General Procedures for Elementary Classrooms

General Procedures for Elementary Classrooms The key to a well-managed organized classroom, is to create effective classroom procedures and routines. By implementing procedures, students will understand what is expected of them throughout the day. Once these are established, the number of behavior problems and classroom interruptions will be greatly reduced. Here is a list of general procedures and routines to teach in the classroom. Feel free to modify or adapt this list depending upon grade level and individual preference. Beginning the Day When entering the classroom, first put away your coat, book-bag, snack and lunch. Then turn your homework in the homework basket, place your attendance tag in the appropriate spot on the lunch count board and start you morning seat-work. Entering and Leaving the Room Enter and exit the classroom quietly. If you are coming in late or leaving early, do not disturb the other students. This procedure will be used for all situations throughout the school day. Lunch Count/Attendance Find your name and move your attendance tag to the correct column. If you brought lunch, place your tag under the bringing column. If you are buying lunch place your tag under the buying column. Using the Restroom (Younger students) You can get up and use the restroom freely as long as the teacher is not in the middle of teaching a lesson. (Older students) One student at a time my use the lavatory pass. They must return with the pass within three minutes or they will lose the privilege of going to the lavatory freely. Fire Drill When you hear the alarm, stop what you are doing, leave everything, and quietly walk directly to the door. The first person takes the fire drill packet while the second person holds the door open for the rest of the class. The last student closes the door and gets into line. Once outside, everyone is expected to stand quietly and wait for the announcement to come back into the building. Lining Up Wait until you or your row is called, then quietly stand up, push in your chair, and line up facing forward. Bring all the necessary items you may need with you. Ending the Day Clear off your desk, place papers to go home in your homework folder and wait to be called. Once you are called then gather your belongings, stack your chair, quietly sit on the carpet and wait to be dismissed. Additional Procedures: AnnouncementsClassroom jobsParticipating in group lessonsThrowing away trashGetting a tissuePledge of AllegianceClassroom visitorsSignals for attentionHelping other studentsWhen to use the pencil sharpenerWhen to use the drinking fountainHanding in homeworkCaring for classroom suppliesHandling classroom equipmentGetting ready for lunch or specialsChanging classesPassing out papersAsking questionsSnack timeParticipating in learning centersGoing to the nurse Additional Things to Consider Here are four additional things to consider when implementing your classroom procedures. Take time to practice It may take students several weeks to learn the various procedures that are expected of them. Take the time to practice over and over again until they understand. Once they understand what is expected, then you will have more time to teach. Make procedures simple For younger students, make them easy to follow. The more complicated they get, the longer it will take for the students to understand them. Make procedures visible Only post the most important procedures you want the students to follow. Leave the easy ones, like walking in the hallway and going to lunch from memory. Be Specific When teaching a procedure to the class, make sure you are specific and list your expectations exactly how you want the students to follow them.

Pronouncing the Spanish G and J

Pronouncing the Spanish G and J The g in Spanish can one of the more difficult letters to pronounce, at least for those who hope to be precise. The same is true for the j, whose sound it sometimes uses. Beginning Spanish students can think of g has having two sounds, although those who want to be exact will find that the g has three common sounds and a pair of rare situations where it is pronounced very softly if at all. The Quick and Easy Approach to Pronouncing the G The way many English speakers learning Spanish start out is by thinking of Spanish as having two sounds, depending on the letter that follows: Most of the time, the g can be pronounced much like the g in dog or figure. Note that in both of those English words, the g is pronounced somewhat softer or less explosively than the g in words such as goat and good.However, when the g is followed by e or i, it is pronounced something like the letter h, the same as the Spanish j. (In this way, the sound of the g parallels that of the c, which has a hard sound except when it comes before an e or i, in which case it has a softer sound. Both c and g in English often follow a similar pattern.) Note the differences in these phonetic transcriptions. The first three have the hard g sound, while the final two have the h sound: apagar - ah-pag-GARego - EH-gohignicià ³n - eeg-nee-SYOHNagente - ah-HEN-tehgirasol - hee-rah-SOHLgusto - GOO-stohgente  - HEN-teh You should have no difficulty being understood if you follow these pronunciations. However, if you hope to sound more like a native speaker, you should follow the next section. A More Precise Approach to Pronouncing the G Think of the g as have three main sounds: When the g comes immediately before an e or i, it is pronounced like the Spanish j, detailed below.Otherwise, when the g comes after a pause, such as at the beginning of a sentence, or if it doesnt have vowel sounds immediately before and after, the g can be pronounced much like the g in dog or figure.When the g comes between vowels (unless followed by e or i), it is pronounced much softer, and there is no good English equivalent. You might think of it as a mushy version of the above pronunciation, or like something between silence and the above pronunciation. You can hear it pronounced native speakers here. A Pair of Exceptions These three pronunciation take care of nearly all situations. However, there are two significant exceptions: Some speakers intensely soften or even drop the sound of the g in the letter combination gua, especially when it appears at the beginning of the word such as in guapo, guacamole, and guardar. So guapo sounds something like WAH-poh, and guacamole sounds like wah-kah-MOH-leh. This tendency, which can be heard here, is found in many areas and varies even within localities. At the extreme, you may even hear agua pronounced like AH-wah.A few English gerunds (-ing verbs) such as marketing and camping have been adopted into Spanish (often with a slight change in meaning). Most native Spanish speakers cant readily imitate the ng sound well at the end of a word, so the tendency is to end the word with the n sound. Thus marketing may sound like mrketin, and camping  may sound like campin. In a few cases, such as meeting becoming mà ­tin or mitin, the spelling has been changed to conform with the common pronunciation. Pronouncing the J The j sound is what is known as a voiceless velar fricative, which means that it is formed by forcing air through the slightly constricted back part of the mouth. Its kind of a scraping or raspy sound. If youve learned German, you may know it as the ch sound of Kirche. You may hear it sometimes in English in the word loch when given a Scottish accent or as the initial sound of Hanukkah when an attempt is made to pronounce it as if it were in Hebrew. One way you might think of the sound is as an extended k. Instead of sounding out the k in an explosive fashion, try lengthening the sound. The sound of the j varies with region. In some areas, the j sounds almost like a soft k, and in some places it sounds very close to the h sound in words such as hot or hero. If you give the j the sound of the English h, as many English-speaking Spanish students do, you will be understood, but keep in mind that is only approximate.

