Tag: Architecture and Design Analysis

  • [Solved] Assistance

    ✓ Verified Academic Solution Available

    Executive Solution Overview

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

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

    Use attachments to complete

    – 2 years ago

    **files (4)**

    – ## Worksheet.docx

    – ## ReadingI.pdf

    – ## ReadingII.pdf

    – Image1.png

    **## Worksheet.docx**

    Use the three attachments to complete the following:

    **Document 1**

    Title: Click or tap here to enter text.

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

    Year created: Click or tap here to enter text.

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

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

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

    **Document 2**

    Title: Click or tap here to enter text.

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

    Year created: Click or tap here to enter text.

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

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

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

    **Image**

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

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

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

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

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

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

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

    **## ReadingI.pdf**

    The American Yawp Reader

    Chelsea Manning Petitions for a Pardon (2013)

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

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

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

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

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

    was commuted in 2017.

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

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

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

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

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

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

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

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

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

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

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

    order to avoid any public accountability.

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

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

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

    terror.

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

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

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

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

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

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

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

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

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

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

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

    nocent people.”

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

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

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

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

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

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

    equal.

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

    2013. Available via Democracy Now!

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

    heavy_price_to_live_in_a_free_society).

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

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

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

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

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

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

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

    **## ReadingII.pdf**

    The American Yawp Reader

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    to cut them off for evidence.

    2

    1

    4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    …

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

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

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

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

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

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

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

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

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

    …

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

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

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

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

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

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

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

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

    ← Chelsea Manning Petitions for a Pardon (2013)

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

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

    ure out if I was worth something….

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    **Image1.png**

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

    **Image1.png**

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

    **## Worksheet.docx**

    Use the three attachments to complete the following:

    **Document 1**

    Title: Click or tap here to enter text.

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

    Year created: Click or tap here to enter text.

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

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

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

    **Document 2**

    Title: Click or tap here to enter text.

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

    Year created: Click or tap here to enter text.

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

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

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

    **Image**

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

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

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

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

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

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

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

    **## ReadingI.pdf**

    The American Yawp Reader

    Chelsea Manning Petitions for a Pardon (2013)

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

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

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

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

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

    was commuted in 2017.

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

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

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

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

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

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

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

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

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

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

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

    order to avoid any public accountability.

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

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

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

    terror.

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

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

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

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

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

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

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

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

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

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

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

    nocent people.”

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

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

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

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

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

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

    equal.

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

    2013. Available via Democracy Now!

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

    heavy_price_to_live_in_a_free_society).

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

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

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

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

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

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

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

    **## ReadingII.pdf**

    The American Yawp Reader

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    to cut them off for evidence.

    2

    1

    4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    …

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

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

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

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

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

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

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

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

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

    …

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

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

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

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

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

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

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

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

    ← Chelsea Manning Petitions for a Pardon (2013)

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

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

    ure out if I was worth something….

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    **Image1.png**

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

    **## Worksheet.docx**

    Use the three attachments to complete the following:

    **Document 1**

    Title: Click or tap here to enter text.

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

    Year created: Click or tap here to enter text.

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

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

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

    **Document 2**

    Title: Click or tap here to enter text.

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

    Year created: Click or tap here to enter text.

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

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

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

    **Image**

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

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

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

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

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

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

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

    **## ReadingI.pdf**

    The American Yawp Reader

    Chelsea Manning Petitions for a Pardon (2013)

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

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

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

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

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

    was commuted in 2017.

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

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

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

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

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

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

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

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

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

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

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

    order to avoid any public accountability.

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

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

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

    terror.

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

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

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

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

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

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

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

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

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

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

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

    nocent people.”

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

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

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

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

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

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

    equal.

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

    2013. Available via Democracy Now!

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

    heavy_price_to_live_in_a_free_society).

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

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

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

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

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

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

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

    **## ReadingII.pdf**

    The American Yawp Reader

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    to cut them off for evidence.

    2

    1

    4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    …

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

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

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

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

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

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

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

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

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

    …

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

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

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

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

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

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

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

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

    ← Chelsea Manning Petitions for a Pardon (2013)

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

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

    ure out if I was worth something….

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    **Image1.png**

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

  • [Solved] Art assistant

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    In-depth study guidance and analytical solution covering Art assistant.

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

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

  • [Solved] Esthetics industry

    ✓ Verified Academic Solution Available

    Executive Solution Overview

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

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

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

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

    – 2 years ago

  • [Solved] Great 5

    ✓ Verified Academic Solution Available

    Executive Solution Overview

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

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

    – 2 years ago

    **files (1)**

    – ## TheGlassMenagerieSoundtrackProject-Tagged.pdf

    **## TheGlassMenagerieSoundtrackProject-Tagged.pdf**

    The Glass Menagerie
    Soundtrack Project

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

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

    The Glass Menagerie
    Song Justification

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

    Track number:

    Title:

    Artist:

    Album: (include the copyright date)

    Scene: (include page numbers)

    Explanation:

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

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

    Track number: 1

    Title: “One”

    Artist: Aimee Mann

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

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

    Explanation:

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

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

    “One”

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

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

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

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

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    Template for you to use:

    Track number:

    Title:

    Artist:

    Album: (include the copyright date)

    Scene: (include page numbers)

    Explanation:

    Add lyrics in this box

    **## TheGlassMenagerieSoundtrackProject-Tagged.pdf**

    The Glass Menagerie
    Soundtrack Project

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

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

    The Glass Menagerie
    Song Justification

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

    Track number:

    Title:

    Artist:

    Album: (include the copyright date)

    Scene: (include page numbers)

    Explanation:

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

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

    Track number: 1

    Title: “One”

    Artist: Aimee Mann

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

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

    Explanation:

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

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

    “One”

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

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

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

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

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    25 pts TITLE:

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

    Is written persuasively and is convincing.

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

    Template for you to use:

    Track number:

    Title:

    Artist:

    Album: (include the copyright date)

    Scene: (include page numbers)

    Explanation:

    Add lyrics in this box

  • [Solved] 121jeuju

    ✓ Verified Academic Solution Available

    Executive Solution Overview

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

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

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

  • [Solved] creat a new one

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    In-depth study guidance and analytical solution covering creat a new one.

