Questions and Topics We Can Help You To Answer:
Paper Instructions:

Book:  Fiero, Gloria K. The Humanistic Tradition: Volume One: Prehistory to the Early Modern
World. 7th edition. McGraw-Hill, 2016. ISBN: 978-1-259-36066-4

Write a 1500 to 2000-word essay about a site-visit or planned visit:
a) Describe a recent visit to a museum, historical-society, monument, church,
synagogue, mosque or other “sacred” place, and relate the visit to the content of our course; OR
b) Students may research and report on a museum, historical-society, etc. that they
would like to visit that also relates to the content of our course. While the museum/site need not
have existed during the timeline of our course (pre-16th century C.E.), the paper should include
information on contents or applicable subjects that fit within the timeline of our course.

Paper must: 1) meet all assignment requirements listed herein; 2) contain material relevant to
both the subject and timeline of our course (pre-16th century C.E.); 3) contain correct spelling
and grammar; 4) be well-researched and make use of at least five citations (in-text or
footnotes); and 5) must contain a bibliography of at least three different sources (your textbook
may be used as one). Note: Citation and bibliography style must conform to MLA style.

Questions and Topics We Can Help You To Answer:
Paper Instructions:

For this assignment you will be creating a digital artifact on some topic concerning the Renaissance. There are many topics and themes you can choose from. If you thumb through Chapter 12 or "Google" the term "Renaissance" you will come across may possibilities. You could pick a Pope, a poet, a painter, just to name a few in the "P" category. The choice is largely yours but it must be centered in the Renaissance. Don’t do an artifact on the Maya!Elements

A clear statement of your topic.
A balance of text, sound, images, video and links.
Organization of material, either thematically or chronologically.
Visually planned. The visual aesthetic should be planned and coherent.
Citations for everything you do (where did your material come from). Source citations should be seamlessly embedded in the artifact. 
All text must be grammatically correct and have proper spelling. Complete sentences are required.
Here is an example of a digital artifact that a student developed for a MOOC. It was created in Tiki-Toki.

EDMOOC Digital Artifact

What Should I Use to Create This?

There are many options for creating this artifact and most of them are free; usually these options require the creation of a student account. Just make sure you use your .edu email account to access this feature if it is available.

Voicethread
Storify
Pixton
Issuu
Storybird
Weebly
Animoto
Prezi
Wikispaces
TedEd
Google Sites
Tiki-Toki
tumblr
Or any blog, web space or wiki site!

This wiki has more ideas:

50+ Web 2.0 Ways to Tell a Story

Other possibly useful resources:

Wordle
Sliderocket
FOLD (from MIT)

Questions and Topics We Can Help You To Answer:
Paper Instructions:

How architects can improve the future with sustainable design.

Questions and Topics We Can Help You To Answer:
Paper Instructions:

Writing a report about thoughts after visiting Japanese-American National Museum in Little Tokyo, Los Angeles. 

The main point should follow first few Japanese-American generations in American around World War II period. How they were treated after Harbor pearl harbour bomb and what after that.
the theme about to analysis "race" and gender.  

This is an Media class report which should include history and culture perspective. I need writer who actually have been to the museum to work on this paper. I personally have already been there more than three times.

Exploratorium Museum

Museums revive the past, present and the future. The design, surrounding and preservation sites tend to demonstrate the relevance of past lifestyles to human beings and the entire universe. Most of the times, Museums inform on the detailed information hence prompting people to explore societal systems and needs. The Exploratorium Museum is located in San Francisco. With time and the ever changing technological world, the museum specialized in exhibiting science, technology and artistic monuments. In addition, Exploratorium Museum is known for its prolific arcades, funhouses and experimental laboratories. One of the most exceptional concept found within the Museum is incorporation of six galleries each attentive to various exploration zones (Exploratorium Museum, 2020). One mutual thing which makes these galleries interesting is the interactive nature of the exhibits which are appealing and resonate with average human beings seeking to explore human interests and advancements. Clearly, art will never run out of style and gives the visitors time to indulge and take in the beauty and the background of the art work. For instance, one can touch or even play with some of the exhibitions. Subsequently, the artwork allows the visitors to ponder on how his world operates which in turn opens up the doorway to gaining understanding on the future and timeless human trends. The galleries are placed in the exhibit development workshop. Under the exhibit development section, visitors get a chance to find out the mechanisms used to research, create and fabricate the art.