International Financial management Essay Example | Topics and Well Written Essays - 2250 words - 1

International Financial management - Essay Example The report is divided into four broad sections, which include a brief overview of Leighton Holdings and its comparison with global competitors, commentary on the operating and financial issues of the company in light of selected ratios, an evaluation of currency management and overall performance of the company and recommendations for potential investors on the basis of analysis and evaluations carried out in this report. Leighton Holdings Limited, being amongst the largest international contractors around the world, was established in the year 1949 and is headquartered in Sydney. The company was listed on Australian Stock Exchange (ASE) in 1962 (Leighton Holdings, 2013; Yahoo Finance, 2013). The current business profile of Leighton Holdings Limited shows numerous operations, which include construction, development and maintenance of infrastructural facilities, mining, resource provision and real estate services (Leighton Holdings, 2013). In addition, the company also undertakes projects related to construction of road, railway networks, cleaning up of contaminated areas, disposal of waste, and other related services. Apart from the domestic Australian market, the operations of the company are also spread internationally, which include regions 20 countries in the Asian region, Middle Eastern region, southern parts of Africa and the neighbouring country New Zealand. In this table, it can be seen that Leighton Holdings Limited can be regarded as amongst leading international contractors. The ranking of Leighton Holdings Limited in relation to earnings per share ratio and long term growth rate of the company, is the best amongst the ratios listed in the table. However, the gap between performance indicators of Leighton Holdings Limited and industry leader is considerable in almost all of the indicators shown above. For the

Christians today Coursework Example | Topics and Well Written Essays - 250 words

Christians today - Coursework Example All believers met together at a certain place, and they shared whatever they had. Likewise, Christians today should share what they have with those in need. Another thing that Christians of today can learn from the early church is that there is a need to fellowship with other Christians and worship together. This should be done regularly in churches and other places of worship. Today’s Christians should also learn that they should share generously so that God can add other people to their fellowship. As Christians, there is a need to be in touch with one another and share talents apart from the usual sharing of possessions (Sommer, 2007). Christians of today can also learn from the early church that there is the need to help other people at what they cannot be able to do. In addition, Christians should seek help at what they are not perfect. Just like the bodies of human beings have several parts each playing a certain role, so is the body of Christ. As such, there should be the realization among Christians that they belong to one another as they can be termed as many parts that comprise Christs body (Sommer,

The Spirituality And Architecture Theology Religion Essay

The Spirituality And Architecture Theology Religion Essay Spirituality  is an ultimate or an alleged immaterial  reality. The essence of spirituality is the search to know our true selves, to discover the real nature of consciousness. In other words, it is a constant discovery of the incredible, our real self, and a quest of our true being, why we are, who we are and where we belong. This has been a part of the eternal quest of man from times immemorial. These questions have been answered differently by many but are subject to ones own belief interpretation and perception. Sri Aurobindo in Indian Spirituality and Life (1919)says Man does not arrive immediately at the highest inner elevation and if it were demanded of him at once, he would never arrive there. At first he needs lower supports and stages of ascent, he asks for some line of thought, dogma, worship, image, sign, and symbols, some indulgence and permission of mixed half natural motive on which he can stand while he builds up in him the temple of spirit.(Sri Aurobindo, Indian Spirituality and Life, 1919) Mans quest of truth, reality and peace has been unending. Overawed with the infinite nature, whatever he could not comprehend he attributed that to the glory of nature. Mans intellect cannot accept anything that is unknown, unseen and has no fixed shape or form. Thus to satisfy his intellectual curiosity man gave physical form to the divine being. Spirituality is our attempt to become aware of our spirit. Spiritual architecture refers to any building system that facilitates this awareness. It is, an act of highlighting or bringing forth the self, not by rejecting matter but by manifesting it in matter, at various levels and in multiple forms. E.V. Walter in Placeways, defines spiritual space as à ¢Ã¢â€š ¬Ã‚ ¦ a specific environment of phenomena that are expected to support the imagination, nourish spiritual experience, and convey spiritual truth (Walter,E.V., Placeways: A Theory of the Human Environment, 75). Spiritual spaces can be found in nature or they can be a constructed space. A spiritual space found in nature is a place designated by individuals or groups as such a place. It is a distinct space, a place whose character sets it apart from its surroundings. They are distinct from typical or commonly found places. The designation of a place as spiritual comes from the human need to establish a connection with inner truth. A place that is spiritual to one person or group of people may not be spiritual to others. Architecture of a space can invoke all the senses, help one concentrate ones positive energies to calm a disturbed mind and take a peaceful stable mind beyond the physical. It is an inevitable part of life. It attempts to reflect mans source and the reason of being in several varied ways. Architecture is more than mere physical shelter or symbolic artefacts. They are catalyst towards our dwelling, between our being and the world. Architecture, together with the other arts, has, since time immemorial, been one of the most powerful means to pursue and realize this quest and give it physical-symbolic expression: how to create an identity and a place for our being from within the