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

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

  • [Solved] 4 Competencies and 4 Reflections

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    In-depth study guidance and analytical solution covering 4 Competencies and 4 Reflections.

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

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

  • [Solved] M11 chapters 56-57-58

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    – 2 years ago **files (7)** – ## ch-56-PPTaccessible.pptx – IMG_0704.png – IMG_0703.png – IMG_0706.png – IMG_0705.png – ch-57-PPTaccessible.pptx – ch-58-PPTaccessible.pptx **## ch-56-PPTaccessible.pptx** Architecture and Interior Design: An Integrated History to the Present First Edition Chapter…

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

    – 2 years ago

    **files (7)**

    – ## ch-56-PPTaccessible.pptx

    – IMG_0704.png
    – IMG_0703.png
    – IMG_0706.png
    – IMG_0705.png
    – ch-57-PPTaccessible.pptx
    – ch-58-PPTaccessible.pptx

    **## ch-56-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 56

    Late Modern – 1

    Mid 1960s – 1980s

    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

    P. Experimentation

    Modern expands from single vision of before to new plurality of approaches

    Driven by critiques & failures of Modern Movement; new technologies; consumerism; global community

    Ways to achieve forward thinking design questioned, debated, experimented

    Design more market driven—niche markets, image, branding; designer as celebrity

    New materials, structural techniques, environmental controls, design tools allow designers to create what they can imagine

    Also affecting design: increased regulation, building codes, research, development, environmental concerns

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Late Modern – 1

    New generation of architects & designers reevaluates effectiveness of Modernism & International Style

    Lack applicability to time & users in universal solutions, anonymity, sameness, design flaws & construction problems

    Adopt new design directions & approaches to address complexity, revolutionary changes, plurality, consumerism

    Exaggerate language of International Style

    Minimalism—pared down universalist aesthetic

    High Tech—embraces & celebrates technology

    Pop Modern–consumerism & youth or popular culture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Concepts

    Shatters simplicity of Modernism & International Style with multiplicity of design methods to challenge, reassess, reinvent modern design principles

    New design language to address complexity, plurality, diversity of the time

    Importance of individuality, customization, identity & reject static, formalism

    High Tech—combines high style & technology; explores relationship of industry, technology & art

    Minimalism—rejection of rampant consumerism; simplifies & eliminates nonessentials; ties to newly emerging rationalism

    Pop Modern—youth culture; everyday objects; modern materials; mass-production; Pop & Op Art

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    Characteristics and Motifs

    Expanded vocabulary–function, efficiency & practicality plus innovation, individualism, monumentality

    New materials, techniques, prefabrication, mass production

    High Tech—emphasis on building components & systems that appear on buildings & in interiors; prefabricated & industrial materials, color coding

    Minimalism—structure & construction define form; simplicity, repetition, articulation; minimal color, texture, & materials; few details

    Pop Modern—youthful, hip, exciting, novel, colorful, nontraditional; appeal to masses; new materials, shiny finishes, bold patterns

    Motifs—No common motifs; details emphasize innovation, construction, materials; popular culture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    Architecture

    Unique, individual expressions

    Experimentation with visual form to create conspicuous monuments within environments

    Most common—box of early Modern disappears with curves, angles, indentations, cutouts, exposed structure

    Some have grid that is logical or irrational or both; facades may be solid, glass or combination

    Less design unity; more experimentation with form, individuality

    High Tech—components & systems on exterior; may sweep across façade or cluster

    Minimalism—search for pure form; explore planar geometry; reduce form to essence

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    56.1

    Schulin Jewelry Shop, 1965, 1972-1974; Vienna, Austria; Hans Hollein. Late Modern – 1

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.2

    World Trade Center, 1962-1967; New York, New York; Minoru. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.3

    Pennzoil Place, 1974-1976; Houston, Texas; Philip Johnson and John Burgee. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.4

    Pacific Design Center, Blue Building, 1975-1976; Los Angles, California; Victor Gruen Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.5

    Pompidou Centre, 1971-1977; Paris, France; Richard Rogers and Renzo Piano. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The center has exaggerated the use of color on structural and mechanical systems. It has exposed prefabricated steel supports and trusses. The asymmetry on the facade with a strong grid frame. The emphasis on solid and void, straight and curved lines, and celebration of technology. It has exposed mechanical systems. The building stands out from its environment.

    11

    56.6a

    High Museum of Art, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a flat roof. The facade is made of stark white tiles. It has the repetition of square grids on windows. The building used bold geometric forms extensively. The interplay of solid and void relationships, curves, and angles is visible. It has a processional path to the entrance. The building looks like a white sculpture on a green lawn.

    12

    56.6b

    High Museum of Art atrium, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.7a

    National Gallery of Art, East Building, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.7b

    National Gallery of Art, East Building atrium, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.8

    Casa Rotunda, 1980-1982; Stabio, Ticino, Switzerland; Mario Botta. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors

    Strong design relationship with exterior

    Structure may be exposed; curving, angled, pierced walls

    Function; industrial technology & materials; modules; spatial layering; solid/void relationships; construction, structure & materials as ornament

    Grid defines & shapes space but may be regular & symmetrical or asymmetrical & irrational or both

    Experiments in space planning leads to new ways of addressing functional requirements, zoning, furniture arrangements

    Many architects design interiors for an integrated whole

    Interior designers deal with renovations of existing spaces & development of new ones

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.9

    Lobby, Hyatt Regency Hotel, 1967-1972; Atlanta, Georgia; John Portman and Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The lobby has wind chimes hanging in the corners of the balconies. The hotel corridors overlook the atrium. The glass elevators are near the center of the atrium. The large sculpture serves as an accent. The restaurant is housed under an umbrella-type canopy located in the atrium. The terrazzo-like flooring helps convey a garden character. The conversation groupings are defined by large plants.

