Study on Enhancing Architecture Appreciation

Study on Enhancing Architecture AppreciationFrank Lloyd Wright believed quadruplet was the essence of architecture. The reality of architecture is very non in the solid elements that trainm to make it, exclusively kind of the reality of a room was to be found in the musculus quadriceps femoris enclosed by the roof and w all in alls, not in the roof and walls themselves. blanks subscribe to intrinsic meanings that result from their spacial and visible forms and extrinsic meanings that evolved out from each of our contrasting pick ups with regards to each individuals feature background and profession. We consider the blank shells interior property in terms of their form, their structure, their aesthetics and how others and us relate to them. This constitutes the reality of our physical experience, besides spaces not only have an existence in reality, they in any case have a metaphorical existence. They express meaning and give out current messages some the space, just as the sort we dress or furnish our homes gives people certain messages about us. They tell stories, for their forms and space planning give us hints about how they should be experienced or perceived. Space is meaningless without its inhabitants to experience it and to experience a space is the only gateway to understanding space.At certain periods architects have chosen to create exciting, confused spaces with curving, undulating walls. The period of the baroque and rococo in Europe was single such time when interiors were designed to entice and captivate the on opinioner and draw them into a beingness of illusion created by painting, sculpture and the curving forms of architecture. Craftsman played the prominent exercise at that time when only slap-up rub downmanship and complicated wreak pieces would amaze any whizz. Now in this totall(a)y new era, right here in this century, wonders atomic number 18 different and expectations higher with meanings and philosophy equally deep but entirely un wish. The heightening desire and importance of communication among the space and the perceiver with the spatial experience created seem to become a dominating factor and a characteristic of spatial design in this new era.If architecture poop be s abet to have a poetic meaning, we must recognise that what it says is not independent of what it is. (Alberto Prez-Gmez, The Space of Architecture Meaning as Presence and Representation, Questions of information Phenomenology of Architecture, 2006) Architecture is not an experience that words can translate later. standardized the poem itself, it is its space as presence which constitutes the meaning and the experience. This experience in bring differs for e very individual. What one perceives is a result of interplays among past experiences, including ones grow and the interpretation of the perceived. Different aspects of the experiential spaces and the perceiver also ignite different spatial detections. appreciation the different experiential components, the philosophy of recognition and how spatial perception affects and reflects people differently helps us to enhance our appreciation for architecture and to heighten our pleasure of space. My aim in this paper is to research this hypothesis and my exposition depart be presented and discussed in the following thesis.Categories of different experiential componentsSpatial experience created is the more or less complex and diverse of all the components of architecture, for it involves how architecture engages all of our aces, how it shapes our perception and enjoyment or discomfort of our built environment. Understanding this is perhaps the ara with which most people, architects and users a resembling, have difficulty. This is partly because it involves, at every turn, subjective responses which differ from individual to individual.Since the spatial experience we derive from architecture is generated by our perception of it, w e must start by considering how the human eye and mind receive and interpret the visual selective information of architectural experience. How does the psychology of vision and sensory stimulation affect our perception of architecture? Perhaps the most funda intellectual concept is that the mind, particularly the human mind, is programmed to test meaning and significance in all sensory information sent to it. The result is that the mind seeks to place all information fed to it into a pregnant pattern. The mind does not recognise that incoming data mean nothing. Even purely random visual or aural phenomena are given a preliminary interpretation by the mind on the basis of what evaluative information it already has stored away. Hence, what we perceive is based on what we already know- our knowledge. Our perception of space also differs from individual to individual, based on the persons psychology, mentality, physical state, background, memory, observation and the overall environmen t together with time Era and Culture.The spatial experience of architectural spaces evolves and becomes launch by the experience it provides and we in turn read our experience into it. Experiential spaces evoke an empathetic reaction in us through these projected experiences and the loudness of these reactions is determined by our culture, our beliefs and our expectations. We can relate so well to these spaces is because we have strong flavors about our environment and about what we like and dislike. We all have our privilegeences and prejudices regarding certain spaces as in anything else and our experiences in these spaces determine our attitude towards that space. People spirit at pictures have a remarkable ability to enter a role which seems very foreign to them. This can be see into how these experiential spaces play an important role in affecting our mood and behaviour. When we enter these emotive spaces, we are tuned in to the frequency of the space, going through all the emotional processes with it.Architects and designers manipulate space of many kindsThere is first the purely physical space. One cannot see let alone touch space Yet something that is invisible and untouchable has to be there, just to keep targets apart. This can be easily com targeted and expressed as how many cubic feet or cubic meters.But there is also perceptual space, the space that can be perceived or seen. To understand this, an role model will be in a building with walls of glass, this perceptual space may be extensive and impossible to quantify.Related to perceptual space is abstract space, which can be defined as the mental map we carry around in our heads, the plan stored in our memory. Concepts that work well are those that users can grasp easily in their minds eye and in which they can perceive with a kind of inevitability. Such spaces can be said to have honourable conceptual space.The architect also shapes behavioural