Characters

Literature deals with personality and psychological aspect of the character created by the author. Sherlock Holmes is an eccentric character in A Study in Scarlet, the first series of detective story which introduced him. The characterization of Holmes that has been attributed by the creator Sir Arthur Conan Doyle is very strong.

A Study in Scarlet is told by the first-person point of view, Dr. Watson who then becomes Holmes mate in solving mysteries. Dr. Watson, the observer of Sherlock Holmes eccentric actions and methods, represents the readers who seek for story which triggers curiosity and ended with satisfying logical explanation, Sherlock Holmes was a character born in 1887, the time when 28 years ago Charles Darwin stated his theory of natural selection.

Doyle himself wrote, London was a city consisted of suburbs, unemployment, and slums, that nearing the extreme phase of century-long urban explosion because no one knew how to control it. Due to this curiosity, people were pleased to be amused with logical deduction by Holmes in explaining the criminal cases. Holmes is arrogant, omniscient and self-absorbed, obsessive, and loves the truth. He not only has wonderful clarity but also, an extremely sympathetic character. Although the author doesn’t place Sherlock Holmes as the hero who is kind-hearted or a guy fighting for justice, he simply has a high sympathy towards people. He shows it towards Jefferson Hope, the culprit in this novel, by listening his revenge story for murders he’d done.

Most of all the differences from other characters arises in his deduction thinking and behavior. This arouses astonishment not only for the characters being examined in the novel, but also gets the reader’s attention by deducing people by just only looking at the clothes or the characteristics of person figure. For example, the time of meeting Holmes and Watson. “How are you? he said cordially, gripping my hand with a strength for which I should hardly have given him credit.” “You have been in Afghanistan, I perceive.”(,) Dr. Watson’s mind was eager of curiosity of how the new individual in front of him knew that he was in Afghanistan. The author then presents the explanation of the science of deduction to influence the acceptation from readers. Although, besides intensifying the eccentric behavior of Holmes, Watson’s point of view helps to build the story restricting the suspense of the mystery to not disappear.

At first impression we could draw that all characters have the same image and agree that Holmes is an eccentric man. Although unlike Watson who finds him interesting, Stamford defines Holmes’ eccentric personality inimically. He thinks that Holmes is queer in ideas slightly different from common people or of those accepted by this society. This making it clear, Holmes has such a complicated personality when time to form emotional bonds with others. Dr. Watson’s personality of friendliness and obedience perfectly suits Holmes’ character.

In conclusion, Holmes personality is examined in A Study in Scarlet and Watson and Holmes: Study in Black which leads to the discovery of his eccentricity combined with his great intelligence as the source of appeal. Because his distinguish personality and his intelligence to deduce facts, Sherlock Holmes becomes the favorite detective which makes people amazed by his faculty. In addition related to the social acceptance of eccentric personality, Holmes represents that regardless his eccentricity the society could accept him as long as he contributes and plays a positive role.

Michal Furey loved Gretta so much that he, a (probably) tubercular worker in a potentially carcinogenic workplace (the gasworks) risked his already fragile health to come stand in her back garden in a cold rain. He is so desperate to see Gretta before she leaves that he says “… he did not want to live. ” Gretta believes that he died for her, and it may well be the case. There is no mention of whether or not he wore galoshes, but if he did it didn’t save him. He died a week after that last time he saw Gretta.

Gabriel, however, is fond of the newfangled galoshes, and he is careful about his and his wife’s health. Unlike Michael Furey, Gabriel seems to relish being alive. He is in love with his wife, but he also does not seem to harbor romantic notions about her. “He did not like to say even to himself that her face was no longer beautiful but he knew that it was no longer the face for which Michael Furey had braved death. ” It’s hard to imagine Gabriel Conroy braving death for anyone, and certainly not for romantic love.

He seems too self-satisfied for that, but he also has, as many smug and contented people have, an element of self-loathing “A shameful consciousness of his own person assailed him. He saw himself as a ludicrous figure, acting as a pennyboy for his aunts, a nervous wellmeaning sentimentalist, orating to vulgarians and idealising his own clownish lusts, the pitiable fatuous fellow he had caught a glimpse of in the mirror. ” It is difficult, in this last respect, to compare Michael Furey and Gabriel Conroy.

