    34.10

    Proscenium, Ada Theater, 1926; Boise, Idaho; Frederick C. Hummel. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    17

    34.11

    Arab Hall, Lord Leighton House, c. 1865; London, England; George Aitchison. Islamic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.12

    Smoking room, John D. Rockefeller House, c. 1885; New York City, New York. Turkish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The tables and chairs are arranged. The tables are decorated with vases. A balustrade is in front of the mantelpiece.

    19

    34.13

    Elsie de Wolfe in her cozy corner, Irving House, 1896; New York. Turkish/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    20

    34.14

    Textiles: Paisley patterns, mid to late 19th century; England and United States. Islamic/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    21

    34.15

    Rugs: Examples from the mid- to late-19th century; Turkish, Persian, Caucasian; Islamic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    22

    Furnishings & Decorative Arts

    Egyptian evident as motifs in classical styles, a deliberate revival, or copies of extant ancient pieces

    Applies Egyptian motifs to contemporary forms with varying accuracy

    Moorish- or Turkish-style furnishings introduced in 1870s

    Imported screens, small tables, Koran stands

    Most common in upholstery or built-in seating

    Upholstery deeply tufted with fancy trims

    Wicker, associated with Exoticism, popular 2nd half of 19th century

    Imported furniture, rugs, decorative arts add touch of exotic to any room

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    23

    34.16

    Turkish parlor and armchair, late 19th century. United States; parlor from the 1876 Centennial International Exhibition in Philadelphia; armchair by S. Karpen Brothers, exhibited at the World’s Columbian Exhibition in 1893. Turkish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.17

    Slipper chair and armchair, c. 1875; attributed to Pottier and Stymus Manufacturing Company, active c. 1859-1910. Egyptian Revival.

    Image © The Metropolitan Museum of Art/Art Resource, New York.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.18

    Horn furniture, late 19th century; California. Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    26

    34.19

    Wicker seating, c. 1880s–1910s; United States.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first chair has a tall and wide back, an armrest descends from the back, and the legs have a curvy shape to enhance the shaking of the chair in front and backward motions. The second chair has a tall and wide back with a spiral frame from the back to the legs. The seat is pivotal. The back has geometrical patterns. The seat has lines. The legs have a stretcher and curve shaped legs to enhance the shaking of the chair in front and backward motions. The third chair has a tall back with an arched top and geometrical patterns on the back. The seat is flat. The legs have stretchers. The legs are curved. The fourth chair is basket type with a spiral frame from the back to the legs. The apron is below the seat. The legs are straight.

    27

    34.20

    Decorative Arts: Clock and vases, exhibited at the 1876 Centennial International Exhibition in Philadelphia, Pennsylvania. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first vase has a circular bottom, a tapered bulb shape from the top to the bottom with a spiral handle. The second clock is fixed between the two human sculptures and the female sculptures are on the left and the right. The third vase has half handles, and bulb shape reservoir.

    28

    Copyright

    This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    29

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    **IMG_9127.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9127-png)

    **IMG_9126.png**

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    **IMG_9128.png**

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    **IMG_9131.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9131-png)

    **IMG_9132.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9132-png-10199627)

    **IMG_9125.png**

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    **IMG_9133.png**

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    **IMG_9130.png**

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    **IMG_9134.png**

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    **IMG_9135.png**

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    **ch-35-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-35-pptaccessible-pptx-10199641)

    **ch-35-PPTaccessible.pptx**

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    **## ch-34-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 34

    Exoticism

    1830 – 1920s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Exoticism

    Inspired by revivalism, eclecticism, novelty in 2nd half 19th century

    Designers look to non-Western cultures for inspiration & borrow their forms, colors, motifs.

    Learn about other cultures through international expositions, books, periodicals, travel, advances in technology

    Romantic image of faraway lands & mysterious people

    Styles: Egyptian Revival; Moorish, Islamic, Turkish, Saracenic, Arab Style; Indian, Mogul

    Never completely surpass other fashionable styles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Concepts

    Fascination with non-Western cultures gives rise to exotic styles

    Egyptian Revival, Turkish or Islamic styles, Indian or Mogul style

    All adapt cultural elements to tastes & needs of Westerners

    Each associated with particular building or room types

    Conveys particular visual image: timelessness, monumentality, touch of exotic

    Assemblages of elements & motifs applied to contemporary Western forms

    Few attempts to live as other cultures

    Associations & evoking an image more important

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Motifs

    Egyptian Revival

    Geometric forms, column, architectural details

    Real or fake hieroglyphs, scarabs, Egyptian figures, lotus, papyrus, crocodiles, sphinxes, sun disk