space, or the space we can actually move through and use. Architecture space is a powerful maker of behaviour. Winston Churchill said We shape our buildings and afterwards our buildings shape us.One very good congressman to support this statement is the Houses of Parliament in Germany. When Parliament first begun to tack together in the thirteenth century, it had been given the use of rooms in the palace and had later on moved into the palace chapel. A typical narrow and tall Gothic chapel with parallel rows of choir stalls on two sides of the aisle down the center. The members of Parliament sat in the stalls, dividing themselves into two distinctive groups, one the government in power and the other usually the opposition members. During Parliament meetings, members from both parties have to take the brave step of crossing the aisle to falsify political allegiance. In my opinion, this enforced behaviour has a negative impact on the overall operation of the government bodies as this form of meetings unintentionally make politicians from both sides to feel and sense hostility and unconsciously insinuated the perception of challenge.When the Houses of Parliament had to be rebuilt after a fire in 1834, the Gothic form was followed but Churchill argued that the rebuilding of the Parliament ought to be done with a fan of seats in a broad semicircle, as used in legislative domiciliate in the United States and France. To mixture the environment, to give it a different behavioural space, would change the very nature of parliamentary operation. The English had first shaped their architecture, and accordingly that architecture had shaped English government and history. Through Churchills persuasion, the Houses of Parliament were rebuilt with the revised layout. Space can determine or suggest patterns of behaviour and perceptions by its very configuration.There is yet another way of determining spatial experience, and although it is not strictly architectural, architects and designers nevertheless must ta ke it into account. This is private space, the distance that members of the same species put between themselves. For most animals, this zone of comfort is genetically programmed. However humans have proved themselves to be extremely flexible in their determination of personal space they seem not to have any programmed genetic spatial code. Instead, humans personal space is culturally determined and is fixed in childhood, so that enforced changes in personal distance later in life which they experience in different spaces may produce different perceptions and emotions. The Italians and the French prefer much more than(prenominal) densely packed arrangements in their cafes, compared to the English. Even in the same culture, different sets of rules and factors determining experiences are adopted by men and women. dickens unacquainted men will maintain a greater distance than two unacquainted women. If an architect or designer violates these unstated rules of personal space and plac es people in a space that is not catered to these rents, the result may prove to be an environment that is resisted by the users with negative perceptions and responses that follows.Philosophy of Perception Categories of different PerceptionHistorically, the most important philosophical problem posed by perception is the question of how we can gain knowledge via Perception. The philosophy of perception concerns how mental processes the space and the spatial perception depends on how spaces are observed and interpreted by the perceiver. In order to grasp this, we need to understand the different categories of spatial perception.We can categorize perception into 4 categoriesJust as one object can give rise to multiple percepts, so an object may fail to give rise to any percept at all. If the percept has no grounding in a persons past experience, the person may literally not perceive it. No perception occurs.Specifications are 11 mappings of some aspects of the world into a perceptua l array given such a mapping, no enrichment or experience is required and this perception is called direct perception. This is usually knowledge or information gained through education or other mediums like books, television programmes etc. Direct perception occurs when information from the environment received by our sense organs forms the basis of perceptual experience and these sensory inputs are converted into perceptions of desks and computers, flowers and buildings, cars and planes etc.Some argue that perceptual processes are not direct, but depend on the perceivers expectations and previous knowledge as well as the information available. This controversy is discussed with respect to James J. Gibson (1966) who investigated what information is actually presented to the perceptual systems. This theory of perception is a bottom-up theory and this bottom up touch on is also known as data-driven impact or passive perception. Processing is carried out in one direction from the env ironment to the sensory inputs, with our brains carrying out more complex analysis of the inputs which affects our reaction or behaviour.Passive perception can be surmised as the following sequence of events asSurrounding input (senses) processing (brain) output (reaction/behaviour)For Gibson sensation is perception what you see is what you get. However, this theory cannot explain wherefore perceptions are sometimes inaccurate, example in illusions and perceptual errors like overestimation. Although still back up by main stream philosophers and psychologists, this theory is nowadays losing momentum as more and more people turn to believe in the next one Active Perception instead.The theory of active perception has emerged from extensive research, most notably the works of Richard L. Gregory (1970). This theory is increasingly gaining experimental support. Gregory argued that active perception is a constructivist (indirect) theory of perception which is a top-down theory. Top d own processing refers to the use of contextual information in pattern recognition. One simple example to explain this understanding difficult handwriting is easier when reading complete sentences than when reading single and isolated words. This is because the meanings of the surrounding words provide a context to aid understanding. For Gregory, perception involves making inferences about what we see and trying to make a best guess. Prior knowledge and past experience, he argued are crucial in perception. Thus, active perception can be surmised as a dynamic relationship between Description (in the brain) and the senses and the surrounding, all of which holds true to the linear concept of experience. What one perceives is a result of interplays between ones past experiences and knowledge (the brain) and the surrounding, including ones senses and the interpretation of the perceived space (surrounding). A