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  • [Solved] field notes (568)

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    – 2 years ago **files (6)** – ## Module4Practicingfieldnotes.docx – PowerPosing.pdf – Decoding_of_inconsistent_commu.pdf – UnconsciousDesireforHierarchy.pdf – PowerApproachandInhibition.pdf – The_contingent_smile_A_meta-a.pdf **## Module4Practicingfieldnotes.docx** Module 4: Practicing with F…

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    – 2 years ago

    **files (6)**

    – ## Module4Practicingfieldnotes.docx

    – PowerPosing.pdf
    – Decoding_of_inconsistent_commu.pdf
    – UnconsciousDesireforHierarchy.pdf
    – PowerApproachandInhibition.pdf
    – The_contingent_smile_A_meta-a.pdf

    **## Module4Practicingfieldnotes.docx**

    Module 4: Practicing with Field Notes & Photography

    ·
    **Due** Friday by 11:59pm

    ·
    **Submitting** a text entry box or a file upload

    **This week, you will combine your observations from the world around you (Field Notes) with photographs (2-3) and your Critical Thinking Prompts into the template provided.**

    Field Notes

    Refers to notes created by the researcher (you)  during the act of conducting a field study to remember and record the behaviors, activities, events, and other features of an observation. Field notes are intended to be read by the researcher (you) as evidence to produce meaning and an understanding of the culture, social situation, or phenomenon being studied. The notes may constitute the whole data collected for a research study [e.g., an observational project] or contribute to it, such as when field notes supplement conventional interview data or other techniques of data gathering. For this class, your Field Notes will supplement a larger data set.

    Observations

    **First:  Each student will document 3 observations each week, using the guidelines for descriptive and reflective content**. These observations should include a date, time, and location of the observed event
    **and should be included with your critical thinking and application prompts submission.**  As you observe your environment and notice interactions or events, think about what you are witnessing and how it applies to the material we are studying in this class.  Additionally, ask yourself what this observation has to do with women and leadership.

    Telling a Story with a Photograph

    Photography is a great way to tell a story about a particular theme. This is particularly relevant for PhotoVoice where participants are encouraged to use their photographs to tell a story and convey a particular message. Sometimes it may be possible for a participant to accidently stumble across a scene that they feel encompasses the message that they want to tell and to photograph it, but this is not often the case. This lack of planning could cause participants to search for hours for something to photograph.

    For this week, think through some simple questions beforehand to help you decide what story it is that you want to tell and consequently, what types of photographs you want to take.  You might consider the topics we are already discussing in this class.  As you document your observations in your field notes, consider how a photograph might further illustrate the story you are telling about these topics, themes, ideas, and experiences.

    **NEXT:** **Please take 2-3 photographs from the world around you to represent your learning this week**.  Include the images with your Field Notes along with an explanation of how the images relate to the course material.

    Think about what themes stand out to you and look at the world around you for examples of these themes.

    Critical Thinking Prompts

    Each week, you will be presented with a series of critical thinking prompts and application prompts related to the content of the course.  These questions will steer the focus of the field notes you will take throughout the course.  Field notes capture your observations of your landscape and connect those observations back to the material we are discussing in class.

    Each question is generally worthy of at least 150 words (1-2 well-written paragraphs) in response.  Connect with
    **_(and cite in-text)_** the applicable readings/videos from the module's learning materials.

    **_A note on in-text citing and connecting with the learning materials:_**  As a graduate student, you must offer perspectives and arguments that are grounded in the literature –
    _NOT personal opinion or anecdotal evidence._ I don't want a works cited page, but I do want you to cite your sources in-text for the various connections you'll be making between the learning materials and your application thereof.  For example, one might write,
    _"While I marveled at the uncanny ability of the psychic to tap into my true personality, the Barnum Effect (Aronson, 2012)could have well explained my feelings…"_ Be sure to use these in-text citations to make your arguments and to support your perspectives.

    **FINALLY, tie your field notes to your response to the following prompts and include citations for 3 of the articles read this week:**

    **_Critical Thinking Prompt 1:_ How does power and influence affect women in the workplace?**

    **_Application Prompt 1:  REFLECT_- write about your experience.  Self Assessment: think about a relationship or situation where you would like to be seen as either more authoritative or more approachable• What is your goal for the relationship or situation?•What role are you expected to play in this relationship or situation?•What is the current power dynamic of the relationship or situation?•How do you act?•How do others act?**

    **_Application Prompt 2:_  Share one key discovery or reflection from this education module. What resonated with you (or not) based on your personal background and identity?**

    Pick One Action you will do after the this module. Imagine who, what, where, and when it will happen.  Document your Plan in this prompt and plan to share with the class.