    Islamic or Turkish

    Onion domes, minarets, lattice, horseshoe arches, multifoil arches, ogee arches, peacocks, carnations, vases, arabesques, flat & intricate patterns

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    34.1

    Motifs: Turkish, Persian, Indian, and Egyptian designs published in The Grammar of Ornament, 1856 by Owen Jones.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first motif has a vase with different kinds of flowers in an oval and rectangle frame. The second motif has different types and different colors of flowers and a flowering plant. The third motif has four ogee-shaped flowers with different colors and alternating flower borders. The fourth motif has acanthus leaf and flower plants. The fifth motif has the flowering plant extending in a wavy manner with flowers.

    5

    Architecture

    Few examples in comparison to other styles

    Exotic styles, like others, used for particular building types

    Conveys purpose

    Symbolism important design context & characteristic

    Egyptian Revival

    First conscious revival c. 1810, another at mid-century, another 1920s

    Forms & motifs used in other styles

    Building types: cemeteries, prisons, libraries, medical buildings, fraternal organizations

    Turkish or Moorish rare in architecture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    34.2

    Architectural Detail: Wall elevation, mid 19th century. Islamic influence.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.3

    Philadelphia County Prison, Debtors’ Wing, 1836; Philadelphia, Pennsylvania; Thomas W. Walter. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.4

    New York City Halls of Justice and House of Detention (The Tombs); New York City. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a flat or low pitched roof typical, cavetto cornice, cornice or lintel, plain and rounded molding on corners, and battered or canted plain wall. Egyptian columns define entry and portico. Slanted columns frame windows in a symmetrical composition.

    9

    34.5

    Egyptian Building, Medical College of Virginia (now part of Virginia Commonwealth University), 1844–1845; Richmond, Virginia; Thomas S. Stewart. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.6

    First Presbyterian Church and nave, 1848-1851; Nashville, Tennessee; William Strickland. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.7

    Isaac M. Wise Temple, 1866; Cincinnati, Ohio; James K. Wilson. Turkish/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.8a

    Olana, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.8b

    Stair, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The interior has stenciling with exotic motifs, pointed arches, Moorish style colors, oriental rugs from drapery, Niche with Buddha, Persian ceramics, exotic floor candlestick, Brassware decorative accents, and Moorish style table with ivory inlay.

    14

    Interiors

    Most eclectic of all styles

    Combine details, motifs, furniture or decorative arts of several cultures or styles.

    Associations important for choosing an exotic interior style

    Particular rooms associated with particular styles

    Egyptian Revival not common in residences, but some in public buildings

    Turkish, Islamic, or Indian: billiard or smoking rooms, reserved for males

    Turkish or cozy corners popular 1870s-1890s

    Usually only a room or two in houses or particular building type

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    34.9

    Hotel lobby, 1902; United States. Turkish Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16

    34.10

    Proscenium, Ada Theater, 1926; Boise, Idaho; Frederick C. Hummel. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    17

    34.11

    Arab Hall, Lord Leighton House, c. 1865; London, England; George Aitchison. Islamic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.12

    Smoking room, John D. Rockefeller House, c. 1885; New York City, New York. Turkish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The tables and chairs are arranged. The tables are decorated with vases. A balustrade is in front of the mantelpiece.

    19

    34.13

    Elsie de Wolfe in her cozy corner, Irving House, 1896; New York. Turkish/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    20

    34.14

    Textiles: Paisley patterns, mid to late 19th century; England and United States. Islamic/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    21

    34.15

    Rugs: Examples from the mid- to late-19th century; Turkish, Persian, Caucasian; Islamic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    22

    Furnishings & Decorative Arts

    Egyptian evident as motifs in classical styles, a deliberate revival, or copies of extant ancient pieces

    Applies Egyptian motifs to contemporary forms with varying accuracy

    Moorish- or Turkish-style furnishings introduced in 1870s

    Imported screens, small tables, Koran stands

    Most common in upholstery or built-in seating

    Upholstery deeply tufted with fancy trims

    Wicker, associated with Exoticism, popular 2nd half of 19th century

    Imported furniture, rugs, decorative arts add touch of exotic to any room

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    23

    34.16

    Turkish parlor and armchair, late 19th century. United States; parlor from the 1876 Centennial International Exhibition in Philadelphia; armchair by S. Karpen Brothers, exhibited at the World’s Columbian Exhibition in 1893. Turkish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.17

    Slipper chair and armchair, c. 1875; attributed to Pottier and Stymus Manufacturing Company, active c. 1859-1910. Egyptian Revival.

