Category: Architecture and Design

[Solved] IDS 3336- Final #2

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Executive Solution Overview

1. **SELECT** two different films created in a different context but having similar subject matters (e.g., _The Deer Hunter_ and _Saving Private Ryan_). 2. **RESEARCH** on your chosen movies to be able to complete unknown questions based on the communicative analysis of similarities and differences …

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Assignment Prompt & Instructions

1. **SELECT** two different films created in a different context but having similar subject matters (e.g., _The Deer Hunter_ and _Saving Private Ryan_).

2. **RESEARCH** on your chosen movies to be able to complete unknown questions based on the communicative analysis of similarities and differences of both films such as plot, directors background, historical context in which movies were shown, values and emotions addressed, methods of communication, artistic forms, etc. Take notes!

3. **WRITE:** write _**specific, concrete, and complete**_ notes, addressing the information presented in your course/textbook.

– [\
\
BOOK-IntroductiontoArt-1-1.pdf](https://www.sweetstudy.com/files/book-introductiontoart-1-1-pdf-10255497 "BOOK-IntroductiontoArt-1-1.pdf")

– 2 years ago

November 5, 2026
[Solved] COM 4430- Analysis Writing

✓ Verified Academic Solution Available

Executive Solution Overview

Objectives: Compare and contrast the business practices of two countries in terms of Government & Business, The Work Environment, Women in Business, Making Connections, Strategies for Success, Time, Business Meetings, Negotiating, Business Outside the Law, Names & Greetings, Communication Styles, Cu…

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Assignment Prompt & Instructions

Objectives:

Compare and contrast the business practices of two countries in terms of Government & Business, The Work Environment, Women in Business, Making Connections, Strategies for Success, Time, Business Meetings, Negotiating, Business Outside the Law, Names & Greetings, Communication Styles, Customs, etc. Cite Sources.

– [\
\
PassportWritingPDF.pdf](https://www.sweetstudy.com/files/passportwritingpdf-pdf "PassportWritingPDF.pdf")

– 2 years ago

November 5, 2026
[Solved] COM 3404- Final Analysis

✓ Verified Academic Solution Available

Executive Solution Overview

**Instructions:** This exercise is going to be a nonverbal analysis of a conversation. You will choose a short clip from your favorite TV show in where there is a **gender interaction**. For example, the scene could show a couple resolving a conflict, friends involved in a romantic talk, a boss and …

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Assignment Prompt & Instructions

**Instructions:**

This exercise is going to be a nonverbal analysis of a conversation.

You will choose a short clip from your favorite TV show in where there is a **gender interaction**. For example, the scene could show a couple resolving a conflict, friends involved in a romantic talk, a boss and his/her employee discussing about a work issue, siblings taking part in a family argument, etc. After finding your short clip, you will observe the chosen TV interaction without sound. You will then explain the interaction through an analysis of **gender non-verbal communication.** If possible after you have made your analysis, re-watch the conversation before putting your observations in writing. As part of your written analysis, you need to **incorporate at least 8 terms** from the list below that correspond from **textbook chapter on gender non-verbal communication**. Please **highlight** **all the terms you have chosen** in your writing. You will be evaluated on **how well** you apply and analyze terminology. Please review corresponding rubric.

_**LIST of TERMS**_ _:_

– **Quasi-courtship cues**
– **Modeling**
– **Conditioning**
– **Dominant social style**
– **Submissive social style**
– **Sex defined**
– **Gender defined**
– **Androgynous defined**
– **Gender-role expectations**
– **Reactivity**
– **Proactivity**
– **Commanding gestures**
– **Socially ingratiating behavior**
– **Establishing or maintaining interpersonal relationships**
– **Affiliative**
– **Courtship-readiness behavior**
– **Courtship-readiness cues**
– **Preening behavior**
– **Positional cues**
– **Actions of appeal or invitation**
– **Non-verbal sensitivity**
– **Immediate-seeming males and women**
– **Nonimmediate**
– **Misperception**
– **Liking behaviors or immediacy**

#### **Instructions:**

01. Follow 7th edition of the APA manual ( [APA Style 7th Edition).](https://owl.purdue.edu/owl/research_and_citation/apa_style/apa_style_introduction.html) You may review further links provided in this module for APA style format.
02. Write a short **2-3 full-page**.
03. Margins should be 1 inch on all sides.
04. Text should be double-spaced.
05. Font should be _Times Roman_ or _Arial_ 12 pt. size font.
06. Please make sure you add the terminology from the list provided (and, review corresponding textbook chapter).
07. Highlight terms used in your analysis.
08. Proper grammar/mechanics is crucial and will be a part of your grade.
09. Academic citations and references are required (if used) but they are not part of your word count.
10. You should refer to the content reviewed in class. And, sources must be cited.
11. There is no need for an abstract.
12. There is no need for a title page.
13. Submit a single file document in **Word format**.

– [\
\
COM3404-FINAL-ESSAY-FORMAT.docx](https://www.sweetstudy.com/files/com3404-final-essay-format-docx "COM3404-FINAL-ESSAY-FORMAT.docx")
– [\
\
NonverbalCommunicationinHumanInteraction-PDF.pdf](https://www.sweetstudy.com/files/nonverbalcommunicationinhumaninteraction-pdf-pdf-10255501 "NonverbalCommunicationinHumanInteraction-PDF.pdf")

– 2 years ago

November 5, 2026
[Solved] M10 – Chapters 53-54-55

✓ Verified Academic Solution Available

Executive Solution Overview

– 2 years ago **files (22)** – ## ch-54-PPTaccessible.pptx – ## ch-53-PPTaccessible.pptx – IMG_0501.png – IMG_0502.png – IMG_0503.png – IMG_0506.png – IMG_0507.png – IMG_0508.png – IMG_0509.png – IMG_0511.png – IMG_0512.png – IMG_0500.png – IMG_0513.png – IMG_0515.png – IMG_0514.png – I…

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– 2 years ago

**files (22)**

– ## ch-54-PPTaccessible.pptx

– ## ch-53-PPTaccessible.pptx

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– ch-55-PPTaccessible.pptx

**## ch-54-PPTaccessible.pptx**

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 54

Organic and Sculptural Modern

1930s – Early 1970s

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

Organic & Sculptural Modern

Inspired by sculptural forms or abstracted living organisms

Rejects hard edges & geometry of International Style

Seeks total unity through harmony with nature & a human touch

Extremely popular in furniture & decorative arts after World War

few architectural examples

Aided by renewed creative energy, new materials & techniques

Images of the future, optimism, progress

Briefly synonymous with modernism

World’s design leaders: United States, Scandinavia, Italy

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

2

Concepts

Deliberate move away from geometry & hard edges to asymmetrical, expressionist design; still functional, mass produced

Emphasizes humans & human body, expressionism, symbolism—qualities lacking in International Style

Technology, not craft, drives concepts & appearances

Innovations from experimentation with new construction methods from other industries or new materials

Some in advance of technology to produce

Softer, curvilinear modern with an organic nature but inorganic materials

Influences from painting & sculpture—organic or biomorphic forms, abstraction

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

3

Characteristics and Motifs

Smooth curving forms & shapes

Pierced, abstracted, elongated, attenuated, asymmetrical

Exaggerated, abstracted naturalistic forms & unity important

Simplicity, no applied ornament, design for mass production

More expressive or symbolic design language from experimentation & energy

Irregular surfaces, boldness, rhythm, continuous surface, parabolic arches, spherical forms, oblique angles

Colors from Pop Art, nature, Modern Art

Motifs: amoeboid & kidney shapes, spheres, parabolas, atoms, molecules, rockets, satellites, flying saucers, abstracted & stylized fruit, flowers, plants, objects of daily life

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

4

Architecture

Organic architecture roots in primitive vernacular forms; evolves over time & work of particular architects

Focus on humans, humanness in design, materials; forms from nature

Modern architecture that is softer, more rounded, expressive but unified

Fluid, curving forms from specific purpose; personal architectural statement; programmatic goals

Bold, powerful statements

Influence by Wright, 1920s German architects, Scandinavians

Few examples; require extraordinary creativity, technical genius, innovative construction techniques

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.1a

Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.

6

54.1b

Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.

7

54.1c

Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.

8

54.2a

Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.

9

54.2b

Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.3

Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.

11

54.4

Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.5a

Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.

13

54.5b

Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.

14

54.6

Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.7

Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.

16

54.8a

Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.

17

54.8b

Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description 1:

The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.