    18

    56.11

    Joe D’Urso Design office, 1970s-1980s; New York, New York. Minimalism. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.12

    Lobby, Morgan’s Hotel, c. 1985; New York, New York; Andrée Putman. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.13

    Vignelli Associates Office, 1986; New York, New York; Vignelli Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.14

    Shoe salesroom, Esprit Clothing Company, 1988; New York, New York; Michael Vanderbyl, Vanderbyl Design. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.15

    Lighting: Tizio desk lamp, 1972; Richard Sapper; and Boalum, c. 1970s; Livio Castiglioni and Gianfranco Frattini; both for Artemide. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishings and Decorative Arts

    Mostly two types: contract or office furniture & popular culture

    Office furniture expands, particularly in systems furniture that supports open office planning

    Addresses way people work, technology, computer

    Rational, functional, flexible, durable; refined; machine-made look; no applied ornament; ergonomic

    Pop Modern—addresses consumer & youth

    New materials, bright colors, novelty, disposability, low cost, bold forms; many sizes, shapes, forms

    Readily available—low-cost image or fashion conscious furnishings to suit particular consumer lifestyles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.16

    40/4 Stacking chair, 1964; U.S. David Rowland for General Fireproofing, Inc. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.17

    Ball or Globe chair, 1963-1965; Finland; Eero Saarinen. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.18

    Chairs, 1966; United States; Warren Platner for Knoll International. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.19

    Malitte, 1966; Italy and the United States; Roberto Sebastian Matta for Knoll International. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.20

    Panton Stacking Chair, 1960-1967; Switzerland and the United States; Verner Panton for Vitra GmbH and Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.21

    Sacco, 1968; Piero Gatti, Cesare Paolini and Franco Teodoro for Zanotta. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.22

    Blow and Joe chairs, 1967, 1970; Italy; De Pas, D’Urbino, and Lomazzi for Zanotta and Poltronova. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.23

    Ergon chair, 1976; United States; Bill Stumpf for Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.24

    Action Office systems from 1964-1968; United States; Robert Probst and details by George Nelson for Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The storage has bumper doors and varies in size and finish. The wall panes have come in various sizes, colors, and heights. The movable desk comes in different finishes. The secretarial chair swivels and adjusts to fit the user. The individual parts can be customized.

    33

    56.25

    Chrome shelving, c. 1980s; Metro. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    35

    ## image5.jpg

    ## image1.jpeg

    ## image6.jpg

    ## image7.jpg

    ## image8.jpg

    ## image9.jpg

    ## image10.jpg

    ## image11.jpg

    ## image12.jpg

    ## image13.jpg

    ## image14.jpg

    ## image15.jpg

    ## image16.jpg

    ## image17.jpg

    ## image18.jpg

    ## image19.jpg

    ## image20.jpg

    ## image21.jpg

    ## image22.jpg

    ## image23.jpg

    ## image24.jpg

    ## image25.jpg

    ## image26.jpg

    ## image27.jpg

    ## image28.jpg

    ## image29.jpg

    ## image30.jpg

    ## image31.jpg

    ## image32.jpg

    ## image33.jpg

    ## image34.png

    ## image4.png

    **IMG_0704.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0704-png-10266305)

    **IMG_0703.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0703-png-10266307)

    **IMG_0706.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0706-png-10266309)

    **IMG_0705.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0705-png-10266311)

    **ch-57-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-57-pptaccessible-pptx)

    **ch-58-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-58-pptaccessible-pptx)

    **ch-58-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-58-pptaccessible-pptx)

    **## ch-56-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 56

    Late Modern – 1

    Mid 1960s – 1980s

    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

    P. Experimentation

    Modern expands from single vision of before to new plurality of approaches

    Driven by critiques & failures of Modern Movement; new technologies; consumerism; global community

    Ways to achieve forward thinking design questioned, debated, experimented

    Design more market driven—niche markets, image, branding; designer as celebrity

    New materials, structural techniques, environmental controls, design tools allow designers to create what they can imagine

    Also affecting design: increased regulation, building codes, research, development, environmental concerns

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Late Modern – 1

    New generation of architects & designers reevaluates effectiveness of Modernism & International Style

    Lack applicability to time & users in universal solutions, anonymity, sameness, design flaws & construction problems

    Adopt new design directions & approaches to address complexity, revolutionary changes, plurality, consumerism

    Exaggerate language of International Style

    Minimalism—pared down universalist aesthetic

    High Tech—embraces & celebrates technology

    Pop Modern–consumerism & youth or popular culture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Concepts

    Shatters simplicity of Modernism & International Style with multiplicity of design methods to challenge, reassess, reinvent modern design principles

    New design language to address complexity, plurality, diversity of the time

    Importance of individuality, customization, identity & reject static, formalism

    High Tech—combines high style & technology; explores relationship of industry, technology & art

    Minimalism—rejection of rampant consumerism; simplifies & eliminates nonessentials; ties to newly emerging rationalism

    Pop Modern—youth culture; everyday objects; modern materials; mass-production; Pop & Op Art

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    Characteristics and Motifs

    Expanded vocabulary–function, efficiency & practicality plus innovation, individualism, monumentality

    New materials, techniques, prefabrication, mass production

    High Tech—emphasis on building components & systems that appear on buildings & in interiors; prefabricated & industrial materials, color coding

    Minimalism—structure & construction define form; simplicity, repetition, articulation; minimal color, texture, & materials; few details

    Pop Modern—youthful, hip, exciting, novel, colorful, nontraditional; appeal to masses; new materials, shiny finishes, bold patterns

    Motifs—No common motifs; details emphasize innovation, construction, materials; popular culture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    Architecture

    Unique, individual expressions

    Experimentation with visual form to create conspicuous monuments within environments

    Most common—box of early Modern disappears with curves, angles, indentations, cutouts, exposed structure

    Some have grid that is logical or irrational or both; facades may be solid, glass or combination

    Less design unity; more experimentation with form, individuality

    High Tech—components & systems on exterior; may sweep across façade or cluster

    Minimalism—search for pure form; explore planar geometry; reduce form to essence

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    56.1

    Schulin Jewelry Shop, 1965, 1972-1974; Vienna, Austria; Hans Hollein. Late Modern – 1

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.2

    World Trade Center, 1962-1967; New York, New York; Minoru. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.3

    Pennzoil Place, 1974-1976; Houston, Texas; Philip Johnson and John Burgee. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.4

    Pacific Design Center, Blue Building, 1975-1976; Los Angles, California; Victor Gruen Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.5

    Pompidou Centre, 1971-1977; Paris, France; Richard Rogers and Renzo Piano. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The center has exaggerated the use of color on structural and mechanical systems. It has exposed prefabricated steel supports and trusses. The asymmetry on the facade with a strong grid frame. The emphasis on solid and void, straight and curved lines, and celebration of technology. It has exposed mechanical systems. The building stands out from its environment.