Michael Furey died as a teenager, in all the passion of ill-health coupled with immaturity and intense romanticism. Gabriel is a grown man, a teacher, a father and husband, with all the cares, maturity, satisfactions, and even dashed illusions that that status conveys. Michael, the passionate lover of Gretta who sang, with a beautiful voice, the maudlin tune of “The Lass of Aughrim” had none of Gabriel’s life of solid — and, perhaps, stolid — respectability and responsibility. Such circumstances change personalities.

But, it is suggested by Joyce’s text, Michael and Gabriel shared little except their love for Gretta. Michael is headlong, talented, in ill-health, but also careless of life. Gabriel is, by comparison, careful, steady, respectable, and bent on the enjoyment of his possessions (especially Gretta) and his raised status compared to many people around him. They seem to be of very different dipositions, and, at the end of the story, Gabriel and the reader are left to think whether Gretta would have been happier with Michael Furey, had he lived.

In the 1970s hit Cabaret, the director, Bob Fosse, successfully uses a variety of filmmaking techniques to draw attention to different aspects of the multifaceted characters. Our understanding of the characters is shaped through the use of techniques ranging from changes in costume to mise-en-scene.

Costuming is one of the most revealing aspects, and we can learn a lot about the characters by looking at the clothes they wear. Sally is a prime example of this. On stage Sally sports sexy, suggestive, revealing attire. She feels that she is divinely decadent and really is an international sensation as the emcee claims. This is reflected by the raunchy, glitzy clothes she wears. Sally tries to carry her femme fatale act on into her everyday life. Her clothing is different from the mainstream and this is Sally’s attempt to be shocking. It shows a certain flamboyance, and self-confidence to wear these distinctive clothes.

However, bit by bit we start to see that the glamorous, decadent Sally is nothing more than a facade behind which a much more troubled, insecure person hides. At crisis points in Sally’s life, she is exposed physically and emotionally as the femme fatale mask is stripped away. After she has had an abortion we see Sally in ordinary clothes. On a visit to her father, the little girl Sally emerges and she dresses normally to please her dad. Sally wears glamorous, revealing clothes when she is in a position where she feels she is glamorous, decadent and so on. In times of reality however, she adopts plain clothes. It is as though her clothing reflects not only her mood and feelings, but also her grasp on reality and submission to illusion.

Brian’s costume is also very reflective of his personality. His well pressed, drab jacket and bland shirt immediately present him as a prim and proper, conventional Briton. As we come to meet Brian we find that this is indeed true. He is reluctant to change, and it takes a while before he accepts Sally’s sexual advances. Brian undergoes one of the biggest changes when he begins to accept Max. Before he fully accepts Max, Brian changes his drab shirt and jacket for a blue sweater, showing that he is undergoing change. Until this point Brian has worn almost exactly the same clothes, highlighting his reluctance to change. By the time Brian is wanting to marry a pregnant Sally, he is a different man from the traditional Englishman we met at the beginning. He parades around wearing only a tie, pants and a hat. At the end when he decides to return to England, to his more reserved lifestyle he has also reverted back to his original plain clothes. The changes in his clothes are symbolic of the changes within him.

The emcee captivates his audience while wearing a smart suit. This consolidates his status as a powerful figure in Cabaret. He knows what will happen in the film, and his god-like position is reinforced by his smart attire. Max’s wealth is evident from his clothing, as are Fritz’s money woes from his frayed cuffs. In Cabaret, the clothing closely reflects the nature of the characters.

The characters’ hair and make-up is also of relevance, and often it too changes with their costumes. The emcee wears a large amount of make-up to accentuate his facial features. His eyebrows are coated in mascara, his face is painted white, he wears vibrant red lipstick and has overly rosy cheeks. He resembles a clown to some extent, or to take it a step further, almost a Shakespearian fool. The emcee plays a role like that of the fool as he dispenses his witty social commentary. Sally’s attempts to dazzle and shock continue on into her hair and makeup. Her unusual fringe and hairstyle are truly unique, her eyes are accentuated and her green nails are almost unmistakeable. Sally wants to attract attention and to appear, as she describes herself, as an “International Woman of Mystery.” Especially in the club, and also in normal life, Sally believes she is this shocking, fantastic person she so desperately wishes to be. Once again, after she returns from her abortion, she is void of her extravagant makeup and the physical exterior behind which she masquerades is gone. The real Sally is exposed. This occurs too when she goes to visit her father. Sally’s makeup is another device she uses to propagate her facade.