lot of information reaches the eye, but much is lost by the time it reaches the b rain. Therefore the brain has to guess what a person sees based on past experiences. According to Richard Gregory, we actively construct our perception of reality. Our perceptions of the world are hypotheses based on our past experiences and stored information.How Spatial Perception reflects BeingThe different ways in which we experience a painting, a sculpture, or a work of architecture reflects on each of our individual being. Our environments ( built environments ) are a reflection of ourselves. Architecture should express our aspirations and our sense of optimism about the future. Nothing can mayhap show us better or clearer of our innermost self, BEING, other than the very own living space we create. It shows how we want things to be and what we really want in life- freedom, happiness, power, health, luck, love, etc which reveal our characteristics, attitude and most importantly our being. It is also used to express emotions and symbolise ideas that give out certain messages ab out the owner.What is happening above is actually personalising your own space. This has two meanings to it One is to personalise it and the other is to personify it. The latter is the main point in this hearty essay, the living space representing the person who created it with a hint of the creators being in every corner of the space. This is why we can relate better to our own houses (personal space) than the outside world. But all in all to personalise the space, you personify it and to personify it, what you are doing is simply personalising that living space of yours. This is crucial in understanding the spaces created, the reasons for creating these spaces and how others perceive these spaces (personifying it).This same conception is expressed in Greek columns by a s scintillation outward curvature of profile, the entasis which gives an impression of straining muscles a surprising thing to find in a blotto and unresponsive pillar of stone. This is exactly what happens when we are personifying our own personal space. To personify a thing or the entire space so that it overflows with your being, so that it tastes, smells and feels like you, is so amazingly overpowering over a person who owns it personally. None other than the owner can feel the sense of belonging and comfort created in that amount of space. You own that space and it completely belongs to you, you can even see yourself in that space, you are the space and the space is you. Even civilized people more or less consciously treat lifeless things as though they were imbued with life.Designing one selfs own space to make sure it is unique and rightfully belongs to you depends very much on your background, interests and expertise. This will make it especial(a) and personalised to the person with regards to his or her living space. But nowadays architecture designs are cut back by so call Style and Taste Superficial Cosmetic Professor Colin Stansfield Smith. This problem shows not only how thi ngs should be built but also what should be built. Today, in our highly civilized society the houses which ordinary people are doomed to live in and gaze upon are on the whole without quality. This is also why some important buildings are Monuments some are considered Architecture while others are simply termed buildings.In order to prevent this from happening, we need to have an understanding of the living space. Understanding Living Space does not only mean the way it looks or its construction and materials. Understanding architecture does not mean just the way they look but the creative process of how the building comes into existence and how space is utlized. We need to visit buildings, look at the processes whereby it came into being, the sense of form, space, light and shade, the size and shape of spaces, the relationship between spaces and how space is utilised. We are feel at the Interior Beings. You must observe how it was designed for a special purpose and how it was attu ned to the entire concept and rhythm of a specific era.Architecture provides the physical framework for our lives, so it has a public role a neighborly responsibility. But it is also where we live, work and play, so it has a private role. It has a material form, but it also represents our ideals and aspirations. Consciously or unconsciously everyone is affected by his or her environment. He experiences the house in its reality and in its virtuality, by means of thought and dreams.This can be further explained by using an example. When we look at a portrait of someone laughing or smiling we become cheerful ourselves. If on the other hand, the face is tragic, we feel sad. People looking at pictures have a remarkable ability to enter a role which seems very foreign to them. This can be interpreted into how architecture plays a vital role in affecting our mood and behaviour. Buildings have their own characteristics and emotions, some buildings are feminine and some are masculine, some buildings are jocund and some are solemn. When we enter these emotive spaces, we are tuned in to the frequency of the buildings, going through all the emotional processes with the architecture.We get to the point where we cannot describe our impressions of an object without treating it as a living thing with its own physiognomy. This is exceptionally true with architecture as such animation of a building makes it easier to experience its architecture rather than as the addition of many separate technological details. Instead of using professional jargons (architectural vocabulary) that most people do not understand or could not fully understand, causing misunderstanding and confusion when perceiving space, using metaphors to convey certain ideas is so much easier and understandable by people from all professions and societal levels. That is one of the many reasons why people like to personify spaces literally. Architecture should be appreciated by everyone from everywhere, which i s also another crucial criteria for good architecture as it has a social responsibility once it is erected on the ground.Spatial Perception in the context of ARTWhether architecture makes an impression on the reviewer and what impression it makes, depends not only on the architecture itself but to great extent on the observers susceptibility, his mentality, his education and his entire environment. It also depends on the mood he is in at the moment he is experiencing the architecture. We all have our preferences and prejudices in architecture as in anything else and our experiences determine our attitude towards it. This can be interpreted in the same way like above. The same painting can affect us very differently at different times and that is why it is always so exciting to return to a piece of art work we have seen forward to find out whether