    11

    56.6a

    High Museum of Art, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a flat roof. The facade is made of stark white tiles. It has the repetition of square grids on windows. The building used bold geometric forms extensively. The interplay of solid and void relationships, curves, and angles is visible. It has a processional path to the entrance. The building looks like a white sculpture on a green lawn.

    12

    56.6b

    High Museum of Art atrium, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.7a

    National Gallery of Art, East Building, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.7b

    National Gallery of Art, East Building atrium, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.8

    Casa Rotunda, 1980-1982; Stabio, Ticino, Switzerland; Mario Botta. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors

    Strong design relationship with exterior

    Structure may be exposed; curving, angled, pierced walls

    Function; industrial technology & materials; modules; spatial layering; solid/void relationships; construction, structure & materials as ornament

    Grid defines & shapes space but may be regular & symmetrical or asymmetrical & irrational or both

    Experiments in space planning leads to new ways of addressing functional requirements, zoning, furniture arrangements

    Many architects design interiors for an integrated whole

    Interior designers deal with renovations of existing spaces & development of new ones

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.9

    Lobby, Hyatt Regency Hotel, 1967-1972; Atlanta, Georgia; John Portman and Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The lobby has wind chimes hanging in the corners of the balconies. The hotel corridors overlook the atrium. The glass elevators are near the center of the atrium. The large sculpture serves as an accent. The restaurant is housed under an umbrella-type canopy located in the atrium. The terrazzo-like flooring helps convey a garden character. The conversation groupings are defined by large plants.

    18

    56.11

    Joe D’Urso Design office, 1970s-1980s; New York, New York. Minimalism. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.12

    Lobby, Morgan’s Hotel, c. 1985; New York, New York; Andrée Putman. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.13

    Vignelli Associates Office, 1986; New York, New York; Vignelli Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.14

    Shoe salesroom, Esprit Clothing Company, 1988; New York, New York; Michael Vanderbyl, Vanderbyl Design. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.15

    Lighting: Tizio desk lamp, 1972; Richard Sapper; and Boalum, c. 1970s; Livio Castiglioni and Gianfranco Frattini; both for Artemide. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishings and Decorative Arts

    Mostly two types: contract or office furniture & popular culture

    Office furniture expands, particularly in systems furniture that supports open office planning

    Addresses way people work, technology, computer

    Rational, functional, flexible, durable; refined; machine-made look; no applied ornament; ergonomic

    Pop Modern—addresses consumer & youth

    New materials, bright colors, novelty, disposability, low cost, bold forms; many sizes, shapes, forms

    Readily available—low-cost image or fashion conscious furnishings to suit particular consumer lifestyles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.16

    40/4 Stacking chair, 1964; U.S. David Rowland for General Fireproofing, Inc. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.17

    Ball or Globe chair, 1963-1965; Finland; Eero Saarinen. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.18

    Chairs, 1966; United States; Warren Platner for Knoll International. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.19

    Malitte, 1966; Italy and the United States; Roberto Sebastian Matta for Knoll International. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.20

    Panton Stacking Chair, 1960-1967; Switzerland and the United States; Verner Panton for Vitra GmbH and Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.21

    Sacco, 1968; Piero Gatti, Cesare Paolini and Franco Teodoro for Zanotta. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.22

    Blow and Joe chairs, 1967, 1970; Italy; De Pas, D’Urbino, and Lomazzi for Zanotta and Poltronova. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.23

    Ergon chair, 1976; United States; Bill Stumpf for Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.24

    Action Office systems from 1964-1968; United States; Robert Probst and details by George Nelson for Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The storage has bumper doors and varies in size and finish. The wall panes have come in various sizes, colors, and heights. The movable desk comes in different finishes. The secretarial chair swivels and adjusts to fit the user. The individual parts can be customized.

    33

    56.25

    Chrome shelving, c. 1980s; Metro. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    35

    ## image5.jpg

    ## image1.jpeg

    ## image6.jpg

    ## image7.jpg

    ## image8.jpg

    ## image9.jpg

    ## image10.jpg

    ## image11.jpg

    ## image12.jpg

    ## image13.jpg

    ## image14.jpg

    ## image15.jpg

    ## image16.jpg

    ## image17.jpg

    ## image18.jpg

    ## image19.jpg

    ## image20.jpg

    ## image21.jpg

    ## image22.jpg

    ## image23.jpg

    ## image24.jpg

    ## image25.jpg

    ## image26.jpg

    ## image27.jpg

    ## image28.jpg

    ## image29.jpg

    ## image30.jpg

    ## image31.jpg

    ## image32.jpg

    ## image33.jpg

    ## image34.png

    ## image4.png

    **IMG_0704.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0704-png-10266305)

    **IMG_0703.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0703-png-10266307)

    **IMG_0706.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0706-png-10266309)

    **IMG_0705.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0705-png-10266311)

    **ch-57-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-57-pptaccessible-pptx)

    **ch-58-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-58-pptaccessible-pptx)

    **## ch-56-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 56

    Late Modern – 1

    Mid 1960s – 1980s

    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

    P. Experimentation

    Modern expands from single vision of before to new plurality of approaches

    Driven by critiques & failures of Modern Movement; new technologies; consumerism; global community

    Ways to achieve forward thinking design questioned, debated, experimented

    Design more market driven—niche markets, image, branding; designer as celebrity

    New materials, structural techniques, environmental controls, design tools allow designers to create what they can imagine

    Also affecting design: increased regulation, building codes, research, development, environmental concerns

