The Development of Postmodernist Architecture

The Development of Postmodernist Architecture Post modernism was devised from its previous movement, modernism and first began to emerge around the states of America in the 1960s but really took off around the early 1970s when it came to England and Europe and became a movement. It still continues to influence modern architecture today. The most obvious design traits can be seen in architecture; features that best represent this style include bold, visual exteriors, designs that are functional yet contain architectural characteristics that have been seen before but combining these with exciting, colourful, fresh designs. An example of this is the Portland building; Oregon designed by Michael Graves. (See Fig.1) This block of government offices built in 1980 has a very decorative exterior and has become an icon of Post modernism. Post modernism came about when modernist views were being rejected by many people and architects although there where still some whom where in favour of the current modernist ideas, yet still recognized the need for further development within this style to take place as the world fast continued to modernise around them, this saw the beginnings of Postmodernism. This quote from Michael Graves gives his view on how modernism designed everything to be machine like, which worked, although buildings should be made decorative and not so set in the modernist ways: While any architectural language, to be built, will always exist within the technical realm, it is important to keep the technical expression parallel to an equal and complementary expression of ritual and symbol. It could be argued that the Modern Movement did this, that as well as its internal language; it expressed the symbol of the machine, and therefore practiced cultural symbolism. But in this case, the machine is retroactive, for the machine itself is a utility. So this symbol is not an external allusion, but rather a second, internalized reading. A significant architecture must incorporate both internal and external expressions. The external language, which engages inventions of culture at large, is rooted in a figurative, associational and anthropomorphic attitude.à ¯Ã¢â€š ¬Ã‚ ± In this quote Graves refers to the modernist movement and how they designed their buildings to be like machines, extremely clean, sleek and purely functional with no needless design features. His view is not to think that the inside of a building should be run as a machine but to think of the building as a whole and to think outside the modernists clean cut lines and un decorative architecture. Unlike the modernist architecture previous to this movement the post modernism architecture is usually quite ornamental, new but also borrowing some features from the past, such as bringing colour back into architecture which taken away for modernist era. There is quite a lot of rivalry between the two movements, modernists strongly believe in form follows function, their architecture showing functional, formalized shapes and spaces, where post modernists believe in not necessarily form over function but making their functional buildings a lot more visually dynamic and I suppose more of an experience. There is no true reality not even your own2 This is a saying from the late 90s which reflects post modernists views. They felt you need to question reality and think outside the box where as the modernists believed in questioning authority, their thinking that if people looked into why things are designed the way they are and the truth is to be discovered then tradition would be questioned. The postmodern architecture features shameless aesthetics different from anything before, they have a more organic feel and stand out. The post modern era also found the use of different materials being used with in architecture than before, whether it be the colour or the specification of the material that was to be desired. The two main materials used in postmodern architecture are stone and glass. The stone is bold and comes in a very wide range of colours, which stuck to the postmodernist ideas. The glass was used a lot especially in America and large city buildings, office blocks and skyscrapers such as Le 1000 de la Gauchetiere in Canada, its the tallest skyscraper in Montreal. (See fig.2) This was built a bit later on, in 1992 but still shows strong postmodern values. For example the distinctive triangular copper roof and four copper capped entrances at each of the tower base corners. The structural core is constructed from concrete and steel and the exterior consists of glass in a metal frame. The form used in postmodern buildings is also very contemporary, the building function is still important for the designers but compared to the modernist buildings the forms, shapes and look of the buildings are almost there for the designers sake, not for any specific reason other than good aesthetics. As I said before there is almost a collision of beliefs between the two movements, though most of the dislike at the time was focused towards the post modern architecture as the modernist architectures such as Le Corbusier, Ludwig Mies van der Rohe and Walter Gropius had put the belief into the people that a building that was almost wholly based on function was the best way. So when post modern architects such as Frank Gehry, Robert Venturi and Eero Saarinen started designing buildings that where thinking outside the slick, functional, simple design box of modernism and completely aesthetical and almost quite wacky there was quite an uproar and possibly a confusion as people started t o question what was right