    **Reflection Prompt:   What does power and influence have to do with leadership?**

    **Use the template below and upload your completed paper here. This paper is worth 20  points.**

    **Resources (PDF attached) Template attached**

    Resources for module 4

    [https://www.youtube.com/watch?v=YLXswrLKkuE](https://www.youtube.com/watch?v=YLXswrLKkuE)

    [https://www.youtube.com/watch?v=KdQHAeAnHmw](https://www.youtube.com/watch?v=KdQHAeAnHmw)

    **PowerPosing.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/powerposing-pdf-10257509)

    **Decoding_of_inconsistent_commu.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/decoding-of-inconsistent-commu-pdf)

    **UnconsciousDesireforHierarchy.pdf**

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

    **PowerApproachandInhibition.pdf**

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

    **The_contingent_smile_A_meta-a.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/the-contingent-smile-a-meta-a-pdf)

    **The_contingent_smile_A_meta-a.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/the-contingent-smile-a-meta-a-pdf)

    **## Module4Practicingfieldnotes.docx**

    Module 4: Practicing with Field Notes & Photography

    ·
    **Due** Friday by 11:59pm

    ·
    **Submitting** a text entry box or a file upload

    **This week, you will combine your observations from the world around you (Field Notes) with photographs (2-3) and your Critical Thinking Prompts into the template provided.**

    Field Notes

    Refers to notes created by the researcher (you)  during the act of conducting a field study to remember and record the behaviors, activities, events, and other features of an observation. Field notes are intended to be read by the researcher (you) as evidence to produce meaning and an understanding of the culture, social situation, or phenomenon being studied. The notes may constitute the whole data collected for a research study [e.g., an observational project] or contribute to it, such as when field notes supplement conventional interview data or other techniques of data gathering. For this class, your Field Notes will supplement a larger data set.

    Observations

    **First:  Each student will document 3 observations each week, using the guidelines for descriptive and reflective content**. These observations should include a date, time, and location of the observed event
    **and should be included with your critical thinking and application prompts submission.**  As you observe your environment and notice interactions or events, think about what you are witnessing and how it applies to the material we are studying in this class.  Additionally, ask yourself what this observation has to do with women and leadership.

    Telling a Story with a Photograph

    Photography is a great way to tell a story about a particular theme. This is particularly relevant for PhotoVoice where participants are encouraged to use their photographs to tell a story and convey a particular message. Sometimes it may be possible for a participant to accidently stumble across a scene that they feel encompasses the message that they want to tell and to photograph it, but this is not often the case. This lack of planning could cause participants to search for hours for something to photograph.

    For this week, think through some simple questions beforehand to help you decide what story it is that you want to tell and consequently, what types of photographs you want to take.  You might consider the topics we are already discussing in this class.  As you document your observations in your field notes, consider how a photograph might further illustrate the story you are telling about these topics, themes, ideas, and experiences.

    **NEXT:** **Please take 2-3 photographs from the world around you to represent your learning this week**.  Include the images with your Field Notes along with an explanation of how the images relate to the course material.

    Think about what themes stand out to you and look at the world around you for examples of these themes.

    Critical Thinking Prompts

    Each week, you will be presented with a series of critical thinking prompts and application prompts related to the content of the course.  These questions will steer the focus of the field notes you will take throughout the course.  Field notes capture your observations of your landscape and connect those observations back to the material we are discussing in class.

    Each question is generally worthy of at least 150 words (1-2 well-written paragraphs) in response.  Connect with
    **_(and cite in-text)_** the applicable readings/videos from the module's learning materials.

    **_A note on in-text citing and connecting with the learning materials:_**  As a graduate student, you must offer perspectives and arguments that are grounded in the literature –
    _NOT personal opinion or anecdotal evidence._ I don't want a works cited page, but I do want you to cite your sources in-text for the various connections you'll be making between the learning materials and your application thereof.  For example, one might write,
    _"While I marveled at the uncanny ability of the psychic to tap into my true personality, the Barnum Effect (Aronson, 2012)could have well explained my feelings…"_ Be sure to use these in-text citations to make your arguments and to support your perspectives.