    Image © The Metropolitan Museum of Art/Art Resource, New York.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.18

    Horn furniture, late 19th century; California. Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    26

    34.19

    Wicker seating, c. 1880s–1910s; United States.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first chair has a tall and wide back, an armrest descends from the back, and the legs have a curvy shape to enhance the shaking of the chair in front and backward motions. The second chair has a tall and wide back with a spiral frame from the back to the legs. The seat is pivotal. The back has geometrical patterns. The seat has lines. The legs have a stretcher and curve shaped legs to enhance the shaking of the chair in front and backward motions. The third chair has a tall back with an arched top and geometrical patterns on the back. The seat is flat. The legs have stretchers. The legs are curved. The fourth chair is basket type with a spiral frame from the back to the legs. The apron is below the seat. The legs are straight.

    27

    34.20

    Decorative Arts: Clock and vases, exhibited at the 1876 Centennial International Exhibition in Philadelphia, Pennsylvania. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first vase has a circular bottom, a tapered bulb shape from the top to the bottom with a spiral handle. The second clock is fixed between the two human sculptures and the female sculptures are on the left and the right. The third vase has half handles, and bulb shape reservoir.

    28

    Copyright

    This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    29

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    **IMG_9127.png**

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    **IMG_9126.png**

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    **IMG_9128.png**

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    **IMG_9131.png**

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    **IMG_9132.png**

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    **IMG_9125.png**

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    **IMG_9133.png**

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    **IMG_9130.png**

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    **IMG_9134.png**

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    **IMG_9135.png**

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    **IMG_9129.png**

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    **ch-35-PPTaccessible.pptx**

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    **## ch-34-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 34

    Exoticism

    1830 – 1920s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Exoticism

    Inspired by revivalism, eclecticism, novelty in 2nd half 19th century

    Designers look to non-Western cultures for inspiration & borrow their forms, colors, motifs.

    Learn about other cultures through international expositions, books, periodicals, travel, advances in technology

    Romantic image of faraway lands & mysterious people

    Styles: Egyptian Revival; Moorish, Islamic, Turkish, Saracenic, Arab Style; Indian, Mogul

    Never completely surpass other fashionable styles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Concepts

    Fascination with non-Western cultures gives rise to exotic styles

    Egyptian Revival, Turkish or Islamic styles, Indian or Mogul style

    All adapt cultural elements to tastes & needs of Westerners

    Each associated with particular building or room types

    Conveys particular visual image: timelessness, monumentality, touch of exotic

    Assemblages of elements & motifs applied to contemporary Western forms

    Few attempts to live as other cultures

    Associations & evoking an image more important

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Motifs

    Egyptian Revival

    Geometric forms, column, architectural details

    Real or fake hieroglyphs, scarabs, Egyptian figures, lotus, papyrus, crocodiles, sphinxes, sun disk

    Islamic or Turkish

    Onion domes, minarets, lattice, horseshoe arches, multifoil arches, ogee arches, peacocks, carnations, vases, arabesques, flat & intricate patterns

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    34.1

    Motifs: Turkish, Persian, Indian, and Egyptian designs published in The Grammar of Ornament, 1856 by Owen Jones.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first motif has a vase with different kinds of flowers in an oval and rectangle frame. The second motif has different types and different colors of flowers and a flowering plant. The third motif has four ogee-shaped flowers with different colors and alternating flower borders. The fourth motif has acanthus leaf and flower plants. The fifth motif has the flowering plant extending in a wavy manner with flowers.

    5

    Architecture

    Few examples in comparison to other styles

    Exotic styles, like others, used for particular building types

    Conveys purpose

    Symbolism important design context & characteristic

    Egyptian Revival

    First conscious revival c. 1810, another at mid-century, another 1920s

    Forms & motifs used in other styles

    Building types: cemeteries, prisons, libraries, medical buildings, fraternal organizations

    Turkish or Moorish rare in architecture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    34.2

    Architectural Detail: Wall elevation, mid 19th century. Islamic influence.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.3

    Philadelphia County Prison, Debtors’ Wing, 1836; Philadelphia, Pennsylvania; Thomas W. Walter. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.4

    New York City Halls of Justice and House of Detention (The Tombs); New York City. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a flat or low pitched roof typical, cavetto cornice, cornice or lintel, plain and rounded molding on corners, and battered or canted plain wall. Egyptian columns define entry and portico. Slanted columns frame windows in a symmetrical composition.

