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  • [Solved] SCC3

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    2-4 pages – 2 years ago **files (1)** – ## SCC3.docx **## SCC3.docx** How's My Waterway – Community [WLOs: 2, 3] [CLO: 3] In this week’s lab, you learned all about water quality, from major sources and types of pollution to methods of field assessment using benthic macroinvertebrates and chemica…

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    2-4 pages

    – 2 years ago

    **files (1)**

    – ## SCC3.docx

    **## SCC3.docx**

    How's My Waterway – Community

    [WLOs: 2, 3] [CLO: 3]

    In this week’s lab, you learned all about water quality, from major sources and types of pollution to methods of field assessment using benthic macroinvertebrates and chemical tests. Together, we completed an initial assessment of water quality in White Oak Creek. Now it is time to research your own local watershed.

    **Step 1:**

    To prepare for your assignment,

    · Ensure you have completed the Water Quality Monitoring virtual lab.

    · Begin by visiting the U.S. Environmental Protection Agency’s webpage
    [_How’s My Waterway_ Links to an external site.](https://www.epa.gov/waterdata/hows-my-waterway), and follow these steps:

    · Read over the main page to familiarize yourself with the site.

    · Move your cursor to the “How’s My Waterway?” widget on the page and type in your current home address. (If that does not work for any reason, or if you are currently stationed overseas, just choose a previous home address or the home address of a family member for this assignment.)

    · Click the Go button.

    · In the page that appears, you will see a map that includes a region surrounded by a dashed line. That shows your local watershed. To find the name of the watershed, hover before the list of water bodies next to the map. Your watershed’s name will be italicized.

    · Now, use the website to research your watershed. Find the stream, pond, or other water body closest to your home that is marked by different colors. If the closest water body is unmarked, follow it downstream to the first section that is marked.

    · Is your closest water body good, impaired, or condition unknown? If it is impaired, click on it, and a box will appear with more information. For what uses is it impaired? For more details about that use, click on the listed uses for their definitions, and click on the lighter
    _i_ in the darker circle for more details about that particular use. The box may also include information about the sources of impairment.

    · You can click on their labels to read more about them, including a definition and what you can do to help with that issue. Finally, at the bottom of the box, you will see this option: View Waterbody Report. Click on the hyperlink to get further details about this water body, including plans in place to protect or restore water quality (click on any hyperlinks to view these plans). Record all the pertinent information in your notes; you will use this to write up your report.

    **Step 2:**

    Next, follow your local water body downstream until it joins the biggest stream or river in your watershed—the main river into which all the other tributaries flow. (If your local stream flows into a lake, use that instead. If your local water body is a small pond or lake, zoom out to find the closest large lake in your area instead.) Click on that larger river or lake to pull up the same information as you did for your nearest water body, above. Record all pertinent information in your notes.

    **Step 3:**

    Finally, see what else you can learn about your watershed online. Using the name of your major river or lake, do an internet search for “[name or river or lake] water quality”. You might also go to Google News and do the same search there. Maybe your river or lake has been in the news either due to cleanup efforts or because of new contamination events. Finally, try an internet search for “[name of river or lake] organizations.” Are there any nonprofit groups working to protect your watershed? If so, what are their names, what do they do, and how might volunteers get involved?

    [WLOs: 2, 3] [CLO: 3]

    In this week’s lab, you learned all about water quality, from major sources and types of pollution to methods of field assessment using benthic macroinvertebrates and chemical tests. Together, we completed an initial assessment of water quality in White Oak Creek. Now it is time to research your own local watershed.

    **Step 1:**

    To prepare for your assignment,

    · Ensure you have completed the Water Quality Monitoring virtual lab.

    · Begin by visiting the U.S. Environmental Protection Agency’s webpage
    [_How’s My Waterway_ Links to an external site.](https://www.epa.gov/waterdata/hows-my-waterway), and follow these steps:

    · Read over the main page to familiarize yourself with the site.

    · Move your cursor to the “How’s My Waterway?” widget on the page and type in your current home address. (If that does not work for any reason, or if you are currently stationed overseas, just choose a previous home address or the home address of a family member for this assignment.)

    · Click the Go button.

    · In the page that appears, you will see a map that includes a region surrounded by a dashed line. That shows your local watershed. To find the name of the watershed, hover before the list of water bodies next to the map. Your watershed’s name will be italicized.

    · Now, use the website to research your watershed. Find the stream, pond, or other water body closest to your home that is marked by different colors. If the closest water body is unmarked, follow it downstream to the first section that is marked.

    · Is your closest water body good, impaired, or condition unknown? If it is impaired, click on it, and a box will appear with more information. For what uses is it impaired? For more details about that use, click on the listed uses for their definitions, and click on the lighter
    _i_ in the darker circle for more details about that particular use. The box may also include information about the sources of impairment.

    · You can click on their labels to read more about them, including a definition and what you can do to help with that issue. Finally, at the bottom of the box, you will see this option: View Waterbody Report. Click on the hyperlink to get further details about this water body, including plans in place to protect or restore water quality (click on any hyperlinks to view these plans). Record all the pertinent information in your notes; you will use this to write up your report.

    **Step 2:**

    Next, follow your local water body downstream until it joins the biggest stream or river in your watershed—the main river into which all the other tributaries flow. (If your local stream flows into a lake, use that instead. If your local water body is a small pond or lake, zoom out to find the closest large lake in your area instead.) Click on that larger river or lake to pull up the same information as you did for your nearest water body, above. Record all pertinent information in your notes.

    **Step 3:**

    Finally, see what else you can learn about your watershed online. Using the name of your major river or lake, do an internet search for “[name or river or lake] water quality”. You might also go to Google News and do the same search there. Maybe your river or lake has been in the news either due to cleanup efforts or because of new contamination events. Finally, try an internet search for “[name of river or lake] organizations.” Are there any nonprofit groups working to protect your watershed? If so, what are their names, what do they do, and how might volunteers get involved?

    ![A hand holding a pencil AI-generated content may be incorrect.](https://www.sweetstudy.com/questions/scc3) Write

    Now, you are ready to write your Watershed Status Report. In your essay,

    · Describe your watershed.