    **FINALLY, tie your field notes to your response to the following prompts and include citations for 3 of the articles read this week:**

    **_Critical Thinking Prompt 1:_ How does power and influence affect women in the workplace?**

    **_Application Prompt 1:  REFLECT_- write about your experience.  Self Assessment: think about a relationship or situation where you would like to be seen as either more authoritative or more approachable• What is your goal for the relationship or situation?•What role are you expected to play in this relationship or situation?•What is the current power dynamic of the relationship or situation?•How do you act?•How do others act?**

    **_Application Prompt 2:_  Share one key discovery or reflection from this education module. What resonated with you (or not) based on your personal background and identity?**

    Pick One Action you will do after the this module. Imagine who, what, where, and when it will happen.  Document your Plan in this prompt and plan to share with the class.

    **Reflection Prompt:   What does power and influence have to do with leadership?**

    **Use the template below and upload your completed paper here. This paper is worth 20  points.**

    **Resources (PDF attached) Template attached**

    Resources for module 4

    [https://www.youtube.com/watch?v=YLXswrLKkuE](https://www.youtube.com/watch?v=YLXswrLKkuE)

    [https://www.youtube.com/watch?v=KdQHAeAnHmw](https://www.youtube.com/watch?v=KdQHAeAnHmw)

    **PowerPosing.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/powerposing-pdf-10257509)

    **Decoding_of_inconsistent_commu.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/decoding-of-inconsistent-commu-pdf)

    **UnconsciousDesireforHierarchy.pdf**

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

    **PowerApproachandInhibition.pdf**

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

    **The_contingent_smile_A_meta-a.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/the-contingent-smile-a-meta-a-pdf)

    **## Module4Practicingfieldnotes.docx**

    Module 4: Practicing with Field Notes & Photography

    ·
    **Due** Friday by 11:59pm

    ·
    **Submitting** a text entry box or a file upload

    **This week, you will combine your observations from the world around you (Field Notes) with photographs (2-3) and your Critical Thinking Prompts into the template provided.**

    Field Notes

    Refers to notes created by the researcher (you)  during the act of conducting a field study to remember and record the behaviors, activities, events, and other features of an observation. Field notes are intended to be read by the researcher (you) as evidence to produce meaning and an understanding of the culture, social situation, or phenomenon being studied. The notes may constitute the whole data collected for a research study [e.g., an observational project] or contribute to it, such as when field notes supplement conventional interview data or other techniques of data gathering. For this class, your Field Notes will supplement a larger data set.

    Observations

    **First:  Each student will document 3 observations each week, using the guidelines for descriptive and reflective content**. These observations should include a date, time, and location of the observed event
    **and should be included with your critical thinking and application prompts submission.**  As you observe your environment and notice interactions or events, think about what you are witnessing and how it applies to the material we are studying in this class.  Additionally, ask yourself what this observation has to do with women and leadership.

    Telling a Story with a Photograph

    Photography is a great way to tell a story about a particular theme. This is particularly relevant for PhotoVoice where participants are encouraged to use their photographs to tell a story and convey a particular message. Sometimes it may be possible for a participant to accidently stumble across a scene that they feel encompasses the message that they want to tell and to photograph it, but this is not often the case. This lack of planning could cause participants to search for hours for something to photograph.

    For this week, think through some simple questions beforehand to help you decide what story it is that you want to tell and consequently, what types of photographs you want to take.  You might consider the topics we are already discussing in this class.  As you document your observations in your field notes, consider how a photograph might further illustrate the story you are telling about these topics, themes, ideas, and experiences.

    **NEXT:** **Please take 2-3 photographs from the world around you to represent your learning this week**.  Include the images with your Field Notes along with an explanation of how the images relate to the course material.

    Think about what themes stand out to you and look at the world around you for examples of these themes.

    Critical Thinking Prompts

    Each week, you will be presented with a series of critical thinking prompts and application prompts related to the content of the course.  These questions will steer the focus of the field notes you will take throughout the course.  Field notes capture your observations of your landscape and connect those observations back to the material we are discussing in class.

    Each question is generally worthy of at least 150 words (1-2 well-written paragraphs) in response.  Connect with
    **_(and cite in-text)_** the applicable readings/videos from the module's learning materials.

    **_A note on in-text citing and connecting with the learning materials:_**  As a graduate student, you must offer perspectives and arguments that are grounded in the literature –
    _NOT personal opinion or anecdotal evidence._ I don't want a works cited page, but I do want you to cite your sources in-text for the various connections you'll be making between the learning materials and your application thereof.  For example, one might write,
    _"While I marveled at the uncanny ability of the psychic to tap into my true personality, the Barnum Effect (Aronson, 2012)could have well explained my feelings…"_ Be sure to use these in-text citations to make your arguments and to support your perspectives.