vast, shapeless and infinite extent of time and space; how to affirm our presences and gain a foothold, in the universe. (Gunter Dittmar, Upon the Earth, Beneath the Sky: The Architecture of Being, Dwelling Building, 2001) Successful architectural expression is one, which is able to do both; provide an enriching experience and an unforgettable image. It becomes more important while expressing spirituality in material to provide for an experience of, both the form and the formless, one perceptible by the senses and other beyond senses. Since sacred spaces are separate from everyday places in a designated precinct, value is placed on the journey and arriving at the sacred place. The path and the ritual journey are part of the sacred experience. It is a universal goal of mankind to seek or to create spiritual spaces. What is a spiritual space, and what are the qualities which describe that space? What defines spirituality and the space it makes and how does this form relate to us today? RESEARCH QUESTION What are the attributes of spiritual spaces? 1.2 NEED FOR JUSTIFICATION The current crisis of environmental degradation is also a crisis of places. People are systematically building meaningless places. We must develop a way of understanding the built environment and the natural landscape. True renewal, will require a change in the way we structure experience for understanding both the natural land and the constructed world. Since, the spiritual dimension and moral obligation have been discarded by the modern. Materialism divorced from ethics has corrupted the society. Therefore, more and more people are turning to Spirituality, Yoga and Meditation. Religious people are searching for the lost grid of spirituality in religion. Thus, there is a growing need of buildings to cater this need of people. There are spatial qualities and architectural elements based on experiential background and emotional attachments. To identify and define these connections, one has to go beyond the basic observation of signs and symbols, and analyse the spatial qualities and architectural elements which stimulate senses. 1.3 SCOPE OF THE STUDY A brief study of design tools, which are capable of making the experience soul stirring. These include form, space, volume, geometry, scale and proportions, light and colour. Historical and symbolic aspects of spiritual spaces have already been discussed. (Stella Kramrisch, The Hindu Temple, Vol. 2; Sir Banister Fletchers a History of Architecture, Sir Banister Fletcher,  Dan Cruickshank; Indian Architecture (Buddhist and Hindu Period), Percy Brown) Thus this study will be focused towards the very fundamental architectural criterion and spatial impression on individuals mind. The study does not discuss in detail many issues, like evolution, construction, etc. But focuses on the internal design aspects, concerning the designing of a spiritual space, which are known and acknowledged. Study should avoid commenting on the beliefs and rituals of various religions, but should debate towards the evolution and change of spatial qualities and form. 1.4 LIMITATION FOR THE RESEARCH Study of sacred spaces of all faiths is not possible within the limited time frame. A study of the built environment shall be undertaken which shall include only the spiritual aspect, the qualitative parameters and not the technical evaluation of the built form. Considering the time frame provided for the completion of the study, primary case studies taken are done from Delhi only. It would have been desirable to study how sacred can be woven into the everyday as well. 1.5 METHODOLOGY The study is intended to be broken into subheads that will make it easier to understand the topic that talks about spiritual dimensions in sacred spaces and architectural qualities influencing human behaviour. STAGE 1 IDENTIFYING NEED FOR THE STUDY Trying to find the objectives of study. Setting up the scope and limitations. STAGE 2 LITERATURE SURVEY Through the survey of all possible data related to the topic or on architecture and human behaviour. This stage of the research includes collecting data that is directly or indirectly related to spiritual aspect of architectural spaces. This has been done through the printed form or from the internet, articles and discussions of peoples relating to the study. Literature survey aims at sorting out case studies both inside and outside India and also at getting an review of what are the recent developments and events that are taking place in the field of spiritual architecture. STAGE 3 LITERATURE SURVEY 2 A study has been undertaken to understand the mental conditions of a man in different spaces and its relation with the creator. Through this the topic got defined and the question got framed. STAGE 4 INTERRELATING DIFFERENT SACRED STRUCTURES As our concern is on human being, the structures affecting human mind around the world should have similarities. Search for the overlapping of spatial qualities in sacred structures around the world. STAGE 5 FRAME WORK To make a framework of different issues and principles studied which can be applied on case studies. List of issues formulate questionnaire for the case studies and interviews. List of issues: Open and closed space Portal or entrance Path and surrounding landscape Destination point Form, geometry, proportion and scale Articulation and symbolism Light, colour and sound Touch, smell and taste STAGE 6 Fig 1.1 ISKCON Temple, New Delhi Fig 1.2 Cathedral Church of Redemption, New Delhi Fig 1.3 Jama Masjid, New DelhiCASE STUDIES ISKCON TEMPLE, NEW DELHI CATHEDRAL CHURCH OF REDEMPTION, NEW DELHI JAMA MASJID,NEW DELHI Case studies are selected to understand the sacredness and the spiritual consciousness through the built, the purpose behind it. Case studies will throw some light on the spatial qualities of spiritual spaces. Suitable case studies will be undertaken to examine the need of the topic and its negligence in present day scenario. STAGE 7 CRITICAL ANALYSIS OF CASE STUDY All the information collected so far was then analysed thoroughly. An analysis of experiencing the sacred buildings to out the design tools that an architect can employ to create the desired spiritual experience. STAGE 8 DESIGN IDEA FORMULATION After assimilation of all matter and analysis of material collected, conclusions are derived, as to, how an architect can use design tools to stimulate all the senses and make the experience of a spiritual space spiritual. CHAPTER 2: