Garden for the Blind
In Sensory Design by Joy Malnar and Frank Vodvarka, a great garden is said to unfold like a narrative, a journey or a piece of music. My hope is that the Garden for the Blind located on the land south of Hume Hall will be such a garden.
I think the Garden should be entered through the parking lot, since the ground there is the most level. I think there should be a wooden path with railings on both sides until the garden reaches it’s full width. The path should then change to asphalt or rock, but the wood railing should be continued for a few more feet. There could be an archway over the wooden path, wrapped in Jasmine vines, so that the entrance to the garden can be marked by such a smell.
The unrailed but broad path should then travel through the garden. Although unrailed, a system, such as raised edges, should be set in place on both sides of the path, to indicate where it ends and the grass begins. The path will eventually lead to a substantially large fountain in the middle of the Garden. One will know when he or she is in the heart of the Garden when one hears the water, or even feels the mist on his or her face. The fountain should have a ledge wide enough to sit on, with railings to keep one from falling in. The fountain will be in the middle of a paved circle. The circle will have railings around it, except for when it is met up by one of the three main paths: the path from the entrance, the path to the gazebo, and the path to the exit.
On the right side of the fountain (when facing it from the entrance) there will be a Gazebo. There will be steps leading up to the Gazebo, since it will be situated on the steep side of the hill. The Gazebo can be a center for
Tastefully laid out in grass intersected by broad gravel walks, and planted with a great variety of trees, shrubs and flowers, botanically arranged. The Arboretum, as these gardens are designated, is much frequented, and has already produced a perceptible effect in improving the appearance and demeanour of the working class.
The past does not inevitably exist in the present. The creative processes of remembering and telling stories allow our histories to remain with us. Memory and story negate the possibility of existing independently of the past by connecting humans across time to the actions and value systems of their predecessors. Humans are forced to live amidst and confront a complex and multi-dimensional reality in which their every action affects people and events outside of their immediate context. By burdening humans with the consequences of their histories, story and memory comprise a foundation of moral responsibility. Since memory and story are subjective, our past, a seemingly immutable reality, is subject to their creative hands. These hands define as malleable entities the past, the future, and that which exists or has its basis outside of the present. The “real” is only immutable in a present entirely disconnected from all other time. Yet while the profound power of memory and story does deny an objective, singular reality, it simultaneously allows humans the capacity to transform the world to their liking. Even death, the most immutable of realities, can be manipulated through the creative processes of remembering and storytelling. Death, then, is the point from which we will begin to understand Homer’s exploration of memory and story.
Kuster and Orth examined stability patterns in self-esteem within the length of a twenty- nine-year period. In the beginning of the course of the twenty- nine years, Kuster and Orth discovered that individuals contain self- esteem stability but with a constant medium decrease of stability, which estimated as -.43, but never approached to zero stability. Then, the findings of Kuster and Orth in 2013 distinguish 70% - 85% of change was determined by trait factors, and 15% - 30% was determined by state change or error. Thus, self-esteem is determined as relatively stable and characterized as a basic of
Leary. Mark R., Schreindorfer , Lisa S., and Haupt , Alison L. “The Role of Low Self-Esteem in
When a person walks through this garden, the first sense that is triggered is the sense of sound, for the walkway is wooden at the beginning of the garden path. Since this garden is situated on a steep hillside, the walkway needs to be level and built up next to the hillside, with steps going down leading to the next level walkway. The garden path continues, winding back and forth to the bottom of the hill. The entrance to this garden is to the west of the north wall, and the first realization that one is in the garden is the aroma of the mints lining the edges of the walkway on the hillside. Wooden railings line either side of the walkway to help guide the visitor, and the person would be able to touch, smell, and even taste the different mint plants lining this area of the garden. The different mints would include chocolate mint, pineapple mint, spearmint, and peppermint.