    9

    34.5

    Egyptian Building, Medical College of Virginia (now part of Virginia Commonwealth University), 1844–1845; Richmond, Virginia; Thomas S. Stewart. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.6

    First Presbyterian Church and nave, 1848-1851; Nashville, Tennessee; William Strickland. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.7

    Isaac M. Wise Temple, 1866; Cincinnati, Ohio; James K. Wilson. Turkish/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.8a

    Olana, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.8b

    Stair, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The interior has stenciling with exotic motifs, pointed arches, Moorish style colors, oriental rugs from drapery, Niche with Buddha, Persian ceramics, exotic floor candlestick, Brassware decorative accents, and Moorish style table with ivory inlay.

    14

    Interiors

    Most eclectic of all styles

    Combine details, motifs, furniture or decorative arts of several cultures or styles.

    Associations important for choosing an exotic interior style

    Particular rooms associated with particular styles

    Egyptian Revival not common in residences, but some in public buildings

    Turkish, Islamic, or Indian: billiard or smoking rooms, reserved for males

    Turkish or cozy corners popular 1870s-1890s

    Usually only a room or two in houses or particular building type

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    34.9

    Hotel lobby, 1902; United States. Turkish Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16

    34.10

    Proscenium, Ada Theater, 1926; Boise, Idaho; Frederick C. Hummel. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    17

    34.11

    Arab Hall, Lord Leighton House, c. 1865; London, England; George Aitchison. Islamic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.12

    Smoking room, John D. Rockefeller House, c. 1885; New York City, New York. Turkish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The tables and chairs are arranged. The tables are decorated with vases. A balustrade is in front of the mantelpiece.

    19

    34.13

    Elsie de Wolfe in her cozy corner, Irving House, 1896; New York. Turkish/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    20

    34.14

    Textiles: Paisley patterns, mid to late 19th century; England and United States. Islamic/Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    21

    34.15

    Rugs: Examples from the mid- to late-19th century; Turkish, Persian, Caucasian; Islamic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    22

    Furnishings & Decorative Arts

    Egyptian evident as motifs in classical styles, a deliberate revival, or copies of extant ancient pieces

    Applies Egyptian motifs to contemporary forms with varying accuracy

    Moorish- or Turkish-style furnishings introduced in 1870s

    Imported screens, small tables, Koran stands

    Most common in upholstery or built-in seating

    Upholstery deeply tufted with fancy trims

    Wicker, associated with Exoticism, popular 2nd half of 19th century

    Imported furniture, rugs, decorative arts add touch of exotic to any room

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    23

    34.16

    Turkish parlor and armchair, late 19th century. United States; parlor from the 1876 Centennial International Exhibition in Philadelphia; armchair by S. Karpen Brothers, exhibited at the World’s Columbian Exhibition in 1893. Turkish Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.17

    Slipper chair and armchair, c. 1875; attributed to Pottier and Stymus Manufacturing Company, active c. 1859-1910. Egyptian Revival.

    Image © The Metropolitan Museum of Art/Art Resource, New York.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    34.18

    Horn furniture, late 19th century; California. Exotic Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    26

    34.19

    Wicker seating, c. 1880s–1910s; United States.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first chair has a tall and wide back, an armrest descends from the back, and the legs have a curvy shape to enhance the shaking of the chair in front and backward motions. The second chair has a tall and wide back with a spiral frame from the back to the legs. The seat is pivotal. The back has geometrical patterns. The seat has lines. The legs have a stretcher and curve shaped legs to enhance the shaking of the chair in front and backward motions. The third chair has a tall back with an arched top and geometrical patterns on the back. The seat is flat. The legs have stretchers. The legs are curved. The fourth chair is basket type with a spiral frame from the back to the legs. The apron is below the seat. The legs are straight.

    27

    34.20

    Decorative Arts: Clock and vases, exhibited at the 1876 Centennial International Exhibition in Philadelphia, Pennsylvania. Egyptian Revival.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The first vase has a circular bottom, a tapered bulb shape from the top to the bottom with a spiral handle. The second clock is fixed between the two human sculptures and the female sculptures are on the left and the right. The third vase has half handles, and bulb shape reservoir.

    28

    Copyright

    This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    29

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  • [Solved] Architecture and Design IDS 3336- Assignment #6 (Ch.11)

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    Executive Solution Overview

    Answer in **specific** manner by **making specific connections** **between this week assigned readings/ videos and your reflection**. Please add in-text citations and/or reference(s) when necessary from CH. 11 of the textbook. ## **Reading Questions** 1. One way censorship can happen is when the exp…

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    Assignment Prompt & Instructions

    Answer in **specific** manner by **making specific connections** **between this week assigned readings/ videos and your reflection**. Please add in-text citations and/or reference(s) when necessary from CH. 11 of the textbook.