    **FINALLY, tie your field notes to your response to the following prompts and include citations for 3 of the articles read this week:**

    **_Critical Thinking Prompt 1:_ How does power and influence affect women in the workplace?**

    **_Application Prompt 1:  REFLECT_- write about your experience.  Self Assessment: think about a relationship or situation where you would like to be seen as either more authoritative or more approachable• What is your goal for the relationship or situation?•What role are you expected to play in this relationship or situation?•What is the current power dynamic of the relationship or situation?•How do you act?•How do others act?**

    **_Application Prompt 2:_  Share one key discovery or reflection from this education module. What resonated with you (or not) based on your personal background and identity?**

    Pick One Action you will do after the this module. Imagine who, what, where, and when it will happen.  Document your Plan in this prompt and plan to share with the class.

    **Reflection Prompt:   What does power and influence have to do with leadership?**

    **Use the template below and upload your completed paper here. This paper is worth 20  points.**

    **Resources (PDF attached) Template attached**

    Resources for module 4

    [https://www.youtube.com/watch?v=YLXswrLKkuE](https://www.youtube.com/watch?v=YLXswrLKkuE)

    [https://www.youtube.com/watch?v=KdQHAeAnHmw](https://www.youtube.com/watch?v=KdQHAeAnHmw)

    **PowerPosing.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/powerposing-pdf-10257509)

    **Decoding_of_inconsistent_commu.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/decoding-of-inconsistent-commu-pdf)

    **UnconsciousDesireforHierarchy.pdf**

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

    **PowerApproachandInhibition.pdf**

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

    **The_contingent_smile_A_meta-a.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/the-contingent-smile-a-meta-a-pdf)

  • [Solved] 6070-7dr

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    In-depth study guidance and analytical solution covering 6070-7dr.

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  • [Solved] feed back jan

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    **ist three different scenarios where raters or observers could be used for data collection in a research study** In research, raters or observers are used when collecting data that requires human judgment or interpretation. One common scenario is in educational assessments, where observers rate stu…

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    Assignment Prompt & Instructions

    **ist three different scenarios where raters or observers could be used for data collection in a research study**

    In research, raters or observers are used when collecting data that requires human judgment or interpretation. One common scenario is in educational assessments, where observers rate student behaviors or instructional methods. For example, Mudford et al. (2009) examined how trained observers used handheld computers to record student behaviors during instructional sessions. The study found that the accuracy of observations varied depending on the algorithm used to assess agreement, with block-by-block and exact agreement methods showing limitations at extreme behavior frequencies.

    Another important setting is clinical diagnostics, where professionals observe patient interactions or symptoms to inform treatment decisions. Stora et al. (2013) conducted a study where raters evaluated parent-child interactions in families with children exhibiting conduct problems. The study generalizability theory approach showed that more raters were needed to assess complex behaviors reliably, like discipline and monitoring, highlighting the importance of rater quantity and design in observational studies. In behavioral research, when coding non-verbal behaviors in psychological studies, multiple observers make interpretations of behaviors like facial expressions or gestures consistent. Training observers in behavior data collection has been shown to improve the reliability of such assessments (Mudford et al., 2009).

    **Discuss three different statistical procedures used to evaluate interrater reliability in research.**

                Several statistical procedures, such as Cohen’s kappa, Fleiss Kappa, and the Intraclass correlation coefficient (ICC), are employed to evaluate the consistency among raters. Cohen’s kappa is one widely used method for assessing agreement between two raters for categorical data. It adjusts for the agreement expected by chance and is especially helpful in healthcare research where subjective judgment is common (McHugh, 2012). An extension of Cohen's kappa is Fleiss's kappa, which assesses agreement among multiple raters. It is useful when more than two observers are involved and the data is categorical (Fleiss, 1971). For continuous data, the intraclass correlation coefficient (ICC) is recommended. According to Koo and Li (2016), ICC measures correlation and captures the level of absolute agreement between raters. The authors emphasize selecting the correct form of ICC based on study design elements such as rater type and whether consistency or absolute agreement is being measured (Koo & Li, 2016). These tools are critical in validating the consistency of data in research.