we still react to it in the same way. This proves that a single building or a specific space can affect us differently, gives us a diffe rent feeling each time we experience it again and again.What do you get when you put Art and Building together? Architecture. What do you get when you put Living Space and Architecture together? Living Sculpture. Architecture has been understood as the art of establishing place by bounding space. To distinguish between arts of space and arts of time, between formative and expressive arts, and therefore also between arts of presence and arts of absence. Painting, sculpture and architecture are included among the former, poetry and music among the latter.The most dominant similarity between art and architecture is Art should not be explained it must be experienced. Architecture is not just simply looking at plans, elevations and sections, there is something more to it it must be experienced, just like art. No photograph, film or video can reproduce the sense of form, space, light and shade, solidity and weight that is gained from visiting buildings. It is not enough to see architect ure you must experience it.You must dwell in the rooms, feel how they close about you and observe how you are naturally led from one room to the other.The most dominant difference between art and architecture is An architect works with forms and chain reactor just as the sculptor does, but his is a functional art. It solves practical problems. In other words, the former has a decisive factor to it Utility. Indeed, one of the proofs of / criteria for good architecture is that it is being utilized and perceived as the architect or designer had planned, even after a long period of time.We stand before a picture most sculptures invite us to change our position, perhaps even to walk around them architecture not only invites us to change our position, but to enter and move around within it. Generalizing, we can say that body and body cognisance become more important as we turn from painting to sculpture to architecture. Our experience of sculpture involves the body in a more obvious wa y than does painting most sculpture invites us to explore it by moving past it. Robert Morris celebrates the observers relationship to sculpture his works let observers recognize that they themselves are establishing relationships as they apprehend the object from various positions and under varying conditions of light and spatial context. In a more obvious way, architecture is experienced by the moving body we approach a building, walk by or around it and perhaps enter it. Architecture is the art into which we walk it is the art that envelops us. As noted, painters and sculptors affect our senses and perception by creating changes in patterns, and in relative relationships between shapes, through the manipulation of light and colour, but only architects shape the space in which we live and through which we move.Architecture Appreciation through PerceptionArchitectural spaces are more than just a stage of our lives they also reflect the society, the image of an era and most importa ntly the culture. Therefore the spatial experience provided has become an important factor in the communication of the architecture and the perceiver. The virtue of a successful architecture is based on the language of the experience provided rather than the form itself, which mediated between the perceiver and the space. A successful architecture is also capable of transmitting the philosophy and concepts that the space wants to convey and the experience the space provides is vital in terms of introducing the perceiver to the personality of the space. The spatial experience should be something to be enjoyed and shared by the majority of people. If it is shared more astray because more people understand it, take it seriously chances are the space has being perceived and appreciated by the public and fulfilled its social responsibility. enjoyment of space and form is a birthright. This enjoyment can be heightened in two basic ways through the thoughtful design of buildings and relat ed spaces and through the users development of awareness and perception of architecture. Architecture can be important to the enrichment of life. And after so many years, architects and designers are still learning how users interact with space and form and how skilfully designed space and form respond to human needs.Scenario Two men attend a concert.One studied music. Has a instruct ear. Spent years developing a high degree of music appreciation. Loves great works of great composers. This concert is heaven to him. To the other man, the concert is a bore. He has had little exposure to serious music. No real knowledge of music. Never learned to listen and does not even know that he has been deprive of the pleasure of fine music. He can hardly wait until the concert is overDuring intermission, the same two people react very differently as they walk around and within the concert building experiencing its space and form.Now the music lover is bored. He knows almost nothing about build ings. He is visually illiterate. The other person, however, has spent years developing an appreciation of buildings. He has a trained eye. He derives pleasure from the quality of space and form of the great hall. He is stirred to maximum enjoyment. To him, architecture is visual music.The term architecture appreciation is used to promote the idea that architecture can be enjoyed, much as the performing or visual arts, physically through the senses. Architecture appreciation, like music appreciation or art appreciation is learned. In music, it is learning how to hear. In art, how to see. In the case of architecture, it is learning how to perceive. Enjoying buildings requires some knowledge and some practice in perceiving space and form. You need to know something about buildings, you need to hone your awareness and you need to know something about yourself too. How do you respond to space and form?Architecture is a personal, enjoyable, necessary experience. A person perceives and app reciates space and form from trine distinctly different but interrelated attitudes from the physical, from the emotional, and from the intellectual. The architecture experience evokes a response which fulfils physical, emotional, and intellectual needs, effecting an enjoyable interaction between the person and the building.Space perception is happening everywhere, anytime. Wherever people are, there are buildings. Where buildings are, there are spatial experience. Appreciation of the works of creative architects and designers demands creativity from our part. Through accumulated experience and knowledge we design our own appreciation and experience.ReferencesFrank D.K Ching, 2007, Architecture Form, Space Order, John Wiley Sons Inc. , Hoboken, New JerseyMorris Hicky Morgan, 1960, The Ten books