Regardles Red Car Analysis

In Laura Kryhoski’s critical analysis of “The Red Convertible,” she points out several elements often overlooked when reading the short story for the first time. At first glance, the story appears “definably tragic” (Kryhoski). Kryhoski claims that if the reader were to investigate author Louise Erdrich’s background, the story would seem less of a tragedy and more of a reflection of her upbringing. As the narrator in “The Red Convertible,” Lyman seems to be recalling the tale from his memories rather than telling the events as they occur. Lyman focuses more on the distinct detail of each moment than he does on the bigger picture. This invokes the image

The campus in Chicago is superior because of the quality of the buildings. When the college was originally built, the architects used a specific kind of material that aged quickly in order to make the structures appear to be older than they actually were. At Vanderbilt, the outer surfaces of the classrooms look like any other establishments in the area. There is nothing to distinguish the university’s property from private businesses. At the other school, there is also a famous library enclosed by a glass dome, showing the futuristic as well as historic components of the design.

function of the new building is to provide office space for software development and testing of

The sculpture has a rustic quality, and draws one's eye to it because of its large scale.The art brings a purpose and beautifies a long time empty property between two local businesses. It resides next to a sidewalk outside of the local bike shop, brewery, and Laundromat. Next to the “Sphere of Influence” is a sign picketed that states “Art is for admiring, mountains are for climbing,” which mean please do not climb on the sculpture. This is significant because when I stood admiring the statue a little boy ran up and started hanging off the wheels and poking his head into the centre of the sphere. Because the artist used bike wheels as the main medium the “Sphere of Influence” may influence one to enjoy biking.

In the story “The Red Convertible” Louise Erdrich tells us about a young boy and his brother’s adventure. Lyman pushed the car into the water because it held memories that would only cause him more pain if he were to have kept it. In his getting rid of the things that made grieving even more painful pushing the car into the water dissolved the times it held of happiness he had shared with his brother in a more physical rather than mental way.

Hall 4 best vehicle is, I think, an unwarranted claim. He may indeed feel this way, but I can't be sure. Perhaps he finds art not to be objectively the best, but the best for him. In that case, his choice would be the result of personal preference or ability and not some independent standard. This really doesn't leave much room for explanation, though, so for the sake of an interesting discussion let's assume that Bell thinks that contemplation of art is the best vehicle, objectively. So why would he think that? Well, he mentions that one only needs to bring two things with them when engaging an art piece: a sense of form and color, and a knowledge of three dimensional space. Only two things... sounds pretty simple. You definitely need more than that to truly engage

Being an outsider is a common experience that can be difficult for people to overcome and describe. “The Red Convertible” is a good example of an outsider and can breakdown what it’s like to be in this social status. This short story shows Henry’s transition to becoming an outsider, and all the changes that occur to him differentiates an insider from an outsider. Henry is seen by his younger brother, Lyman, as a best friend at first, then becomes an outsider to him once he returns from the army because of his change in behavior due to the experiences he had in war. Henry begins to depict socially unacceptable behavior and he quickly changes the mood of the

From the observation tower the horizontal building’s three parallel bands can be seen that extend into the lush landscape. The architects’ concept was to immerse the museum in nature by creating a set of three bracketed pavilions under one roof surrounded by gardens. The roof can be seen as

After reading the short story, “The Red Convertible”, by Louise Erdrich, it is evident that the red convertible, in the story, is symbolic of the connection between Henry and Lyman. Their connection was unique in the fact that they were not only brothers, but also connected through the purchase of the red convertible, that they had bought together. While Lyman was away at war, Henry stated, “I wrote him back several times, even though I didn't know if those letters would go through. I kept him informed all about the car” (pg. 3). This quote explains their connection as brothers. The car was almost like a baby to them, as Henry shared with Lyman how he was taking such good care of it while he was away. Much like the stories

The red convertible, by Louise Erdrich, is a story about two brothers and their experiences together before one of them goes to war and after one of them goes to war. The central idea of the story is traumatic events can change people permanently. The story takes place in the red convertible, on the reservation, and at the river. The setting relates to the central idea of the story because we can see the effect of the war on the bother before and after, in the red convertible, on the reservation, and at the river.