**## ch-53-PPTaccessible.pptx**

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 53

Geometric Modern

1930s – 1960s

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

Geometric Modern

Continues design language & many ideas of the Bauhaus & International Style

Work by originators, go to U.S. during World War

& their followers

Key characteristics: functionalism, geometric forms, minimal applied decoration, new materials & technologies

Style enters mainstream

U.S. becomes world’s leader in Modernism

Development of commercial interiors & expansion of interior design profession

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Concepts

Does not continue political overtones or social reforms of early modernism

Aligns with faith in democracy, egalitarianism, dynamism, new technologies in U.S, for new image as world power

Defers to capitalism in public & image of good life in private

Embraces standardization, prefabrication, mass production, new materials & technologies developed during war

Associated with promise of better tomorrow today & no nonsense or modest lifestyles

Museums, periodicals, department stores promote modern design as good taste in contests, competitions, exhibitions

Modern—up-to-date, in step with advances, new ways of living, good design

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Characteristics and Motifs

Bauhaus & International Style characteristics

Geometry, rectilinear grids, regularity but not necessarily symmetry, minimal applied ornament

Box shapes, glass curtain walls, bands of windows, smooth white walls, flat roofs

New materials—aluminum, plastics

Standardization, prefabrication essential in achieving design goals

Functionalism, efficiency, simplicity

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Architecture

Economical, easy to build, adaptable to many building types

Defined and dominated by modernist pioneers: Gropius, Breuer, Mies, Le Corbusier

Simple, rectilinear in silhouette, simple, sleekness

Some follow Bauhaus; others use concrete or other materials to express monumentality

Glass box common, especially for corporate offices

New Brutalism—bold concrete in geometric forms

Geodesic dome—prefabricated modules easily interlocked; unique because offers open interior spaces

Case Study Houses—series of residential prototypes built quickly & economically for any client any where; practical, functional

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

5

53.1

Lever House, 1951-1952; New York, New York; Gordon Bunshaft of Skidmore, Owings, and Merrill. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

6

53.2

Seagram Building, 1954-1958; New York, New York; Ludwig Mies van der Rohe and Philip Johnson. Geometric Modern

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The Seagram building has a glass curtain wall facade with a bronze grid and no ornamentation. The straight edges define the corporate glass box. The ground floor of the building has a main entry at the plaza or street level. The base is raised on columns. The granite plaza is in front.

7

53.4

Biosphere, United State Pavilion, E X P O 67; 1950s-1960s; geodesic dome introduced by Buckminster Fuller. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

8

53.5

Salk Institute of Biological Studies, 1959-1966; La Jolla, California; Louis Kahn. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

9

53.6

Habitat, E X P O 67, 1967; Montreal, Canada; Moshe Safdie. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building is an asymmetrical structure. It has random buildings with rectangular windows. It has bridges with balustrades between the buildings. The buildings are rectangular and triangular shapes.

10

53.7

Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter Gropius and Marcel Breuer. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

53.8

Kaufmann Desert House, 1945-1947; Palm Springs, California; Richard Neutra. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

12

53.9a

Glass House (Residence of Philip Johnson) and floor plan, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The glass house has a bathroom chimney core, flat roof, and steel frame with glass windows. The integration of outside to inside throughout the building. The flat manicured green lawn is around the glass house. The glass house has a living area.

13

53.9b

Glass House (Residence of Philip Johnson) living room, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

14

53.10a

Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

15

53.10b

Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has an attic. The walls have glass windows The floors are decorated with rugs and tiles. The walls are decorated with wood. The chairs are arranged randomly. Two people are discussing this in the hall.

16

53.11

Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

17

*53.12

Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe. Geometric Modern.

*Substitute image.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The base of the building is raised from the ground level through the columns. The stairs lead to the entrance. The entrance has glass walls. The roof is flat and supported by columns.

18

53.13

Case Study House 22, 1959-1960; Los Angeles, California; Pierre Koenig. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

19

Interiors

Commercial interiors follow Bauhaus & International Style principles: clean lines, simple forms, open space

Geometric grid a design feature; plain walls, suspended ceilings; modern furniture

Interiors more specialized, Interior Designers more important

Architectural firms have interior units

Knoll Planning Unit directed by Florence Knoll sets new design & planning standards; unifies furniture, textiles, & lighting; individual office layouts

Home interiors: modern furniture, textiles; open plans for informal living

Kitchens & baths efficiently planned with modern fixtures & materials

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

20

53.15

Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen and Associates. Geometric Modern. [Ezra Stoller©Esto]

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

**IMG_0501.png**

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**ch-55-PPTaccessible.pptx**

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**ch-55-PPTaccessible.pptx**

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**## ch-54-PPTaccessible.pptx**

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 54

Organic and Sculptural Modern

1930s – Early 1970s

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

Organic & Sculptural Modern

Inspired by sculptural forms or abstracted living organisms

Rejects hard edges & geometry of International Style

Seeks total unity through harmony with nature & a human touch

Extremely popular in furniture & decorative arts after World War

few architectural examples

Aided by renewed creative energy, new materials & techniques

Images of the future, optimism, progress

Briefly synonymous with modernism

World’s design leaders: United States, Scandinavia, Italy

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

2

Concepts

Deliberate move away from geometry & hard edges to asymmetrical, expressionist design; still functional, mass produced

Emphasizes humans & human body, expressionism, symbolism—qualities lacking in International Style

Technology, not craft, drives concepts & appearances

Innovations from experimentation with new construction methods from other industries or new materials

Some in advance of technology to produce

Softer, curvilinear modern with an organic nature but inorganic materials

Influences from painting & sculpture—organic or biomorphic forms, abstraction

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

3

Characteristics and Motifs

Smooth curving forms & shapes

Pierced, abstracted, elongated, attenuated, asymmetrical

Exaggerated, abstracted naturalistic forms & unity important

Simplicity, no applied ornament, design for mass production

More expressive or symbolic design language from experimentation & energy

Irregular surfaces, boldness, rhythm, continuous surface, parabolic arches, spherical forms, oblique angles

Colors from Pop Art, nature, Modern Art

Motifs: amoeboid & kidney shapes, spheres, parabolas, atoms, molecules, rockets, satellites, flying saucers, abstracted & stylized fruit, flowers, plants, objects of daily life

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

4

Architecture

Organic architecture roots in primitive vernacular forms; evolves over time & work of particular architects

Focus on humans, humanness in design, materials; forms from nature

Modern architecture that is softer, more rounded, expressive but unified

Fluid, curving forms from specific purpose; personal architectural statement; programmatic goals

Bold, powerful statements

Influence by Wright, 1920s German architects, Scandinavians

Few examples; require extraordinary creativity, technical genius, innovative construction techniques

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.1a

Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.

6

54.1b

Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.

7

54.1c

Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.

8

54.2a

Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.

9

54.2b

Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.3

Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.

11

54.4

Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.5a

Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.

13

54.5b

Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.

14

54.6

Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.7

Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.

16

54.8a

Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.

17

54.8b

Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description 1:

The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.

**## ch-53-PPTaccessible.pptx**

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 53

Geometric Modern

1930s – 1960s

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

Geometric Modern

Continues design language & many ideas of the Bauhaus & International Style

Work by originators, go to U.S. during World War

& their followers

Key characteristics: functionalism, geometric forms, minimal applied decoration, new materials & technologies

Style enters mainstream

U.S. becomes world’s leader in Modernism

Development of commercial interiors & expansion of interior design profession

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Concepts

Does not continue political overtones or social reforms of early modernism

Aligns with faith in democracy, egalitarianism, dynamism, new technologies in U.S, for new image as world power

Defers to capitalism in public & image of good life in private

Embraces standardization, prefabrication, mass production, new materials & technologies developed during war

Associated with promise of better tomorrow today & no nonsense or modest lifestyles

Museums, periodicals, department stores promote modern design as good taste in contests, competitions, exhibitions

Modern—up-to-date, in step with advances, new ways of living, good design

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Characteristics and Motifs

Bauhaus & International Style characteristics

Geometry, rectilinear grids, regularity but not necessarily symmetry, minimal applied ornament

Box shapes, glass curtain walls, bands of windows, smooth white walls, flat roofs

New materials—aluminum, plastics

Standardization, prefabrication essential in achieving design goals

Functionalism, efficiency, simplicity

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Architecture

Economical, easy to build, adaptable to many building types

Defined and dominated by modernist pioneers: Gropius, Breuer, Mies, Le Corbusier

Simple, rectilinear in silhouette, simple, sleekness

Some follow Bauhaus; others use concrete or other materials to express monumentality

Glass box common, especially for corporate offices

New Brutalism—bold concrete in geometric forms

Geodesic dome—prefabricated modules easily interlocked; unique because offers open interior spaces

Case Study Houses—series of residential prototypes built quickly & economically for any client any where; practical, functional

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

5

53.1

Lever House, 1951-1952; New York, New York; Gordon Bunshaft of Skidmore, Owings, and Merrill. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

6

53.2

Seagram Building, 1954-1958; New York, New York; Ludwig Mies van der Rohe and Philip Johnson. Geometric Modern

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The Seagram building has a glass curtain wall facade with a bronze grid and no ornamentation. The straight edges define the corporate glass box. The ground floor of the building has a main entry at the plaza or street level. The base is raised on columns. The granite plaza is in front.