    · Name your watershed.

    · State where the watershed is located in the United States.

    · Discuss what the water quality is like for the closest water body to your home. Make sure to include all the details shared in the preparation section.

    · Describe what the water quality is for the largest river or lake in or near your watershed. Make sure to include all the details shared in the preparation section.

    · Explain your overall assessment of the water quality in your watershed.

    · Explain any plans and steps that are needed to protect the water quality in your watershed.

    · Discuss what plans have been put in place to protect or restore water quality for your local water body and the watershed.

    · Summarize what additional steps you think should be taken to address any water quality impairments present in your watershed.

    · Provide information about any organizations active in your watershed working to safeguard local water quality, including what they do and how volunteers can get involved.

    · Discuss the latest news stories, if any, about the health of your watershed.

    he Water Quality Monitoring Laboratory Follow-Up Assignment essay,

    · must be 2 to 4 double-spaced pages in length (not including title and references pages)

    must use at least 1 scholarly source, one credible source, and the course text, for 3 sources total.

    ## image1.png

    **## SCC3.docx**

    How's My Waterway – Community

    [WLOs: 2, 3] [CLO: 3]

    In this week’s lab, you learned all about water quality, from major sources and types of pollution to methods of field assessment using benthic macroinvertebrates and chemical tests. Together, we completed an initial assessment of water quality in White Oak Creek. Now it is time to research your own local watershed.

    **Step 1:**

    To prepare for your assignment,

    · Ensure you have completed the Water Quality Monitoring virtual lab.

    · Begin by visiting the U.S. Environmental Protection Agency’s webpage
    [_How’s My Waterway_ Links to an external site.](https://www.epa.gov/waterdata/hows-my-waterway), and follow these steps:

    · Read over the main page to familiarize yourself with the site.

    · Move your cursor to the “How’s My Waterway?” widget on the page and type in your current home address. (If that does not work for any reason, or if you are currently stationed overseas, just choose a previous home address or the home address of a family member for this assignment.)

    · Click the Go button.

    · In the page that appears, you will see a map that includes a region surrounded by a dashed line. That shows your local watershed. To find the name of the watershed, hover before the list of water bodies next to the map. Your watershed’s name will be italicized.

    · Now, use the website to research your watershed. Find the stream, pond, or other water body closest to your home that is marked by different colors. If the closest water body is unmarked, follow it downstream to the first section that is marked.

    · Is your closest water body good, impaired, or condition unknown? If it is impaired, click on it, and a box will appear with more information. For what uses is it impaired? For more details about that use, click on the listed uses for their definitions, and click on the lighter
    _i_ in the darker circle for more details about that particular use. The box may also include information about the sources of impairment.

    · You can click on their labels to read more about them, including a definition and what you can do to help with that issue. Finally, at the bottom of the box, you will see this option: View Waterbody Report. Click on the hyperlink to get further details about this water body, including plans in place to protect or restore water quality (click on any hyperlinks to view these plans). Record all the pertinent information in your notes; you will use this to write up your report.

    **Step 2:**

    Next, follow your local water body downstream until it joins the biggest stream or river in your watershed—the main river into which all the other tributaries flow. (If your local stream flows into a lake, use that instead. If your local water body is a small pond or lake, zoom out to find the closest large lake in your area instead.) Click on that larger river or lake to pull up the same information as you did for your nearest water body, above. Record all pertinent information in your notes.

    **Step 3:**

    Finally, see what else you can learn about your watershed online. Using the name of your major river or lake, do an internet search for “[name or river or lake] water quality”. You might also go to Google News and do the same search there. Maybe your river or lake has been in the news either due to cleanup efforts or because of new contamination events. Finally, try an internet search for “[name of river or lake] organizations.” Are there any nonprofit groups working to protect your watershed? If so, what are their names, what do they do, and how might volunteers get involved?

    [WLOs: 2, 3] [CLO: 3]

    In this week’s lab, you learned all about water quality, from major sources and types of pollution to methods of field assessment using benthic macroinvertebrates and chemical tests. Together, we completed an initial assessment of water quality in White Oak Creek. Now it is time to research your own local watershed.

    **Step 1:**

    To prepare for your assignment,

    · Ensure you have completed the Water Quality Monitoring virtual lab.

    · Begin by visiting the U.S. Environmental Protection Agency’s webpage
    [_How’s My Waterway_ Links to an external site.](https://www.epa.gov/waterdata/hows-my-waterway), and follow these steps:

    · Read over the main page to familiarize yourself with the site.

    · Move your cursor to the “How’s My Waterway?” widget on the page and type in your current home address. (If that does not work for any reason, or if you are currently stationed overseas, just choose a previous home address or the home address of a family member for this assignment.)

    · Click the Go button.

    · In the page that appears, you will see a map that includes a region surrounded by a dashed line. That shows your local watershed. To find the name of the watershed, hover before the list of water bodies next to the map. Your watershed’s name will be italicized.

    · Now, use the website to research your watershed. Find the stream, pond, or other water body closest to your home that is marked by different colors. If the closest water body is unmarked, follow it downstream to the first section that is marked.

    · Is your closest water body good, impaired, or condition unknown? If it is impaired, click on it, and a box will appear with more information. For what uses is it impaired? For more details about that use, click on the listed uses for their definitions, and click on the lighter
    _i_ in the darker circle for more details about that particular use. The box may also include information about the sources of impairment.

    · You can click on their labels to read more about them, including a definition and what you can do to help with that issue. Finally, at the bottom of the box, you will see this option: View Waterbody Report. Click on the hyperlink to get further details about this water body, including plans in place to protect or restore water quality (click on any hyperlinks to view these plans). Record all the pertinent information in your notes; you will use this to write up your report.

    **Step 2:**

    Next, follow your local water body downstream until it joins the biggest stream or river in your watershed—the main river into which all the other tributaries flow. (If your local stream flows into a lake, use that instead. If your local water body is a small pond or lake, zoom out to find the closest large lake in your area instead.) Click on that larger river or lake to pull up the same information as you did for your nearest water body, above. Record all pertinent information in your notes.