SPIRITUAL ENVIRONMENT AND HUMAN BEHAVIOR 2.1 SPATIAL QUALITIES AND HUMAN MIND The sacred is never intentionally chosen, but in some way or the other revels itself. -Eliade (1963) The meaning of structured space, a meaning which we believe lies in its dynamic relationship to its human personality and to our mental health. Fig 2.1 The self- Hindu thought (Source: Prof. H.D. Chayya)The environment in which humans operate has an important influence on their wellbeing and performance. Our structured environment is so important and, influence direct or indirect, on the shaping of personality and the choice as well as the attainment of goals. Emotional design and tangible interaction are compelling forms of enhancing user engagement. The combination of these modes of interaction can create a new dimension of human experience when physical movement in space or the manipulation of objects triggers emotions within an individual. By seamlessly integrating expressive tangible interaction techniques with ambient intelligence, that is, by creating environments that are sensitive and responsive to human gestures, meaningful experiences can be constructed. Leon Festinger, Stanley Schachter and Krik Bach found in their detailed studies of one urban situation, that physical spaces play a very large part in the formation of community relationships à ¢Ã¢â€š ¬Ã‚ ¦and even minor architectural feature, such as the position of staircase and mailboxes, had important effects on the social life of people. The architect who builds a house or who designs a site plan, who decides which direction the houses will face and how close together they will be, also is, to a great extent, deciding the pattern of social life among the people who will live in those houses.(Strengthening Weak Ties: Social Networks and Student Housing, Thesis, B. Design in Architecture, University of Florida, 2011) Geoffrey Scotts book The Architecture of Humanism, 1914, he said, The architect models in space as a sculptor in clay. He designs the space as a work of art; that is, he attempts through his means to excite a certain mood in those who enter it. The view has been elaborated by others, among them Bruno Zevi, Architecture as Space, 1957: the facade and walls of house. Church, or palace, no matter how beautiful they may be, is only the container, the boxà ¢Ã¢â€š ¬Ã‚ ¦; the content is the internal space. As Geoffrey Scott suggests, Space itself is not obvious, cannot be visually perceived; one sees only objects in space; or the structural members that encloses the space. Space itself can only be sensed- that is, felt; its quality is apprehended by means of the senses, but its effect is upon the emotions, and cannot readily be rationalized, measured or depicted. One can only gauge and describe accurately enough the adequacy or structural soundness, its provision for warmth, ventilation, sanitation, light, and other physical factors. One can criticize its components in terms of proportion, texture, colour and other aesthetic considerations. Fig. 2.2, 2.3, and 2.4 (Source: F.D.K.Ching, Architecture Form, Space and Order 3rd edition) Fig. 2.5 Non-sign II-art installation by  Annie Hans  and  Daniel Mihalyo But beyond all of these, there is an overall effect exerted upon ones consciousness by architectural space which defies precise definition.(Scott, Geoffrey, The Architecture of Humanism, 1914) Architecture truly conceived, is nothing less than the conscious and careful determination of our whole structured environment and leaves an impression on individuals mind, which can be controlled. Like a stage setting that controls the movements of actors and defines where and under what circumstances they can meet, our habitat channels our movements and influence our contacts. If we think of buildings at all, it is usually when we are jolted by some outrage, such as a stalled elevator or a leaky roof, long columned corridor, a double height space. (Walter, E.V., 1988, Placeways: A Theory of the Human Environment) Table 2.1 The concept of the spirit of a space (Source: Author)Some of the architectural integrant which affect human psychology are: Five senses Hearing Touch Sight Taste Smell The basic elements Space Air Fire Water Earth Instruments of perception (to acquire inward) Ear Skin Eyes Tongue Nose Work organs (to act outwards) Speech communication (exit) Hands work (finger) Feet mobility Anus discard Genitals procreate Control centre force Mind (flow of thoughts and emotions) Intellect (power of discrimination) The presiding force (PRANA or the life force) The cosmos consciousness or the supreme energy Architecture Silence Climate Light Plumbing Landscape transformation Acoustics Weather Colour Cooling Related technological fields Vibrations Texture surfaces Texture forms Repose odour Emotional Design Emotion is a fundamental aspect of what makes us human; it shapes our cognition, perception, memory, and learning and it colours our past, present, and future experiences. Emotional value is important in design for enhancing user experience as Donald Norman explains: Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents. Emotional design then, provides an aesthetic interaction that engages users on an emotional, meaningful, and psychological level. Whereas affective computing focuses on the system recognizing and adjusting to what it believes the user is feeling, emotional design focuses on the emotional experience. Physical and Tangible Interfaces Human movement is often spurred by intention and motivation within people. Tangible user interfaces allow users to interact with virtual information by sensing and manipulating physical environments through objects, surfaces, and spaces. Relation of architecture and human psychology is far interrelated. Appropriate use of various architectural components has the capacity of enlightening the atmosphere whereas inappropriate use does the opposite. The building forms, the functions incorporated in it, colours, negative and positive spaces in and around it may be the few points but architecture is directly attached with human psychology from conscious to subconscious level. 