 The first gallery captures human phenomena. Bernard and Barbro Osher are the creators of this beautiful piece of art. The art was meant to experiment on human feelings, beliefs and interactive routines. All humans have emotions, feeling and social perceptions and this specific piece of art uses science research and innovative explorations hence at this particular gallery one gets a chance to interact, play and observe the painting. According to the Curator’s sentiments, the Osher gallery centers on sharpening perception, feelings, interactive traits and then interplays science, community, art and tradition. People have different world perceptions. For instance, reminiscing the past, perfecting the future and communicating with other people helps human invent, and solve the world’s problems (Exploratorium Museum, 2020). The agility of the painting to capture human mind and behavior portrays linguistic patterns and other social routines. In addition, the gallery tends to combine the articulate norms of the society with existent features. Combining the engaging nature of the art and the immersive surrounding of the museum, the artistic forms of art are able to accurately display sole purpose of the artist. In short, the museum has made an effort to ensure visitors are immersed into the galleries as it informs on different human aspects.

            Even though museum are made to be passive and factual, Exploratorium Museum added an interactive Radio frequency identification fields (RFID) assists visitors continue scientific investigations even after their visits come to a halt. Most importantly, the museums protects the visitors’ personal information due to privacy issues (Exploratorium Museum, 2020). The hands-on museum uses various RFID configurations to bring out factual background on each one of the exhibits.

 Instead of being a storehouse of artefacts, the Exploratorium Museum tends to actually satisfy the relationship between the exhibits and the visitors. Instead of just curating, the visitor gets the chance to convey his or her message depending on his or her own perspective on the immediate issues governing the precepts of art (Exploratorium Museum, 2020). Furthermore, the spacious arrangement as one moves from one exhibit to another, manipulates space and obscures comparison so that one can just focus on what his or her eyes have captured at that particular time. With time, any visitor can go through the museum without giving a chance to conclusively criticize or overlook any important aspect of the images presented. Appealing to the human senses and being able to retain the relevance of the exhibited content is one of the most effective ways of retaining the interests of the visitors.

            The second art in the gallery section is known as the tinkering. The artwork is in line with the main theme of the museum which is to give its visitors a hands-on experience while they move about the Museum. The tinkering gallery triggers a visitor into wondering how the artists were able to construct such a beautiful woodwork piece (Exploratorium Museum, 2020). The existence of constructive elements and the modernism architectural work of the museum give it an attractive taste and time to come up with the projected ideologies placed on display. As time goes by, some aspects of the museum tend to blend in with modern day events and experiences. For instance, the tinkering gallery allows the visitors to think with the hands and in the process develop an understanding on the happenings of the world. The two exhibitions are under the gallery sections and tend to gain appreciation due to the simplicity and ability remain relevant over the years. Due to advanced technological placement required to make the displays lively and neat, the workers of the laboratory sometimes have to come up with the required measurements to enable the visitors to check for discrepancies and participate in the recreation of new materials within different parts of the museum.

 As easy as it might sound a modern museum with modernized equipped helps to give the visitors time to appreciate modernism with an ancient forms of artistic work. The key issue is helping the visitors interact with the galleries as much as possible while giving way to chance and growth of vital elements of the museum (Ogawa, Loomis, & Crain, 2009). A museum not only informs but gives a solid impression on how things needs to be done presently and in the near future. The chance to meet the tenets of each exhibition and also cater to the needs of the visitors is all tied up to the chance to offer a playful atmosphere to the visitors while they interact with other exhibitions located within eh museum. Another notable aspect is how people can easily ignore the labels as they interact with artistic elements within the museum. The labels are not designed to be cumbersome give the visitor’s only immediate information which then he or she can use in a manner that he or he wants (Ogawa, Loomis, & Crain, 2009).  The tall, beautiful pieces of art are arranged in a circle and distance from each other through open spaces hence a visitor can easily rush from one artistic design to the other with the aim of finding out origin of each. Quiet often, the museum tends to establish the inclusion of different personalized information so that each visitor feels like or he or she is part of the art and can contribute to the naming and history of each piece of artistic work.