of architecture, Dover Publications, New YorkPanayotis Tournikiotis, 1965, The Historiography of Modern Architecture, Faber Faber, London, Chapter sestet Architecture, Time Past, and Time Future, pg 181Pierre Von Mesis, 1998, Elements of Architecture From Form to Place, E F Spon, New York, Chapter 4, Measure and Balance, pp 57-72Thomas Gordon Smith, 2003, Vitruvius on Architecture, Monacelli call down, New YorkSteen Eiler Rasmussen, 1959, Experiencing Architecture, Chapman HallHazel Conway and rowan tree Roenisch, 2005, Understanding Architecture An introduction to architecture and architectural history, London New York RoutledgeChristopher Alexander, 1979, The Timeless Way of Building, Oxford University Press, New YorkMalcolm Quantrill Bruce Webb, 1991, Constancy and Change in Architecture, College Station, Texas AM University Press.Leland M.Roth, 2007, Understanding Architecture Its elements, history and meaning, Boulder, Colo. Westview Press.William Wayne Caudill, 1978, Architecture and You How to experience and enjoy Buildings, New York Whitney Library of DesignSteven Holl, 1949, Questions of Perception Phenomenology of Architecture, Tokyo San Franci sco a+u Pub. William StoutGaston Bachelard, 1994, The Poetics of Space, Boston, Mass. Beacon Press

Hand Controlled Car For Disabled Individuals Engineering Essay

Hand Controlled Car For Disabled Individuals Engineering Essay creative bodily functionDefinition of CarCar was defined as a motor vehicle with four wheels and normally suitn by an internal combustion engine. The primary(prenominal) function of gondola car was used for the transport of channeliseengers. Nowadays, a car is the most common transportation for personal use in travelling, working and also obtain (Kameda 2009). Generally, a standard car is invented for normal person who is capable to use both their hold and legs to soften the oil pedal, bracken pedal, centering wheel, shift open and also the storage argona pedal for manual car in transmission control.However, in this recent year, machinelike transmission car is more popular than the manual transmission car and childlikely used around the world. For all knowledge, at that place are signifi dopet differences between an automatic transmission and a manual transmission. For example, clutch pedal and flip shift were not found in an automatic transmission car. Everything was automatic once we put the transmission of car into drive mode. However, automatic transmission only provide a narrow speed range while manual transmission preempt operate in a wide range of output speeds. With the automatic transmission, users can drive a car easily and no admit to control the clutch pedal and also gear shift during driving journey. Therefore, the driving ability has become an important part in normal life.DisabilityDisability is generally defined as a physical or a moral impairment which can make our routine tasks more difficult or impossible. According to the World Health Organization, there was a distinction between disability, impairment and handicap. A disability is any restriction or lack of ability that caused by impairment to perform an activity in the manner or within the range considered normal for a human being. Meanwhile, impairment is any loss or abnormality of psychological, physiolog ical or anatomical structure or function. Handicap is a disadvantage for a given individual, resulting from impairment or a disability that prevents the fulfillment of a procedure that is considered normal for that individual. In other words, this disability term is commonly used for individual functioning which includes physical impairment, sensory impairment, cognitive impairment, intellectual impairment mental illness, and various types of chronic disease. Disability not only effects on human organs or body parts, it may be effects on an individuals participation in life.Type of DisabilityMobility and Physical ImpairmentsSpinal Cord DisabilityHead injuries or Brain DisabilityVision Disability perceive DisabilityCognitive or Learning DisabilityPsychological DisordersHand Controlled CarA hand controlled car was a vehicle that uses both hands to operate the brake, gun for hire and clutch. Hand controlled car was designed for the physically challenged citizenry who cannot use both legs to operate the accelerator and brake pedals. Thus, with the assist of hand-controlled car, disabled individuals can acquire a driving license and drive safely on the road. Nowadays, there are several of hand controlled car in the market. For example, the invention of digital accelerator ring and the main hand brake in car for the driving without the use of both legs. This cars users just need to push the digital accelerator ring towards the steering wheel to accelerate and move the main hand brake downward to brake (Figure 1.1).Figure 1.1 The Digital Accelerator Ring and main(prenominal) Hand BrakeIn addition, automatic transmissions car are strongly recommended for those disabled drivers so that they do not need to operate the clutch controller. some other example of hand controlled car was used a portable hand controls. For example, the product of trinitrotoluene portable hand controls (Figure 1.2).Figure 1.2 Demonstration of utilise TNT portable hand controlsFigure 1.3 At tachment of TNT portable hand controls in a carThis portable device was designed for those disabled people much(prenominal) as amputees, paraplegics, and quadriplegics who cannot return and maintain the pressure that needed to operate the accelerator and the brake pedal. With the invention of TNT portable hand controls, the user can use the left hand to operate the both accelerator and brake pedals the palm is used to apply the brake pedal and the thumb is used to apply the accelerator pedal while the right hand is free to control the steering wheel (Figure 1.3).Aims and ObjectivesThe main objective of this research study is to modify a car in order to enable disabled individuals drive safely on the road. In addition, the cost of hand-controlled car should low so that disabled individuals sustain to owe a car. For the convenience of disabled individuals, the hand-controlled car must easy in maintenance as well.Literature ReviewA standard car was designed to be control by a normal person who is able to use their arms and legs for controlling accelerate and brake pedals, a steering wheel and also a shift pry. However operations using left and right arms and at least hotshot leg are still needed for a car drive (Kameda 2009). This paper presented a peg car drive administration for a handicapped person using a wheelchair. With the help of this joystick drive system, a handicapped person can drive a car with his/her single hand. In this joystick drive system, there was a mechanical linkage connected to accelerate and brake pedals which is controlled by an operation lever. This lever only can be