Choose a bridge design to establish a list of all the relevant identifiable customer requirements for this design. These design requirements should include most (where applicable) of the following points: • aesthetics, • functions, • performance, • sustainability, • cost, • timing You will also need to identify and list the relevant production parameters such as • regulations, • international standards • production guidelines
- Present the major design parameters for the chosen engineering design where these should be based on the customer requirements established in Task 1. You will also need to: • interpret and present the technical requirements of the chosen engineering design using appropriate sketches/drawings to show the physical dimensions and the other relevant design parameters. • identify and present resource requirements and demonstrate how these will match the design specification parameters • establish and present the level of risk associated with each significant design parameter.
3 Conduct a research using appropriate sources to obtain the required information for the chosen design. You will need to demonstrate how the obtained information was used to prepare the specification of the chosen design. You will also need to demonstrate that: • all relevant information is extracted from appropriate reference sources; • techniques and technologies
4 Based on the information presented in Tasks 1, 2, and 3, you need to produce a short report to demonstrate that the design specification presented in Tasks 2 and 3 meets customer requirements presented in Task 1. Task 5
has been used; Evidence of use of books, magazines, journals, e-resources and websites) To achieve this grading criterion, you need to present evidence of selecting and using appropriate range of source of information including books, magazines, journals, e-sources and websites for the information presented in Tasks 1, 2, and 3.
6: For all of the above tasks you need to demonstrate that the work you have presented is individual and original. Referencing demonstrates autonomous research beyond classroom delivery of the topics covered in the aforementioned tasks
A significant part of the symbolism of Jane Eyre is self-evident the chestnut tree, the inauspicious scenes, the red room that resembles Hell. Yet, two pictures are pervasive to the point that they fill in as a substructure for the whole novel: fire and water-and their boundaries, the blazes of desire and the ice of lack of concern. The fire is in Jane's soul and in Rochester's eyes. Jane wants "life, fire, feeling" (p. 105); Rochester has "odd fire in his look" (p. 145). In the event that these two are fire, St. John Rivers (take note of the last name) contains the cold waters that would put out flame, demolish energy. His temperament is solidified over with an "ice of save" (p. 334); when he tells Jane, "I am cool: no intensity contaminates me," her answer is, "While I am hot, and fire disintegrates ice" (p. 364). From the beginning of the novel, Charlotte Bronta's fire and water symbolism demonstrates the fundamental thought. The red hot enthusiasm of Jane, and, later, Rochester, must be extinguished by the cool waters of discretion yet not wrecked by the ice of restraint. In the event that their bodies consume, their psyches must hose the flames. Jane cautions herself that mystery love may "encourage" inside her life an "ignis fatuus" (p. 153). However it is Rochester who is all-fire: when, masked as a wanderer, he has his meeting with Jane, she feels his ground-breaking fascination and says, "Don't keep me long; the fire sears me." Rochester, as far as it matters for him, understands Jane's twofold quality; she has the fire of substantial love, "The fire glints in the eye," yet additionally the cool control of the spirit, "the eye sparkles like dew" (p. 190). Prior, Rochester demands that Jane is cool since she is distant from everyone else: "no contact strikes the fire from you that is inside you" (p. 187). Whenever Bertha, Rochester's old energetic fire, sets his bed ablaze, Jane spares him by soaking the bed with water. Miss BrontE's symbolism is exact and clarifies the connection between the focal characters. Bertha speaks to the flares of hellfire that have effectively singed Rochester. Jane, red hot however she is, has adequate control to dilute these flames. Jane "brought my very own water container, immersed the lounge chair anew, and, by God's guide, prevailing with regards to quenching the flares which were eating up it" (p. 142). She will spare them both from hellfire by rejecting the energetic advances of Rochester. After she learns of his past marriage, she at long last picks up discharge from her copying desolation and envisions herself set down in the became scarce bed of an awesome stream, and "I heard a surge slackened in remote mountains, and felt the downpour come .. . ." (p. 281). Religiontrue religion, not the cold religion that will portray Rivers-is depicted regarding water: "'the waters came into my spirit . . . I came into profound waters; the surges flooded me"' (p. 282). What's more, this water in Jane's soul empowers her to withstand what Rochester calls the "unadulterated, great fire" (p. 299) that wires them. In spite of the "hand of red hot iron [that] got a handle on my vitals" (p. 299), in spite of her "veins running flame," in spite of Rochester's "flaring look" which is compared to the "shine of a heater" (p. 301), Jane escapes to the "wet turf" and sheds "stormy, singing, heart-wrung tears" (p. 305). This substance downloaded on Tue, 5 Mar 2013 10:00:58 AM All utilization subject to JSTOR Terms and Conditions ROUND TABLE 217 Although Jane is absorbed with rain her wanderings, her passionate flames