Read the Ci ti corp case and ‘The Saga of San Francisco’s Sinking and Tilting Millennium Tower, and craft a response to the prompt below. Think critically of the situations outlined and how the various players responded to the difficult situations.
Compare and contrast the project variables between the Ci ti corp Tower and the Millennium Tower in San Francisco.
How were the failures identified in each of the projects, why is this important? Discuss the approach to correcting the issues identified in each of the two projects. What were stakeholder reactions to the problems at hand in each of the cases – what were their actions? What are/ were the short and long term effects of the failures on the developer, owner, and architectural team in each of these cases? Why were they approached so differently?
Distributed: Wed, 11 Jul 2018 Green, J. R. (2000). 1. In Straight Lick : The Cinema of Oscar Micheaux (pp. 1-30). Bloomington, US: Indiana University Press. Recovered from http://www.ebrary.com.libproxy.nau.edu Movie executive and creator Oscar Micheaux's works are looked into to contemporary producer D.W. Griffith's film, Birth of a Nation. Micheaux's film, Within Our Gates, similar to Griffith's film, admires an upbeat middle class couple, yet the social complexities and foundation accounts of these couples are altogether different. Griffith's character Elsie Stoneman is a special and slight white northern lady who later grasps prejudice and goes gaga for a Klu Klux Klan part who saved her. Micheaux's Sylvia is a blended African American lady who does not originate from an advantaged family and is extremely autonomous. She becomes hopelessly enamored with Dr. Vivian, not on the grounds that he saved her, and fund-raises for an underprivileged dark school. Micheaux's epic, The Forged Note: A Romance of the Darker Races, outlines Michaeux's philosophical balance contrasted with Griffith's immovable Manichean mindset. The creator takes note of that Griffith's goals to clashes typically included power; Micheaux's goals were proficient by instruction. Micheaux's depiction of compensation is two sweethearts at long last consolidating as perfect partners. Griffith's compensations are retribution and reimbursement. Both Micheaux and Griffith endeavored to depict the perfect middle class American culture, however with basic contrasts between the two depictions. Griffith needed this ideal symbol to stay with the racial oppressors and to keep up racial immaculateness. Micheaux needed others to have the capacity to get to the working class life. The creator relates that Micheaux's perspectives were from the base gazing upward as underprivileged individuals attempting to wind up white collar class, while Griffith's perspectives were starting from the top, depending on privileged to develop the working class. Green, J. R. (2000). 8. In Straight Lick : The Cinema of Oscar Micheaux (pp. 123-136). Bloomington, US: Indiana University Press. Recovered from http://www.ebrary.com.libproxy.nau.edu The creator talks about in detail the stereotyping and cartoon of African Americans as managed by Oscar Micheaux in his movies and especially the characters in his preparations. Micheaux's principle center in life was to elevate others, yet stereotyping and personifications were frequently detours for him. The creator considers the film The Exile by Micheaux and relates the battles of the movies characters Jean, Jango, and Edith to the greater social issues of African American generalizations among whites. The contention among Edith and Jango about training is contrasted with the contemporaneous conclusion that African Americans amid the time of Prohibition were frequently overeducated for the employments they were performing. The creator features Micheaux's worries of the debasement of the nobility of African Americans by participating in occupations of ill-conceived business amid Prohibition. The film The Darktown Revue, the main show film by Micheaux, gives both positive pictures and negative racial generalizations which the creator depicts as legitimate contentions by Micheaux to delineate the issue of African American twoness. Alain Locke's course of events of African American music nearly coordinates Micheaux's very own melodic encounters and can be utilized to distinguish Micheaux's movies from both a melodic and political viewpoint. The creator clarifies the word darktown as a dark network, yet additionally exhibits a more profound significance, that of an asylum for African American minstrel performers getting away from the ethnic exaggerations of their stage exhibitions. These minstrel performers endured an obscured line between dread of disappointment or feedback and dread of mischief or even passing. Green, J. R. (2000). 9. In Straight Lick : The Cinema of Oscar Micheaux (pp. 137-156). Bloomington, US: Indiana University Press. Recovered from http://www.ebrary.com.libproxy.nau.edu Oscar Micheaux's film The Darktown Revue is talked about from the outlook of how Micheaux dealt with the many negative cartoons of African Americans and examinations are attracted to the Fisk Jubilee Singers. The creator relates how the Fisk Jubilee Singers from the dark Fisk University in Nashville visited the eastern US amid the 1870's and were a win both fiscally and politically. This gathering of dark entertainers is uncovered as the gathering which made ready for future dark melodic theater and furthermore attempted to elevate the cartoon of Black Americans as saw from the prevalently white open. Correlations are attracted to G. D. Pike's account of the Fisk Singers and Micheaux's film The Darktown Revue as both utilized middle class exaggerations to impact change in their groups of onlookers. The creator takes note of how the racial atmosphere in Micheaux's years was considerably more savage than the season of the Fisk Singers about sixty years sooner. Cartoon in Micheaux's time was seen as a barrier for African American development. The creator clarifies the two demonstrations of the Darktown Revue and the exaggerations exhibited. Micheaux's utilization of structure in the film is paradigmatically clarified as shifting back and forth among positive and negative figures, depicted by the tune speaking to white collar class African Americans and the exhibitions highlighting fluctuated racial personifications, individually. The cutting look of Micheaux is clarified as his focus on negative pictures. Differentiations to the Fisk Singers and Micheaux are noted as the Fisk Singers essentially utilized just positive pictures. The creator shields Micheaux's viewpoint on personifications and compliments his soul.>GET ANSWER