for the future of architecture? Were the new buildings functional enough and would the new buildings stand the test of time? As the people began to accept the more complex designs of the post-modern world the buildings began to become popular and more and more architectures began to come round to the idea. In todays architecture you can clearly see the inspiration from these initial designs and that architects and designers have turned modernist ideas on their head, by carrying on the idea of aesthetically pleasing designs and almost having more fun with their design rather than just focusing on the function. So how exactly did Postmodernism come about? Well as I have just confirmed the strongest link/lead to postmodernism was obviously the modernist designs lack of decoration, but I also looked at some other factors that could have lead to the development of postmodern architecture. As is well known, the lead to postmodernism was when people started to reject the views of the modernist movement, though how did this come about? And why did people start to reject the modernist ways? The rejection of modernism first came from architects In their works. In Europe Aldo Rossi documented his views of the current art movement, while in America Raunch and Scott Brown expressed similar views on the need for development of the modernist architecture. Though the most influential change came from the work of Robert Venturi. He famously wrote the book Complexity and Contradiction in architecture in 1966 which attacked the modernism of international style, with his strong views on his dislike for modernism. In the writing he replaces Miles van der Rohes (a modernist architect) modernist phrase less is more with : less is a bore. Blatant simplification means bland architecture3 This quote is just a brief look to his views in the piece, he continues throughout rejecting the moral, clean cut ways of modern architecture for elements that are more a blend of features than pure. Frank Gehry seems to be a name that frequently appears when investigating post modernism architecture. His Designs were very contemporary, bold and different to what had been seen before. He denied that his work was post modernist or that it even fit into any category other than something totally new. This would not happen with a modernist architect as; although the designs are different all modernists buildings tend to have the same features, sleek and following function so much that there is not a lot of individuality between the designs. Where as post modernist architecture is all so decorative and ornamental that each design is unique. Just by looking at a few of Frank Gehrys designs you can definitely tell that they are individual although they do fit in with the post modern category his architecture has moved beyond the modernist era being based on geometric and organic forms. As Gehry says himself : Not every person has the same kinds of talents, so you discover what yours are and work with them. Dont try to be me, or try to be Frank Lloyd Wright, or try to be I M Pei. Try to be yourself. You have to understand what drives people to build buildings. 4 One of Gehrys most creative pieces that represent this is The Frederick R Weisman Art Museum at the university of Minnesota, 1993(See Fig 3). The University officials chose Frank Gehry to design the teaching museum for the campus because of his attention to needs of people that use his buildings and his unique stunning designs. The museums exterior is constructed of amazing, sticking shapes made from brushed stainless steel on one side over looking the Mississippi river creating an abstract image of a waterfall and a fish. The other side of the building is on the side of the campus and blends in with the existing sandstone and brick buildings by using terra cotta coloured bricks. Frank Gehry was also commissioned to design an expansion to the building that was meant to have been completed in 2009 though due to financial reasons it will be built by next year. This shows that post modernism continues to inspired designers today and is still popular. An example of an architect that is continuing post modernism design to todays architecture is Santiago Calatrava. Born in 1951 when the postmodern movement was just starting to come about, Calatrava grew up with the organic architecture from the era. Obviously heavily inspired by it he has continued post modernism on in his own works. He has designed many buildings, which are very well known such as the Museum of tomorrow in Rio de Janerio in Brazil and Liege Guillemins TGV station in Belgium. La Rioja, Bodegas Ysios in Spain is one of his designs, which is not so famous though still unique, and particularly show his postmodernism inspiration (See Fig 4). This building is situated amongst vineyards in Spain where la Rioja Alavesa wine is produced, the company wanted a building that would store the made wine and be a place where guests can test the wine. The design definitely meets the criteria and is very functional; there is separate part for the storing of the wine, making it and a tasting area. Although this could have been enough just in a plain rectangular building but in true post modernist style he has also added some amazing design features, the main feature is that the roof, it continues the shapes of the surrounding hills, creating a wavy organic shape. The material he has used for the roof design is aluminium panelling, which reflects the sunlight making it look even more special contrasting with the calm vineyard surrounding. I have researched the lead to post modern architecture and touched on how it has affected modern