2.2 PLACEBO EFFECT: SCIENTIFIC EXPLANATION For decades, scientists have tried to understand the mysterious power of what is called the placebo effect. Placebo studies prove how powerfully we are influenced not just emotionally but physiologically by how we perceive the world around us. Articulation and architectural conditions in homes can have powerful and long-lasting psychological impact. The placebo effect offers a clue that points to how we might create curative environments. The placebo effect as a therapy, the fact that believers in a wide variety of ancient faith systems also claim similar effects, as have modern scientists who study mind/body medicine. Fig 2.6 Illustration of the interrelationship of stress, belief and how they may impact on the placebo effect and the relaxation response. (Source: http://www.sciencedirect.com)In other words, it impacts an ancient part of our brain which we share with many other species. Endogenous opioids, which are naturally produced by the brain in small amounts and play a key role in the relief of pain and anxiety, have been implicated in placebo analgesia. CHAPTER 3: SACRED SPACE AND SPIRITUALITY 3.1 OPEN SPACES: AS SACRED SPACES Does spirituality needs sacred spaces and vice versa? Does spirituality really is incomplete without architecture? Is it not the quality of the inner life, open to a virtual dimension that transcends the sensible, that matters? Fig 3.1 Lodhi Garden, New Delhi (Source: Author)Open space has two different meanings that work together to create sacred places that are inclusive and aware of many elements that may be exclusive to any potential user of the space. An open space is open to the public, meaning anyone of any race, faith, culture, or belief is able to enter the space. The space is for the whole community of different people rather than just one particular group. Or, an open space is one that feels welcoming and non-threatening to those that spend time in it; it feels like home for the soul. The design of the space and the placement of features such as portals, paths, universal symbols that have meaning across all religions, nations and ethnic groups, lend to the openness of the space by inviting those outside of the space to enter it. The combination of a space being open on both a physical and spiritual level is what makes up Open Spaces, Sacred Places. 3.2 ATTRIBUTES OF A SPIRITUAL SPACE Architecture is the first pioneer on the highway toward the adequate realization of inner self. For this means it levels space for self-realization, informs his external environment, and builds a fit place for the aggregation of those assembled having similar faith, as a defence against the threatening of tempest, against rain, and savage animals. Besides the variety of buildings and design approaches in the effort to create a space where man can feel spirituality, there can be found some common design tools that help to create the soul stirring experience. The following discuss some of these parameters. The portal or threshold is the entryway into the sacred space, which helps to separate the space from the greater surrounding space and invites you to step inside. A portal can be created with a hardscape such as a gate or a portico, or with simple planting. Fig 3.2 Portal to Garden, (Source: http://www.luminous-landscape.com) Fig 3.4 Open space, (Source: http://www.luminous-landscape.com) Fig 3.3 Pathway in a Garden, (Source: http://www.luminous-landscape.com)The path invites exploration and discovery along the route. It meanders through spaces, fuels the imagination and entices one to see where it may lead. The destination point is an end point within a space that inexplicably draws visitors. It may be a resting place, such as a bench, or a beautiful natural feature, such as a gurgling fountain or rain curtain. It is a point within the sacred space where those who visit always end up. Sacred spaces may have more than one destination point. Space and Volume Fig. 3.5 Space defining elements, Source: F.D.K.Ching, Architecture Form, Space and Order 3rd edition) Space, whether of the individual or the universal, possesses a unique quality of experiencing. It is hyper sensitive, besides being super potential. Sense of surround defines the space as separate and apart from the overall outdoor environment. Visitors who enter the space feel as though they are entering into a room. There are natural or man-made boundaries (or a combination of both) that delineate the space within the greater environment. These boundaries provide a subtle feeling of shelter, enabling people to feel safe and enjoy their time spent in the space. (Nicolas, W. Robert Leo A Daly, 2004, building Type Basics for Places of Worship) By generating a continuous flow of spaces, each act movement becomes an experience. Each component of architecture becomes important and provides for this linkage. It can be by repetition of elements, alteration in scale and proportion, staggering, light, texture, and colour and also by using perspective as a device to accentuate the drama. (Robinson,J., 1979, Religious Buildings) Fig. 3.6 Form and Space, Source: F.D.K.Ching, Architecture Form, Space and Order 3rd edition) Form and Geometry Architectural form is the point of contact between mass and space Architectural Form required to fulfil its functional requirements for that is the reason for its being both physical and spiritual. (Saarinen, E., op.cit. pg 14)Every form conveys a meaning. It is important to understand how form can transmit a spiritual meaning. Certain shapes and forms are conventional associated with certain meanings. Scale and Proportion Fig. 3.7 Vastupurusa (Source: Charles Correa, Vistara; Architecture of India) Fig. 3.8 Vitruvius Man (Source: Leonardo Da vinci.stanford.edu)Scale refers to the size of something compared to reference standard or size of something else. Deciding the scale of a sacred space is a common design concern. Some blend into the fabric of the neighbouring community and landscape; others stands out as landmarks, easily recognized for their special purpose. Generally the sacred spaces take monumental scale to create an atmosphere of awe, mystery and magnificence. The scale of the interior spaces, the size and weight of doors, and the exposed structural columns and beams all serve to denote the special quality of the sacred space. Fig. 3.9 LeCorbusier modular Man (Source: Corbusier, The modulor)Proportion refers to the proper or harmonious relation of one part to another or to the whole. While the designer usually has a range of choices when determining the proportions of things, some are given to us by the nature and the man himself. Human body proportions are used not merely as numbers with an inherent harmony, but as a system of measurements that could govern lengths, surfaces, and