    **Step 3:**

    Finally, see what else you can learn about your watershed online. Using the name of your major river or lake, do an internet search for “[name or river or lake] water quality”. You might also go to Google News and do the same search there. Maybe your river or lake has been in the news either due to cleanup efforts or because of new contamination events. Finally, try an internet search for “[name of river or lake] organizations.” Are there any nonprofit groups working to protect your watershed? If so, what are their names, what do they do, and how might volunteers get involved?

    ![A hand holding a pencil AI-generated content may be incorrect.](https://www.sweetstudy.com/questions/scc3) Write

    Now, you are ready to write your Watershed Status Report. In your essay,

    · Describe your watershed.

    · Name your watershed.

    · State where the watershed is located in the United States.

    · Discuss what the water quality is like for the closest water body to your home. Make sure to include all the details shared in the preparation section.

    · Describe what the water quality is for the largest river or lake in or near your watershed. Make sure to include all the details shared in the preparation section.

    · Explain your overall assessment of the water quality in your watershed.

    · Explain any plans and steps that are needed to protect the water quality in your watershed.

    · Discuss what plans have been put in place to protect or restore water quality for your local water body and the watershed.

    · Summarize what additional steps you think should be taken to address any water quality impairments present in your watershed.

    · Provide information about any organizations active in your watershed working to safeguard local water quality, including what they do and how volunteers can get involved.

    · Discuss the latest news stories, if any, about the health of your watershed.

    he Water Quality Monitoring Laboratory Follow-Up Assignment essay,

    · must be 2 to 4 double-spaced pages in length (not including title and references pages)

    must use at least 1 scholarly source, one credible source, and the course text, for 3 sources total.

    ## image1.png

  • [Solved] ju4

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  • [Solved] Peer review

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    – 2 years ago **files (9)** – ## IDES326-CLOSINGTHEDEAL1.pdf – IMG_0467.png – IMG_0472.png – IMG_0470.png – IMG_0468.png – IMG_0471.png – IMG_0473.png – IMG_0474.png – IMG_0469.png **## IDES326-CLOSINGTHEDEAL1.pdf** CLOSING THE DEAL – REFINING YOUR SALES PRESENTATION & BRAND IDENTITY WEEK 10…

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    – 2 years ago

    **files (9)**

    – ## IDES326-CLOSINGTHEDEAL1.pdf

    – IMG_0467.png
    – IMG_0472.png
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    **## IDES326-CLOSINGTHEDEAL1.pdf**

    CLOSING THE DEAL – REFINING
    YOUR SALES PRESENTATION &
    BRAND IDENTITY
    WEEK 10

    BY VALEN TUFONO

    WEEK OVERVIEW:
    This week, we focus on closing the deal—transforming a strong design into a compelling,
    client-ready pitch. Students will critically analyze their sales presentations, ensuring they
    effectively communicate value, align with client expectations, and reinforce brand identity.
    We will explore how to refine visual storytelling, enhance persuasive communication,
    and perfect presentation delivery—essential skills for securing client buy-in.

    How This Week’s Work Connects to Real-World Interior Design Practice:

    • Client Buy-In: The ability to confidently present and justify design choices is key to
    winning projects.

    • Persuasive Communication: Strong presentations should anticipate client concerns
    and address them proactively.

    • Branding & Professionalism: A refined, cohesive presentation builds trust and
    reinforces the designer’s credibility.

    • Handling Objections & Negotiation: Learning to navigate client hesitations and
    highlight the value of a design is essential.

    ◦ Ensuring the presentation layout is clear, engaging, and easy to follow.

    ◦ Maintaining a balance between visuals and text—less is more!

    ◦ Utilizing high-quality imagery and a consistent brand aesthetic.

    ◦ Checking alignment, spacing, and typography for a polished look.

    VISUAL COHESION &
    PRESENTATION FORMATTING
    Keep this in mind as you continue to generate your final presentation to your “clients,” our
    presentations is the catalyst for the client’s project to take off. That is why, I; and many other
    designers, invest so much time in making our presentations looks “pretty.”

    The inability to form mental images of
    objects that are not present is a real
    disadvantage for clients, but
    advantageous for us as designers
    because this allows us; quite literally, to
    paint the picture for them. In this case,
    when presenting to someone who might
    have this disadvantage, it is better to be
    more detailed with your presentation.

    So, when you focusing on your presentation every bit of detail MATTERS! Cohesion of course is
    warranted but FORMATTING is everything. When you continue to generate your presentation,
    think about placement of words, images, and the presentation as a whole; asking your self, is
    there a slide in my presentation that is unnecessary? Is there the text too much, to little, to
    distracting? Etc.

    Below are some key ideas to keep in mind as you create your final:

    This is LUMAE INTERIORS, my friends studio in New York. I would love for you all to take a look at her website because she
    is amazing at creating high-end visuals/aesthetics and overall an amazing designer. In the following slide, you will see

    a snip out of her page.

    LUMAE INTERIORS
    Click the link above to see more from LUMAE INTERIORS.

    [https://www.lumaeinteriors.com/](https://www.lumaeinteriors.com/)

    ◦ Framing the design as the ideal solution to the client’s needs.

    ◦ Emphasizing the project’s value, return on investment, and emotional impact.

    ◦ Using persuasive language to guide the client toward approval and action.

    ◦ Handling objections with confidence and providing solutions to hesitations.

    ◦ The psychology behind decision-making and how to influence client confidence.

    ◦ The final call to action—how to ask for the client's commitment without hesitation.

    THE ART OF PERSUASION
    & CLOSING THE DEAL
    Much like Visuals and Cohesion, the art of persuasion and closing the deal is important. You are again, “painting a picture” for
    your client. Essentially, what you are trying to express to your client, is WHY your option is the BEST OPTION.

    Although your trying to persuade your clients that your option is the best option, you dont want to persuade them on the sole
    fact that you want the commission; YES, the money is important but at the time of your proposal you aren’t in it for the money, in
    that moment you are in it to SELL you ideas FIRST AND FOREMOST.

    So the persuasion comes from you research of products, achieving the clients desires in their project, and making sure that your
    knowledge on the product is up to date or current.