design today. Now to conclude this essay I will some up my findings of what led to post modernism in architecture. Post modernism first emerged in the 1960s and became a movement in the early 1970s, its routes stemmed from its previous movement, modernism. Modernists had a very strong belief in form follows function, their views where that a building should be purely functional and machine like which worked well but didnt leave a lot of an imagination for design features and all the buildings began to have a lot of the same features. In the 1960s some architects began to recognise this and voiced their opinions in their written works, which made people realize that designs could be a bit more exciting. The most influential architect in this realisation was Robert Venturi, in his well known writing complexity and contradiction in architecture he strongly expressed his dislike for modernist architecture, stating that less is a bore and that buildings do not have to be all about function, they can still be functional and have design features. This contributed to the lead to post modernism. One of the architects I found whos name kept appearing when looking at post modern architecture is Frank Gehry. His designs are functional but with amazing design features using organic forms and patterns to shape the buildings. As is with most post modernist architecture different organic and bold shapes are a big feature of the building making every design unique unlike the similar designs of the modernist era. Although Gehry do es not class his buildings to be post modernist or in fact fit into any category, his designs are definitely fitting with the era and he seems to share the same views as the post modernists. Buildings like Frank Gehrys continue to influence designers today such as Santiago Calatrava whos modern day designs very much resembles that of post modernist architecture. Part II Book review on: 20th Century Architecture by Jonathan Glancey The 20th Century Architecture explores the roots of modern architecture and explains how the history and the ever-changing social and political conditions helped shape and build the world we live in today. In this book, as the foreword states, by writing the book Jonathan Glancey attempts to achieve informing the reader of an introduction to architecture of the 20th Century, not to cover every aspect of the subject, as he says himself, The subject is very vast and no book can realistically cover the entire history of the twentieth century architecture. If I could it would either be too heavy to carry or else set in such a tiny type that it would be unreadable. This quote also I think captures the way the book is written, very informative yet quite light hearted. The book covers 8 of movements of 20th century architecture: Arts and Crafts, Classicism, organic, Modernism, Post-Modernism, Robotic, Cities and Futures. Each movement has a its own section which is started by a page for a brief explanation of the movement then examples of architecture significant to that time. Each piece of architecture has its own page with a full colour photo to show what it looks like and a section about the designer and the building, why it was built and how it relates to the movement and others in that time. I found the book easy to read, and was able put down at any time and pick back up from where I left off. I particularly like the no jargon take and the fact that you dont have to know an awful lot if anything on architecture or the history of the 20th century. The book is very informative if you read the whole thing or if you just flick to a specific section you are interested in. I originally did this but found that I wanted to read on further. This is as Jonathan Glancey intended as would most authors, wanting to get the attention of the reader and want to read on from their own will, as he says in the book: If this makes you want to find out more then it has done its job. If it encourages you to want to be an architect then good luck. I think he has definitely achieved his original intentions for the book. I borrowed this book from the local library but I would definitely consider buying a copy to keep as a reference book. From reading and sourcing from other architectural books, I think this fits in to the subject very well. Id says it is more aimed at students, people who are interested in architecture and starting architectures. I dont think the book would be so suitable for experienced architects and architect fanatics as it informs you of buildings and architects that this group would probably already know of, thought the may still find it informative about the movements and to find out when the movements happened and why. Over all I think this is a good book and deserves the positive comments it has picked up from press and other readers.

Julio Nakpil Essay