volumes. It can lend itself to an infinity of combination; it ensures unity with diversity; the miracle of numbers. Proportional buildings and scale link spiritual architecture to the mathematical structure of the cosmos. The building should relate well not only to the human scale but also the psyche. Light and Colour Fig. 3.12 Khajuraho Temple (Source: Kota Kesava Karthik) Fig. 3.11 Prayer at Church (Source: http://en.wikipedia.org)Light is regarded to be the most important component in definition of space or the manifestation of form in an architectural space; it not only defines the space but also gives meaning to it. In this study one looks at how light can create a place of worship; how to make a quiet, enclosed, isolated space, space full of activities, filled with vitality. Fig. 3.10 Khirki Masjid (Source: Jegmet Wangchuk) Colour is the attribute that most clearly distinguishes a form from its environment. We respond to bright colours, for instance red, with the emotional part of our brain. First, our muscles get tense, and then we lean towards the colour. Our respiration and heart rate goes up and the blood pressure starts rising. The opposite reactions occur when we see light colours such as blue. Our muscles relax, the heart and respiration rate drops and the blood pressure lowers. It also affects the visual weight of a form. Gradation of colour exist; from pale to brilliant; from cold to warm. Thus colour expression is also full of meaning. Texture is an important asset of colour. It is the visual and especially tactile quality given to a surface by shape and arrangement, and the proportions of the parts. Texture also determines to which the surfaces of a form reflect or absorb incident light. It gives an expression to the surface, thereby contributing to the overall impression. Color Colors Characteristics Colors Actions Red Stimulating, exciting, provocative, dynamic Increased enthusiasm, interest, and energy Pink Happy, sweet, spirited, romantic, youthful Calm and relaxing feelings Brown Wholesome, rich, durable, rustic, sheltering A connection with the natural earth and the stability this brings Orange Friendly, vital, tangy, energizing, inviting Increases creativity and gives relief from things becoming too serious Blue Dependable, cool, serene, constant, quiet Broadens your perspective in learning new information Green Refreshing, healing, fresh, soothing, nature Gives freedom to pursue new ideas Purple Sensual, elegant, mysterious, regal, spiritual Calms over activity or energizes from depression Black Strong, classic, elegant, powerful, mysterious Opens the door to mystery and prepares for the unknown Yellow Warming, sunny, cheerful, luminous, enlightening Gives clarity for decision making and sharper memory and concentration skills white Pure, bright, innocent, lightweight, pristine Starts a fresh beginning Fig. 3.13 Colours in Culture (Source: www.informationisbeautiful.net) Table. 3.1 Concept of Colours (Source: http://en.wikipedia.org)Symbolism Symbolism We can identify iconography depicted in architecture of these buildings as the signs and symbols and the inspirations taken directly from some other structure or theories and thoughts spread across the world. A symbol is the juxtaposition that is, a co-optation of visible forms brought forth to demonstrate some invisible matter. One needs to identify with ones religion that is where symbols play an important role.( JosePereira, 2004, The Sacred Architecture of Islam) Table. 3.2 Iconography in major religions (Source: JosePereira, The Sacred Architecture of Islam, 2004)Sacred symbolism is considered to be present in every major religious building, around the world. Iconography of sacred geography in three major religions of the world: TEMPLE MOSQUE CHURCH MOUNTAIN Shikhara Minaret Lofty towers STONE Idol One that in Kabba Altar TREE Present in courtyard Cross WATER Sarovar Ritual ablutions in courtyard Place of Baptism But is it signs and symbolism only which draw an impact on our behaviour. When we get in to some space, is the aesthetical and visual perception only gets conceived in our mind. Fig. 3.15 Temple Bells (Source: Author) Fig. 3.14 Prayer at church (Source: http://www.mlive.com) Fig. 3.16 Reciting Quran in Mardrsa (Source: http://www.mlive.com)SOUND The reverberant sound quality created by the proportions and the materials of sacred spaces set them apart from the ordinary. Sacred music, singing, chanting, the ringing of temple and church bells and intoning of prayers characterize specific rituals. The change in sound quality from the cacophony of the street to the harmony resonant silence signifies entry into a sacred space. TOUCH The experience of touch identifies a sacred space; the weight of the door handle, the textures of materials on walls and seating, and the hardness of stone underfoot. A change in temperature, such as the transition from the blazing heat of a busy city street into the cool and solitude of an interior can also denote a sacred space. Most of the textures are touched by vision, iconography, formed an integral part of a temple and a church architecture to convey the complete narrative. Though the following two are not translated into architectural terms, but they form an indispensable part of a complete spiritual experience. SMELL Fig. 3.20 Garlands for devotees (Source: Author) Fig. 3.18 IItr, scented oil Fig. 3.19 Votive Candles (Source: Author) Fig. 3.17 Agarbatti (Source: http://www.mlive.com)Incense is used extensively in the Roman Catholic and Buddhist traditions as a symbol of prayers going up to the deity. The smell of agarbatti and the flowers offered to deity are indispensable parts of the rituals for Hindu as well as many other faiths. The incense sticks are used even in meditation centers as the intoxicating smell stimulates your senses to the positive and calms you down. TASTE Fig. 3.23 Christmas cake (Source: www.google.com) Fig. 3.22 Korma (Source: Author) Fig. 3.21 Laddo (Source: Kota Kesava Karthik)Though this sensory experience is missing in many of the architecture, it still is an integral part of many religious experiences. All the Hindu temples have Prasad and Chanramrit (sweet water) as an indispensable part of the worshipping ritual. Some believe that this custom of sharing sweets is a memorial of the sweetness of the deities. Christians offer holy water in a similar manner. The prasad is obligatory in the Gurudwara too. 3.3 SPIRITUAL DIMENSION IN EXISTING BUILDING TYPOLOGY 3.3.1 THE HINDU TEMPLE The Hindu temple is essentially the House Of God. It is not a place for congregational worship. Though congregation for religious ceremonies do take place, but the worshippers communication with the divine is his own personal experience. The worshipper goes individually to the house of God and invokes his blessings. Stella Kramisch, in her book, The Hindu Temple says, the intellect of the age, absorbed largely in divine contemplation, is reflected in the temple idol