References

 Exploratorium Museum (2020). Museum Gallaries. https://www.exploratorium.edu/visit/galleries

Ogawa, R. T., Loomis, M., & Crain, R. (2009). Institutional history of an interactive science center: The founding and development of the Exploratorium. Science Education, 93(2), 269-292.

My Desire to Become an Architect

Creation is a fascinating ability evolving from one’s imaginations and perceptions; this is one of the most powerful skills there is. By an individual formulating their own unique creations, they attempt to craft an equivalent conduct amid their imaginings and the society around them. Buildings are what humanize and exemplify the different cultures that are present in the society today; they all reflect the influence and the boundless potential of the geniusness in human beings. The way that people express themselves is what helps to differentiate them; I view a structure in person rather than just an image. It is this element that has given my urge for architecture a chance to grow motivating my desire to pursue a career in the architectural field.

Architecture has always been the perfect field for me ever since I was young. I come from a family that loves travelling, which has given me a chance to experience various cultures and outstanding architectural pieces from renaissance styles like the ‘Duomo’ to the modern styles for instance, the ‘Sydney Opera House’. Extensive Reading has also been a great motivation for me as an aspiring architecture student. I often take time to read, books, blogs and articles, which have provoked me to question how architects are able to meet the demands of a planet that continues to develop and change every day. I am intrigued by the way architects have embraced technology, to help create an environmentally sustainable living.

Taking art classes have greatly helped me to improve my artists and designer skills, which have encouraged me to search and cultivate ideas through research. My love for both maths and science have greatly helped me to engage the scientific mind and they have also motivated me to develop reasoned verbal and written skills required in the architectural field.

I have tried to engage myself in the architectural world by doing some volunteer work at an architect’s office during my free time. Engaging with the contractors and the clients has increased my understanding of the architectural processes and the challenges that are experienced with the projects. Working here has greatly helped me to understand the importance of dialogue between the client and the contractors, and how it helped in coming up with the most effective designs.

I enjoy visiting galleries, which I describe as my best leisure activity. I often visit galleries to find work from some of my best artists and this gives me more inspiration to pursue my architectural course. Despite all that, I describe myself as an all rounded individual who views learning as a crucial area, but also focus on the importance of healthy living in order to achieve a healthy mind state. I participate in various sporting activities such as swimming and tennis, which allows me to develop both social and team skills while working within team focused setting. Doing this greatly helps me to improve on my social skills that I require as an architect.

My dream is to become an architecture that will make a positive impact on the environment. My desire is to become one of the greatest architectures whose designs stand out among others and help inspire many people who also have a passion for architectural designs. I believe that joining Drexel University’s Westaphal College of Media Arts and Design is the best institution in helping fulfil the first step in my architectural journey.

Introduction

            Orange Empire Railway Museum is one of the greatest museums in United States of America where great historical activities had been taking place. It had been established in the nineteenth century, that is; 1958. This museum had been built from a small trolley. It became a very large railroad museum in the western parts of United States. There are many interesting activities in Orange Empire Railway Museum that had been attracting many visitors.