shifted in fanny and forward direction. Pulling the lever in the backward direction result accelerate a car whereas pushing the lever to the forward direction to brake a car.The demographics of the disabled and aging populations who are demanding to maintain their independence and mobility tested the driver licensing authorities to ensure that physical and cognitive difficulties are measured to an congenial standard (Roake 2008). In order to compensate for reduced ability, servo system has been developed to enable severely disabled people to drive safely and pass the standard driving test. This development engineering interfaced with the vehicles primary and secondary controls which include electronic joystick devices to operate steering, braking and accelerator along with infra red or wireless systems to interface with vehicle electronic systems such as Multiplex and Can Bus electronic systems (Roake 2008).Shaheen (2001) described the recent findings on the driving-related physical and cognitive impairments faced by the elderly. Two major types of vehicle design and infrastructure adaptations were proposed (1) fittings for private vehicle and (2) intelligent technology and support services for private vehicles (Susan A. Shaheen 2001). adaptive driving controls, such as mechanical hand controls or electromechanical contact switches, now allow ed even the most severely impaired to operate a vehicle. However, these mechanical functions are usually directed toward primary controls only, such as steering, braking, and accelerating, which limits the ability of drivers to operate secondary controls such as the horn, turn signals, ignition, and headlights (Quintin 1991). Vehicle control adaptations can be effective, simple, and inexpensive. For example, the use of simple extension bars to gear levers and lever release mechanisms for hand braking.Nowadays, there are several joystick systems lendable in commercial which were specifically designed for those drivers with limited strength in their arms and hands. However, (Ostlund 1999) concluded that the tested joystick system had several functional limitation which includes time lags, lack of feedback and risk of interference between steering and speed control. In this journal paper, a design called uncoupled control was compared with the conventional joystick design which calle d as coupled control. In coupled control joystick, the original lever was replaced with a forklike grip which developed for driver with tetraplegia. In other one hands, the joystick with uncoupled control was developed by modifying the joystick in order to transform the radial speed controlling motion into a linear longitudinal motion. Nevertheless, there were sensors and actuators equipped in this joystick system to monitor the drivers control commands and provide a force feedback to the driver. Therefore, the joystick will back to soggy position if the driver released it.All tetraplegics and most paraplegics depend on mobility aids such as wheelchairs for short-range transportation (Bjorn Peters 2001). Therefore, in order to become a licensed driver, the right adaptation is needed. The purpose of this journal paper was examined the driver performance and limitations of drivers with tetraplegia and investigate the influences adaptation designs in drivers performance and imposed w orkload. There are two types of hand controls installed in a car simulator, one had two separate levers and the other had one combined lever for braking and accelerating. For the system with separate levers, the braking lever was controlled by pushing it forward, while the accelerator lever was moved radially downward. The combined lever system was operated by pushing the lever to brake and puff to accelerate. However, both systems had their pros and cons. For example, in the single lever system, the driver was impossible to use both hands on the steering wheel, while the dual lever system will prolonged the reaction time of transfer accelerator lever to brake lever especially in critical situation.MethodologyBefore I make further research about my thesis which entitled Hand Controlled Car for Disabled Individuals, I had search and read through some poem of journal articles from database such as IEEE, Science Direct, and SpringerLink. For example the keywords that I used to search related journal articles were Disabled Vehicle, Hand Controlled Car, Handicapped Car and so on. Next, I decided to choose car Myvi as my car model to do the car modification for the need of disabled people in Malaysia. In my research study, I will create my own design in draft with the suitable dimension as well. In addition, I also need to find out the most suitable textiles that can be used for the car modification. In the future, I will conduct some experiment tests, such as tensile test and stress test for the real(a)s that was chosen to examine the characteristic of relevant material whether the material suitable to use for car modification or not. Besides that, I will also use Solidwork software to present my own design unit in 3D.MaterialsFollowing are the criteria material of my design unitMedium to high strengthGood toughnessGood surface finishfantabulous corrosion resistance to atmospheric conditionsExcellent joining characteristicsGood workabilityWidely availableBased on the criteria material that mention above, I suggest aluminium alloy 6061 as the main material of my design unit. Aluminium alloy 6061 is a versatile heat treatable aluminium alloy. Aluminium alloy 6061 consists various of components in its chemical composition (Table 1). Besides that, it has wide range of mechanical and corrosion resistance properties (Table 2). Generally, aluminium alloy 6061 is used in many applications such as aircraft structures, truck bodies, yacht construction and so on.Table 1 Typical Chemical Composition of Aluminium alloy 6061ComponentAmount (wt.%)AluminiumBalanceMagnesium0.8-1.2Silicon0.4 0.8IronMax. 0.7 atomic number 290.15-0.40ZincMax. 0.25TitaniumMax. 0.15ManganeseMax. 0.15Chromium0.04-0.35Others0.05Table 2 Mechanical Properties of Aluminium Alloy 6061TemperUltimate Tensile Strength (MPa)0.2% Proof puree (MPa)Brinell Hardness (500kg load, 10mm ball)Elongation 50mm dia (%)0110-15265-11030-3314-16T118095-9616T4179 min110 minT6260-310240-27695-979-13R esultsFigure 4.4 First Draft Design of Hand Controlled Car social unitDiscussionAccording to the result above, I just did the sketching of my design unit. This design is easy to control, push forward to accelerate and pull backward to brake a car. However, this design occupies a lot of spaces in driver seat, thus the users will face some difficulty to enter and leave the car.For my future work, I will modify my design in order to increase the spaces for the movement of disabled people. Besides that, I will include the placement of wheelchair in consideration of my design.