Julio Nakpil was born as one of twelve children to a well-off family in Quiapo district of Manila. His parents withdrew him from formal schooling after two years and had him look over the family stable. Julio educated himself at home and eventually learned how to play the piano as was proper for traditional families during the time. His skill at the piano earned him an audience with the affluent, and later inspired him to compose his first piece – a polka – in 1888. Julio later became a piano teacher and composed regularly. Philippine Revolution Further information: Philippine Revolution During the Philippine Revolution, Julio served as a commander for revolutionary troops in the northern Philippines under Andrà ©s Bonifacio. Many of Julio’s compositions during this time were inspired directly by the Revolution. Julio also composed a candidate for the Philippine national anthem preferred by Bonifacio but was ultimately rejected for Lupang Hinirang. After Emilio Aguinaldo allegedly ordered Bonifacio executed, Nakpil claimed to have received threats on his own life as well as that of General Antonio Luna, the latter ending up betrayed and executed by Aguinaldo’s men. Later life After the Revolution, Nakpil fell in love with and eventually married Bonifacio’s widow Gregoria de Jesà ºs. They moved to Manila and raised six children, one of whom married the architect Carlos Santos-Viola. Julio continued to compose until his death in 1960. Before his death he also contributed to a book on his life that was published by his heirs in 1964. In his memoirs titled ‘Apuntes Sobre la Revolucià ³n Filipina (Notes on the Philippine Revolution), Nakpil wrote â€Å"I swear before God and before History that everything related in these notes is the truth and I entreat the historian not to publish this until after my death.† On page 30 of his memoirs can be found Nakpil’s notes on the death of Bonifacio, and on page 130 is his account of the assassination of Antonio Luna where Nakpil wrote â€Å"When General A. Luna was dastardly assassinated on the stairs of the Convent of Kabanatuan and already fallen on the ground, the mother of Emilio Aguina ldo looked out the window and asked: ‘Ano, humihinga pa ba?'(So, is he still breathing?)† On pages 157-158, Nakpil wrote of Aguinaldo, â€Å"Emilio Aguinaldo’s surrender to the Americans was a cowardly act. There was no doubt that he coveted the presidency. He surrendered for fear that others more competent than he would occupy the post of president of the Republic. Had he fought with his captors, regardless of whether he succumbed so that he might be considered a hero, at least to vindicate his crimes, by this time we would be admiring a monument to the second hero of the Philippines, unlike what he did delivering himself as prisoner and afterward taking an oath of allegiance to the American flag. The crimes he committed against Andrà ©s Bonifacio and Antonio Luna, and his attempt to assassinate the undersigned [Julio Nakpil] should be condemned by history, and Universal Freemasonry ought to expel him and declare him a spurious son. The coward finds many dangers where none exist!† The house where Nakpil and de Jesà ºs lived, known as â€Å"Bahay Nakpil†, still stands in Quiapo and is maintained by his heirs as a museum that also offers walking tours of Quiapo and other special events and doubles as a performance area. â€Å"Bahay Nakpil† is the only Spanish-style building left standing in Quiapo. Julian Felipe Julià ¡n Felipe (January 28, 1861 – October 2, 1944), was the composer of the music of the Filipino national anthem, formerly known as â€Å"Marcha Nacional Magdalo†, now known as Lupang Hinirang.[1] Early life He was born in Cavite City, Cavite. A dedicated music teacher and composer, he was appointed by then-President Emilio Aguinaldo as Director of the National Band of the First Philippine Republic. He died in Manila. He studied at a public school in Cavite and Binondo, Manila for his primary education. At an early age, he showed his talent in music. He also learned how to play the piano and the organ. Later, He became an organist in St. Peter’s Parish Church. As an organist, Felipe was given the chance to hone his gift. Soon after he was composing songs. Among his early popular compositions were Moteti el Santesisimo, Sintos y Floras Rogodones, Amorita Danza and Reina de Cavite (In honor of Nuestra Seà ±ora de la Soledad de Porta Vaga). He impressed many music enthusiasts with the said pieces. Though still young, his works were already at par with the seasoned musicians. In recognition of his remarkable contributions in the field of music, he was given awards and accolades. Involvement in the Philippine Revolution When the revolution broke out, Julian joined his fellow Cavitenos who fought against the Spaniards. He was arrested and jailed at Fort San Felipe in Cavite. When freed, he again joined Gen. Emilio Aguinaldo’s troop. He composed nationalistic songs that inspired his compatriots to continue fighting against the Spaniards. A bust of Felipe can be found in Cavite City, located near San Sebastian College – Recoletos de Cavite. National Anthem Gen. Aguinaldo asked him to provide a stirring composition to be played in the historic proclamation of Philippine independence. His composition ‘Marcha Nacional Filipina’, played on June 12, 1898 in Aguinaldo’s home in Kawit, was adopted as the Philippine national anthem on September 5, 1938. Later life Julian and his wife Irene Tapia had four daughters and a son. Julian died on October 2, 1944, at age of 83. Nicanor Abelardo Nicanor Sta. Ana Abelardo (February 7, 1893 – March 21, 1934) was a Filipino composer known for his Kundiman songs, especially before the Second World War. Life Abelardo was born in San Miguel de Mayumo, Bulacan. His mother belonged to a family of artists in Guagua, the Hensons. He was introduced to music when he was five years old, when his father taught him the solfeggio and the banduria. At the age of 8, he was able to compose his estoryahe first work, a waltz entitled â€Å"Ang Unang Buko,† which was dedicated to his grandmother. At the age of 13, he was already playing at saloons and cabarets in Manila. At age 15, he was already teaching in barrio schools in San Ildefonso and San Miguel Bulacan. All of these happened even before young Abelardo finally took up courses under Guy F. Harrison and Robert Schofield at the UP Conservatory of Music in 1916. By 1924, following a teacher’s certificate in science and composition received in 1921, he was appointed head of the composition department at the Conservatory. Years later, he ran a boarding school for young musicians, and among his students were National Artist Antonino Buenaventura, Alfredo Lozano and Lucino Sacramento. In the field of composition he is known for his redefinition of the kundiman, bringing the genre to art-song status. Among his works were â€Å"Nasaan Ka Irog,† â€Å"Magbalik Ka Hirang,† and â€Å"Himutok.