• This museum usually experiences a large number of visitors annually (Perris Valley, 117).
• It had been conducting several interesting events that usually attracted very many visitors on daily basis (Perris Valley, 117).
• The most interesting event that had been too popular was referred to as Thomas the Train. This event used to attract so many visitors from different parts of the world (Perris Valley, 117).
• It had been present in the museum every month of November and most focused on the interests of children (Perris Valley, 117). This usually made the children happy as they could enjoy the moments when they had closed schools.
• Addition to this interesting festival, there had been hosting of Pumpkin and Bunny Train. There had also been hosting of Santa Train during the holidays in every given year (Perris Valley, 117).
• The museum used to be open daily to allow visits as well as rides with the interesting trains.
• Donations of Gizzy Flats train were being conducted by Ward Kimball. This train had been housed in a house full of decorations by him. Kimball had been a great fan of Orange Empire Museum (Perris Valley, 117).
• The museum had made great efforts trying to repair the Perris depot (Perris Valley, 118). Together with the Perris city, the museum had succeeded to restore the depot in 2004.the much amount of money that had been incurred by Perris and the museum was approximately $1.5 million.

Work cited

Perris Valley. Charleston,South Carolina: Arcadia Publishing, 2016. Print.

This article reviews the early antiquity of DOCUMENTA displays, which took place after each five year period in Kessel, Germany since 1955. The author recalls his elongated commitment with the theme of historiography of displays (Grasskamp 1). He makes a comparison between documenta and other ancient exhibitions with the same characteristics and he takes notes of special features, which makes them stand out from the rest of the exhibitions.

 In addition, the author highlights a career summary of his participation in the repetitive exhibitions derived from documenta in the year 1959 through Venice Biennale. Also, he took part in major issues in the contemporary museums (Grasskamp 2). He then discovers the intricate interactions between an artist and institutions put in place to cater for the needs of the artist and grow their talents.

Any researches that looks into the past displays entails intricate and ambiguous subject. The article tempts to criticize exhibitions and site a mistake here and there but its objective is educating and informing on past history. Over the years, authors modified art exhibitions into subsections of styles hence impacting or altering the styles in various ways. Hence, it would be unfair to claim that exhibitions in itself lost its spark, yet a lot of people and artists are at liberty to pick one concept from one contrast style and infuse it with another style at their own convenience(Grasskamp 7). The rules completely changed, if not for the better, then, may be for personal reasons. It goes without saying that the current society is at a crisis. People no longer factor in emotions or pay close attention to detail while making art. Simply put, an aspect an average artistry is the relevance and the longevity of art in general.

The manner in which people criticize classical architecture matters a lot. Criticism relies on the mechanism and not the building one talks about per se. Thus, one can decide to talk about the church building not meeting the recommended classical architecture standard and neglect the mall (Grasskamp 6). Nevertheless, it does not matter the type of buildings one criticizes, the only element of concern is writing on exhibitions. Writing about any form of art informs preserves and raises awareness on the dos and donts of the ancient yet vibrant style. To emphasize further, art displays is not a building but a tradition and a way of life that needs preservation and writing about it sheds more light on the art.

The author establishes insincerity of the older generation through displays. He calls the young men vibrant and people should learn how to integrate the ancient and new generations. Yet, he fails to categorize the young man seated next to him as being part of the gang because he does not look the part (Grasskamp 10). Thus, the author assumptions are sometimes supportive of artist and sometimes try to justify the poor quality lapse I quality. One of the main aim of the author was to reveal and give information on exhibition past, which led to the excavation of documenta 11. An art is at liberty to do as he or she wishes with art but fundamental principles of the art still remains for a long time to come. All in all, art is a form of celebratory rhetoric and nothing can take place without appreciating it in its varied forms.

Works cited

Grasskamp, Walter. "To Be Continued: Periodic Exhibitions (documenta, For Example)." Landmark Exhibitions Issue, Tate Papers 12 (2009).

Architecture theology

Ruskin explores the specific means through which the lamp of truth can be darkened in the architectural field. He holds a romantic perception of architecture by judging the art by a similar criterion to that which is applied to painting and romantic poetry. This statement indicates that a good building should show sincerity so that it generally expresses its materials structure and the extent of handwork. It also tends to show the need for architectural transparency which should stand as the basis of architectural ethic[1]. Ruskin was advocating for this transparency after having established that architectural dishonesty can be more heinous than it can be in other arts.