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Late Modern – 1

    New generation of architects & designers reevaluates effectiveness of Modernism & International Style

    Lack applicability to time & users in universal solutions, anonymity, sameness, design flaws & construction problems

    Adopt new design directions & approaches to address complexity, revolutionary changes, plurality, consumerism

    Exaggerate language of International Style

    Minimalism—pared down universalist aesthetic

    High Tech—embraces & celebrates technology

    Pop Modern–consumerism & youth or popular culture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Concepts

    Shatters simplicity of Modernism & International Style with multiplicity of design methods to challenge, reassess, reinvent modern design principles

    New design language to address complexity, plurality, diversity of the time

    Importance of individuality, customization, identity & reject static, formalism

    High Tech—combines high style & technology; explores relationship of industry, technology & art

    Minimalism—rejection of rampant consumerism; simplifies & eliminates nonessentials; ties to newly emerging rationalism

    Pop Modern—youth culture; everyday objects; modern materials; mass-production; Pop & Op Art

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    Characteristics and Motifs

    Expanded vocabulary–function, efficiency & practicality plus innovation, individualism, monumentality

    New materials, techniques, prefabrication, mass production

    High Tech—emphasis on building components & systems that appear on buildings & in interiors; prefabricated & industrial materials, color coding

    Minimalism—structure & construction define form; simplicity, repetition, articulation; minimal color, texture, & materials; few details

    Pop Modern—youthful, hip, exciting, novel, colorful, nontraditional; appeal to masses; new materials, shiny finishes, bold patterns

    Motifs—No common motifs; details emphasize innovation, construction, materials; popular culture

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    Architecture

    Unique, individual expressions

    Experimentation with visual form to create conspicuous monuments within environments

    Most common—box of early Modern disappears with curves, angles, indentations, cutouts, exposed structure

    Some have grid that is logical or irrational or both; facades may be solid, glass or combination

    Less design unity; more experimentation with form, individuality

    High Tech—components & systems on exterior; may sweep across façade or cluster

    Minimalism—search for pure form; explore planar geometry; reduce form to essence

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    56.1

    Schulin Jewelry Shop, 1965, 1972-1974; Vienna, Austria; Hans Hollein. Late Modern – 1

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.2

    World Trade Center, 1962-1967; New York, New York; Minoru. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.3

    Pennzoil Place, 1974-1976; Houston, Texas; Philip Johnson and John Burgee. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.4

    Pacific Design Center, Blue Building, 1975-1976; Los Angles, California; Victor Gruen Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.5

    Pompidou Centre, 1971-1977; Paris, France; Richard Rogers and Renzo Piano. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The center has exaggerated the use of color on structural and mechanical systems. It has exposed prefabricated steel supports and trusses. The asymmetry on the facade with a strong grid frame. The emphasis on solid and void, straight and curved lines, and celebration of technology. It has exposed mechanical systems. The building stands out from its environment.

    11

    56.6a

    High Museum of Art, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a flat roof. The facade is made of stark white tiles. It has the repetition of square grids on windows. The building used bold geometric forms extensively. The interplay of solid and void relationships, curves, and angles is visible. It has a processional path to the entrance. The building looks like a white sculpture on a green lawn.

    12

    56.6b

    High Museum of Art atrium, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.7a

    National Gallery of Art, East Building, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.7b

    National Gallery of Art, East Building atrium, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.8

    Casa Rotunda, 1980-1982; Stabio, Ticino, Switzerland; Mario Botta. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors

    Strong design relationship with exterior

    Structure may be exposed; curving, angled, pierced walls

    Function; industrial technology & materials; modules; spatial layering; solid/void relationships; construction, structure & materials as ornament

    Grid defines & shapes space but may be regular & symmetrical or asymmetrical & irrational or both

    Experiments in space planning leads to new ways of addressing functional requirements, zoning, furniture arrangements

    Many architects design interiors for an integrated whole

    Interior designers deal with renovations of existing spaces & development of new ones

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.9

    Lobby, Hyatt Regency Hotel, 1967-1972; Atlanta, Georgia; John Portman and Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The lobby has wind chimes hanging in the corners of the balconies. The hotel corridors overlook the atrium. The glass elevators are near the center of the atrium. The large sculpture serves as an accent. The restaurant is housed under an umbrella-type canopy located in the atrium. The terrazzo-like flooring helps convey a garden character. The conversation groupings are defined by large plants.

    18

    56.11

    Joe D’Urso Design office, 1970s-1980s; New York, New York. Minimalism. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.12

    Lobby, Morgan’s Hotel, c. 1985; New York, New York; Andrée Putman. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.13

    Vignelli Associates Office, 1986; New York, New York; Vignelli Associates. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.14

    Shoe salesroom, Esprit Clothing Company, 1988; New York, New York; Michael Vanderbyl, Vanderbyl Design. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.15

    Lighting: Tizio desk lamp, 1972; Richard Sapper; and Boalum, c. 1970s; Livio Castiglioni and Gianfranco Frattini; both for Artemide. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishings and Decorative Arts

    Mostly two types: contract or office furniture & popular culture

    Office furniture expands, particularly in systems furniture that supports open office planning

    Addresses way people work, technology, computer

    Rational, functional, flexible, durable; refined; machine-made look; no applied ornament; ergonomic

    Pop Modern—addresses consumer & youth

    New materials, bright colors, novelty, disposability, low cost, bold forms; many sizes, shapes, forms

    Readily available—low-cost image or fashion conscious furnishings to suit particular consumer lifestyles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.16

    40/4 Stacking chair, 1964; U.S. David Rowland for General Fireproofing, Inc. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.17

    Ball or Globe chair, 1963-1965; Finland; Eero Saarinen. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.18

    Chairs, 1966; United States; Warren Platner for Knoll International. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.19

    Malitte, 1966; Italy and the United States; Roberto Sebastian Matta for Knoll International. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.20

    Panton Stacking Chair, 1960-1967; Switzerland and the United States; Verner Panton for Vitra GmbH and Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.21

    Sacco, 1968; Piero Gatti, Cesare Paolini and Franco Teodoro for Zanotta. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.22

    Blow and Joe chairs, 1967, 1970; Italy; De Pas, D’Urbino, and Lomazzi for Zanotta and Poltronova. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.23

    Ergon chair, 1976; United States; Bill Stumpf for Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    56.24

    Action Office systems from 1964-1968; United States; Robert Probst and details by George Nelson for Herman Miller. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The storage has bumper doors and varies in size and finish. The wall panes have come in various sizes, colors, and heights. The movable desk comes in different finishes. The secretarial chair swivels and adjusts to fit the user. The individual parts can be customized.