    Think of it this way, you are in a court room, you are a lawyer giving you closing remarks to the jury, your goal is to capture the
    jury; in this case your clients, with the facts and evidence to win your case.

    Here you can use, storytelling to capture your clients, touch on practical ideas like what kind of investment this project will
    produce, etc.

    Below are som key ideas to keep in mind as you generate your final:

    Below is a couple of ideas, which we just covered above, for you to keep in mind when you are referencing the client’s wants
    and needs for the space/presentation that you are designing, here they are: Tailoring language and tone to reflect
    professionalism and empathy.

    ◦ Anticipating common client concerns and preparing clear responses.

    ◦ Active listening techniques to ensure clients feel heard and understood.

    ◦ Creating a concise yet impactful verbal walkthrough of your design.

    CLIENT • CENTERED
    COMMUNICATION

    THIS PROCESS IS ALL ABOUT THE CLIENT!

    It’s easy to get distracted or to easily say that your option is the best option BUT most times your client will choose what
    they believe to be the best option the you present. When we talk to our clients we gear the conversation to only them by
    asking questions like “What do YOU think? How does it make YOU feel? Tell me what YOUR concerns are? What would YOU
    like to see/do?” ONLY when they ask you what YOU think then you respond with your opinions and thoughts.

    There are instances; much like our aphantasia client, where we could DRIVE the entire meeting or the entire project with
    very little; to no, opinions from the client. This is nice because it allows us free range to design the space; of course, with
    their ideas in mind, if any.

    Additionally, client want to feel understood; as I have said many times before, being very observant, being a well
    researched designer, and always seeking more knowledge/inspiration/ideas is key to be able to center the
    communication around the client.

    ◦ Making sure presentations reflect a unique, professional aesthetic.

    ◦ Consistency in design choices, fonts, and color palettes.

    ◦ Refining your personal introduction and bio to align with your brand.

    ◦ Crafting a closing statement that reinforces why the client should move forward.

    BRAND IDENTITY &
    PERSONAL STYLE

    FIRST, I WANT TO SAY GREAT JOB ON ALL OF YOU BRAND PROPOSALS!!! I
    CANNOT EXPRESS ENOUGH HOW ELATED I AM TO SEE SUCH AMAZING WORK!
    SUPER EXCITE TO SEE WHAT YOU GUYS COME UP WITH AT THE END OF THE
    SEMESTER!!!

    With such a saturated market; specifically in Interior Design here in Sacramento, being unique and bold all the
    while professional will attract clients. We also have to consider our demographic in the area that we generating

    leads, for instance in Roseville, California the demographic are mainly the elderly (retired) or individuals with a
    higher income, so this would be a good market to tackle for anyone whose brand is more traditional or Mid

    Century Modern.

    Again, harping on the idea of being well rounded researcher will come in handy.

    TIP:

    When I go on site visits, before even going to the clients house for an initial design consultation, I go on Zillow to
    scope out the neighborhood to get a feel for what the design aesthetic was and could possibly be. This also

    gives me an idea of cost/budget for the project, so lets say a home is on the market for 500k, I know that the
    client’s budget or projected cost is going to start around 35k for a kitchen remodel at its basic form.

    With that said, your brand/personal style is what drew your clients to you in the first place, that’s why I am so
    adamant about REFINING your brand and making small tweaks here and there will get you to your final BRAND and

    look. The demographic portion and being a well research is part of your brand as these nuances promote to your
    clients how professional you are and how knowledgable you are.

    Below are some key concepts to integrate into your final presentation:

    From here on out fine tuning is your presentation is what you will be focusing on, but not only in your presentation
    just in general. Even to this dayI fine tune my designs, my presentation, my website, my business cards, the way I
    present my self in public versus a professional setting. This all ties in to who you are as a designer, essentially your
    brand as a designer. There isn’t much to talk about here because you are already doing this by being here in
    class, you are fine tuning your skills as beginner, intermediate, or professional designer.

    As designers, we are not creatures of complacency, were ebb and flow as design does, we constantly move
    things around in our home to find the perfect space, and this bleeds in to who you are as a designer. YOU change
    through the times as well… one day you like purple and then the following year your into terra cotta orange.

    FINE TUNING
    TECHNICAL DETAILS

    ◦ Double-checking measurements, pricing breakdowns, and product selections.

    ◦ Reviewing FF&E lists for clarity and completeness.

    ◦ Ensuring all elements of the project meet client expectations and industry standards.

    ◦ Practicing smooth transitions to ensure a seamless presentation experience.

    Below are some concepts that repeatedly get fine tuned, consider these as you generate your presentation:

    Assignments:

    1. ON GOING DISCUSSION PART I: Presentation Peer-Assessment & Refinement

    ◦ Students will peer-evaluate each others sales presentation focused on refining, persuasion, clarity, and
    branding, and everything overall.

    ◦ I will pair you up in a DISCUSSION module, you will see your names on the discussion module, and this is where
    you will meet and discuss.

    ◦ INSTRUCTOR FEEDBACK:

    ◦ I will also be a part of these discussions, I will be popping in once in a while during the week to see if you
    have interacted. I will focus on:

    ▪ Strength of persuasive language and closing techniques.

    ▪ Professionalism and visual presentation.

    ▪ Effectiveness in addressing client concerns and finalizing the deal.

    ◦ This means you must have something to present during this assignment. You should at least, by now, have:

    ◦ A Welcome Page, an introduction, and possibly and agenda slide for your presentation

    ◦ If not then you will have to summarize your work; to your peer.

    ◦ I would also like to add, if you do not have anything ready before next class lecture, then compile
    references, images, etc. to help share your ideas with you peer.

    2. Based on your peer evaluation, students will make at least three key revisions and submit a brief summary of their
    updates in the M10: ASSIGNMENT ONE module.

    ◦ Consider the following:

    ▪ Does your presentation clearly communicate why your design is the best solution?

    ▪ Have you preemptively addressed potential objections?

    ▪ Is your closing statement strong and compelling?