    **References**

    Fleiss, J. L. (1971). Measuring nominal scale agreement among many raters. _Psychological Bulletin, 76(_ 5), 378–382. https://doi.org/10.1037/h0031619

    Stora, B., Hagtvet, K. A., & Heyerdahl, S. (2013). Reliability of observers’ subjective impressions of families: A generalizability theory approach. _Psychotherapy Research, 23(_ 4), 448–463. https://doi.org/10.1080/10503307.2012.733830

    Koo, T. K., & Li, M. Y. (2016). A guideline of selecting and reporting intraclass correlation coefficients for reliability research. _Journal of Chiropractic Medicine, 15(_ 2), 155–163. https://doi.org/10.1016/j.jcm.2016.02.012

    McHugh, M. L. (2012). Interrater reliability: The kappa statistic. _Biochemia Medica, 22(_ 3), 276–282. https://doi.org/10.11613/bm.2012.031

    Mudford, O. C., Taylor, S. A., & Martin, N. T. (2009). Assessing observer accuracy in continuous recording of rate and duration: Three algorithms compared. _Journal of Applied Behavior Analysis, 42(_ 3), 527–539. https://doi.org/10.1901/jaba.2009.42-527

    – 2 years ago

  • [Solved] 514m4r

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  • [Solved] feed back Alleton

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    ello Class, When subjective judgment is crucial to research studies, including behavioral observation, clinical diagnosis, or performance assessment, it is necessary to ensure that data collected by multiple observers or raters are consistent and accurate. In the first case scenario, therefore, the …

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    Assignment Prompt & Instructions

    ello Class,

    When subjective judgment is crucial to research studies, including behavioral observation, clinical diagnosis, or performance assessment, it is necessary to ensure that data collected by multiple observers or raters are consistent and accurate. In the first case scenario, therefore, the consideration of interrater reliability is very important as does this for the degree of agreement or agreement among raters adding credibility or replicability of the study findings.

    **Scenarios Where Raters or Observers Are Used**

    One scenario where raters are commonly used is in classroom observations, where multiple observers assess teacher effectiveness based on standardized rubrics. A second example includes in psychological research where raters, who are trained, may code participant’s emotional expressions or verbal response during therapy sessions. In the third scenario, medical research, possibly in diagnostic imaging, radiologists do the independent evaluation of scans to determine the presence or severity of disease, and the reproducibility of the diagnosis has implications for the validity of clinical conclusions.

    **Statistical Procedures for Evaluating Interrater Reliability**

    One common statistical procedure for assessing interrater reliability is Cohen’s Kappa, which measures agreement between two raters while correcting for the agreement that could occur by chance. Particularly when the data is categorical, it gives a value between -1 and 1, with values closer to 1 indicating strong agreement (McHugh et al., 2012). Yet, Cohen’s Kappa is useful only when there are only two raters and cannot be extended to other groups. However, with this limitation in mind, to remedy this issue, Fleiss’ Kappa can be implemented, which generalizes the notion of Cohen’s Kappa for more than two raters. The appropriate tool when the data is nominal and it offers gives a complete metric when there is agreement amongst several judges.

    Another widely used method is the Intraclass Correlation Coefficient (ICC), which is applicable for continuous data and can handle two or more raters. In addition, the ICC leads not only to the statistical explanation of the consistency of ratings that this index determines, but also has to do with absolute quantification in the agreement made between raters (Koo & Li, 2016). Depending on the study design and the assumptions about the raters and measurements, different ICC, e.g., one-way random, two-way random, two-way mixed models, are used (Liljequist et al., 2019). Choosing the right ICC model assures a more accurate estimate of reliability and influences the interpretation of the results.

    **Conclusion**

    When a research study depends on human judgment for data collection, employing raters or observers becomes crucial, and ensuring their consistency is imperative. Researchers can determine and report the impact of agreement between raters using other statistical tools including Cohen’s Kappa, Fleiss’ Kappa, and Intraclass Correlation Coefficient. Besides these measures improve the study rigor, they too support the validity and trustworthiness of the research findings.