7

53.4

Biosphere, United State Pavilion, E X P O 67; 1950s-1960s; geodesic dome introduced by Buckminster Fuller. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

8

53.5

Salk Institute of Biological Studies, 1959-1966; La Jolla, California; Louis Kahn. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

9

53.6

Habitat, E X P O 67, 1967; Montreal, Canada; Moshe Safdie. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building is an asymmetrical structure. It has random buildings with rectangular windows. It has bridges with balustrades between the buildings. The buildings are rectangular and triangular shapes.

10

53.7

Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter Gropius and Marcel Breuer. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

53.8

Kaufmann Desert House, 1945-1947; Palm Springs, California; Richard Neutra. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

12

53.9a

Glass House (Residence of Philip Johnson) and floor plan, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The glass house has a bathroom chimney core, flat roof, and steel frame with glass windows. The integration of outside to inside throughout the building. The flat manicured green lawn is around the glass house. The glass house has a living area.

13

53.9b

Glass House (Residence of Philip Johnson) living room, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

14

53.10a

Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

15

53.10b

Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has an attic. The walls have glass windows The floors are decorated with rugs and tiles. The walls are decorated with wood. The chairs are arranged randomly. Two people are discussing this in the hall.

16

53.11

Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

17

*53.12

Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe. Geometric Modern.

*Substitute image.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The base of the building is raised from the ground level through the columns. The stairs lead to the entrance. The entrance has glass walls. The roof is flat and supported by columns.

18

53.13

Case Study House 22, 1959-1960; Los Angeles, California; Pierre Koenig. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

19

Interiors

Commercial interiors follow Bauhaus & International Style principles: clean lines, simple forms, open space

Geometric grid a design feature; plain walls, suspended ceilings; modern furniture

Interiors more specialized, Interior Designers more important

Architectural firms have interior units

Knoll Planning Unit directed by Florence Knoll sets new design & planning standards; unifies furniture, textiles, & lighting; individual office layouts

Home interiors: modern furniture, textiles; open plans for informal living

Kitchens & baths efficiently planned with modern fixtures & materials

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

20

53.15

Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen and Associates. Geometric Modern. [Ezra Stoller©Esto]

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

**IMG_0501.png**

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**IMG_0502.png**

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**IMG_0509.png**

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**ch-55-PPTaccessible.pptx**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-55-pptaccessible-pptx)

**## ch-54-PPTaccessible.pptx**

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 54

Organic and Sculptural Modern

1930s – Early 1970s

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

Organic & Sculptural Modern

Inspired by sculptural forms or abstracted living organisms

Rejects hard edges & geometry of International Style

Seeks total unity through harmony with nature & a human touch

Extremely popular in furniture & decorative arts after World War

few architectural examples

Aided by renewed creative energy, new materials & techniques

Images of the future, optimism, progress

Briefly synonymous with modernism

World’s design leaders: United States, Scandinavia, Italy

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

2

Concepts

Deliberate move away from geometry & hard edges to asymmetrical, expressionist design; still functional, mass produced

Emphasizes humans & human body, expressionism, symbolism—qualities lacking in International Style

Technology, not craft, drives concepts & appearances

Innovations from experimentation with new construction methods from other industries or new materials

Some in advance of technology to produce

Softer, curvilinear modern with an organic nature but inorganic materials

Influences from painting & sculpture—organic or biomorphic forms, abstraction

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

3

Characteristics and Motifs

Smooth curving forms & shapes

Pierced, abstracted, elongated, attenuated, asymmetrical

Exaggerated, abstracted naturalistic forms & unity important

Simplicity, no applied ornament, design for mass production

More expressive or symbolic design language from experimentation & energy

Irregular surfaces, boldness, rhythm, continuous surface, parabolic arches, spherical forms, oblique angles

Colors from Pop Art, nature, Modern Art

Motifs: amoeboid & kidney shapes, spheres, parabolas, atoms, molecules, rockets, satellites, flying saucers, abstracted & stylized fruit, flowers, plants, objects of daily life

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

4

Architecture

Organic architecture roots in primitive vernacular forms; evolves over time & work of particular architects

Focus on humans, humanness in design, materials; forms from nature

Modern architecture that is softer, more rounded, expressive but unified

Fluid, curving forms from specific purpose; personal architectural statement; programmatic goals

Bold, powerful statements

Influence by Wright, 1920s German architects, Scandinavians

Few examples; require extraordinary creativity, technical genius, innovative construction techniques

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.1a

Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.

6

54.1b

Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.

7

54.1c

Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.

8

54.2a

Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.

9

54.2b

Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.3

Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.

11

54.4

Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.5a

Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.

13

54.5b

Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.

14

54.6

Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

54.7

Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.

16

54.8a

Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.

17

54.8b

Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description 1:

The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.

**## ch-53-PPTaccessible.pptx**

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 53

Geometric Modern

1930s – 1960s

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

Geometric Modern

Continues design language & many ideas of the Bauhaus & International Style

Work by originators, go to U.S. during World War

& their followers

Key characteristics: functionalism, geometric forms, minimal applied decoration, new materials & technologies

Style enters mainstream

U.S. becomes world’s leader in Modernism

Development of commercial interiors & expansion of interior design profession

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Concepts

Does not continue political overtones or social reforms of early modernism

Aligns with faith in democracy, egalitarianism, dynamism, new technologies in U.S, for new image as world power

Defers to capitalism in public & image of good life in private

Embraces standardization, prefabrication, mass production, new materials & technologies developed during war

Associated with promise of better tomorrow today & no nonsense or modest lifestyles

Museums, periodicals, department stores promote modern design as good taste in contests, competitions, exhibitions

Modern—up-to-date, in step with advances, new ways of living, good design

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Characteristics and Motifs

Bauhaus & International Style characteristics

Geometry, rectilinear grids, regularity but not necessarily symmetry, minimal applied ornament

Box shapes, glass curtain walls, bands of windows, smooth white walls, flat roofs

New materials—aluminum, plastics

Standardization, prefabrication essential in achieving design goals

Functionalism, efficiency, simplicity

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Architecture

Economical, easy to build, adaptable to many building types

Defined and dominated by modernist pioneers: Gropius, Breuer, Mies, Le Corbusier

Simple, rectilinear in silhouette, simple, sleekness

Some follow Bauhaus; others use concrete or other materials to express monumentality

Glass box common, especially for corporate offices

New Brutalism—bold concrete in geometric forms

Geodesic dome—prefabricated modules easily interlocked; unique because offers open interior spaces

Case Study Houses—series of residential prototypes built quickly & economically for any client any where; practical, functional

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

5

53.1

Lever House, 1951-1952; New York, New York; Gordon Bunshaft of Skidmore, Owings, and Merrill. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

6

53.2

Seagram Building, 1954-1958; New York, New York; Ludwig Mies van der Rohe and Philip Johnson. Geometric Modern

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The Seagram building has a glass curtain wall facade with a bronze grid and no ornamentation. The straight edges define the corporate glass box. The ground floor of the building has a main entry at the plaza or street level. The base is raised on columns. The granite plaza is in front.

7

53.4

Biosphere, United State Pavilion, E X P O 67; 1950s-1960s; geodesic dome introduced by Buckminster Fuller. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

8

53.5

Salk Institute of Biological Studies, 1959-1966; La Jolla, California; Louis Kahn. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

9

53.6

Habitat, E X P O 67, 1967; Montreal, Canada; Moshe Safdie. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The building is an asymmetrical structure. It has random buildings with rectangular windows. It has bridges with balustrades between the buildings. The buildings are rectangular and triangular shapes.

10

53.7

Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter Gropius and Marcel Breuer. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

53.8

Kaufmann Desert House, 1945-1947; Palm Springs, California; Richard Neutra. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

12

53.9a

Glass House (Residence of Philip Johnson) and floor plan, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The glass house has a bathroom chimney core, flat roof, and steel frame with glass windows. The integration of outside to inside throughout the building. The flat manicured green lawn is around the glass house. The glass house has a living area.