    3. Finalized Presentation Submission: DUE before the date on your final presentation, via Zoom with me

    ◦ By the end of the semester students will upload their fully refined, final version of their sales presentation to
    Canvas.

    ◦ This version should be polished, client-ready, and designed to secure approval by the “client”

    ◦ Ensure:

    ▪ High-quality images and materials.

    ▪ Consistent and clean formatting.

    ▪ A strong conclusion that confidently asks for the client’s buy-in.

    Looking Ahead:

    Next week, students will perfect their delivery, focusing on confidence, clarity, and adaptability in
    real-time client interactions. We will conduct mock client meetings to simulate final presentations
    and ensure students are prepared to close deals with professionalism and conviction.

    This week is all about polishing, refining, and preparing to seal the deal. By the end of this module,
    students should feel ready to present their work with confidence, handle client objections, and
    successfully close the project.

    **IMG_0467.png**

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    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0468-png-10253807)

    **IMG_0471.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0471-png-10253809)

    **IMG_0473.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0473-png-10253811)

    **IMG_0474.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0474-png-10253813)

    **IMG_0469.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0469-png-10253815)

    **IMG_0469.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0469-png-10253815)

    **## IDES326-CLOSINGTHEDEAL1.pdf**

    CLOSING THE DEAL – REFINING
    YOUR SALES PRESENTATION &
    BRAND IDENTITY
    WEEK 10

    BY VALEN TUFONO

    WEEK OVERVIEW:
    This week, we focus on closing the deal—transforming a strong design into a compelling,
    client-ready pitch. Students will critically analyze their sales presentations, ensuring they
    effectively communicate value, align with client expectations, and reinforce brand identity.
    We will explore how to refine visual storytelling, enhance persuasive communication,
    and perfect presentation delivery—essential skills for securing client buy-in.

    How This Week’s Work Connects to Real-World Interior Design Practice:

    • Client Buy-In: The ability to confidently present and justify design choices is key to
    winning projects.

    • Persuasive Communication: Strong presentations should anticipate client concerns
    and address them proactively.

    • Branding & Professionalism: A refined, cohesive presentation builds trust and
    reinforces the designer’s credibility.

    • Handling Objections & Negotiation: Learning to navigate client hesitations and
    highlight the value of a design is essential.

    ◦ Ensuring the presentation layout is clear, engaging, and easy to follow.

    ◦ Maintaining a balance between visuals and text—less is more!

    ◦ Utilizing high-quality imagery and a consistent brand aesthetic.

    ◦ Checking alignment, spacing, and typography for a polished look.

    VISUAL COHESION &
    PRESENTATION FORMATTING
    Keep this in mind as you continue to generate your final presentation to your “clients,” our
    presentations is the catalyst for the client’s project to take off. That is why, I; and many other
    designers, invest so much time in making our presentations looks “pretty.”

    The inability to form mental images of
    objects that are not present is a real
    disadvantage for clients, but
    advantageous for us as designers
    because this allows us; quite literally, to
    paint the picture for them. In this case,
    when presenting to someone who might
    have this disadvantage, it is better to be
    more detailed with your presentation.

    So, when you focusing on your presentation every bit of detail MATTERS! Cohesion of course is
    warranted but FORMATTING is everything. When you continue to generate your presentation,
    think about placement of words, images, and the presentation as a whole; asking your self, is
    there a slide in my presentation that is unnecessary? Is there the text too much, to little, to
    distracting? Etc.

    Below are some key ideas to keep in mind as you create your final:

    This is LUMAE INTERIORS, my friends studio in New York. I would love for you all to take a look at her website because she
    is amazing at creating high-end visuals/aesthetics and overall an amazing designer. In the following slide, you will see

    a snip out of her page.

    LUMAE INTERIORS
    Click the link above to see more from LUMAE INTERIORS.

    [https://www.lumaeinteriors.com/](https://www.lumaeinteriors.com/)

    ◦ Framing the design as the ideal solution to the client’s needs.

    ◦ Emphasizing the project’s value, return on investment, and emotional impact.

    ◦ Using persuasive language to guide the client toward approval and action.

    ◦ Handling objections with confidence and providing solutions to hesitations.

    ◦ The psychology behind decision-making and how to influence client confidence.

    ◦ The final call to action—how to ask for the client's commitment without hesitation.

    THE ART OF PERSUASION
    & CLOSING THE DEAL
    Much like Visuals and Cohesion, the art of persuasion and closing the deal is important. You are again, “painting a picture” for
    your client. Essentially, what you are trying to express to your client, is WHY your option is the BEST OPTION.

    Although your trying to persuade your clients that your option is the best option, you dont want to persuade them on the sole
    fact that you want the commission; YES, the money is important but at the time of your proposal you aren’t in it for the money, in
    that moment you are in it to SELL you ideas FIRST AND FOREMOST.

    So the persuasion comes from you research of products, achieving the clients desires in their project, and making sure that your
    knowledge on the product is up to date or current.

    Think of it this way, you are in a court room, you are a lawyer giving you closing remarks to the jury, your goal is to capture the
    jury; in this case your clients, with the facts and evidence to win your case.

    Here you can use, storytelling to capture your clients, touch on practical ideas like what kind of investment this project will
    produce, etc.

    Below are som key ideas to keep in mind as you generate your final:

    Below is a couple of ideas, which we just covered above, for you to keep in mind when you are referencing the client’s wants
    and needs for the space/presentation that you are designing, here they are: Tailoring language and tone to reflect
    professionalism and empathy.

    ◦ Anticipating common client concerns and preparing clear responses.

    ◦ Active listening techniques to ensure clients feel heard and understood.

    ◦ Creating a concise yet impactful verbal walkthrough of your design.

    CLIENT • CENTERED
    COMMUNICATION

    THIS PROCESS IS ALL ABOUT THE CLIENT!

    It’s easy to get distracted or to easily say that your option is the best option BUT most times your client will choose what
    they believe to be the best option the you present. When we talk to our clients we gear the conversation to only them by
    asking questions like “What do YOU think? How does it make YOU feel? Tell me what YOUR concerns are? What would YOU
    like to see/do?” ONLY when they ask you what YOU think then you respond with your opinions and thoughts.