    **References**

    Koo, T. K., & Li, M. Y. (2016). A guideline of selecting and reporting intraclass correlation coefficients for reliability research. _Journal of chiropractic medicine_, _15_(2), 155-163. [https://pmc.ncbi.nlm.nih.gov/articles/PMC4913118/](https://pmc.ncbi.nlm.nih.gov/articles/PMC4913118/)

    Liljequist, D., Elfving, B., & Skavberg Roaldsen, K. (2019). Intraclass correlation–A discussion and demonstration of basic features. _PloS one_, _14_(7), e0219854. [https://pmc.ncbi.nlm.nih.gov/articles/PMC6645485/](https://pmc.ncbi.nlm.nih.gov/articles/PMC6645485/)

    McHugh, M. L. (2012). Interrater reliability: the kappa statistic. _Biochemia medica_, _22_(3), 276-282. [https://pmc.ncbi.nlm.nih.gov/articles/PMC3900052/#:~:text=Cohen%20suggested%20the%20Kappa%20result,1.00%20as%20almost%20perfect%20agreement](https://pmc.ncbi.nlm.nih.gov/articles/PMC3900052/#:~:text=Cohen%20suggested%20the%20Kappa%20result,1.00%20as%20almost%20perfect%20agreement).

    ello Class,

    When subjective judgment is crucial to research studies, including behavioral observation, clinical diagnosis, or performance assessment, it is necessary to ensure that data collected by multiple observers or raters are consistent and accurate. In the first case scenario, therefore, the consideration of interrater reliability is very important as does this for the degree of agreement or agreement among raters adding credibility or replicability of the study findings.

    **Scenarios Where Raters or Observers Are Used**

    One scenario where raters are commonly used is in classroom observations, where multiple observers assess teacher effectiveness based on standardized rubrics. A second example includes in psychological research where raters, who are trained, may code participant’s emotional expressions or verbal response during therapy sessions. In the third scenario, medical research, possibly in diagnostic imaging, radiologists do the independent evaluation of scans to determine the presence or severity of disease, and the reproducibility of the diagnosis has implications for the validity of clinical conclusions.

    **Statistical Procedures for Evaluating Interrater Reliability**

    One common statistical procedure for assessing interrater reliability is Cohen’s Kappa, which measures agreement between two raters while correcting for the agreement that could occur by chance. Particularly when the data is categorical, it gives a value between -1 and 1, with values closer to 1 indicating strong agreement (McHugh et al., 2012). Yet, Cohen’s Kappa is useful only when there are only two raters and cannot be extended to other groups. However, with this limitation in mind, to remedy this issue, Fleiss’ Kappa can be implemented, which generalizes the notion of Cohen’s Kappa for more than two raters. The appropriate tool when the data is nominal and it offers gives a complete metric when there is agreement amongst several judges.

    Another widely used method is the Intraclass Correlation Coefficient (ICC), which is applicable for continuous data and can handle two or more raters. In addition, the ICC leads not only to the statistical explanation of the consistency of ratings that this index determines, but also has to do with absolute quantification in the agreement made between raters (Koo & Li, 2016). Depending on the study design and the assumptions about the raters and measurements, different ICC, e.g., one-way random, two-way random, two-way mixed models, are used (Liljequist et al., 2019). Choosing the right ICC model assures a more accurate estimate of reliability and influences the interpretation of the results.

    **Conclusion**

    When a research study depends on human judgment for data collection, employing raters or observers becomes crucial, and ensuring their consistency is imperative. Researchers can determine and report the impact of agreement between raters using other statistical tools including Cohen’s Kappa, Fleiss’ Kappa, and Intraclass Correlation Coefficient. Besides these measures improve the study rigor, they too support the validity and trustworthiness of the research findings.

    **References**

    Koo, T. K., & Li, M. Y. (2016). A guideline of selecting and reporting intraclass correlation coefficients for reliability research. _Journal of chiropractic medicine_, _15_(2), 155-163. [https://pmc.ncbi.nlm.nih.gov/articles/PMC4913118/](https://pmc.ncbi.nlm.nih.gov/articles/PMC4913118/)

    Liljequist, D., Elfving, B., & Skavberg Roaldsen, K. (2019). Intraclass correlation–A discussion and demonstration of basic features. _PloS one_, _14_(7), e0219854. [https://pmc.ncbi.nlm.nih.gov/articles/PMC6645485/](https://pmc.ncbi.nlm.nih.gov/articles/PMC6645485/)

    McHugh, M. L. (2012). Interrater reliability: the kappa statistic. _Biochemia medica_, _22_(3), 276-282. [https://pmc.ncbi.nlm.nih.gov/articles/PMC3900052/#:~:text=Cohen%20suggested%20the%20Kappa%20result,1.00%20as%20almost%20perfect%20agreement](https://pmc.ncbi.nlm.nih.gov/articles/PMC3900052/#:~:text=Cohen%20suggested%20the%20Kappa%20result,1.00%20as%20almost%20perfect%20agreement).