    33

    56.25

    Chrome shelving, c. 1980s; Metro. Late Modern – 1.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    35

    ## image5.jpg

    ## image1.jpeg

    ## image6.jpg

    ## image7.jpg

    ## image8.jpg

    ## image9.jpg

    ## image10.jpg

    ## image11.jpg

    ## image12.jpg

    ## image13.jpg

    ## image14.jpg

    ## image15.jpg

    ## image16.jpg

    ## image17.jpg

    ## image18.jpg

    ## image19.jpg

    ## image20.jpg

    ## image21.jpg

    ## image22.jpg

    ## image23.jpg

    ## image24.jpg

    ## image25.jpg

    ## image26.jpg

    ## image27.jpg

    ## image28.jpg

    ## image29.jpg

    ## image30.jpg

    ## image31.jpg

    ## image32.jpg

    ## image33.jpg

    ## image34.png

    ## image4.png

    **IMG_0704.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0704-png-10266305)

    **IMG_0703.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0703-png-10266307)

    **IMG_0706.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0706-png-10266309)

    **IMG_0705.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0705-png-10266311)

    **ch-57-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-57-pptaccessible-pptx)

    **ch-58-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ch-58-pptaccessible-pptx)

  • [Solved] G2

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    – 2 years ago **files (1)** – ## G2.docx **## G2.docx** **Handling the lack of mental health support for university leaners** Many college students are suffering from mental health issues nowadays. Some are suffering from anxiety, stress, depression and burned out, but the schools do not give them e…

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

    – 2 years ago

    **files (1)**

    – ## G2.docx

    **## G2.docx**

    **Handling the lack of mental health support for university leaners**

    Many college students are suffering from mental health issues nowadays. Some are suffering from anxiety, stress, depression and burned out, but the schools do not give them enough help. This is a growing problem and it impacts students’ well-being, academic success, and whether the students will stay in school. This paper looks at the lack of mental health support for college students, outlines the issue, explains why it is important, and stresses the need for action.

    **Description of the Problem**

    Mental health issues like depression, anxiety, and burnout among the college students in U.S. are climbing. There are many campuses struggling to provide and students wait days for times to see someone to talk to (Oswalt et al., 2020). This is a problem that pervades all students but hits first-years, students of color and all families in financial distress the hardest because they are more likely to be susceptible and less likely to get help due to stigma or ignorance.

    The COVID 19 pandemic worsened things making it more isolative and uncertain as institutions had no support systems that are required with this crisis (Oswalt et al., 2020). The effects consist of increased absences, lower grades, and thoughts of suicide.

    For universities with large student numbers and low budgets, there is a greater liability; large student bodies and low budgets mean a wide-ranging population that is not being served by universities with a paucity of funds to provide adequate support. We could have surveyed students about their mental health needs, as well as both observed which support strategies have worked for other schools.

    **Problem Statement**

    Mental health challenges among college students are increasing, while too many institutions have the necessary timely, accessible, and comprehensive support they need to respond to students’ wellbeing and academic futures are at serious risk.

    **Why This Problem Was Selected**

    This is a problem that I have seen firsthand have an adverse effect on my peers and it is one that I chose. I know several students who have struggled emotionally in college, and both getting help and getting help when you need it has been delayed or impossible (Priestley et al., 2022). There is reason to believe that mental health support can be better served by students and in the health of college communities.

    In your paper,

    · Restate the problem you are investigating.

    · Explain how any elements of your personal worldview could influence your perception of the problem in positive ways.

    · Examine your worldview for existing or potential biases explain how they may negatively impact your perspective of the problem.

    · If you believe no biases exist, explain why.

    · Discuss at least two ways in which you can prevent biases from distorting your approach to the problem or efforts to find solutions.

    · Must be 2 to 3 double-spaced pages in length (not including title and references pages).

    · Must use at least two credible sources in addition to the course text.

    must include an introduction and conclusion paragraph.

    · Your introduction paragraph needs to end with a clear thesis statement that indicates the purpose of your paper.

    · must use at least two credible sources in addition to the course text

    **## G2.docx**

    **Handling the lack of mental health support for university leaners**

    Many college students are suffering from mental health issues nowadays. Some are suffering from anxiety, stress, depression and burned out, but the schools do not give them enough help. This is a growing problem and it impacts students’ well-being, academic success, and whether the students will stay in school. This paper looks at the lack of mental health support for college students, outlines the issue, explains why it is important, and stresses the need for action.

    **Description of the Problem**

    Mental health issues like depression, anxiety, and burnout among the college students in U.S. are climbing. There are many campuses struggling to provide and students wait days for times to see someone to talk to (Oswalt et al., 2020). This is a problem that pervades all students but hits first-years, students of color and all families in financial distress the hardest because they are more likely to be susceptible and less likely to get help due to stigma or ignorance.

    The COVID 19 pandemic worsened things making it more isolative and uncertain as institutions had no support systems that are required with this crisis (Oswalt et al., 2020). The effects consist of increased absences, lower grades, and thoughts of suicide.

    For universities with large student numbers and low budgets, there is a greater liability; large student bodies and low budgets mean a wide-ranging population that is not being served by universities with a paucity of funds to provide adequate support. We could have surveyed students about their mental health needs, as well as both observed which support strategies have worked for other schools.

    **Problem Statement**

    Mental health challenges among college students are increasing, while too many institutions have the necessary timely, accessible, and comprehensive support they need to respond to students’ wellbeing and academic futures are at serious risk.