    There are instances; much like our aphantasia client, where we could DRIVE the entire meeting or the entire project with
    very little; to no, opinions from the client. This is nice because it allows us free range to design the space; of course, with
    their ideas in mind, if any.

    Additionally, client want to feel understood; as I have said many times before, being very observant, being a well
    researched designer, and always seeking more knowledge/inspiration/ideas is key to be able to center the
    communication around the client.

    ◦ Making sure presentations reflect a unique, professional aesthetic.

    ◦ Consistency in design choices, fonts, and color palettes.

    ◦ Refining your personal introduction and bio to align with your brand.

    ◦ Crafting a closing statement that reinforces why the client should move forward.

    BRAND IDENTITY &
    PERSONAL STYLE

    FIRST, I WANT TO SAY GREAT JOB ON ALL OF YOU BRAND PROPOSALS!!! I
    CANNOT EXPRESS ENOUGH HOW ELATED I AM TO SEE SUCH AMAZING WORK!
    SUPER EXCITE TO SEE WHAT YOU GUYS COME UP WITH AT THE END OF THE
    SEMESTER!!!

    With such a saturated market; specifically in Interior Design here in Sacramento, being unique and bold all the
    while professional will attract clients. We also have to consider our demographic in the area that we generating

    leads, for instance in Roseville, California the demographic are mainly the elderly (retired) or individuals with a
    higher income, so this would be a good market to tackle for anyone whose brand is more traditional or Mid

    Century Modern.

    Again, harping on the idea of being well rounded researcher will come in handy.

    TIP:

    When I go on site visits, before even going to the clients house for an initial design consultation, I go on Zillow to
    scope out the neighborhood to get a feel for what the design aesthetic was and could possibly be. This also

    gives me an idea of cost/budget for the project, so lets say a home is on the market for 500k, I know that the
    client’s budget or projected cost is going to start around 35k for a kitchen remodel at its basic form.

    With that said, your brand/personal style is what drew your clients to you in the first place, that’s why I am so
    adamant about REFINING your brand and making small tweaks here and there will get you to your final BRAND and

    look. The demographic portion and being a well research is part of your brand as these nuances promote to your
    clients how professional you are and how knowledgable you are.

    Below are some key concepts to integrate into your final presentation:

    From here on out fine tuning is your presentation is what you will be focusing on, but not only in your presentation
    just in general. Even to this dayI fine tune my designs, my presentation, my website, my business cards, the way I
    present my self in public versus a professional setting. This all ties in to who you are as a designer, essentially your
    brand as a designer. There isn’t much to talk about here because you are already doing this by being here in
    class, you are fine tuning your skills as beginner, intermediate, or professional designer.

    As designers, we are not creatures of complacency, were ebb and flow as design does, we constantly move
    things around in our home to find the perfect space, and this bleeds in to who you are as a designer. YOU change
    through the times as well… one day you like purple and then the following year your into terra cotta orange.

    FINE TUNING
    TECHNICAL DETAILS

    ◦ Double-checking measurements, pricing breakdowns, and product selections.

    ◦ Reviewing FF&E lists for clarity and completeness.

    ◦ Ensuring all elements of the project meet client expectations and industry standards.

    ◦ Practicing smooth transitions to ensure a seamless presentation experience.

    Below are some concepts that repeatedly get fine tuned, consider these as you generate your presentation:

    Assignments:

    1. ON GOING DISCUSSION PART I: Presentation Peer-Assessment & Refinement

    ◦ Students will peer-evaluate each others sales presentation focused on refining, persuasion, clarity, and
    branding, and everything overall.

    ◦ I will pair you up in a DISCUSSION module, you will see your names on the discussion module, and this is where
    you will meet and discuss.

    ◦ INSTRUCTOR FEEDBACK:

    ◦ I will also be a part of these discussions, I will be popping in once in a while during the week to see if you
    have interacted. I will focus on:

    ▪ Strength of persuasive language and closing techniques.

    ▪ Professionalism and visual presentation.

    ▪ Effectiveness in addressing client concerns and finalizing the deal.

    ◦ This means you must have something to present during this assignment. You should at least, by now, have:

    ◦ A Welcome Page, an introduction, and possibly and agenda slide for your presentation

    ◦ If not then you will have to summarize your work; to your peer.

    ◦ I would also like to add, if you do not have anything ready before next class lecture, then compile
    references, images, etc. to help share your ideas with you peer.

    2. Based on your peer evaluation, students will make at least three key revisions and submit a brief summary of their
    updates in the M10: ASSIGNMENT ONE module.

    ◦ Consider the following:

    ▪ Does your presentation clearly communicate why your design is the best solution?

    ▪ Have you preemptively addressed potential objections?

    ▪ Is your closing statement strong and compelling?

    3. Finalized Presentation Submission: DUE before the date on your final presentation, via Zoom with me

    ◦ By the end of the semester students will upload their fully refined, final version of their sales presentation to
    Canvas.

    ◦ This version should be polished, client-ready, and designed to secure approval by the “client”

    ◦ Ensure:

    ▪ High-quality images and materials.

    ▪ Consistent and clean formatting.

    ▪ A strong conclusion that confidently asks for the client’s buy-in.

    Looking Ahead:

    Next week, students will perfect their delivery, focusing on confidence, clarity, and adaptability in
    real-time client interactions. We will conduct mock client meetings to simulate final presentations
    and ensure students are prepared to close deals with professionalism and conviction.

    This week is all about polishing, refining, and preparing to seal the deal. By the end of this module,
    students should feel ready to present their work with confidence, handle client objections, and
    successfully close the project.