    ## **Reading Questions**

    1. One way censorship can happen is when the expression is silent or invisible to others. Yet some expression is faint because both the structures of the mainstream press and broadcasting and the dynamics of social networking tend to favor some voices, some images, over others. Explore the internet and find what you think is a worthwhile ARTISTIC EXPRESSION from somewhere in the world that you are unfamiliar with. Post a link and describe both why you think the work is valuable, and why you think it is being overlooked by people.
    2. Should certain types of art be censored? Explain your answer and select at least two examples to assist in clarifying your statement. Give an opposing response with justifications and select works to describe and clarify your opinion.
    3. Describe one way appropriation has become acceptable in contemporary art. What does it mean when some contemporary artists question what is an “original” work of art, and what is a “reproduction?” Why is it important that news photographs not be altered?
    4. What concepts was Damien Hirst exploring in using butterflies in his artwork? What did the butterflies symbolize for Hirst? What was the ethical dilemma photojournalist Kevin Carter faced when he photographed a child during the 1993 famine in Sudan?
    5. Describe how claims of “copyright” and “fair use” came into play in relation to Shepard Fairey’s portrait of Barack Obama.

    RESOURCES:

    https://www.aclu.org/documents/freedom-expression-arts-and-entertainment?redirect=free-speech/freedom-expression-arts-and-entertainment

    https://www.aiweiwei.com/

    https://lifeandletters.la.utexas.edu/2014/12/defending-artistic-expression/

    https://www.youtube.com/watch?v=0MYFOzP6Xns

    – 2 years ago

  • [Solved] Best Practices Presentation

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    Make a ppt about oil painting, the main content is to introduce the materials and hazards needed for oil painting. – [\ \ BestPracticesPresentation.png](https://www.sweetstudy.com/files/bestpracticespresentation-png "BestPracticesPresentation.png") – 2 years ago

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    Assignment Prompt & Instructions

    Make a ppt about oil painting, the main content is to introduce the materials and hazards needed for oil painting.

    – [\
    \
    BestPracticesPresentation.png](https://www.sweetstudy.com/files/bestpracticespresentation-png "BestPracticesPresentation.png")

    – 2 years ago

  • [Solved] Architecture and Design IDS 3336- Assignment #6 (Ch.11)

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    Answer each question separately and in a **specific** manner by **making specific connections** **between this week assigned readings/ videos and your reflection**. Please add in-text citations and/or reference(s) when necessary from CH. 11 of the textbook. ## **Reading Questions** 1. One way censor…

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    Assignment Prompt & Instructions

    Answer each question separately and in a **specific** manner by **making specific connections** **between this week assigned readings/ videos and your reflection**. Please add in-text citations and/or reference(s) when necessary from CH. 11 of the textbook.

    ## **Reading Questions**

    1. One way censorship can happen is when the expression is silent or invisible to others. Yet some expression is faint because both the structures of the mainstream press and broadcasting and the dynamics of social networking tend to favor some voices, some images, over others. Explore the internet and find what you think is a worthwhile ARTISTIC EXPRESSION from somewhere in the world that you are unfamiliar with. Post a link and describe both why you think the work is valuable, and why you think it is being overlooked by people.
    2. Should certain types of art be censored? Explain your answer and select at least two examples to assist in clarifying your statement. Give an opposing response with justifications and select works to describe and clarify your opinion.
    3. Describe one way appropriation has become acceptable in contemporary art. What does it mean when some contemporary artists question what is an “original” work of art, and what is a “reproduction?” Why is it important that news photographs not be altered?
    4. What concepts was Damien Hirst exploring in using butterflies in his artwork? What did the butterflies symbolize for Hirst? What was the ethical dilemma photojournalist Kevin Carter faced when he photographed a child during the 1993 famine in Sudan?
    5. Describe how claims of “copyright” and “fair use” came into play in relation to Shepard Fairey’s portrait of Barack Obama.

    RESOURCES:

    https://www.aclu.org/documents/freedom-expression-arts-and-entertainment?redirect=free-speech/freedom-expression-arts-and-entertainment

    https://www.aiweiwei.com/

    https://lifeandletters.la.utexas.edu/2014/12/defending-artistic-expression/

    https://www.youtube.com/watch?v=0MYFOzP6Xns

    – [\
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    – 2 years ago