    **Why This Problem Was Selected**

    This is a problem that I have seen firsthand have an adverse effect on my peers and it is one that I chose. I know several students who have struggled emotionally in college, and both getting help and getting help when you need it has been delayed or impossible (Priestley et al., 2022). There is reason to believe that mental health support can be better served by students and in the health of college communities.

    In your paper,

    · Restate the problem you are investigating.

    · Explain how any elements of your personal worldview could influence your perception of the problem in positive ways.

    · Examine your worldview for existing or potential biases explain how they may negatively impact your perspective of the problem.

    · If you believe no biases exist, explain why.

    · Discuss at least two ways in which you can prevent biases from distorting your approach to the problem or efforts to find solutions.

    · Must be 2 to 3 double-spaced pages in length (not including title and references pages).

    · Must use at least two credible sources in addition to the course text.

    must include an introduction and conclusion paragraph.

    · Your introduction paragraph needs to end with a clear thesis statement that indicates the purpose of your paper.

    · must use at least two credible sources in addition to the course text

  • [Solved] s55

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    – 2 years ago **files (1)** – ## S55.docx **## S55.docx** In this final paper, you will consider the sustainability challenges that your home community currently faces and propose components of a plan tailored to meet those challenges. Think about your home community; this might be the community whe…

    Instant Solution Download

    $6.99

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

    Need a Fresh Custom Paper?

    Have this question answered from scratch according to your specific instructions and deadline.

    Order on TutorsGallery →

    Assignment Prompt & Instructions

    – 2 years ago

    **files (1)**

    – ## S55.docx

    **## S55.docx**

    In this final paper, you will consider the sustainability challenges that your home community currently faces and propose components of a plan tailored to meet those challenges. Think about your home community; this might be the community where you are living now, or a previous place that you identify with closely and still consider to be home(North Carolina). Drawing on your own memories and some online research, explore the challenges the community faces to becoming truly sustainable someday. In this paper, you will consider the sustainability challenges that your home community currently faces and propose components of a plan tailored to meet those challenges.

    You will map out specific, concrete changes (in policy, technology, or everyday life) that your community would need to take to achieve sustainability. Provide clear, detailed examples of strategies, drawn from all you have learned relating to this course’s five weekly themes. Your examples should be based on our current scientific knowledge and level of technology (in other words, no inventing a new energy source from lightning or a new, low-energy means of generating fresh water from the oceans). Your suggestions should be tailored to the particulars of your chosen community. If you live in the Pacific Northwest, proposing solar power throughout your town would not be highly effective. Finally, you will imagine what that sustainable future neighborhood, town, or region would look like. How would it be fundamentally different from today?

    To prepare for this assignment, review all chapters of Bensel and Carbone’s (2020)
    _Sustaining Our Planet_ text.

    In your assignment, craft a seven-paragraph essay that includes the following:

    Paragraph 1

    · Describe your home community, using the Arzaville description in past class discussions (Weeks 2 through 4) as an example of the kinds of information you might include.

    · Discuss at least three of the biggest challenges that your home community faces on the path to achieving sustainability.

    Paragraph 2

    · Explain at least three concrete actions that your community might take that would enhance its ability to sustain local biodiversity and ecosystems.

    Paragraph 3

    · Discuss at least three specific steps your community might take to improve its capacity for sustaining local soils and sustainable agriculture.

    Paragraph 4

    · Describe at least three measures that might be taken by your home community to help sustain its freshwater resources.

    Paragraph 5

    · Propose at least three concrete steps your community might take to better sustain local air quality and reduce negative impact on the global climate.

    Paragraph 6

    · Discuss at least three specific actions your community might take to manage, reduce, or eliminate its waste more sustainably.

    Paragraph 7

    · Identify three specific actions that you might take, at the community level, to help support sustainability for your home place.

    · Considering the strategies that you have shared in your essay, assess whether your community could achieve sustainability at some point in the future. Why or why not?

    The Envisioning Sustainable Communities final paper,

    · must be at least 7 paragraphs in length (3 to 5 pages, not including title and reference pages)

    must include at least 1 scholarly source, 1 credible source, and the class text.

    Imagine that you are a resident of Arzaville, a community whose characteristics are described in this activity. You have come together with your neighbors for a special meeting to devise a management plan for helping the community become more resilient and sustainable in terms of its food production by 2050. A resilient community can recover quickly from events like drought or storms. By increasing its own food production, Arzaville can also reduce its food miles—the distance that imported food must travel. By making its food production more sustainable, Arzaville can help ensure that its residents’ food needs are supplied for generations to come, without placing undue harm on the local environment in the process.

    Fortunately, you have all attended the meeting with the knowledge that you have gained from the content in this course. Now it is time to put your thinking cap on and get to work! Your ideas should consist of one or more of the following elements (some suggestions may apply to both categories):

    · food resiliency measures (e.g., building vertical farms in the city center to ensure that urban residents can have access to fresh, organically grown produce)

    · sustainable food production methods (e.g., phasing out use of synthetic pesticides in favor of companion planting and other organic methods) Imagine that you are a resident of Arzaville, a community whose characteristics are described in this activity. You have come together with your neighbors for a special meeting to devise a plan for managing its water resources more sustainably by 2050. Water resource issues the community faces include ensuring a safe and sustainable drinking water supply for all, handling its wastewater in a manner that has minimal environmental impact, and managing its stormwater runoff to minimize the risks of erosion and flooding. Fortunately, you have all attended the meeting with the knowledge that you have gained from the content in this course. Now it is time to put your thinking cap on and get to work! Your ideas should each consist of one of the following elements, depending on what you think Arzaville’s greatest need is:

    · sustainable drinking water access measures (e.g., developing a program for rural residents to begin collecting and treating their rainwater for drinking use)

    · sustainable wastewater management measures (e.g., collecting greywater from area residences for use irrigating a local golf course)

    · storm water management measures (e.g., requiring that permeable pavement be used for all future development projects in the community)

    · Population:                       217,108

    · Population Growth:          +3.1%

    · Elevation                          1843 ft. above sea level

    · Avg. Low Temp (Jan.):    24oF

    · Avg. High Temp (July):   84oF

    · Annual Rainfall:              17 in.

    · Annual Snowfall:             44 in.