Rabbit Analysis :: essays research papers

In the poem, Rabbit, the topic is rabbits which represent children and how they can be prey for one group and play for a nonher. In addition to the rabbits representing children, I think that the child in the poem represents a parental figure and the dogs represent people in the outside world. This is supported in the theme which states that children should not be in such a rush to grow up because the outside world can be a cruel deposit. For example, the dogs dont hate them, merely want to / taste the cider of their blood, watch their / fur drift lazily toward October clouds / where geese infuriate them (11-14). This is a supporting text because it shows that children wont always be treated fairly and if they are in such a rush to grow up, they could face many problems early in liveliness because they can feel as though they do not belong anywhere. Also, this quotation is descriptive and works well in that it allowed me to paint a submit of how other people could perceive childr en as helpless and a form of easy bait. To them, children are not just other humans they are a source of adventure and game. Furthermore, it says better that you hop directly back / demand your cage (7-8), which maintains that if the children are not protected and sheltered by their parents, their fate could generate as bad as what is described above they could live a life in which the end of the negative path seems endless. It is saying that the one rest home a child can feel safe is in or at his/her house where he/she has cedar chips, the water bottle full / and fall next to wilted greens (8-9). It may not be the first place a child would want to go back to when he/she is in trouble but the option will always there. This house is the childs safe haven and protection from the outside world a place to feel safe, protected, and nourished. For example, the children bring you apples. / Theyll rub your fur and bring / another and another (19-21). This text shows that no matter what happens the parents will be there to show mete out and love for their children without asking any questions. I like how the author worded the three quotes from above.

Huanting Of Hill House Essay example -- essays research papers

               THE HAUNTING ON HILL HOUSE      Eleanor Vance has always been a loner shy, defenseless, and angrily resentful of the 11 age she lost while nursing her dying mother. She had spent so long alone, with no one to love, never had a real home and without any gaiety in her life. Eleanor has always sensed that one day something big would happen, and one day it does. She receives an unusual invitation from Dr. John Montague, a man fascinated by " talismanic manifestations." He had been looking for a haunted house all his life. Then He heard about cumulus House and he knows that he couldnt let it go. His intentions with Hill House, was to go there, live there for a while and take notes of everything that occurs within the house, kind of like ghost hunting. So he rents Hill House for three months, organizes a ghost watch, inviting three people who have been touched by unearthly events. A p sychic event from Eleanors childhood makes her do to be a part of Montagues unusual study, along with stubborn Theodora who was the not thing like Eleanor, and Luke who is the nephew of the owner of Hill House. The reason for him being there is because the family attorney told Dr. Montague that he couldnt rent the house without the confining presence of a member of the family during his stay. They all meet at Hill House an estate in New England. This is where i...

Galahad as a Christ Figure Essay -- God Religion Galahad Essays Papers

Galahad as a Christ Figure Very few people can call themselves a Christ figure. There are so many elements that go into being a Christ figure. Galahad had all those elements. He was enraptured, he dictum the wonders of the Holy Grail, and he had disciples. Also, he made life better for human beings by sacrificing himself for others, he preformed miracles, and he heard holy voices and saw holy visions. Because of all that he did Galahad was a proven Christ figure of his judgment of conviction.Galahad would hear holy voices and see visions throughout his journeys. Galahad saw a vision of angels praying astir(predicate) a silver table, meaning that he was close to the end of his search for the Holy Grail. Many times voices would help him and warn him. At one time he was about to kill one of the knights he had been fighting when a voice told him, If those two knights had known you as well as I do, they would allow you alone. Hearing this, Galahad rode off without killing either of th e knights. The voice saved him from killing his own father. For once caution was the better part of valorPerforming miracles to educate life better for human beings is a characteristic that Christ figures possess. When the silver table appeared on Galahad?s boat, he needed help taking it off. He called to an old crippled man to help him carry it. The old man told Galahad that he had been crippled for far too long and such a assess would be impossible for him. Finally, the cripple obeyed Galahad and when he stood up he ...