An honest architecture should not dissemble at all but should express clearly what it is. This kind of transparency approach can make a modest building to look modest while the humble one to look small.  While these types of expressions can be viewed as being aesthetically flawed, when it comes to transparency such flaws can be pardoned but dishonesty cannot.  Ruskin’s belief in honesty as a transcendent and redemptive aesthetic represents how architecture was viewed in the 19^th and beginning of 20^th century[2]. During these periods, regardless of the architectural expression’s flavor and as long as it was transparent or be understood as an honest medium, this design was seen as ethically redeemed.  However, such transparency and honesty may be hard to achieve given that architecture is rooted deep within the work of design. The design stems from the representational system of architecture which is drawing[3]. However, drawing emerges from assumptions that link with fiction to enable an architect to design after separating buildings realization from a prefiguring moment. 

References

Smith, K. (2013).Introducing Architectural Theory: Debating a Discipline. Routledge.74-76

Landow, G. P. (2015). Aesthetic and Critical Theory of John Ruskin. Princeton University Press. 82-84

LUCE, K., Senseke, N. (n.d).Reconsidering the Ethics of Transparency. University of Michigan.167-169

[1] Smith, K. (2013).Introducing Architectural Theory: Debating a Discipline. Routledge.74-76

[2] LUCE, K., Senseke, N. (n.d).Reconsidering the Ethics of Transparency. University of Michigan.167-169

[3] Landow, G. P. (2015). Aesthetic and Critical Theory of John Ruskin. Princeton University Press. 82-84

Landscape Architecture

 I believe that the value of in landscape design lies in the awareness of strong connection to the community, ecological processes and the culture and the realization that these are connected in a web of life.  The value in design is founded on a commitment to the community land , its integrity and processes and should assist in the fulfillment of  human needs  and experience through creation of environments that are just socially and supportive[1]. As a landscape architect, I am grounded firmly on personal ethos based on responsibility which involves enhancing a moral commitment to the duty of developing landscapes where humanity can pursue happiness when life prevails. Landscape architects should cultivate an understanding about diverse ideas and values held by everyone about landscapes[2]. Therefore, the inspiration wrought by landscape architecture goes beyond pretty garden to include with various challenges in the community. My skills in design and interests in severe challenges facing our cities as the country’s economies change from industrial to service-based   have informed my drive to become a landscape architecture. Places such as Tongva Park + Ken Genser Square have really inspired me. In my first five years of practice, I would like to see myself as an accomplished urban planner.

Reference

Murphy, M. D. (2016). Landscape architecture theory: an ecological approach.

[1] MURPHY, M. D. (2016). Landscape architecture theory: an ecological approach.

[2] MURPHY, M. D. (2016). Landscape architecture theory: an ecological approach.

Expanded Field of Landscape Architecture by Elizabeth K. Meyer

Elizabeth Meyer argues for increased attention towards the general development of a theoretical ground for architectural land scape which uses categories and language that is specific to discipline contrary to plagiarizing from others.  From the  ‘’Expanded Field Of Landscape  Architecture’’ Meyer demonstrates  the manner in which  linguistics strategies  can be utilized  in critiquing  contemporary  conduct  and  generate  ways for additional alternatives  of gaining better understanding in regard  to landscape[1]. The presentation  by Meyer  additionally  present  a feminist viewpoint which is mainly based  on the exploration  the major argument of the essay  that  any   landscape language  serves  inevitably   very specific  interests  and also works through the exclusion of others[2]. The essay is based on the theme of feminism and the implication of historical practices on modern landscape architecture.

Some key words that are utilized in Meyer’s presentation are landscape and language. This is through stating that language is a form of landscape as it can be termed as individual’s native language[3]. The presentations overlap each other as they argue for a similar thing.  Both presentations argues that  landscape architecture  should be permitted  to speak in manner that  avoids the occurrence of binaries and works in the  gaps amid the  boundaries of  nature, culture, female, male, landscape, architecture and also permits  individuals to question  the major  grounds where individual  knowledge in regard to landscape is situated.