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    – ch-55-PPTaccessible.pptx

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

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 54

    Organic and Sculptural Modern

    1930s – Early 1970s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Organic & Sculptural Modern

    Inspired by sculptural forms or abstracted living organisms

    Rejects hard edges & geometry of International Style

    Seeks total unity through harmony with nature & a human touch

    Extremely popular in furniture & decorative arts after World War

    few architectural examples

    Aided by renewed creative energy, new materials & techniques

    Images of the future, optimism, progress

    Briefly synonymous with modernism

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

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

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

    Technology, not craft, drives concepts & appearances

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

    Some in advance of technology to produce

    Softer, curvilinear modern with an organic nature but inorganic materials

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Characteristics and Motifs

    Smooth curving forms & shapes

    Pierced, abstracted, elongated, attenuated, asymmetrical

    Exaggerated, abstracted naturalistic forms & unity important

    Simplicity, no applied ornament, design for mass production

    More expressive or symbolic design language from experimentation & energy

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

    Colors from Pop Art, nature, Modern Art

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    Architecture

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

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

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

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

    Bold, powerful statements

    Influence by Wright, 1920s German architects, Scandinavians

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.1a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    6

    54.1b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    7

    54.1c

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    8

    54.2a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    9

    54.2b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.3

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    11

    54.4

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.5a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    13

    54.5b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    14

    54.6

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.7

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    16

    54.8a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    17

    54.8b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description 1:

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

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

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 53

    Geometric Modern

    1930s – 1960s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Geometric Modern

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

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

    & their followers

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

    Style enters mainstream

    U.S. becomes world’s leader in Modernism

    Development of commercial interiors & expansion of interior design profession

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Concepts

    Does not continue political overtones or social reforms of early modernism

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

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

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

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

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

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Characteristics and Motifs

    Bauhaus & International Style characteristics

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

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

    New materials—aluminum, plastics

    Standardization, prefabrication essential in achieving design goals

    Functionalism, efficiency, simplicity

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture

    Economical, easy to build, adaptable to many building types

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

    Simple, rectilinear in silhouette, simple, sleekness

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

    Glass box common, especially for corporate offices

    New Brutalism—bold concrete in geometric forms

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

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    53.1

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    53.2

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    7

    53.4

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    8

    53.5

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    9

    53.6

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    10

    53.7

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    53.8

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    12

    53.9a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    13

    53.9b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    14

    53.10a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    53.10b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    16

    53.11

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    17

    *53.12

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

    *Substitute image.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    18

    53.13

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    19

    Interiors

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

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

    Interiors more specialized, Interior Designers more important

    Architectural firms have interior units

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

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

    Kitchens & baths efficiently planned with modern fixtures & materials

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    20

    53.15

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    **IMG_0501.png**

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    **ch-55-PPTaccessible.pptx**

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

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 54

    Organic and Sculptural Modern

    1930s – Early 1970s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Organic & Sculptural Modern

    Inspired by sculptural forms or abstracted living organisms

    Rejects hard edges & geometry of International Style

    Seeks total unity through harmony with nature & a human touch

    Extremely popular in furniture & decorative arts after World War

    few architectural examples

    Aided by renewed creative energy, new materials & techniques

    Images of the future, optimism, progress

    Briefly synonymous with modernism

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

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

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

    Technology, not craft, drives concepts & appearances

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

    Some in advance of technology to produce

    Softer, curvilinear modern with an organic nature but inorganic materials

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Characteristics and Motifs

    Smooth curving forms & shapes

    Pierced, abstracted, elongated, attenuated, asymmetrical

    Exaggerated, abstracted naturalistic forms & unity important

    Simplicity, no applied ornament, design for mass production

    More expressive or symbolic design language from experimentation & energy

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

    Colors from Pop Art, nature, Modern Art

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    Architecture

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

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

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

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

    Bold, powerful statements

    Influence by Wright, 1920s German architects, Scandinavians

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.1a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    6

    54.1b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    7

    54.1c

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    8

    54.2a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    9

    54.2b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.3

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    11

    54.4

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.5a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    13

    54.5b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    14

    54.6

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.7

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    16

    54.8a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    17

    54.8b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description 1:

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

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

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 53

    Geometric Modern

    1930s – 1960s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Geometric Modern