Fosse uses mise-en-scene to shape our perceptions of the characters. Music and dancing is key to Sally’s life and her record player is visible in many shots to emphasize this. Sally is a promiscuous girl, and we are reminded of the centrality of her sexual relationships by the central location of her large bed in her room. There is a component of Sally that is truly flamboyant, and this is shown in her room by the presence of living plants. Fosse places barriers in the shots between Sally and Brian right from the beginning, and these barriers allude to the ultimate break-up of their relationship.

Fosse uses editing to great effect to communicate parallels and connections between the characters and between events. One example is when Sally performs Maybe This Time. This song drops Sally’s promiscuous attitude and shows that Sally really does yearn for love. She is not just singing this song, but she really does hope that maybe this time her relationships will work out. This is shown by the intercutting of scenes showing the development of Sally and Brian’s new intimacy. We understand that this is how Sally feels about Brian. This song is also important in terms of the choreography. In the other numbers Sally feels sexy and important as she performs her vivacious, suggestive routine to a large audience. In this song, there are no raunchy moves, nor is there much of an audience. We see that sally is not trying to impress anyone with her apparent decadence. There is no need for her suggestive moves, because this is a song in which she is being herself – someone who longs for love.

When Brian first appears he is immediately connected to the cabaret world through intercutting with scenes of the emcee. The emcee’s god-like role is reinforced by crosscutting, as shots of him smiling sinisterly are shown after noteworthy events have occurred, as if he is saying “I knew that would happen”. The political nature of the emcee’s song, If You Could See Her, and his sympathy to the Jews, is highlighted by the continuation of the song’s music into the next shot, which shows Fritz having made his decision.

Camera angles are key in showing people as being strong and in control, or weak and powerless. After her abortion, Sally is shown from a number of high angles, and as we look down on her we get the impression of her powerlessness. In contrast, the emcee is shown from low angles, and he appears at an elevated position on the stage. This reaffirms the power the emcee possesses, that is the knowledge of what is to come. In Sally’s final song, lighting is used to show her changing emotions. She sings that life is a cabaret but is she ready to have moved on from Brian? A close up of her is shown in which as she sings, the spotlight on her progressively increases in warmth. This change in lighting alerts us to the fact that Sally has indeed committed herself to the cabaret, and is in fact ready to resume her search for stardom.

The techniques used in Cabaret really do give us an insight into the characters of the film. People are presented not only as who they are, but also as who they attempt to be. These techniques allow us to better understand each character, and tell us a lot about how they’re feeling, their desires and emotions. Whether it is through the subtle changes in mise-en-scene or through the blatant differences in choreography or costume, Fosse’s host of film techniques shapes the characters and our understanding of them.

Henry James’ argues that a character is only as interesting as their responses to a particular situation, can be supported by using any written works that a student may encounter, given that the story has at least one character. I intend to prove that the instability of the main characters in each story will ultimately be their downfall. The story “To Build a Fire” by Jack London is about a man struggle with nature and his inability to trust his human instinct, and In Edgar Allen Poe’s story “The Tale-Tell Heart” is about a man who proclaims he is not crazy but plans and executes the murder of an old man.

In the beginning of “To build a Fire” the man realizes how cold the weather is outside but he only sees this as a fact and not a threat to his health. Jack London writes “As he turned to go on, he spat speculatively. There was a sharp, explosive crackle that startled him. He spat again. And again, in the air, before it could fall to the snow, the spittle crackled in the air. Undoubtedly it was colder than fifty below-how much colder he did not know. But the temperature did not matter. ” (120) This is one example where the main character ignores his human instinct and doesn’t bring items that would cover his face and cheekbones.

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Any man with common sense knows to bring the right items for the journey if he’s going to be traveling in weather that will be colder than fifty degrees below zero. While on this trip the man is accompanied by a dog that follows the man on his unadvised journey. The dog uses its natural instinct to outlive the man on this trip. The dog is a native husky and I believe represents pure instinct in this story in which the man doesn’t use at all. The dog knows to bite the ice off of his feet so that they do not become frozen from the harsh conditions.