To Kill a Mockingbird: Innocence

A songbird's melody can evoke happiness in anyone, as can the smiling face of a child. The mockingbird sings for the sake of singing, and an innocent child possesses an inborn joyfulness, as natural as instinct. Yet a mockingbird's song dies as easily as the innocence of a child. In Harper Lee’s To Kill a Mockingbird, Scout and Jem are portrayed as innocents, uncorrupted by our world of prejudice and racism. Their world is simple, sensible, a child's world.However, three years in the life of 8-year-old Scout Finch, her brother, Jem, and their father, Atticus, are consumed by the arrest and eventual trial of a young black man accused of raping a white woman. By the end of the novel, their world has expanded to enclose the irrational nature of humans. Jem and Scout's growing up is portrayed by a series of events that shatters their innocence as easily as a mockingbird can be silenced.Lee uses a combination of insignificant and profound events: the trial of Tom Robinson, Walter C unningham, and their relationship with Boo Radley to develop and display the children’s growth in maturity. One of the first cracks in Scout’s armour of naivete occurs due to the fact that she speaks her mind. On Scout’s first day of school Scout tries to explain to her teacher that she is embarrassing Walter Cunningham by offering him something that he will not be able to pay back. Scout realizes that because her teacher is not a local, she will not know that about the Cunningham’s, but Scout's explanation gets her into trouble.When Scout explains â€Å"Walter’s one of the Cunningham’s,† (26), she was not trying to be insulting, but Miss Caroline mistakes her frank and innocent explanation as arrogance or rudeness and punishes her for it. Scout's perception of the world and her classmates is not yet marred by the social divisions that adults see. When Scout has Walter over for a meal Scout really does insult Walter this time as she q uestions the way he eats by saying â€Å"But he’s gone and drowned his dinner in syrup† (32) and makes him feel self-conscious.She is not doing it intentionally, she is just curious because she has never seen people who eat that way. She is too young to understand the social graces of Southern hospitality that dictate that you are always to make people feel at home and welcome no matter how unusual their habits may be. Scout and Jem are surrounded by racism and prejudice as children, but until they mature , they do not see it for what it is, until something enormously, obviously wrong occurs close to home. At first Scout does not understand what is wrong and keeps asking Jem questions about what is happening.While Atticus is asking questions directed to Mayella, â€Å"Slowly but surely [she] could see the pattern of Atticus’ questions† (244). Although this shows that Scout’s understanding about her father has improved, she is still oblivious to the deeper meaning of the trial. While Jem is explaining to Dill, Scout â€Å"supposes† it is â€Å"the finer points of the trial† (252). With Jem being able to do this, this proves that Jem has matured greatly since the beginning. But what surprised Scout and blew Jem away was the obvious unfairness of the verdict.When Jem states â€Å"You just can’t convict a man on evidence like that,† proves that Jem realizes the injustice that Tom Robinson faced (295). Atticus has shielded Scout and her brother from any outward prejudice against blacks. However, even he could not keep out the thought that coloured were not quite the same. Racism has been so deeply ingrained that Scout didn't realize its intensity and results until that tragedy opened her eyes. As a result, racism and its effects entered the ever-expanding world of the Finch children.Because of the perspective of childhood innocence, Boo Radley is given no identity apart from the youthful superstitions t hat surround him, and it is these superstitions that leave Jem and Scout oblivious to the fact that Boo just wants to protect them. Scout at first describes Boo as a â€Å"malevolent phantom,† (10) while Jem illustrates him as a â€Å"six-and-a-half feet tall† man that â€Å"dined on raw squirrels and any cats he could catch† (16). With these expressions they demonstrated how innocent the children are.After the children have found gifts inside a knot hole in a tree, their father finds out about their â€Å"game†. When Atticus witnesses his children leaving a note in the hole, he believes his children are causing harm so he tells them to â€Å"stop tormenting the man† (65). When Atticus says, â€Å"You just told me,† Jem did not realize that without actually saying that they were playing the Boo Radley game he still admitted to his father that that is what they were doing. Originally portrayed as a freak and a lunatic, Boo Radley continues to gain the sympathy of the children.When Nathan Radley closes the hole, Scout sees it as no more gifts, but Jem takes it more to heart. Nathan Radley claims that the â€Å"tree’s dying† (83) so Jem asks his father where he says that the tree is fine. When Jem realizes that Nathan had just cut off their connection, he was â€Å"crying,† (84). It is when Scout and Jem need saving that Scout understands that Boo was just merely looking out for them. While saying â€Å"Hey Boo† in person, this shows how mature Scout has gotten during the three years (362).Scout losses her innocence when she realizes that Boo Radley has given so much to them- gifts in the tree, a warm blanket on a cold night, folded up pants on a fence and their LIVES, but they have never repaid him. As if they were the harmless songbirds, the children's innocence is shattered by these events. Through their interactions with Walter, Tom’s trial and Boo Radley social prejudice, racism, mo bs, and â€Å"social exceptions† are now a part of their world. The naivete and purity have been replaced by the knowledge of human nature and the corruption of our world. The world is no longer simple, and the mockingbird is dead.