Meyer structures her presentation through demonstrating the female viewpoint of landscape architecture and comparing it with the historically accepted perspective.  All her presentations complement each other as they are based on criticizing the general understanding and universal view of landscape architecture[4]. The two presentations that are utilized to develop the argument are the architectural history and theory implication and the modern landscape architecture suppressed figures. The presentations  argues that  the  general definition  of architectural landscape  is a by-rid activity  which cannot be  defined  simply with the  utilization  of  binary  pairs   utilized as situations that  are  in opposition.  Based on the dependent on the modes of thinking the individual’s capability to listen, see and generate new perspectives is hindered.  Landscape architecture cannot be described with the view of female nature and the hierarchy of the male gender as both perspectives should be considered highly[5].

The arguments are mainly constructed in direct response to the historical arguments that had been developed and accepted by others in regard to the general significance of landscape.  The motivation  of the authors wording is the fact that  she states that  describing architecture as the other  female  to transcendent  male  subject  architecture  is not a relationship that  is  generated  naturally. Meyer  states that  the association is just a  conceptual  kind  that is  constructed  mainly by the society  and symbolizes social  values[6]. This did not  only  play part in the  structuring  of  modern  architectural  history  but also a major  misrepresentation of  modern  architectural  landscape  history.

According to Meyer architecture landscape is not a conduct that can fully be defined as either in terms of nature, science, art, culture, man or architecture. This description can thus be described as the construction theories which are based on individual interpretations[7].  Architectural landscape can best be described as a language that is widely shared among humans. Landscape architecture is the design that permits individuals to communicate in a more clear way via interventions of different designs[8].

            References

Meyer, Elizabeth K. 2011. Expanded Field of Landscape Architecture (excerpt). Pp. 1-1. Retrieved from http://scenariojournal.com/article/the-expanded-field-of-landscape-architecture-excerpt/

Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

[1] Meyer, Elizabeth K. 2011. Expanded Field of Landscape Architecture (excerpt). Pp. 1-1.

[2] Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

[3] Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

[4] M Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

[5] Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

[7] Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

[8] Meyer, Elizabeth K. N.d. Expanded Field of Landscape Architecture. Pp. 45-79. Pdf

Classical and Medieval West

The Parthenon and Notre Dame de Chartres

            Parthenon image is a former temple dedicated to Athena on the Athenian Acropolis in Greece. It displays the refined clarity, vigor and harmony that are the source of Greek tradition.  The proportions of this image are based on harmonious ratios. The Parthenon image was made by Iktinos and Kallikrates. Parthenon image construction of Parthenon image began in 447 BC. The Parthenon consists of a rectangular floor with many low steps on each side (Neils, 337). Its foundation was made out of limestone and its columns made out Pentelic marble. The statue of the Athena Parthenon has Athena standing with her left leg relaxed. She dressed in a peplos belt over the overfold, sandals, aegis and a helmet. Her helmet was decorated with griffins and sphinxes (Neils, 338).

            Notre Dame de Chartres is a Gothic catholic for the Latin Church that is found in Chartres France. There are no surviving records for the master builders of the Chartres. The building of the Chartres occurred between 1145 and 1250 (Morganstern, 127). This image was made out of limestone with a height of 34 meters and a length of 130 meters. The cathedral’s design displays innovation with its tall arcades.

            The two works are similar because somehow, they used similar a similar material, limestone in the building. The difference between the two structures is that they are of different art style for example Parthenon is an example of classical art whereas Notre Dame de Chartres is an example of medieval art. Also, the two structures were constructed to serve different purposes for instance the Parthenon was built to shelter Athena’s statue whereas the Chartres serves many purposes including commercial activities (Morganstern, 135).

Work cited

Neils, Jenifer. The Parthenon: From Antiquity to the Present. Cambridge, UK: Cambridge University Press, 2005. Print.

Morganstern, Anne M. G. High Gothic Sculpture at Chartres Cathedral, the Tomb of the Count of Joigny, and the Master of the Warrior Saints. University Park, Pa: Pennsylvania State University Press, 2012. Print.