He buries himself in the snow when the man cannot start a fire because his hands are too cold to pull his matches out of his pocket. With the dogs keen since of smell he knows when the man is dying and understands that the man wants to kill the dog so that he can insert his hands inside the dog’s carcass to warm him up. In this environment the dog is actually smarter than the man because he uses his natural instincts to stay warm and keep himself alive. In “ The Tale-Tell Heart” the narrator in which is assumed to be a man takes care of n old man who I perceived to be rich. For some strange reason, the narrator was obsessed with the old man’s eye. “It was open-wide, wide open-and i grew furious as I gazed upon it. I saw it with perfect distinctness- all a dull blue with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot. ”(414) The old man was going to be murder for his pale blue eye. For seven straight nights at midnight the eye was closed.

It wasn’t until the eight night when the narrator accidently woke the old man up and once the narrator saw that blue eye he began to grow furious and knew that that was the night he had to kill the old man. Normal people would have a look of disgust on their face after committing a murder, but the narrator smiled and then would try and convince himself that he was not mad. After murdering the old man the narrator begins to hear voices in his head. Those voices told him the eye was evil, and that he was doing the right thing. He would also hear a groan of terror many nights at midnight.

The narrator could also hear the old man’s heart, even after he had been murdered. It is impossible to hear a person’s heartbeat with the naked ear. He also thought the police officers were laughing at his horror of the heartbeat. The voices caused him to murder, and then caused him to give into the police when he easily could have gotten away with it. These two main characters both have obstacles to conquer in their own ways. In “To Build a Fire” the main character is fighting and resisting the obvious signs that tell him he should not make the trip in that inclement weather but proceeds anyway.

I believe that the man is so arrogant that it makes him ignorant. It seemed to me that the man felt like he was bigger and better than anyone on this planet and not even nature could endanger him. For that very reason was why the man could not make it to his destination, but the dog in which he tried to kill not only survived but also made it to the destination. In “The Tale-Tell Heart” instead of a fight with nature the narrator is fighting with the voice inside his head or yet another personality.

I believe that by day the narrator was a normal man who really cared about taking care of the old man, but by night his alter ego would kick in and basically talk control of his mind. That is why the story keeps going back and forth with trying to convince the reader of his sanity. Although both of the stories are different, the main character mind frames are both fragile and unstable. The may not be fighting the same fight but they are fighting something whether it be nature or the voices in there head. Throughout both of the stories the characters do thing that make the reader wonder. It just goes to show how unstable each character is.

Edith Wharton’s The Age of Innocence (1920) is a detailed depiction of social conventions and decorum of the high society of New York during the late 19th century. One of the central themes of the novel is the struggle of an individual inside a rigid society. Order, loyalty, tradition and duty are the values upheld by the society where Newland Archer grew up. He is a lawyer, engaged to be married to May Welland, raised to be a perfect wife and mother according to society’s standards (Wharton, 1998).

These same rules and standards dictate that she pretends to be ignorant of her fiance’s feelings toward Countess Ellen Olenska. For a long time, Newland and Ellen had to sacrifice their desires and feelings in order to maintain order in society. Society in The Age of Innocence shapes and directs the life of an individual, sacrificing what they truly want and truly believe in. Society’s forms and conventions decide how one should think and behave. Society’s primary agent of its laws is the family, specifically the old money families belonging to the high society New York.

These are the families with inherited wealth which separates them from the lower class. Their wealth is an important dimension in stratification because it ensures the financial stability of the future generation of the family. Their “old money” allows them a luxurious lifestyle without having the need to work. The greatest manifestation of the importance of order is seen in family. It is the foremost duty of the individual to promote and protect the harmony of his/her blood and marital relationships.

The family disapproved Ellen’s decision to divorce his husband despite his being abusive and cruel to her. For them, it was just natural to endure little sacrifices to maintain the family. By going against their principles, she became an outcast; someone who is pitiful. At first, Newland was hesitant to be associated with Ellen. She has a bad reputation and he wanted nothing to do with her. However, the family expected him to help bring Ellen out in the public so he was forced to enter the Mingott’s opera box and introduce himself.

And of course eventually, they hide their true feelings in fear of hurting their family. Following this duty to the family and society, a code of morality dictates the actions and thinking of the individual in whatever aspect of his/her life. May informed Newland of her passion by letting him guess that she “cares” for him as this is the only way a love of a young unmarried woman should be declared. She must conform to society’s perfect portrayal of a young maiden ? sexually innocent and ignorant on matters about affairs and passion (Barker-Benfield, 2000).