† He died in 1934 at the age of 41, leaving a collection of more than 140 works.[1] As a composition major at the University of the Philippines, he also composed the melody for the university’s official anthem, U.P. Naming Mahal. The building housing the College of Music in UP Diliman (Abelardo Hall) is named in his honor.[2] The Main theatre of the Cultural Center of the Philippines is named in his honor ( Tanghalang Nicanor Abelardo).. Ernani Cuenco Ernani Joson Cuenco (May 10, 1936) was a Filipino composer,[1] film scorer, musical director and music teacher. He wrote an outstanding and memorable body of works that resonate with the Filipino sense of musicality and which embody an ingenious voice that raises the aesthetic dimensions of contemporary Filipino music. Cuenco played with the Filipino Youth Symphony Orchestra and the Manila Symphony Orchestra from 1960 to 1968, and the Manila Chamber Soloists from 1966 to 1970. He completed a music degree in piano and cello from the University of Santo Tomas where he also taught for decades until his death in 1988. His songwriting credits include â€Å"Nahan, Kahit na Magtiis,† and â€Å"Diligin Mo ng Hamog ang Uhaw na Lupa,† â€Å"Pilipinas,† â€Å"Inang Bayan,† â€Å"Isang Dalangin,† â€Å"Kalesa,† â€Å"Bato sa Buhangin† and â€Å"Gaano Kita Kamahal.† The latter song shows how Cuenco enriched the Filipino love ballad by adding the elements of kundiman to it.

Curleys Wife of Mice and Men Essay

To begin with, in the novel Of Mice and Men, Curley’s wife is a disadvantaged character who relates to the themes dreams and loneliness. She is important in the novel because she portrays the stereotypical 1930’s women in America and she is the only women in the novel. Steinbeck presents her negatively but by the end of the novel the reader feels sympathetic towards her. Curley’s wife is first introduced in section two; ‘both men glanced up, for the rectangle of sunshine in the doorway was cut off. A girl was standing there looking in’. Sunshine relates to hopes, happiness and freedom, which most of the ranch workers seek. Steinbeck foreshadows she will ruin this by using ‘cut off’ which shows she will be the reason why the ranch workers dreams will be ruined, which she is. She seduces Lennie resulting in her death, which means the characters Lennie George and candy cannot fulfil their dream because everybody wants to kill Lennie. This shows the reader she is a troublesome character. She is described as a girl rather than a lady due to the fact she is playful and flirty like a girl. Steinbeck shows she is looking in because she is searching for something. Attention. This also shows she is an outsider because she’s not involved, just merely lonely on the outside, desperately wanting to be involved. Steinbeck describes Curley’s wife as a tart by using ‘she had full, rouged lips and wide spaced eyes, heavily made up’. The phrase ‘rouged lips’ shows she has intentionally made her lips bold so the other ranch workers will notice this. The colour relates to danger which foreshadows that she is a dangerous character because Lennie got into trouble because of a girl in weed with a red dress and Curley’s wife eventually gets Lennie killed. Red is a seductive colour and she seduces Lennie. Steinbeck uses ‘heavily made up’ to show she has made an effort to be noticed which automatically makes the reader sense she is a sexually seductive character. Steinbeck shows she is out of place because a stereotypical woman on a ranch would be messy but Curley’s wife tries to be perfect. It also shows she has made herself pretty to impress someone. Furthermore, Steinbeck refers to her as ‘she’ because she has not got a name. Steinbeck has done this to show her status in society was not important enough in 1930’s America to be called by her name. No-one knows it and no-one cares what it is either. In 1930’s America, women were looked down on and did not have the same rights as men did, although they had more rights than black people. Steinbeck uses ‘curley’s wife’ to show she is the property of Curley; the apostrophe shows she is the possession of Curley. This makes the reader feel negative feelings towards her due to the fact she has a husband yet flirts with the other men. The next time Curley’s wife is introduced is in section four; she is looking for attention. ‘They swung their heads towards the door. Looking in was Curley’s wife’. Steinbeck portrays the theme loneliness because once again, she is on the outside ‘looking in’. She is desperate to talk to someone. Curley is at the cathouse which gives her the chance to get out of the house because Curley makes her stay in the house all day. When she does escape from the house to find someone to talk to, her familiar excuse is she’s looking for Curley. The other workers aren’t fooled and try avoiding her; they misinterpret her loneliness for being troublesome and flirty. At this point the reader still feels negatively towards her. Curley’s wife appears in Crook’s room although candy and crook’s resent her unwanted presence. This makes her feel intimidated after she is told by a black man to get out. ‘I can get you strung up on a tree so easy it ain’t even funny’.