13

53.9b

Glass House (Residence of Philip Johnson) living room, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

14

53.10a

Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

15

53.10b

Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

It has an attic. The walls have glass windows The floors are decorated with rugs and tiles. The walls are decorated with wood. The chairs are arranged randomly. Two people are discussing this in the hall.

16

53.11

Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New Brutalism.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

17

*53.12

Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe. Geometric Modern.

*Substitute image.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Long Description:

The base of the building is raised from the ground level through the columns. The stairs lead to the entrance. The entrance has glass walls. The roof is flat and supported by columns.

18

53.13

Case Study House 22, 1959-1960; Los Angeles, California; Pierre Koenig. Geometric Modern.

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

19

Interiors

Commercial interiors follow Bauhaus & International Style principles: clean lines, simple forms, open space

Geometric grid a design feature; plain walls, suspended ceilings; modern furniture

Interiors more specialized, Interior Designers more important

Architectural firms have interior units

Knoll Planning Unit directed by Florence Knoll sets new design & planning standards; unifies furniture, textiles, & lighting; individual office layouts

Home interiors: modern furniture, textiles; open plans for informal living

Kitchens & baths efficiently planned with modern fixtures & materials

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

20

53.15

Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen and Associates. Geometric Modern. [Ezra Stoller©Esto]

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

**IMG_0501.png**

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**IMG_0502.png**

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**IMG_0508.png**

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**IMG_0509.png**

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November 5, 2026
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November 5, 2026
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Use attachments to complete – 2 years ago **files (4)** – ## Worksheet.docx – ## ReadingI.pdf – ## ReadingII.pdf – Image1.png **## Worksheet.docx** Use the three attachments to complete the following: **Document 1** Title: Click or tap here to enter text. Type of document: Click or tap here to enter…

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Assignment Prompt & Instructions

Use attachments to complete

– 2 years ago

**files (4)**

– ## Worksheet.docx

– ## ReadingI.pdf

– ## ReadingII.pdf

– Image1.png

**## Worksheet.docx**

Use the three attachments to complete the following:

**Document 1**

Title: Click or tap here to enter text.

Type of document: Click or tap here to enter text.

Year created: Click or tap here to enter text.

Who likely read this document? Click or tap here to enter text.

What is the document about (one paragraph summary)? Click or tap here to enter text.

One quote from the document that supports your answer: Click or tap here to enter text.[endnoteRef:1] [1: Click or tap here to enter text.]

**Document 2**

Title: Click or tap here to enter text.

Type of document: Click or tap here to enter text.

Year created: Click or tap here to enter text.

Who likely read the document? Click or tap here to enter text.

What is the document about (one paragraph summary)? Click or tap here to enter text.

One quote from the document that supports your answer:Click or tap here to enter text.[endnoteRef:2] [2: Click or tap here to enter text.]

**Image**

Write two words that describe the photo: Click or tap here to enter text.

Are there people? If so, describe them: Click or tap here to enter text.

Are there objects? If so, describe them: Click or tap here to enter text.

Why do you think the photo was taken? Click or tap here to enter text.

Where do you think the photo was taken? Click or tap here to enter text.

How does this photo compare to modern times? Click or tap here to enter text.

Taken all together, what did you learn about the time period we are studying this week from these documents and image? Click or tap here to enter text.

**## ReadingI.pdf**

The American Yawp Reader

Chelsea Manning Petitions for a Pardon (2013)

Chelsea Manning, a U.S. Army intelligence analyst, was convicted in 2013 for violating the

Espionage Act by leaking classified documents revealing the killing of civilians, the torture of prison-

ers, and other nefarious actions committed by the United States in the War on Terror. After being

sentenced to thirty-five years in federal prison, she delivered a statement, through her attorney, ex-

plaining her actions and requesting a pardon from President Barack Obama. Manning’s sentence

was commuted in 2017.

The decisions that I made in 2010 were made out of a concern for my country and the world that we

live in. Since the tragic events of 9/11, our country has been at war. We’ve been at war with an enemy

that chooses not to meet us on any traditional battlefield, and due to this fact we’ve had to alter our

methods of combating the risks posed to us and our way of life.

I initially agreed with these methods and chose to volunteer to help defend my country. It was not

until I was in Iraq and reading secret military reports on a daily basis that I started to question the

morality of what we were doing. It was at this time I realized in our efforts to meet this risk posed to

us by the enemy, we have forgotten our humanity. We consciously elected to devalue human life both

in Iraq and Afghanistan. When we engaged those that we perceived were the enemy, we sometimes

killed innocent civilians. Whenever we killed innocent civilians, instead of accepting responsibility

for our conduct, we elected to hide behind the veil of national security and classified information in

order to avoid any public accountability.

In our zeal to kill the enemy, we internally debated the definition of torture. We held individuals at

Guantanamo for years without due process. We inexplicably turned a blind eye to torture and execu-

tions by the Iraqi government. And we stomached countless other acts in the name of our war on

terror.

4/15/25, 1:29 PM Chelsea Manning Petitions for a Pardon (2013) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/ 1/2

[http://www.americanyawp.com/reader.html](http://www.americanyawp.com/reader.html)

← Pedro Lopez on His Mother’s Deportation (2008/2015)
Emily Doe (Chanel Miller), Victim Impact Statement (2015) →

Patriotism is often the cry extolled when morally questionable acts are advocated by those in power.

When these cries of patriotism drown out any logically based dissension, it is usually an American

soldier that is ordered to carry out some ill-conceived mission.

Our nation has had similar dark moments for the virtues of democracy—the Trail of Tears, the Dred

Scott decision, McCarthyism, the Japanese-American internment camps—to name a few. I am confi-

dent that many of our actions since 9/11 will one day be viewed in a similar light.

As the late Howard Zinn once said, “There is not a flag large enough to cover the shame of killing in-

nocent people.”

I understand that my actions violated the law, and I regret if my actions hurt anyone or harmed the

United States. It was never my intention to hurt anyone. I only wanted to help people. When I chose

to disclose classified information, I did so out of a love for my country and a sense of duty to others.

If you deny my request for a pardon, I will serve my time knowing that sometimes you have to pay a

heavy price to live in a free society. I will gladly pay that price if it means we could have country that

is truly conceived in liberty and dedicated to the proposition that all women and men are created

equal.

Source: Statement of Chelsea Manning, as Read by his Attorney, David Coombs, on August 21,

2013. Available via Democracy Now!

(https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_

heavy_price_to_live_in_a_free_society).

4/15/25, 1:29 PM Chelsea Manning Petitions for a Pardon (2013) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/ 2/2

[https://www.americanyawp.com/reader/30-the-recent-past/pedro-lopez-on-his-mothers-deportation-2008-2015/](https://www.americanyawp.com/reader/30-the-recent-past/pedro-lopez-on-his-mothers-deportation-2008-2015/)

[https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/](https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/)

[https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/](https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/)

[https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society](https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society)

[https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society](https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society)

**## ReadingII.pdf**

The American Yawp Reader

Emily Doe (Chanel Miller), Victim Impact Statement (2015)

On January 18, 2015, Stanford University student Brock Turner sexually assaulted an unconscious

woman outside of a university fraternity house. At his sentencing on June 2, 2016, his unnamed vic-

tim (“Emily Doe”) read a 7,000-word victim impact statement describing the effect of the assault on

her life. [Note: Chanel Miller identified herself publicly as Emily Doe in September 2019.]

On January 17th, 2015, it was a quiet Saturday night at home. My dad made some dinner and I sat

at the table with my younger sister who was visiting for the weekend. I was working full time and it

was approaching my bed time. I planned to stay at home by myself, watch some TV and read, while

she went to a party with her friends. Then, I decided it was my only night with her, I had nothing

better to do, so why not, there’s a dumb party ten minutes from my house, I would go, dance like a

fool, and embarrass my younger sister. On the way there, I joked that undergrad guys would have

braces. My sister teased me for wearing a beige cardigan to a frat party like a librarian. I called myself

“big mama,” because I knew I’d be the oldest one there. I made silly faces, let my guard down, and

drank liquor too fast not factoring in that my tolerance had significantly lowered since college.