    **IMG_0467.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0467-png-10253801)

    **IMG_0472.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0472-png-10253803)

    **IMG_0470.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0470-png-10253805)

    **IMG_0468.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0468-png-10253807)

    **IMG_0471.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0471-png-10253809)

    **IMG_0473.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0473-png-10253811)

    **IMG_0474.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0474-png-10253813)

    **IMG_0469.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0469-png-10253815)

    **## IDES326-CLOSINGTHEDEAL1.pdf**

    CLOSING THE DEAL – REFINING
    YOUR SALES PRESENTATION &
    BRAND IDENTITY
    WEEK 10

    BY VALEN TUFONO

    WEEK OVERVIEW:
    This week, we focus on closing the deal—transforming a strong design into a compelling,
    client-ready pitch. Students will critically analyze their sales presentations, ensuring they
    effectively communicate value, align with client expectations, and reinforce brand identity.
    We will explore how to refine visual storytelling, enhance persuasive communication,
    and perfect presentation delivery—essential skills for securing client buy-in.

    How This Week’s Work Connects to Real-World Interior Design Practice:

    • Client Buy-In: The ability to confidently present and justify design choices is key to
    winning projects.

    • Persuasive Communication: Strong presentations should anticipate client concerns
    and address them proactively.

    • Branding & Professionalism: A refined, cohesive presentation builds trust and
    reinforces the designer’s credibility.

    • Handling Objections & Negotiation: Learning to navigate client hesitations and
    highlight the value of a design is essential.

    ◦ Ensuring the presentation layout is clear, engaging, and easy to follow.

    ◦ Maintaining a balance between visuals and text—less is more!

    ◦ Utilizing high-quality imagery and a consistent brand aesthetic.

    ◦ Checking alignment, spacing, and typography for a polished look.

    VISUAL COHESION &
    PRESENTATION FORMATTING
    Keep this in mind as you continue to generate your final presentation to your “clients,” our
    presentations is the catalyst for the client’s project to take off. That is why, I; and many other
    designers, invest so much time in making our presentations looks “pretty.”

    The inability to form mental images of
    objects that are not present is a real
    disadvantage for clients, but
    advantageous for us as designers
    because this allows us; quite literally, to
    paint the picture for them. In this case,
    when presenting to someone who might
    have this disadvantage, it is better to be
    more detailed with your presentation.

    So, when you focusing on your presentation every bit of detail MATTERS! Cohesion of course is
    warranted but FORMATTING is everything. When you continue to generate your presentation,
    think about placement of words, images, and the presentation as a whole; asking your self, is
    there a slide in my presentation that is unnecessary? Is there the text too much, to little, to
    distracting? Etc.

    Below are some key ideas to keep in mind as you create your final:

    This is LUMAE INTERIORS, my friends studio in New York. I would love for you all to take a look at her website because she
    is amazing at creating high-end visuals/aesthetics and overall an amazing designer. In the following slide, you will see

    a snip out of her page.

    LUMAE INTERIORS
    Click the link above to see more from LUMAE INTERIORS.

    [https://www.lumaeinteriors.com/](https://www.lumaeinteriors.com/)

    ◦ Framing the design as the ideal solution to the client’s needs.

    ◦ Emphasizing the project’s value, return on investment, and emotional impact.

    ◦ Using persuasive language to guide the client toward approval and action.

    ◦ Handling objections with confidence and providing solutions to hesitations.

    ◦ The psychology behind decision-making and how to influence client confidence.

    ◦ The final call to action—how to ask for the client's commitment without hesitation.

    THE ART OF PERSUASION
    & CLOSING THE DEAL
    Much like Visuals and Cohesion, the art of persuasion and closing the deal is important. You are again, “painting a picture” for
    your client. Essentially, what you are trying to express to your client, is WHY your option is the BEST OPTION.

    Although your trying to persuade your clients that your option is the best option, you dont want to persuade them on the sole
    fact that you want the commission; YES, the money is important but at the time of your proposal you aren’t in it for the money, in
    that moment you are in it to SELL you ideas FIRST AND FOREMOST.

    So the persuasion comes from you research of products, achieving the clients desires in their project, and making sure that your
    knowledge on the product is up to date or current.

    Think of it this way, you are in a court room, you are a lawyer giving you closing remarks to the jury, your goal is to capture the
    jury; in this case your clients, with the facts and evidence to win your case.

    Here you can use, storytelling to capture your clients, touch on practical ideas like what kind of investment this project will
    produce, etc.

    Below are som key ideas to keep in mind as you generate your final:

    Below is a couple of ideas, which we just covered above, for you to keep in mind when you are referencing the client’s wants
    and needs for the space/presentation that you are designing, here they are: Tailoring language and tone to reflect
    professionalism and empathy.

    ◦ Anticipating common client concerns and preparing clear responses.

    ◦ Active listening techniques to ensure clients feel heard and understood.

    ◦ Creating a concise yet impactful verbal walkthrough of your design.

    CLIENT • CENTERED
    COMMUNICATION

    THIS PROCESS IS ALL ABOUT THE CLIENT!

    It’s easy to get distracted or to easily say that your option is the best option BUT most times your client will choose what
    they believe to be the best option the you present. When we talk to our clients we gear the conversation to only them by
    asking questions like “What do YOU think? How does it make YOU feel? Tell me what YOUR concerns are? What would YOU
    like to see/do?” ONLY when they ask you what YOU think then you respond with your opinions and thoughts.

    There are instances; much like our aphantasia client, where we could DRIVE the entire meeting or the entire project with
    very little; to no, opinions from the client. This is nice because it allows us free range to design the space; of course, with
    their ideas in mind, if any.

    Additionally, client want to feel understood; as I have said many times before, being very observant, being a well
    researched designer, and always seeking more knowledge/inspiration/ideas is key to be able to center the
    communication around the client.

    ◦ Making sure presentations reflect a unique, professional aesthetic.

    ◦ Consistency in design choices, fonts, and color palettes.

    ◦ Refining your personal introduction and bio to align with your brand.

    ◦ Crafting a closing statement that reinforces why the client should move forward.

    BRAND IDENTITY &
    PERSONAL STYLE

    FIRST, I WANT TO SAY GREAT JOB ON ALL OF YOU BRAND PROPOSALS!!! I
    CANNOT EXPRESS ENOUGH HOW ELATED I AM TO SEE SUCH AMAZING WORK!
    SUPER EXCITE TO SEE WHAT YOU GUYS COME UP WITH AT THE END OF THE
    SEMESTER!!!