    · Sunny Days Per Year:      171

    · Drinking Water Source:   groundwater

    · Urban Area:                     70 sq. mi.

    · Main Power Source
    **:** hydropower

    · Average Commute:          21.3 minutes

    · % Taking Mass Transit:   3.9%

    · Top Occupations:            health care (17.9%)

    · retail trade (12%)

    · accommodation and food services (9.9%)

    ·

    ·
    **Overview:**

    · Arzaville serves as a cultural, financial, and retail center for an extensive, sparsely settled inland region. It has a dry climate that is fairly mild during the summer months but can get quite cool during the winter.  Mountains are not far away, inviting outdoor recreation (hiking, fishing, etc.) to residents and visitors alike.

    ·

    **## S55.docx**

    In this final paper, you will consider the sustainability challenges that your home community currently faces and propose components of a plan tailored to meet those challenges. Think about your home community; this might be the community where you are living now, or a previous place that you identify with closely and still consider to be home(North Carolina). Drawing on your own memories and some online research, explore the challenges the community faces to becoming truly sustainable someday. In this paper, you will consider the sustainability challenges that your home community currently faces and propose components of a plan tailored to meet those challenges.

    You will map out specific, concrete changes (in policy, technology, or everyday life) that your community would need to take to achieve sustainability. Provide clear, detailed examples of strategies, drawn from all you have learned relating to this course’s five weekly themes. Your examples should be based on our current scientific knowledge and level of technology (in other words, no inventing a new energy source from lightning or a new, low-energy means of generating fresh water from the oceans). Your suggestions should be tailored to the particulars of your chosen community. If you live in the Pacific Northwest, proposing solar power throughout your town would not be highly effective. Finally, you will imagine what that sustainable future neighborhood, town, or region would look like. How would it be fundamentally different from today?

    To prepare for this assignment, review all chapters of Bensel and Carbone’s (2020)
    _Sustaining Our Planet_ text.

    In your assignment, craft a seven-paragraph essay that includes the following:

    Paragraph 1

    · Describe your home community, using the Arzaville description in past class discussions (Weeks 2 through 4) as an example of the kinds of information you might include.

    · Discuss at least three of the biggest challenges that your home community faces on the path to achieving sustainability.

    Paragraph 2

    · Explain at least three concrete actions that your community might take that would enhance its ability to sustain local biodiversity and ecosystems.

    Paragraph 3

    · Discuss at least three specific steps your community might take to improve its capacity for sustaining local soils and sustainable agriculture.

    Paragraph 4

    · Describe at least three measures that might be taken by your home community to help sustain its freshwater resources.

    Paragraph 5

    · Propose at least three concrete steps your community might take to better sustain local air quality and reduce negative impact on the global climate.

    Paragraph 6

    · Discuss at least three specific actions your community might take to manage, reduce, or eliminate its waste more sustainably.

    Paragraph 7

    · Identify three specific actions that you might take, at the community level, to help support sustainability for your home place.

    · Considering the strategies that you have shared in your essay, assess whether your community could achieve sustainability at some point in the future. Why or why not?

    The Envisioning Sustainable Communities final paper,

    · must be at least 7 paragraphs in length (3 to 5 pages, not including title and reference pages)

    must include at least 1 scholarly source, 1 credible source, and the class text.

    Imagine that you are a resident of Arzaville, a community whose characteristics are described in this activity. You have come together with your neighbors for a special meeting to devise a management plan for helping the community become more resilient and sustainable in terms of its food production by 2050. A resilient community can recover quickly from events like drought or storms. By increasing its own food production, Arzaville can also reduce its food miles—the distance that imported food must travel. By making its food production more sustainable, Arzaville can help ensure that its residents’ food needs are supplied for generations to come, without placing undue harm on the local environment in the process.

    Fortunately, you have all attended the meeting with the knowledge that you have gained from the content in this course. Now it is time to put your thinking cap on and get to work! Your ideas should consist of one or more of the following elements (some suggestions may apply to both categories):

    · food resiliency measures (e.g., building vertical farms in the city center to ensure that urban residents can have access to fresh, organically grown produce)

    · sustainable food production methods (e.g., phasing out use of synthetic pesticides in favor of companion planting and other organic methods) Imagine that you are a resident of Arzaville, a community whose characteristics are described in this activity. You have come together with your neighbors for a special meeting to devise a plan for managing its water resources more sustainably by 2050. Water resource issues the community faces include ensuring a safe and sustainable drinking water supply for all, handling its wastewater in a manner that has minimal environmental impact, and managing its stormwater runoff to minimize the risks of erosion and flooding. Fortunately, you have all attended the meeting with the knowledge that you have gained from the content in this course. Now it is time to put your thinking cap on and get to work! Your ideas should each consist of one of the following elements, depending on what you think Arzaville’s greatest need is:

    · sustainable drinking water access measures (e.g., developing a program for rural residents to begin collecting and treating their rainwater for drinking use)

    · sustainable wastewater management measures (e.g., collecting greywater from area residences for use irrigating a local golf course)

    · storm water management measures (e.g., requiring that permeable pavement be used for all future development projects in the community)

    · Population:                       217,108

    · Population Growth:          +3.1%

    · Elevation                          1843 ft. above sea level

    · Avg. Low Temp (Jan.):    24oF

    · Avg. High Temp (July):   84oF

    · Annual Rainfall:              17 in.

    · Annual Snowfall:             44 in.

    · Sunny Days Per Year:      171

    · Drinking Water Source:   groundwater

    · Urban Area:                     70 sq. mi.

    · Main Power Source
    **:** hydropower

    · Average Commute:          21.3 minutes

    · % Taking Mass Transit:   3.9%

    · Top Occupations:            health care (17.9%)

    · retail trade (12%)

    · accommodation and food services (9.9%)

    ·

    ·
    **Overview:**

    · Arzaville serves as a cultural, financial, and retail center for an extensive, sparsely settled inland region. It has a dry climate that is fairly mild during the summer months but can get quite cool during the winter.  Mountains are not far away, inviting outdoor recreation (hiking, fishing, etc.) to residents and visitors alike.

    ·