She was fist seen with white lilies in the valley, unaware of sexual implications of the scenes in the play she is watching. Later in the book, it was established that from the start she was aware of Newland’s feelings towards the Countess but she chose to remain silent and follow the code of ignorance. Despite this knowledge, her wedding at Grace Church must continue to maintain the order on how things should be done. Newland has his own list of socially mandated duties according to Lawrence Lefferts and Sillerton Jackson, expert on manners and expert on family matters, respectively.

Order in society is maintained through these rarefied practices to continue the continued existence of the civilization. The social code is strictly enforced by society which compromises the personal freedom of the individual (Charles, Davies & Harris, 2008). Sometimes a family member has to let go of his/her personal wants and follow the decision of the family to avoid economic and political sanctions. Newland and Ellen could not pursue each other in order to maintain their social integrity. Even a simple walk together cannot be done without arousing suspicion.

To be divorced to a husband is frowned by society eventhough that husband treats you badly, go out with other women even men. Her family wanted her to seek reconciliation with her husband in order to reaffirm the values of society. When she refused to do so, they cut off her allowance as a consequence for her decision. In the end, Ellen chose to maintain her individuality by leaving America, a price she had to pay. She was forced out of New York, condemned by her own family, who believed that she and Newland are having a secret affair.

Newland defended the right of Ellen to be with another man: ” ‘I’m sick of the hypocrisy that would bury alive a woman of her age if her husband prefers to live with harlots… Women ought to be free – as free as we are,’ he declared, making a discovery of which he was too irritated to measure the terrific consequences. ” (Wharton, Book One, Chapter 5, p. 35) He condemned the double-standard prevalent in the society where a man can seek sexual pleasures outside a failed marriage but the woman cannot.

He may have progressive views but he was unaware of their implications in his own very traditional marriage. But these codes exist not without loopholes. Those who found these loopholes are often despised but still accepted in the society. Hypocrisy is common and rampant in Old New York high society. Families attend balls and gatherings hosted by the same person they contempt for being so common who they would gladly exile following the collapse of his business. Lawrence Lefferts claims to be an expert in Christian virtues while snubbing Ellen for being a divorcee.

Newland is aware that if he leaves May for Ellen, society’s sympathy will pour for May. She told Ellen of her pregnancy despite being unsure of it to drive her away from Newland. She was aware of Newland’s passion for Ellen but did not say anything. This society, with its rigid rules and conventions, was challenged by the arrival of a new society symbolized by the Beauforts and Countess Ellen Olenska. Though they were not successful in blending and harmonizing with the old society’s tradition, they opened new possibilities of otherwise closed-minded individuals.

Towards the end of the novel, it became clear that a new order has taken over with fresh ideas and movements. They began to consider and attribute importance to different things such as interesting and artistic people. There was an obvious change of attitude to people like the Beauforts. Beaufort’s illegitimate daughter, Fanny, and her marriage with Dallas Archer were not objected by society. In fact they were fond of her bright personality. Society did not post any obstacle to Newland and Ellen being together but Newland was so stuck in the past that he failed to recognize that time has changed.

Form refers to the shape or configuration of a building, it is three dimensional and encloses space (Crisman 2016). Having background knowledge about form and style characteristics from formal lectures, it is easier for one to be able to describe a building in terms of its three dimensionalism and the styles that have been used to give the building character. Going to see the building in person, walking around and in it enabled one to quickly spot these characters of the building just by looking at it. There are free forms and geometrical forms (Crisman 2016), in this case when analysing the form of the Johannesburg art gallery (JAG) building it is clear that it is a geometrical form.

Geometrical form is basically composed of basic geometrical shapes that are interlinked to form the plan of the JAG building (Ching 1943:36). As seen in the figures above the floor plan that is encrusted on the floor right in front of the newly pronounced front entrance as well as the floor plan right next to it show different regular shapes such as the circle, square and rectangle interlinked to form the base of the building form.

According to design principles the form of a building should relate to its intended function. In the encrusted plan on the JAG grounds it is clear that it was to be a symmetrical form which indicates that it would be used as a formal and orderly building. This suggests to ‘one that form related greatly to the function or the purpose of the building the architect used additive, subtractive and interlinking forms (Ching 1943:197). The architect Sir Edwin Lutyens supplied the plans of the foundations at the time that the laying of the foundation stone had started on 11 0ctober 1911 (Carman 2003:231).