Alzheimer’s disease is a complex illness that affects the brain tissue directly and undergoes gradual memory and behavioral changes which makes it difficult to diagnose. It is known to be the most common form of dementia and is irreversible. Over four million older Americans have Alzheimer’s, and that number is expected to triple in the next twenty years as more people live into their eighties and nineties. (Johnson, 1989). There is still no cure for Alzheimer’s but throughout the past few years a lot of progress has been made.
In the downtown area of Madison, Indiana, sits an extraordinary structure that seems to capture attention from all walks of life. The Broadway Fountain was created by a French artist named J.P. Victor Andre. Andre obviously knew what he was doing when he was asked to construct this fountain because of the impressive composition it has and with its mesmerizing size. “Some have suggested that Andre’s neo-classical design was inspired by the famous fountain in Place-de-la-Concord in Paris, or by a fountain exhibited at the Crystal Palace Exhibition in London in 1851” (Wright).
...nd to increase the risk of developing Alzheimers. But many people develop the disease withouth inheriting APOƐ4 so APOƐ4 is not a consistent marker.
Garden is a captivating composition. There are many elements in this painting, that altogether, make it a complete, finished work of art. Although the painting is asymmetrical, the placement of the lines and shapes give the perception of a balanced work. The artist has utilized the space by placing the focal point in the center and creating implied and actual lines to draw your eye to it and across the painting. It is an abstract artwork, and is representational of a true
As you walk right into the entrance you are suddenly transported to a world of paradise. The view is breathtaking as you walk through a path of flowers. Every flower you can imagine is in the garden. As I started walking I couldn't take my eyes of the different color of roses. Roses and lilies are my favorite flowers and they have their own fragrance to them. Every flower had their own features. The colorful patterns, the light colors, the dark colors each individual characteristic, enhanced the flower. I saw tulips, daffodils, lilies and many endless flowers. The lilies were color and bright, they looked magical in the shining sun. People were admiring the flowers and their color.
Before this exquisite garden became the Master of Nets garden, it was known as the Ten Thousand Volume Hall. This iconic garden was constructed in 1140 by a Deputy Civil Service Minister of the Southern Song Dynasty government, Shi ZhengZhi. Shi ZhengZhi was inspired by the Daoist philosophical writings of living a simple and solitary life as a Chinese fisherman. Unfortunately, after the death of Shi ZhengZhi, the garden was passed through several apathetic ownerships before falling into complete disarray until around 1785 when it was finally restored by a retired government official in the Qing Dynasty known as Song Zongyuan. Song Zongyuan was a gift to the garden as he renovated the garden to retain the original spirit of the garden; this
..., J. (n.d.). "Gardens of Desire: Toward a Unified Vision of Garden District"--Joe Falocco. "Gardens of Desire: Toward a Unified Vision of Garden District"--Joe Falocco. Retrieved April 26, 2014, from http://www.tennesseewilliamsstudies.org/archives/2005/05falocco.htm
Crocker, Jennifer & Knight, Katherine M. (2005). Contingencies of Self Worth. Current Directions in Psychological Science (Wiley-Blackwell). Vol. 14 (Issue 4), pages 4, 200-203.
There are two settings for this story. The first and main setting is an eye appealing garden next to Giovanni Guasconti’s room which is located in Padua, Italy. This garden is used in this story as a symbol for the Garden of Eden. The garden is described by Hawthorne in such a way that the reader can almost picture a garden that is alive with vibrant colors and an array of flowering plants and shrubs. There are a variety of types of plants and herbs growing in the garden. Some of the plants are vines, some are growing in decorative urns, and some have grown wild until they were wrapped around statues (2217). The entire garden was “veiled and shrouded in a drapery of hanging foliage” (2217). The plants in the garden “seemed fierce, passionate, and even unnatural” to Giovanni (2225). Some of the plants in the garden “crept serpent-like along
Tanner Fountain provide a place for student read, flirt, converse, meditate, brood as well. As a result of this, the design has heavily utilized in a seasons. All the things around fountain are be emphasized by and in return emphasize the project such as spring rain, summer grass, autumn leaves and winter snow. That’s why the project act as a famous design of his career, also it brings a natural felling to