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

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

    & their followers

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

    Style enters mainstream

    U.S. becomes world’s leader in Modernism

    Development of commercial interiors & expansion of interior design profession

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Concepts

    Does not continue political overtones or social reforms of early modernism

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

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

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

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

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

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Characteristics and Motifs

    Bauhaus & International Style characteristics

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

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

    New materials—aluminum, plastics

    Standardization, prefabrication essential in achieving design goals

    Functionalism, efficiency, simplicity

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture

    Economical, easy to build, adaptable to many building types

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

    Simple, rectilinear in silhouette, simple, sleekness

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

    Glass box common, especially for corporate offices

    New Brutalism—bold concrete in geometric forms

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

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    53.1

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    53.2

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    7

    53.4

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    8

    53.5

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    9

    53.6

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    10

    53.7

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    53.8

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    12

    53.9a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    13

    53.9b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    14

    53.10a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    53.10b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    16

    53.11

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    17

    *53.12

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

    *Substitute image.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    18

    53.13

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    19

    Interiors

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

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

    Interiors more specialized, Interior Designers more important

    Architectural firms have interior units

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

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

    Kitchens & baths efficiently planned with modern fixtures & materials

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    20

    53.15

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    **IMG_0501.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0501-png-10256707)

    **IMG_0502.png**

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    **IMG_0508.png**

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    **IMG_0509.png**

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    **IMG_0511.png**

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    **IMG_0513.png**

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    **IMG_0504.png**

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    **ch-55-PPTaccessible.pptx**

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

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

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 54

    Organic and Sculptural Modern

    1930s – Early 1970s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Organic & Sculptural Modern

    Inspired by sculptural forms or abstracted living organisms

    Rejects hard edges & geometry of International Style

    Seeks total unity through harmony with nature & a human touch

    Extremely popular in furniture & decorative arts after World War

    few architectural examples

    Aided by renewed creative energy, new materials & techniques

    Images of the future, optimism, progress

    Briefly synonymous with modernism

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

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

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

    Technology, not craft, drives concepts & appearances

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

    Some in advance of technology to produce

    Softer, curvilinear modern with an organic nature but inorganic materials

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Characteristics and Motifs

    Smooth curving forms & shapes

    Pierced, abstracted, elongated, attenuated, asymmetrical

    Exaggerated, abstracted naturalistic forms & unity important

    Simplicity, no applied ornament, design for mass production

    More expressive or symbolic design language from experimentation & energy

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

    Colors from Pop Art, nature, Modern Art

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    Architecture

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

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

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

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

    Bold, powerful statements

    Influence by Wright, 1920s German architects, Scandinavians

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.1a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    6

    54.1b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    7

    54.1c

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    8

    54.2a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    9

    54.2b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.3

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    11

    54.4

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.5a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    13

    54.5b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    14

    54.6

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    54.7

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    16

    54.8a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    17

    54.8b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description 1:

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

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

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 53

    Geometric Modern

    1930s – 1960s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Geometric Modern

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

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

    & their followers

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

    Style enters mainstream

    U.S. becomes world’s leader in Modernism

    Development of commercial interiors & expansion of interior design profession

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Concepts

    Does not continue political overtones or social reforms of early modernism

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

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

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

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

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

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Characteristics and Motifs

    Bauhaus & International Style characteristics

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

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

    New materials—aluminum, plastics

    Standardization, prefabrication essential in achieving design goals

    Functionalism, efficiency, simplicity

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture

    Economical, easy to build, adaptable to many building types

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

    Simple, rectilinear in silhouette, simple, sleekness

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

    Glass box common, especially for corporate offices

    New Brutalism—bold concrete in geometric forms

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

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    53.1

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    6

    53.2

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    7

    53.4

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    8

    53.5

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    9

    53.6

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    10

    53.7

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    53.8

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    12

    53.9a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    13

    53.9b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    14

    53.10a

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    53.10b

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    16

    53.11

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    17

    *53.12

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

    *Substitute image.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

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

    18

    53.13

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    19

    Interiors

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

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

    Interiors more specialized, Interior Designers more important

    Architectural firms have interior units

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

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

    Kitchens & baths efficiently planned with modern fixtures & materials

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    20

    53.15

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

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    **IMG_0501.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0501-png-10256707)

    **IMG_0502.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0502-png-10256711)

    **IMG_0503.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-0503-png-10256713)

    **IMG_0506.png**

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    **IMG_0507.png**

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    Physical & Operationl Security Distance Education Online Spring 2024-2025 (113433-CYB-3300-DEB1 . would like all my labs taken care of on Cengage

    – 2 years ago