The next thing I remember I was in a gurney in a hallway. I had dried blood and bandages on the

backs of my hands and elbow. I thought maybe I had fallen and was in an admin office on campus. I

was very calm and wondering where my sister was. A deputy explained I had been assaulted. I still re-

mained calm, assured he was speaking to the wrong person. I knew no one at this party. When I was

finally allowed to use the restroom, I pulled down the hospital pants they had given me, went to pull

down my underwear, and felt nothing. I still remember the feeling of my hands touching my skin

and grabbing nothing. I looked down and there was nothing. The thin piece of fabric, the only thing

between my vagina and anything else, was missing and everything inside me was silenced. I still don’t

have words for that feeling. In order to keep breathing, I thought maybe the policemen used scissors

to cut them off for evidence.

2

1

4

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 1/3

[http://www.americanyawp.com/reader.html](http://www.americanyawp.com/reader.html)

Then, I felt pine needles scratching the back of my neck and started pulling them out my hair. I

thought maybe, the pine needles had fallen from a tree onto my head. My brain was talking my gut

into not collapsing. Because my gut was saying, help me, help me.

I shuffled from room to room with a blanket wrapped around me, pine needles trailing behind me, I

left a little pile in every room I sat in. I was asked to sign papers that said “Rape Victim” and I

thought something has really happened. My clothes were confiscated and I stood naked while the

nurses held a ruler to various abrasions on my body and photographed them. The three of us worked

to comb the pine needles out of my hair, six hands to fill one paper bag. To calm me down, they said

it’s just the flora and fauna, flora and fauna. I had multiple swabs inserted into my vagina and anus,

needles for shots, pills, had a Nikon pointed right into my spread legs. I had long, pointed beaks in-

side me and had my vagina smeared with cold, blue paint to check for abrasions….

…

I thought there’s no way this is going to trial; there were witnesses, there was dirt in my body, he ran

but was caught. He’s going to settle, formally apologize, and we will both move on. Instead, I was

told he hired a powerful attorney, expert witnesses, private investigators who were going to try and

find details about my personal life to use against me, find loopholes in my story to invalidate me and

my sister, in order to show that this sexual assault was in fact a misunderstanding. That he was going

to go to any length to convince the world he had simply been confused….

Instead of taking time to heal, I was taking time to recall the night in excruciating detail, in order to

prepare for the attorney’s questions that would be invasive, aggressive, and designed to steer me off

course, to contradict myself, my sister, phrased in ways to manipulate my answers.

…

My damage was internal, unseen, I carry it with me. You took away my worth, my privacy, my energy,

my time, my safety, my intimacy, my confidence, my own voice, until today.

… I am no stranger to suffering. You made me a victim. In newspapers my name was “unconscious

intoxicated woman”, ten syllables, and nothing more than that. For a while, I believed that that was

all I was. I had to force myself to relearn my real name, my identity. To relearn that this is not all that

I am. That I am not just a drunk victim at a frat party found behind a dumpster, while you are the

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 2/3

← Chelsea Manning Petitions for a Pardon (2013)

All American swimmer at a top university, innocent until proven guilty, with so much at stake. I am

a human being who has been irreversibly hurt, my life was put on hold for over a year, waiting to fig-

ure out if I was worth something….

… Finally, to girls everywhere, I am with you. On nights when you feel alone, I am with you. When

people doubt you or dismiss you, I am with you. I fought everyday for you. So never stop fighting, I

believe you. As the author Anne Lamott once wrote, “Lighthouses don’t go running all over an is-

land looking for boats to save; they just stand there shining.” Although I can’t save every boat, I hope

that by speaking today, you absorbed a small amount of light, a small knowing that you can’t be si-

lenced, a small satisfaction that justice was served, a small assurance that we are getting somewhere,

and a big, big knowing that you are important, unquestionably, you are untouchable, you are beauti-

ful, you are to be valued, respected, undeniably, every minute of every day, you are powerful and no-

body can take that away from you. To girls everywhere, I am with you.

Thank you. Source: Emily Doe, “Victim Statement to Brock Turner,” June 2, 2016. Available online

via BuzzFeed (https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-

stanford-victim-read-to-her-ra).

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 3/3

[https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/](https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/)

**Image1.png**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/image1-png-10263385)

**Image1.png**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/image1-png-10263385)

**## Worksheet.docx**

Use the three attachments to complete the following:

**Document 1**

Title: Click or tap here to enter text.

Type of document: Click or tap here to enter text.

Year created: Click or tap here to enter text.

Who likely read this document? Click or tap here to enter text.

What is the document about (one paragraph summary)? Click or tap here to enter text.

One quote from the document that supports your answer: Click or tap here to enter text.[endnoteRef:1] [1: Click or tap here to enter text.]

**Document 2**

Title: Click or tap here to enter text.

Type of document: Click or tap here to enter text.

Year created: Click or tap here to enter text.

Who likely read the document? Click or tap here to enter text.

What is the document about (one paragraph summary)? Click or tap here to enter text.

One quote from the document that supports your answer:Click or tap here to enter text.[endnoteRef:2] [2: Click or tap here to enter text.]

**Image**

Write two words that describe the photo: Click or tap here to enter text.

Are there people? If so, describe them: Click or tap here to enter text.

Are there objects? If so, describe them: Click or tap here to enter text.

Why do you think the photo was taken? Click or tap here to enter text.

Where do you think the photo was taken? Click or tap here to enter text.

How does this photo compare to modern times? Click or tap here to enter text.

Taken all together, what did you learn about the time period we are studying this week from these documents and image? Click or tap here to enter text.

**## ReadingI.pdf**

The American Yawp Reader

Chelsea Manning Petitions for a Pardon (2013)

Chelsea Manning, a U.S. Army intelligence analyst, was convicted in 2013 for violating the

Espionage Act by leaking classified documents revealing the killing of civilians, the torture of prison-

ers, and other nefarious actions committed by the United States in the War on Terror. After being

sentenced to thirty-five years in federal prison, she delivered a statement, through her attorney, ex-

plaining her actions and requesting a pardon from President Barack Obama. Manning’s sentence

was commuted in 2017.

The decisions that I made in 2010 were made out of a concern for my country and the world that we

live in. Since the tragic events of 9/11, our country has been at war. We’ve been at war with an enemy

that chooses not to meet us on any traditional battlefield, and due to this fact we’ve had to alter our

methods of combating the risks posed to us and our way of life.

I initially agreed with these methods and chose to volunteer to help defend my country. It was not

until I was in Iraq and reading secret military reports on a daily basis that I started to question the

morality of what we were doing. It was at this time I realized in our efforts to meet this risk posed to

us by the enemy, we have forgotten our humanity. We consciously elected to devalue human life both

in Iraq and Afghanistan. When we engaged those that we perceived were the enemy, we sometimes

killed innocent civilians. Whenever we killed innocent civilians, instead of accepting responsibility

for our conduct, we elected to hide behind the veil of national security and classified information in

order to avoid any public accountability.

In our zeal to kill the enemy, we internally debated the definition of torture. We held individuals at

Guantanamo for years without due process. We inexplicably turned a blind eye to torture and execu-

tions by the Iraqi government. And we stomached countless other acts in the name of our war on

terror.

4/15/25, 1:29 PM Chelsea Manning Petitions for a Pardon (2013) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/ 1/2

[http://www.americanyawp.com/reader.html](http://www.americanyawp.com/reader.html)

← Pedro Lopez on His Mother’s Deportation (2008/2015)
Emily Doe (Chanel Miller), Victim Impact Statement (2015) →

Patriotism is often the cry extolled when morally questionable acts are advocated by those in power.

When these cries of patriotism drown out any logically based dissension, it is usually an American

soldier that is ordered to carry out some ill-conceived mission.

Our nation has had similar dark moments for the virtues of democracy—the Trail of Tears, the Dred

Scott decision, McCarthyism, the Japanese-American internment camps—to name a few. I am confi-

dent that many of our actions since 9/11 will one day be viewed in a similar light.

As the late Howard Zinn once said, “There is not a flag large enough to cover the shame of killing in-

nocent people.”

I understand that my actions violated the law, and I regret if my actions hurt anyone or harmed the

United States. It was never my intention to hurt anyone. I only wanted to help people. When I chose

to disclose classified information, I did so out of a love for my country and a sense of duty to others.

If you deny my request for a pardon, I will serve my time knowing that sometimes you have to pay a

heavy price to live in a free society. I will gladly pay that price if it means we could have country that

is truly conceived in liberty and dedicated to the proposition that all women and men are created

equal.

Source: Statement of Chelsea Manning, as Read by his Attorney, David Coombs, on August 21,

2013. Available via Democracy Now!

(https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_

heavy_price_to_live_in_a_free_society).