still consume, prepared to be re-stirred when the perils of Rochester's interests have passed. Rochester alone should be cleansed by the flames he long back lit among himself and Bertha. This time there is no Jane to keep him from the burning, disfiguring blazes that wreck Bertha and Thornfield, and, incidentally, put out the searing sparkle in his eyes. Yet, Jane, in the interim, is guarding her own fire from the solidifying inhumanity of St. John Rivers. His "ice kisses" can't contact her. She can't perpetually "keep the flames of my tendency ceaselessly low, to constrain it to consume deep down and never express a cry, however the detained fire devoured a great many" (p. 417). She escapes from Rivers' chilling handle and comes back to the seared demolish of Rochester where she can "ignite the shine" of his "light" which has been "extinguished" (p. 417). Before long she re-stirs the gleam of their adoration, and their two natures participate in an enduring fire that consumes neither as uncontrollably as the lightning that wrecked the chestnut, nor as faintly as the setting sun of St. John Rivers' religious dream. The fire-water picture underscores the essential thought of Jane Eyre: similarly as affection must locate a center path between the blazes of energy and the waters of unadulterated reason, so Jane must locate a brilliant mean between egocentric wrath and Christlike accommodation, between Aunt Reed and Helen Burns, between the wild, Byronic Rochester and the tempered, controlled Rivers. Jane Eyre accomplishes this fruitful middle in her very own character and in her future existence with the berated Rochester. Picture and thought participate in a novel that not just demonstrates the fiercely enthusiastic interest of sentimental workmanship yet in addition works under the idea of formal control. This novel rotates round Bakha who is a sweeper kid. The creator has picked an obvious day from his life and through the introduction of the circumstance happening on that specific day, he has drawn our consideration towards the situation of low rank individuals. First circumstance is the contamination through pinch of a position Hindu. It makes a calamity. As Bakha strolls along the street eating 'Jalebi' and reviewing the course of action he has made for learning English, his look is attracted to a lady sitting in a window. He is so profoundly lost in his musings that he has accidently contacted somebody cruising by. All of a sudden he hears, "keep to the side of the street, o he low-station verminâ€¦ for what reason don't you call, you swine and declare your methodology: Do you know you have contacted me and debased me, you rooster looked at child of a bent-legged scorpion: now I should go and scrub down to refine myself." Bakha is evidently seized with dread, quietude and servility. Obviously he knew about his 'status' throughout everyday life except it was a sudden stun. As of now Bakha acknowledges out of the blue that the general public which censures and mortifies him frames an ethical obstruction which only he can't separate. This attention to his very own status is "like a beam of light shooting through dimness." (P:59) in such manner, Alastair Niven in his book The burden of Pity: An examination in the anecdotal composition of Mulk Raj Anand remarks that this disclosure is, "as momentary as light and as significant as murkiness. He is destined to be an unapproachable according to mankind always, and his fantasies of accomplishing a type of individual poise are pretentions and naã¯ve." The second real circumstance in the novel is the point at which Bakha's sister Sohini is attacked by the cleric. The incongruity in this circumstance, Anand makes us understands, is that clamor is raised against the attacked and not the molester. In this way we see that the sacred men who show up in Anand's fiction are degenerate deeply and in their eyes; the least of low are very touchable to satisfy their lust.For model, the plain in Coolie-he shows up as Pandit Surajbhan in 'The Road' tempts a childless lady under the appearance of turning her ripe. Here in Untouchable likewise, however the sacred minister makes unsuccessful endeavors to lure Bakha's sister, the creator has uncovered the logical inconsistency in the reasoning of the purported high-rank individuals, while a negligible pinch of the garments of a distant is thought to contaminate a higher standing, sexual association is non-shocking. Sohini raises an alert to spare herself from being attacked by the minister Kali Nath however the cleric is exceptionally astute and removes himself from the troublesome circumstance by yelling, "Dirtied, Polluted". The essayist here draws our consideration towards the shameful and condemnable conduct of the alleged high position individuals who can without much of a stretch go scotfree by turning the fault on to the agony, explicitly abused young lady. There is by all accounts a probability of challenge and reprisal. Be that as it may, Anand underlines the way that revolt in such cases is barren and ineffectual. Bakha knows reality of the entire thing that he gets himself unequipped for delivering retribution. He returns home dejected and yell against the outrages, brutalities stacked by high rank individuals upon them.The saint's prompt drive is to retaliate for the affront yet he neglects to act. It is here run of the mill treatment of the underdog as given by Anand is anticipated. The weight of the past, the state of mind of the decision class, and their aching for pity and sensitivity squash the will to act. The abused underdog in the saint proceeds and eats up him like a creature. He is an aggregate photo of a pooch hunkering at the entryway of a meal lobby.>GET ANSWER