The construction was delayed and in 1915 the unfinished building opened for use. At this point the form of the building was incomplete until in 1940 when the side wings which are the east west wings of the building were added according to Lutyens original design. Though it can be argued it is clear to the eye that the stylistic characteristics of the building changed due to the addition by different architects. The building shows clearly with the mid section which was the part built by lutyen that it carried a lot of classical styles to it.

Though they were different classical styles mixed together it was quite evident which direction Lutyen wanted to take. The wings that were added however were very modern as opposed to the classical mid section of the building , this clearly shows to those with deeper knowledge in art and architecture that this building was built by different architects using the same plan(Carman 2003:231).

Figure1: Janek Szymanowski(photographer), Johannesburg Art Gallery-wiki loves monuments,1988

The JAG building has a variety of styles that were used to design the building. With background knowledge it was identified that the classical, neo classical and baroque styles were used in the South Entrance which was once the main entrance. A writer from Chadwicks “home of the building Materials”(2016) states that there is one common link between these three styles that allows one to Identify them, the Pediment. In figure 1 above is the south entrance that shows the Pediment. The pediment is found in a lot of Classical Greek architecture like the temples as well as baroque architecture as one of the key elements of the stylistic characterstics e.g The Palace of Versailles. (Chadwicks 2016)

Cath everett(photographer), IBTimes-My South African Adventure, 2014

The second style identified in the design of the JAG building is small elements of the Victorian style. There is a hexagonal skylight structure atop the roof that is built like a spherical bay window. Bay windows are a key element in the Victorian building style in architecture. It is very classical but has also been used in today’s morden residential apartments and houses. It can be easily incorporated in a few architecture styles (Chadwicks 2016). The third is the Romanisque style.

The key elements identified are the rounded archs found at the North entrance of the building as well as the walls at the south entrance side. There are also repetitive rows of rounded arches which are well found within the Roman built structures. Inside the building there are also columns found in the corners of the exhibition rooms with floral and foliage stone decoration. These stone decorations are strongly identified as the different classes represented by the columns mainly the Doric, Ionic and the Corinthian (Chadwicks 2016). The fourth style identified is the Bauhaus style originally from Germany formed in the 1900’s.

The Bauhaus principle of cubic shapes is found in the plan of the building as well as the east and west wing of the building. Other key elements are the open floor plans and the glass curtain walls. the inside of the gallery there are exhibition rooms that are open plan meaning than if any special additions are needed they can be added without a doubt. These rooms can be altered and remodeld if need be. It is also possible to house free standing exhibition stands as the space and the volume allows it. On the lower level of the building in the east and the west wing glass curtains were added but can barely be seen on the outside.

These glass curtains allow daylight to come through but not direct sunlight as other parts of the building have stood infront and on a higher level than the position of the glass curtains walls ( Chadwicks 2016). The fourth style is the Neo classical style identified by the Granduer of scale, black walls excessive use of columns, large building and clean lines. This building enormous in size with high volume. Proportion has been used skilfully. The cielings are as high as 4m and very spacious.

The architect was able to play around with scale well to emphasize its size. Different order columns are identified within the building as well as the outside. The orders have been mixed where the doric and the corinthian has been mixed together or the ionic and the corinthian together. They are either carved out of the walls at the corners or supporting the pediment on the south entrance as well as the entrances from the courtyard. The fifth is the Renaissance, its key elements are square buildings, flat cielings, classical mortifs arches and domes, Roman columns and an enclosed courtyard.

The building is comprised of squares linked together showed on the plans, these squres indicate the rooms that are squares on the inside. There are also a lot of exhibition rooms that are four cornerd with clean lined walls. in some parts it is a generally square building with a little bit of curved walls here and there. In the courtyard as well as the wings of the building there are walls that have flat roofs. Majority of the buildings have flat roofs. The cielings however have decorative elements to them and some with bulk heads very few plain ones in the lower level west and east wings.

The courtyard is enclosed but not completely as it has steel frames on the roofing without a solid material that can fully enclose it. The sixth style that dominates half of the building is Mordenism. This is a movement at the turn of the 20th century.an umbrella term for styles such as futurism, post mordenism and new classical. The key elements found in these styles are lack of decorative elements, use of modern materials, interaction of exterior and interior spaces, use of sun and shading( passive design strategies) as well as using glass and natural lighting. The east and the west wing have less decorative elements than the initial part of the building before the extentions,. This building comprises of all these different stylistic characters from from different eras