4/15/25, 1:29 PM Chelsea Manning Petitions for a Pardon (2013) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/ 2/2

[https://www.americanyawp.com/reader/30-the-recent-past/pedro-lopez-on-his-mothers-deportation-2008-2015/](https://www.americanyawp.com/reader/30-the-recent-past/pedro-lopez-on-his-mothers-deportation-2008-2015/)

[https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/](https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/)

[https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/](https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/)

[https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society](https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society)

[https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society](https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society)

**## ReadingII.pdf**

The American Yawp Reader

Emily Doe (Chanel Miller), Victim Impact Statement (2015)

On January 18, 2015, Stanford University student Brock Turner sexually assaulted an unconscious

woman outside of a university fraternity house. At his sentencing on June 2, 2016, his unnamed vic-

tim (“Emily Doe”) read a 7,000-word victim impact statement describing the effect of the assault on

her life. [Note: Chanel Miller identified herself publicly as Emily Doe in September 2019.]

On January 17th, 2015, it was a quiet Saturday night at home. My dad made some dinner and I sat

at the table with my younger sister who was visiting for the weekend. I was working full time and it

was approaching my bed time. I planned to stay at home by myself, watch some TV and read, while

she went to a party with her friends. Then, I decided it was my only night with her, I had nothing

better to do, so why not, there’s a dumb party ten minutes from my house, I would go, dance like a

fool, and embarrass my younger sister. On the way there, I joked that undergrad guys would have

braces. My sister teased me for wearing a beige cardigan to a frat party like a librarian. I called myself

“big mama,” because I knew I’d be the oldest one there. I made silly faces, let my guard down, and

drank liquor too fast not factoring in that my tolerance had significantly lowered since college.

The next thing I remember I was in a gurney in a hallway. I had dried blood and bandages on the

backs of my hands and elbow. I thought maybe I had fallen and was in an admin office on campus. I

was very calm and wondering where my sister was. A deputy explained I had been assaulted. I still re-

mained calm, assured he was speaking to the wrong person. I knew no one at this party. When I was

finally allowed to use the restroom, I pulled down the hospital pants they had given me, went to pull

down my underwear, and felt nothing. I still remember the feeling of my hands touching my skin

and grabbing nothing. I looked down and there was nothing. The thin piece of fabric, the only thing

between my vagina and anything else, was missing and everything inside me was silenced. I still don’t

have words for that feeling. In order to keep breathing, I thought maybe the policemen used scissors

to cut them off for evidence.

2

1

4

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 1/3

[http://www.americanyawp.com/reader.html](http://www.americanyawp.com/reader.html)

Then, I felt pine needles scratching the back of my neck and started pulling them out my hair. I

thought maybe, the pine needles had fallen from a tree onto my head. My brain was talking my gut

into not collapsing. Because my gut was saying, help me, help me.

I shuffled from room to room with a blanket wrapped around me, pine needles trailing behind me, I

left a little pile in every room I sat in. I was asked to sign papers that said “Rape Victim” and I

thought something has really happened. My clothes were confiscated and I stood naked while the

nurses held a ruler to various abrasions on my body and photographed them. The three of us worked

to comb the pine needles out of my hair, six hands to fill one paper bag. To calm me down, they said

it’s just the flora and fauna, flora and fauna. I had multiple swabs inserted into my vagina and anus,

needles for shots, pills, had a Nikon pointed right into my spread legs. I had long, pointed beaks in-

side me and had my vagina smeared with cold, blue paint to check for abrasions….

…

I thought there’s no way this is going to trial; there were witnesses, there was dirt in my body, he ran

but was caught. He’s going to settle, formally apologize, and we will both move on. Instead, I was

told he hired a powerful attorney, expert witnesses, private investigators who were going to try and

find details about my personal life to use against me, find loopholes in my story to invalidate me and

my sister, in order to show that this sexual assault was in fact a misunderstanding. That he was going

to go to any length to convince the world he had simply been confused….

Instead of taking time to heal, I was taking time to recall the night in excruciating detail, in order to

prepare for the attorney’s questions that would be invasive, aggressive, and designed to steer me off

course, to contradict myself, my sister, phrased in ways to manipulate my answers.

…

My damage was internal, unseen, I carry it with me. You took away my worth, my privacy, my energy,

my time, my safety, my intimacy, my confidence, my own voice, until today.

… I am no stranger to suffering. You made me a victim. In newspapers my name was “unconscious

intoxicated woman”, ten syllables, and nothing more than that. For a while, I believed that that was

all I was. I had to force myself to relearn my real name, my identity. To relearn that this is not all that

I am. That I am not just a drunk victim at a frat party found behind a dumpster, while you are the

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 2/3

← Chelsea Manning Petitions for a Pardon (2013)

All American swimmer at a top university, innocent until proven guilty, with so much at stake. I am

a human being who has been irreversibly hurt, my life was put on hold for over a year, waiting to fig-

ure out if I was worth something….

… Finally, to girls everywhere, I am with you. On nights when you feel alone, I am with you. When

people doubt you or dismiss you, I am with you. I fought everyday for you. So never stop fighting, I

believe you. As the author Anne Lamott once wrote, “Lighthouses don’t go running all over an is-

land looking for boats to save; they just stand there shining.” Although I can’t save every boat, I hope

that by speaking today, you absorbed a small amount of light, a small knowing that you can’t be si-

lenced, a small satisfaction that justice was served, a small assurance that we are getting somewhere,

and a big, big knowing that you are important, unquestionably, you are untouchable, you are beauti-

ful, you are to be valued, respected, undeniably, every minute of every day, you are powerful and no-

body can take that away from you. To girls everywhere, I am with you.

Thank you. Source: Emily Doe, “Victim Statement to Brock Turner,” June 2, 2016. Available online

via BuzzFeed (https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-

stanford-victim-read-to-her-ra).

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 3/3

[https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/](https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/)

**Image1.png**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/image1-png-10263385)

**## Worksheet.docx**

Use the three attachments to complete the following:

**Document 1**

Title: Click or tap here to enter text.

Type of document: Click or tap here to enter text.

Year created: Click or tap here to enter text.

Who likely read this document? Click or tap here to enter text.

What is the document about (one paragraph summary)? Click or tap here to enter text.

One quote from the document that supports your answer: Click or tap here to enter text.[endnoteRef:1] [1: Click or tap here to enter text.]

**Document 2**

Title: Click or tap here to enter text.

Type of document: Click or tap here to enter text.

Year created: Click or tap here to enter text.

Who likely read the document? Click or tap here to enter text.

What is the document about (one paragraph summary)? Click or tap here to enter text.

One quote from the document that supports your answer:Click or tap here to enter text.[endnoteRef:2] [2: Click or tap here to enter text.]

**Image**

Write two words that describe the photo: Click or tap here to enter text.

Are there people? If so, describe them: Click or tap here to enter text.

Are there objects? If so, describe them: Click or tap here to enter text.

Why do you think the photo was taken? Click or tap here to enter text.

Where do you think the photo was taken? Click or tap here to enter text.

How does this photo compare to modern times? Click or tap here to enter text.

Taken all together, what did you learn about the time period we are studying this week from these documents and image? Click or tap here to enter text.

**## ReadingI.pdf**

The American Yawp Reader

Chelsea Manning Petitions for a Pardon (2013)

Chelsea Manning, a U.S. Army intelligence analyst, was convicted in 2013 for violating the

Espionage Act by leaking classified documents revealing the killing of civilians, the torture of prison-

ers, and other nefarious actions committed by the United States in the War on Terror. After being

sentenced to thirty-five years in federal prison, she delivered a statement, through her attorney, ex-

plaining her actions and requesting a pardon from President Barack Obama. Manning’s sentence

was commuted in 2017.

The decisions that I made in 2010 were made out of a concern for my country and the world that we

live in. Since the tragic events of 9/11, our country has been at war. We’ve been at war with an enemy

that chooses not to meet us on any traditional battlefield, and due to this fact we’ve had to alter our

methods of combating the risks posed to us and our way of life.

I initially agreed with these methods and chose to volunteer to help defend my country. It was not

until I was in Iraq and reading secret military reports on a daily basis that I started to question the

morality of what we were doing. It was at this time I realized in our efforts to meet this risk posed to

us by the enemy, we have forgotten our humanity. We consciously elected to devalue human life both

in Iraq and Afghanistan. When we engaged those that we perceived were the enemy, we sometimes

killed innocent civilians. Whenever we killed innocent civilians, instead of accepting responsibility

for our conduct, we elected to hide behind the veil of national security and classified information in

order to avoid any public accountability.