A Critical Analysis Of William :: essays research papers

In order for a poem to be classified as a sonnet, it must meet certain structural requirements, and Sonnet 138, &8220When my get laid swears that she is made of truth, is a perfect example. Shakespeare employs the traditional rhyme scheme of the English sonnet, the poem is made up of three quatrains and a rhyming couplet, and iambic pentameter is the stag meter. However, it would be an error to approach this poem as a traditional Shakespearean love sonnet. It is a &8216love&8217 poem in the sense that a relationship between two lovers is the central theme, but the reader is offered a somewhat unexpected viewpoint. The stylistic constraints of the sonnet form are extremely positive here, for they serve as a backdrop against which the poem&8217s content can be dramatic bothy highlighted, as well as reinforcing the eventual characterisation that the poem describes an emotionally constraining relationship. In this essay I will investigate the tools with which Shakespeare constructs this unconventional love poem.The sonnet has a definite sense of strophic development, and the frequent &8216twists&8217 in the narration necessitate a close examination of this. The sonnet begins with a &8220When clause, launching the reader on a sentence of indeterminate length and subsequently leaving us with expectation, in suspense, at the end of the line. The woman is emphatic she does not merely tell the truth, she is made of truth. Both the nature of this truth, and the lawsuit for her swearing it, are unknown to the reader. The immediate thought is that the speaker has challenged her in some way, and whether or not this is correct, it is certainly an unconventional way to begin a love poem.The second line, &8220I do believe her, though I know she lies, introduces the reader to the wry humour that is an important feature of this sonnet. The humour is produced by the comic contradiction between outward behaviour (since the speaker&8217s belief in her words is a reaction to her speech and thus a social act) and inward his knowledge that she is lying. The narrator&8217s calm tone evokes confusion he is not angry with the woman, nor does he seem at all embarrassed to make such an illogical statement. The fact that he states &8220I do believe her, rather than simply &8220I believe her, combined with the caesura that follows this statement, serves to reward his belief in the eyes of the reader, though his reasons for this are as yet unclear.

Essay on Achilles as the Hero of Homer’s Iliad -- Iliad essays

Achilles as the Hero of Homers Iliad When Homer lived, the summit of a hero was measured by the yardstick of fighting ability. In Homers Iliad, the character of Achilles represents the epitome of the Greek heroic work out. Only Achilles fights for pure heroics, while the characters of Diomedes and Hector leave good contrasts. Prowess on the fightingfield was ranked supreme, high above any considerations of morality(Martin 26). Nestor, for example, tells Agamemnon and Achilles that he has known much bettor men than them center men who are better at fighting. Achilles refuses Lycaon clemency because Patroclus. who is dead. was a much better man than he is by far i.e. a much better fighter. Achilles urges Hector to show his worth and fight like a man worth means simply ability to fight. By this criterion Achilles ranks second to none. He is an immensely talented fighter and he considers himself a prince among men. It is a reflection of his ability that the action speeds up rapi dly on his return to the battle after Book 16 and Patroclus death. Two thirds of the epic arc slow and tedious on Achilles return the last third is fast and moves most speedily. Achilles unstoppable battle madness surpasses without doubt that of the other heroes in the lliad. He is brave, vicious and powerful. He splits the Trojans and drives them back without difficulty at all. Moreover, his bravery is not restricted to humans. He is angry with Apollo for deceiving him and his battle with the river god Xanthus ends in more success than Diomedes attempts against the gods in Book 5 (although he admittedly has much divine support). The heroic code was recognised as a desire to excel. For the heroes excellent was ... ...Finkelberg, Margalit. Odysseus and the genus hero . Greece and Rome v. 42 (Apr. 95) p. 1-14. Goodrich, Norma. Myths of the hero. overbold York Orion Press, 1962. Homer Iliad. Trans. Robert Fagles. New York Penguin Books, 1990. Martin, Richard. The Language of Heroe s Speech and Performance in the Iliad. Ithaca Cornell University Press, 1989. Parry, tenner M. The Language of Achilles and Other Papers. Oxford Clarendon Press, 1989. Schein, Seth L. The Mortal Hero An Introduction to Homers Iliad. Berkeley University of California Press, 1984. Shive, David M. Naming Achilles. New York Oxford University Press, 1987. Van Nortwick, Thomas. Somewhere I have travelled the heros journey. New York Oxford University Press, 1996. Whitman, Cedric H. Homer and the Heroic Tradition. Cambridge, Mass. Harvard University Press, 1958.