The Analysis of Behavior Centered and Person Centered...

The long-term goal of any counselling session is to aid the client in their overcoming and defeat of obstacles they may face through the facilitation of psychological tools and theories. The evolution of psychology over the last 100 years has seen numerous theories put forth for application to therapy in the clinical setting. Two widely used and well-founded methods include Behaviour Therapy and Person Centered Therapy. The dynamics of Behaviour Therapy were first discovered by the famous researcher and psychologist B.F Skinner, through his findings on operant conditioning (Lindsley; Skinner Soloman, 1953). The behaviour modification component of Behaviour Therapy utilises techniques founded in Skinner’s discovery of operant†¦show more content†¦The operant conditioning approach of Skinner works by rewarding behaviour that is defined in the set out goals for the ‘intervention’ or reason for the therapy. The operationalisation of this method is achieved through contingency management plans, primarily; token systems or voucher programs. This method is used widely in application within the health sector in association with drug addiction. The premise of operant conditioning is operationalised as a reward system. Patients who adhere to their specified treatment plans are ‘rewarded’ for their positive progressive work with either a ‘token’ or ‘voucher’. Either of these items act as an incentive; as used in past applications the vouchers have been able to be redeemed for use in retail stores. This method was applied with treating cocaine addiction in the 1990’s (Higgins, et. al, 1991) and was found to be highly effective in treating dependence in clinical trials (Lussier, et. al, 2006). The use of point or level systems is a common method in not only rewarding adaptive behaviour, but also encouraging further mastery of one’s behaviours and control. The patient’s privileges will slowly increase with the achievement of reaching each new ‘level’, an example of this may be; vouchers offered for recording negative drug screens two weeks successively. Four weeks of no drug use may allow for a new ‘level’ entailing it’s own, and more desirable rewardShow MoreRelatedDeveloping Management Skills404131 Words   |  1617 Pagesmymanagementlab is an online assessment and preparation solution for courses in Principles of Management, Human Resources, Strategy, and Organizational Behavior that helps you actively study and prepare material for class. Chapter-by-chapter activities, including built-in pretests and posttests, focus on what you need to learn and to review in order to succeed. Visit www.mymanagementlab.com to learn more. DEVELOPING MANAGEMENT SKILLS EIGHTH EDITION David A. Whetten BRIGHAM YOUNG UNIVERSITY Read MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesOrganizational Behavior This page intentionally left blank Organizational Behavior EDITION 15 Stephen P. Robbins —San Diego State University Timothy A. Judge —University of Notre Dame i3iEi35Bj! Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Director of Editorial Services:Read MoreMarketing Management 14th Edition Test Bank Kotler Test Bank173911 Words   |  696 PagesStrategic management E) Distribution management Answer: A Page Ref: 5 Objective: 2 Difficulty: Easy 3) Identify the correct statement about marketing management. A) It is primarily concerned with the systematic gathering, recording, and analysis of data about issues related to marketing products and services. B) It focuses mostly on monitoring the profitability of a companys products and services. C) It focuses solely on attaining an organizations sales goals in an efficient manner. Read MoreProject Managment Case Studies214937 Words   |  860 Pages295 The Blue Spider Project 301 Corwin Corporation 317 Quantum Telecom 329 The Trophy Project 331 Concrete Masonry Corporation 334 Margo Company 343 Project Overrun 345 The Automated Evaluation Project 347 The Rise and Fall of Iridium 351 Missing Person-Peter Leung 369 Zhou Jianglin, Project Manager 377 10 CONTROLLING PROJECTS 381 The Two-Boss Problem 383 The Bathtub Period 385 Ford Motor Co.: Electrical/Electronic Systems Engineering 388 viii 11 PROJECT RISK MANAGEMENT 401 CONTENTS