In our zeal to kill the enemy, we internally debated the definition of torture. We held individuals at

Guantanamo for years without due process. We inexplicably turned a blind eye to torture and execu-

tions by the Iraqi government. And we stomached countless other acts in the name of our war on

terror.

4/15/25, 1:29 PM Chelsea Manning Petitions for a Pardon (2013) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/ 1/2

[http://www.americanyawp.com/reader.html](http://www.americanyawp.com/reader.html)

← Pedro Lopez on His Mother’s Deportation (2008/2015)
Emily Doe (Chanel Miller), Victim Impact Statement (2015) →

Patriotism is often the cry extolled when morally questionable acts are advocated by those in power.

When these cries of patriotism drown out any logically based dissension, it is usually an American

soldier that is ordered to carry out some ill-conceived mission.

Our nation has had similar dark moments for the virtues of democracy—the Trail of Tears, the Dred

Scott decision, McCarthyism, the Japanese-American internment camps—to name a few. I am confi-

dent that many of our actions since 9/11 will one day be viewed in a similar light.

As the late Howard Zinn once said, “There is not a flag large enough to cover the shame of killing in-

nocent people.”

I understand that my actions violated the law, and I regret if my actions hurt anyone or harmed the

United States. It was never my intention to hurt anyone. I only wanted to help people. When I chose

to disclose classified information, I did so out of a love for my country and a sense of duty to others.

If you deny my request for a pardon, I will serve my time knowing that sometimes you have to pay a

heavy price to live in a free society. I will gladly pay that price if it means we could have country that

is truly conceived in liberty and dedicated to the proposition that all women and men are created

equal.

Source: Statement of Chelsea Manning, as Read by his Attorney, David Coombs, on August 21,

2013. Available via Democracy Now!

(https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_

heavy_price_to_live_in_a_free_society).

4/15/25, 1:29 PM Chelsea Manning Petitions for a Pardon (2013) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/ 2/2

[https://www.americanyawp.com/reader/30-the-recent-past/pedro-lopez-on-his-mothers-deportation-2008-2015/](https://www.americanyawp.com/reader/30-the-recent-past/pedro-lopez-on-his-mothers-deportation-2008-2015/)

[https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/](https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/)

[https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/](https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/)

[https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society](https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society)

[https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society](https://www.democracynow.org/2013/8/21/bradley_manning_sometimes_you_have_to_pay_a_heavy_price_to_live_in_a_free_society)

**## ReadingII.pdf**

The American Yawp Reader

Emily Doe (Chanel Miller), Victim Impact Statement (2015)

On January 18, 2015, Stanford University student Brock Turner sexually assaulted an unconscious

woman outside of a university fraternity house. At his sentencing on June 2, 2016, his unnamed vic-

tim (“Emily Doe”) read a 7,000-word victim impact statement describing the effect of the assault on

her life. [Note: Chanel Miller identified herself publicly as Emily Doe in September 2019.]

On January 17th, 2015, it was a quiet Saturday night at home. My dad made some dinner and I sat

at the table with my younger sister who was visiting for the weekend. I was working full time and it

was approaching my bed time. I planned to stay at home by myself, watch some TV and read, while

she went to a party with her friends. Then, I decided it was my only night with her, I had nothing

better to do, so why not, there’s a dumb party ten minutes from my house, I would go, dance like a

fool, and embarrass my younger sister. On the way there, I joked that undergrad guys would have

braces. My sister teased me for wearing a beige cardigan to a frat party like a librarian. I called myself

“big mama,” because I knew I’d be the oldest one there. I made silly faces, let my guard down, and

drank liquor too fast not factoring in that my tolerance had significantly lowered since college.

The next thing I remember I was in a gurney in a hallway. I had dried blood and bandages on the

backs of my hands and elbow. I thought maybe I had fallen and was in an admin office on campus. I

was very calm and wondering where my sister was. A deputy explained I had been assaulted. I still re-

mained calm, assured he was speaking to the wrong person. I knew no one at this party. When I was

finally allowed to use the restroom, I pulled down the hospital pants they had given me, went to pull

down my underwear, and felt nothing. I still remember the feeling of my hands touching my skin

and grabbing nothing. I looked down and there was nothing. The thin piece of fabric, the only thing

between my vagina and anything else, was missing and everything inside me was silenced. I still don’t

have words for that feeling. In order to keep breathing, I thought maybe the policemen used scissors

to cut them off for evidence.

2

1

4

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 1/3

[http://www.americanyawp.com/reader.html](http://www.americanyawp.com/reader.html)

Then, I felt pine needles scratching the back of my neck and started pulling them out my hair. I

thought maybe, the pine needles had fallen from a tree onto my head. My brain was talking my gut

into not collapsing. Because my gut was saying, help me, help me.

I shuffled from room to room with a blanket wrapped around me, pine needles trailing behind me, I

left a little pile in every room I sat in. I was asked to sign papers that said “Rape Victim” and I

thought something has really happened. My clothes were confiscated and I stood naked while the

nurses held a ruler to various abrasions on my body and photographed them. The three of us worked

to comb the pine needles out of my hair, six hands to fill one paper bag. To calm me down, they said

it’s just the flora and fauna, flora and fauna. I had multiple swabs inserted into my vagina and anus,

needles for shots, pills, had a Nikon pointed right into my spread legs. I had long, pointed beaks in-

side me and had my vagina smeared with cold, blue paint to check for abrasions….

…

I thought there’s no way this is going to trial; there were witnesses, there was dirt in my body, he ran

but was caught. He’s going to settle, formally apologize, and we will both move on. Instead, I was

told he hired a powerful attorney, expert witnesses, private investigators who were going to try and

find details about my personal life to use against me, find loopholes in my story to invalidate me and

my sister, in order to show that this sexual assault was in fact a misunderstanding. That he was going

to go to any length to convince the world he had simply been confused….

Instead of taking time to heal, I was taking time to recall the night in excruciating detail, in order to

prepare for the attorney’s questions that would be invasive, aggressive, and designed to steer me off

course, to contradict myself, my sister, phrased in ways to manipulate my answers.

…

My damage was internal, unseen, I carry it with me. You took away my worth, my privacy, my energy,

my time, my safety, my intimacy, my confidence, my own voice, until today.

… I am no stranger to suffering. You made me a victim. In newspapers my name was “unconscious

intoxicated woman”, ten syllables, and nothing more than that. For a while, I believed that that was

all I was. I had to force myself to relearn my real name, my identity. To relearn that this is not all that

I am. That I am not just a drunk victim at a frat party found behind a dumpster, while you are the

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 2/3

← Chelsea Manning Petitions for a Pardon (2013)

All American swimmer at a top university, innocent until proven guilty, with so much at stake. I am

a human being who has been irreversibly hurt, my life was put on hold for over a year, waiting to fig-

ure out if I was worth something….

… Finally, to girls everywhere, I am with you. On nights when you feel alone, I am with you. When

people doubt you or dismiss you, I am with you. I fought everyday for you. So never stop fighting, I

believe you. As the author Anne Lamott once wrote, “Lighthouses don’t go running all over an is-

land looking for boats to save; they just stand there shining.” Although I can’t save every boat, I hope

that by speaking today, you absorbed a small amount of light, a small knowing that you can’t be si-

lenced, a small satisfaction that justice was served, a small assurance that we are getting somewhere,

and a big, big knowing that you are important, unquestionably, you are untouchable, you are beauti-

ful, you are to be valued, respected, undeniably, every minute of every day, you are powerful and no-

body can take that away from you. To girls everywhere, I am with you.

Thank you. Source: Emily Doe, “Victim Statement to Brock Turner,” June 2, 2016. Available online

via BuzzFeed (https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-

stanford-victim-read-to-her-ra).

4/15/25, 1:30 PM Emily Doe (Chanel Miller), Victim Impact Statement (2015) | The American Yawp Reader

https://www.americanyawp.com/reader/30-the-recent-past/emily-doe-victim-impact-statement-2015/ 3/3

[https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/](https://www.americanyawp.com/reader/30-the-recent-past/chelsea-manning-petitions-for-a-pardon-2013/)

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– 2 years ago **files (1)** – ## TheGlassMenagerieSoundtrackProject-Tagged.pdf **## TheGlassMenagerieSoundtrackProject-Tagged.pdf** The Glass Menagerie Soundtrack Project Task: You are to create the soundtrack album for a soon to be released movie version of The Glass Menagerie. Basic Objectives: To…

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**files (1)**

– ## TheGlassMenagerieSoundtrackProject-Tagged.pdf

**## TheGlassMenagerieSoundtrackProject-Tagged.pdf**

The Glass Menagerie
Soundtrack Project

Task: You are to create the soundtrack album for a soon to be released movie version of
The Glass Menagerie.