Initially, when I walked up to this sculpture my thoughts were the name of the piece pretty much sums it up. Approaching the statues, they seem to just be large bronze masses on the corner of McCaul street but, as any art should be looked at, I decided to dig deeper than the superficial. The location is odd to me, mainly because the bronze forms are not alone in the corner of the building, but are not really impacted by its surroundings. The trees behind the statue are dead giving a desolate atmosphere invoking a sense of loneliness. Moreover, almost the entire area surrounding the piece is solid concrete, giving a very penitential outlook. I’m not sure if the sculpture’s initial approach is supposed to invoke miserable emotions but if so it does its job

In the case study of Macquarie Bank building, the diagonal pattern of the external frame creates a shell like exterior to protect the glass wall panels, which serve to allow penetration of natural light. It is this natural light and continuation of the structural display that further defines the interior (figure xx). Alberto Campo Baeza describes tectonic architecture as one that “defends itself from light, that has to look after and veil its open spaces to be able to control the light that pour into it” (Baeza 2009 p275). This is evident in the atrium of the Macquarie building. Upon entering the space, you walk upon warm recycled gum-tree hardwood floors that juxtapose the stark contrast of the white structure supporting the meeting space pods. As you can see in figure (xx), the internal space is dictated by the central atrium separating the east and west sides of the building, forming a protective shield for the workspaces while allowing connection to the outside world through an abundance of natural light and visible sky. Khan explains that “all spaces worthy of being called a space need natural light” (Khan 1961. p14) which is observable in the atrium space of Macquarie Bank building and influences the working environment of its inhabitants. The atrium design and central interior of the building is a poetic use of the tectonic language. It is the embodiment of a ‘hut’ design that reaches to the sky to enabling an abundance of natural light. Showcasing the external diagrid, which is visible from the interior through the curtain of glass walls to the exterior, the interior space additionally represents a lyrical use of materials and joinery. The structural frames on display through the buildings core draws occupants away from their desks, by

The project is built in 1967 and is located in Ginza, Tokyo. Its was designed by Kenzo Tange, the limited building space inspired him to design a 57m vertical structure made of a 7,7 diameter single circular core, which is used as a plug in for cantilever floors. The core is also used as an access shaft for modular office units, which punctuated the main core on both sides. The building represents metabolism movement ideas of organically inspired structural growth. The project was supposed to be developed into a prefabricated mega structure

The building of The Center for Life Science | Boston was not only unique in the fact that concept was far from traditional construction, but also because no one on the 2001 project team had ever worked on a project looking to achieve LEED certification in an existing, congested developed area (Schneider, 2009). The project team was composed of unique positions in order to enhance the likelihood of project success, with the building's architecture playing a key role in overall LEED concepts and a specific Sustainable Design Coordinator being employed by Tsoi/Kobus & Associates (Schneider, 2009). The project was noted as being many pieces of a puzzle that the Architect and Developer arranged and rearranged in various combinations prior to the final layout confirmation (Schneider, 2009), which highlights the agile approach to the design phase of the project. The integrated, sustainable design approach took a holistic approach to the building as a whole, not simply independent, individual parts, thus allowing the team to find resolutions to the many project challenges with specific collaborated and targeted solutions (Center for Life Science Boston / Tsoi/Kobus &

The building labeled B appears to be the main building for courses at Local Community College. Students walk in and out of the building all day and stop only to enter a classroom or buy food from the vending machines which fill one corner of the building’s long hallway. Often, students sit on the chairs that line the walls while waiting for a class to start, but for now the hallway is nearly empty and waiting for the ambush of students.