    With such a saturated market; specifically in Interior Design here in Sacramento, being unique and bold all the
    while professional will attract clients. We also have to consider our demographic in the area that we generating

    leads, for instance in Roseville, California the demographic are mainly the elderly (retired) or individuals with a
    higher income, so this would be a good market to tackle for anyone whose brand is more traditional or Mid

    Century Modern.

    Again, harping on the idea of being well rounded researcher will come in handy.

    TIP:

    When I go on site visits, before even going to the clients house for an initial design consultation, I go on Zillow to
    scope out the neighborhood to get a feel for what the design aesthetic was and could possibly be. This also

    gives me an idea of cost/budget for the project, so lets say a home is on the market for 500k, I know that the
    client’s budget or projected cost is going to start around 35k for a kitchen remodel at its basic form.

    With that said, your brand/personal style is what drew your clients to you in the first place, that’s why I am so
    adamant about REFINING your brand and making small tweaks here and there will get you to your final BRAND and

    look. The demographic portion and being a well research is part of your brand as these nuances promote to your
    clients how professional you are and how knowledgable you are.

    Below are some key concepts to integrate into your final presentation:

    From here on out fine tuning is your presentation is what you will be focusing on, but not only in your presentation
    just in general. Even to this dayI fine tune my designs, my presentation, my website, my business cards, the way I
    present my self in public versus a professional setting. This all ties in to who you are as a designer, essentially your
    brand as a designer. There isn’t much to talk about here because you are already doing this by being here in
    class, you are fine tuning your skills as beginner, intermediate, or professional designer.

    As designers, we are not creatures of complacency, were ebb and flow as design does, we constantly move
    things around in our home to find the perfect space, and this bleeds in to who you are as a designer. YOU change
    through the times as well… one day you like purple and then the following year your into terra cotta orange.

    FINE TUNING
    TECHNICAL DETAILS

    ◦ Double-checking measurements, pricing breakdowns, and product selections.

    ◦ Reviewing FF&E lists for clarity and completeness.

    ◦ Ensuring all elements of the project meet client expectations and industry standards.

    ◦ Practicing smooth transitions to ensure a seamless presentation experience.

    Below are some concepts that repeatedly get fine tuned, consider these as you generate your presentation:

    Assignments:

    1. ON GOING DISCUSSION PART I: Presentation Peer-Assessment & Refinement

    ◦ Students will peer-evaluate each others sales presentation focused on refining, persuasion, clarity, and
    branding, and everything overall.

    ◦ I will pair you up in a DISCUSSION module, you will see your names on the discussion module, and this is where
    you will meet and discuss.

    ◦ INSTRUCTOR FEEDBACK:

    ◦ I will also be a part of these discussions, I will be popping in once in a while during the week to see if you
    have interacted. I will focus on:

    ▪ Strength of persuasive language and closing techniques.

    ▪ Professionalism and visual presentation.

    ▪ Effectiveness in addressing client concerns and finalizing the deal.

    ◦ This means you must have something to present during this assignment. You should at least, by now, have:

    ◦ A Welcome Page, an introduction, and possibly and agenda slide for your presentation

    ◦ If not then you will have to summarize your work; to your peer.

    ◦ I would also like to add, if you do not have anything ready before next class lecture, then compile
    references, images, etc. to help share your ideas with you peer.

    2. Based on your peer evaluation, students will make at least three key revisions and submit a brief summary of their
    updates in the M10: ASSIGNMENT ONE module.

    ◦ Consider the following:

    ▪ Does your presentation clearly communicate why your design is the best solution?

    ▪ Have you preemptively addressed potential objections?

    ▪ Is your closing statement strong and compelling?

    3. Finalized Presentation Submission: DUE before the date on your final presentation, via Zoom with me

    ◦ By the end of the semester students will upload their fully refined, final version of their sales presentation to
    Canvas.

    ◦ This version should be polished, client-ready, and designed to secure approval by the “client”

    ◦ Ensure:

    ▪ High-quality images and materials.

    ▪ Consistent and clean formatting.

    ▪ A strong conclusion that confidently asks for the client’s buy-in.

    Looking Ahead:

    Next week, students will perfect their delivery, focusing on confidence, clarity, and adaptability in
    real-time client interactions. We will conduct mock client meetings to simulate final presentations
    and ensure students are prepared to close deals with professionalism and conviction.

    This week is all about polishing, refining, and preparing to seal the deal. By the end of this module,
    students should feel ready to present their work with confidence, handle client objections, and
    successfully close the project.

    **IMG_0467.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0467-png-10253801)

    **IMG_0472.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0472-png-10253803)

    **IMG_0470.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0470-png-10253805)

    **IMG_0468.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0468-png-10253807)

    **IMG_0471.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0471-png-10253809)

    **IMG_0473.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0473-png-10253811)

    **IMG_0474.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0474-png-10253813)

    **IMG_0469.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0469-png-10253815)

  • [Solved] Peer review discussions

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    – [\ \ IMG_0478.png](https://www.sweetstudy.com/files/img-0478-png-10253819 "IMG_0478.png") – [\ \ IMG_0477.png](https://www.sweetstudy.com/files/img-0477-png-10253821 "IMG_0477.png") – [\ \ IMG_0476.png](https://www.sweetstudy.com/files/img-0476-png-10253823 "IMG_0476.png") – [\ \ IMG_0…

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    – [\
    \
    IMG_0478.png](https://www.sweetstudy.com/files/img-0478-png-10253819 "IMG_0478.png")
    – [\
    \
    IMG_0477.png](https://www.sweetstudy.com/files/img-0477-png-10253821 "IMG_0477.png")
    – [\
    \
    IMG_0476.png](https://www.sweetstudy.com/files/img-0476-png-10253823 "IMG_0476.png")
    – [\
    \
    IMG_0475.png](https://www.sweetstudy.com/files/img-0475-png-10253825 "IMG_0475.png")

    – 2 years ago

  • [Solved] art

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  • [Solved] COM 3404- Final Analysis

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    **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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    **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

  • [Solved] IDS 3336- Final #2

    ✓ Verified Academic Solution Available

    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

  • [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

  • [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

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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:

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    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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    **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

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