Basic Objectives: To collect four songs that represent, reflect, or otherwise relate to four key
passages from The Glass Menagerie. For each song, you will turn in a justification for why that
song was chosen as the backdrop to that particular passage. This justification will follow the
attached format. The lyrics (the song must have lyrics – no instrumentals) will be included at
the end of the explanation sheet. The rubrics go at the very end.

The Glass Menagerie
Song Justification

The following format must be followed exactly in order to receive full credit. You will retype
this format on your own using Calibri or Times New Roman font in 11-point size with single
spacing. Each justification is not to exceed 200 words.

Track number:

Title:

Artist:

Album: (include the copyright date)

Scene: (include page numbers)

Explanation:

The explanation is the key. Essentially write a well-written, short essay explaining the
connection between that song and the scene from the novel. Do not write a mere summary of
the scene and/or the song. Go beneath the surface of the words in the novel and the words in
the lyrics to tie them both together. Discuss themes, what is going on internally with the
characters, and/or the mood occurring within both the song and the scene and how they reflect
one another. Remember you are trying to convince someone that that song fits that scene
perfectly. On the following rubrics, fill-in the song titles and submit with the song justifications.

Student Sample: This sample is from the novel The Catcher in the Rye by J. D. Salinger. Notice
how it uses both the text and lines from the song to back up the idea that the theme of
“loneliness and alienation” is introduced early in the novel by this song. Also, notice how the
justification talks about what is going on inside the character of Holden Caulfield.

Track number: 1

Title: “One”

Artist: Aimee Mann

Album: For the Love of Harry: Everybody Sings Nilsson (1995)

Scene: This would play during the opening scene of the novel as Holden walks around the campus alone
(p. 2-5).

Explanation:

To start the film for The Catcher in the Rye, a song that could get the soundtrack going is “One”
as sung by Aimee Mann. The song “One” could actually be used in many different scenes from the
novel. As it talks about the number one being “the loneliest number that you'll ever know,” just about
any time that Holden is by himself feeling lonely, this song would match perfectly. However, first time
we see him alone would be the perfect time to introduce this theme of loneliness.

As Holden walks toward the football game, the opening lyrics would be playing in the
background. As Holden is watching from on top of a hill above the football field, he notes that “the
whole school except me was there” (Salinger 2). This is maybe the first time he mentions that he is by
himself, something that happens throughout the book. All of this fit very well with the second stanza of
the song, especially the line “’No’ is the saddest experience you'll ever know,” because he has just been
told “no” by the school. “No” you don’t belong here, and “no” you can’t stay. This sense of not
belonging is starting to sink into Holden and we first see it in the opening scenes of him alone at a school
full of kids his age.

“One”

One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one

"No" is the saddest experience you'll ever know
Yes, it's the saddest experience you'll ever know
Because one is the loneliest number that you'll ever do
One is the loneliest number that you'll ever know

It's just no good anymore since you went away
Now I spend my time just making rhymes of yesterday

Because one is the loneliest number that you'll ever do
One is the loneliest number that you'll ever know
One is the loneliest number
One is the loneliest number
One is the loneliest number that you'll ever do

One is the loneliest number, much much worse than two
One is the number divided by two

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

Template for you to use:

Track number:

Title:

Artist:

Album: (include the copyright date)

Scene: (include page numbers)

Explanation:

Add lyrics in this box

**## TheGlassMenagerieSoundtrackProject-Tagged.pdf**

The Glass Menagerie
Soundtrack Project

Task: You are to create the soundtrack album for a soon to be released movie version of
The Glass Menagerie.

Basic Objectives: To collect four songs that represent, reflect, or otherwise relate to four key
passages from The Glass Menagerie. For each song, you will turn in a justification for why that
song was chosen as the backdrop to that particular passage. This justification will follow the
attached format. The lyrics (the song must have lyrics – no instrumentals) will be included at
the end of the explanation sheet. The rubrics go at the very end.

The Glass Menagerie
Song Justification

The following format must be followed exactly in order to receive full credit. You will retype
this format on your own using Calibri or Times New Roman font in 11-point size with single
spacing. Each justification is not to exceed 200 words.

Track number:

Title:

Artist:

Album: (include the copyright date)

Scene: (include page numbers)

Explanation:

The explanation is the key. Essentially write a well-written, short essay explaining the
connection between that song and the scene from the novel. Do not write a mere summary of
the scene and/or the song. Go beneath the surface of the words in the novel and the words in
the lyrics to tie them both together. Discuss themes, what is going on internally with the
characters, and/or the mood occurring within both the song and the scene and how they reflect
one another. Remember you are trying to convince someone that that song fits that scene
perfectly. On the following rubrics, fill-in the song titles and submit with the song justifications.

Student Sample: This sample is from the novel The Catcher in the Rye by J. D. Salinger. Notice
how it uses both the text and lines from the song to back up the idea that the theme of
“loneliness and alienation” is introduced early in the novel by this song. Also, notice how the
justification talks about what is going on inside the character of Holden Caulfield.

Track number: 1

Title: “One”

Artist: Aimee Mann

Album: For the Love of Harry: Everybody Sings Nilsson (1995)

Scene: This would play during the opening scene of the novel as Holden walks around the campus alone
(p. 2-5).

Explanation:

To start the film for The Catcher in the Rye, a song that could get the soundtrack going is “One”
as sung by Aimee Mann. The song “One” could actually be used in many different scenes from the
novel. As it talks about the number one being “the loneliest number that you'll ever know,” just about
any time that Holden is by himself feeling lonely, this song would match perfectly. However, first time
we see him alone would be the perfect time to introduce this theme of loneliness.

As Holden walks toward the football game, the opening lyrics would be playing in the
background. As Holden is watching from on top of a hill above the football field, he notes that “the
whole school except me was there” (Salinger 2). This is maybe the first time he mentions that he is by
himself, something that happens throughout the book. All of this fit very well with the second stanza of
the song, especially the line “’No’ is the saddest experience you'll ever know,” because he has just been
told “no” by the school. “No” you don’t belong here, and “no” you can’t stay. This sense of not
belonging is starting to sink into Holden and we first see it in the opening scenes of him alone at a school
full of kids his age.

“One”

One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one

"No" is the saddest experience you'll ever know
Yes, it's the saddest experience you'll ever know
Because one is the loneliest number that you'll ever do
One is the loneliest number that you'll ever know

It's just no good anymore since you went away
Now I spend my time just making rhymes of yesterday

Because one is the loneliest number that you'll ever do
One is the loneliest number that you'll ever know
One is the loneliest number
One is the loneliest number
One is the loneliest number that you'll ever do

One is the loneliest number, much much worse than two
One is the number divided by two

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

25 pts TITLE:

Connects the song to one of the following: one theme, what’s occurring within a
character, or the overall mood of the scene.
Connects the song to another one of the following: one theme, what’s occurring
within a character, or the overall mood of the scene.
Is well-written with few grammatical errors.

Is written persuasively and is convincing.

Completes all other elements of the justification correctly, such as the format, the dates, and
the page numbers.

Template for you to use:

Track number:

Title:

Artist:

Album: (include the copyright date)

Scene: (include page numbers)

Explanation:

Add lyrics in this box

November 5, 2026
[Solved] Esthetics industry

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Executive Solution Overview

200-300 word about Jane Wurwand and her history and impact in the industry 200-300 word on Lydia Sarfati and her history and impact – 2 years ago

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Assignment Prompt & Instructions

200-300 word about Jane Wurwand and her history and impact in the industry

200-300 word on Lydia Sarfati and her history and impact

– 2 years ago

November 5, 2026
[Solved] 121jeuju

✓ Verified Academic Solution Available

Executive Solution Overview

In-depth study guidance and analytical solution covering 121jeuju.

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$6.99

Immediate access to the full model answer, formatted citations, and rubric breakdown.

Need a Fresh Custom Paper?

Have this question answered from scratch according to your specific instructions and deadline.
Order on TutorsGallery →

Assignment Prompt & Instructions

Full assignment prompt and step-by-step guidance are included in the downloadable solution file.

November 5, 2026