Exponential Decay and Percent Change

When an original amount is reduced by a consistent rate over a period of time, exponential decay is occurring. This example shows how to work a consistent rate problem or calculate the decay factor. The key to understanding the decay factor is learning about percent change. Following is an exponential decay function:    y a(1–b)x where: y is the final amount remaining after the decay over a period of timea is the original amountx represents timeThe decay factor is (1–b).The variable, b, is the percent change in decimal form. Because this is an exponential decay factor, this article focuses on percent decrease. Ways to Find Percent Decrease Three examples help illustrate ways to find percent decrease: Percent Decrease Is Mentioned in the Story Greece is experiencing tremendous financial strain because it owes more money than it can repay. As a result, the Greek government is trying to reduce how much it spends. Imagine that an expert has told Greek leaders that they must cut spending by 20 percent. What is the percent decrease, b, of Greece’s spending?  20 percentWhat is the decay factor of Greece’s spending? Decay factor: (1 – b)   (1 – .20) (.80) Percent Decrease Is Expressed in a Function As Greece reduces its government spending, experts predict that the country’s debt will decline. Imagine if the country’s annual debt could be modeled by this function:   y 500(1 – .30)x where y means billions of dollars, and x represents the number of years since 2009. What is the percent decrease, b, of Greece’s annual debt? 30 percentWhat is the decay factor of Greece’s annual debt? Decay factor: (1 – b) (1 – .30) .70 Percent Decrease Is Hidden in a Set of Data After Greece reduces government services and salaries, imagine that this data details Greece’s projected annual debt. 2009: $500 billion2010: $475 billion2011:  $451.25 billion2012: $428.69 billion How to Calculate Percent Decrease A. Pick two consecutive years to compare: 2009:  $500 billion; 2010:  $475 billion B. Use this formula: Percent decrease   (older– newer) / older: (500 billion – 475 billion) / 500 billion .05 or 5 percent C. Check for consistency. Pick two other consecutive years: 2011: $451.25 billion; 2012: $428.69 billion (451.25 – 428.69) / 451.25 is approximately .05 or 5 percent Percent Decrease in Real Life Salt is the glitter of American  spice racks. Glitter transforms construction paper and crude drawings into cherished Mother’s Day cards; salt transforms otherwise bland foods into national favorites. The abundance of salt in potato chips, popcorn, and pot pie mesmerizes the taste buds. Unfortunately, too much flavor can ruin a good thing. In the hands of heavy-handed adults, excess salt can lead to high blood pressure, heart attacks, and strokes. Recently, a lawmaker announced legislation that would force U.S. citizens and residents to cut back on the salt they consume. What if the salt-reduction law passed, and Americans began to consume less of the mineral? Suppose that each year, restaurants were mandated to decrease sodium levels by 2.5 percent annually, beginning in 2017. The predicted decline in heart attacks can be described by the following function:   y 10,000,000(1 – .10)x where y represents the annual number of heart attacks after x years. Apparently, the legislation would be worth its salt. Americans would be afflicted with fewer strokes. Here are fictional projections for annual strokes in America: 2016: 7,000,000 strokes2017: 6,650,000 strokes2018: 6,317,500 strokes2019: 6,001,625 strokes Sample Questions What is the mandated percent decrease in salt consumption in restaurants? Answer: 2.5 percent Explanation:  Three different things—sodium levels, heart attacks, and strokes—are predicted to decrease. Each year, restaurants were mandated to decrease sodium levels by 2.5 percent annually, beginning in 2017. What is the mandated decay factor for salt consumption in restaurants? Answer: .975 Explanation: Decay factor: (1 –  b) (1 – .025) .975 Based on predictions, what would be the percent decrease for annual heart attacks? Answer:  10 percent Explanation:  The predicted decline in heart attacks can be described by the following function:   y   10,000,000(1 – .10)x where  y  represents the annual number of heart attacks after  x  years. Based on predictions, what will be the decay factor for annual heart attacks? Answer: .90 Explanation: Decay factor: (1 -  b) (1 - .10) .90 Based on these fictional projections, what will be the percent decrease for strokes in America? Answer:  5 percent Explanation: A. Choose data for two consecutive years:  2016: 7,000,000 strokes; 2017: 6,650,000 strokes B. Use this formula:  Percent decrease (older – newer)  / older (7,000,000 – 6,650,000)/7,000,000 .05 or 5 percent C. Check for consistency and choose data for another set of consecutive years: 2018: 6,317,500 strokes; 2019: 6,001,625 strokes Percent decrease   (older – newer)  / older (6,317,500 – 6,001,625) / 6,001,625 approximately .05 or 5 percent Based on these fictional projections, what will be the decay factor for strokes in America? Answer: .95 Explanation: Decay factor: (1 –  b) (1  Ã¢â‚¬â€œ .05) .95 Edited by Anne Marie Helmenstine, Ph.D.