Academic literature on the topic 'Cambridge School of Domestic Architecture and Landscape Architecture'

Kevin D. Murphy reexamines the introduction of European modern architecture in New England during the late 1920s and 1930s. Emphasizing the importance of regional vernacular forms to the reformulation and popularization of modernism, The Vernacular Moment: Eleanor Raymond, Walter Gropius, and New England Modernism between the Wars also highlights Raymond's pioneering role in this process. A decade before Gropius associated modernism with New England's vernacular building tradition in the choice of materials for his own house in Lincoln, Massachusetts (1938), the design of the Cambridge School of Architecture (1928), to which Raymond contributed, had brought together modernism with both industrial and domestic vernacular idioms. Closely analyzing the architecture and written statements of Gropius and Raymond, the article explores how the architects grounded their modernism in tradition and created well-publicized buildings that served their pedagogic purposes.

The article deals with the identification of terms that define the style of the Main Building of the Taras Shevchenko National University of Kyiv in domestic and foreign scientific literature, for their further use in the search for architectural analogues for the purposes of landscape design. Since the development of classics in architecture is characterized by heterogeneity in different countries and at different times, the study is based on an analysis of the periodization systems of development of the classical style adopted within domestic and foreign scientific schools. At the first stage, the article describes the domestic scientific system of periodization and shows that a simple chronological definition of the style of the Red Building does not provide the correct result. Therefore, an analysis was made with a comparison of the architectural image of the main building of the University and other classical buildings for which the style is precisely identified. Such an approach made it possible to establish the belonging of the Red Building to the number of architectural objects, the style of which corresponds to strict classicism. At the second stage, the domestic periodization system is compared with its Western counterparts. This allowed us to identify a group of terms used in foreign scientific schools, in particular in Germany and England, for identifying structures with stylistic signs of strict classicism. Thereafter it was analyzed the similarities and fundamental differences in the names of the period of development of foreign classical architecture, corresponding to strict classicism in the domestic architecture. There was demonstrated both the similarity of the terms of the national school with the terms used to refer to strict classicism in Germany and terminological differences in the domestic and English-language literature. In addition it was considered several foreign analogs of the term "strict classicism", which have received wide scientific scattering, but not included in the generally accepted periodization systems of the development of classical architecture .

This paper offers a rights-based analysis of the equity of educational experience allocated to young people excluded from school in Northern Ireland. Using Tomaševski’s ‘4As scheme’ as a conceptual guide, the availability, accessibility, acceptability and adaptability of alternative education provision is examined. The article begins with a brief overview of the contextual landscape within which the sector operates, alluding to the definitional and procedural difficulties that have hindered the delivery of equitable alternative education services to date, before an examination of the current legal architecture within which the right to education may be given further realisation is detailed. The latter part of the article considers the extent to which the organisation, management and delivery of the EOTAS sector is rights-compliant, before concluding that the right to education, as it stands under domestic and international law, does not extend far enough to ensure and protect the educational entitlements of children excluded from school.

This essay explores the Mecca, one of Chicago's largest nineteenth-century apartment houses. Designed in 1891, the Mecca's innovative plan incorporated an exterior landscaped courtyard and two monumental interior atria. The form and meaning of these spaces diverged in important respects. The exterior courtyards appropriated aspects of the single-family residential form and domestic ideology. The interior atria relied on Chicago skyscraper models and their cosmopolitan approach to the possibilities of density. Exterior courtyards later proliferated, while atria appeared in only two other local residential buildings. Nevertheless, the Mecca's atria possessed a sense of place that deeply etched the building into Chicago's cultural and political landscape. The building became the subject of 1920s blues improvisation-the "Mecca Flat Blues." In the 1940s and 1950s tenants waged a decadelong Mecca preservation campaign. Housing rather than Chicago School aesthetics provided the preservationists with their point of departure. Race interesected with space and Mies van der Rohe's vision of modern urbanism to seal the Mecca's fate. The essay's methodology develops the social and cultural meaning of form. Moreover, it demonstrates the importance of pushing architectural history beyond the nexus of meaning created by original patrons and designers. We stand to learn a great deal about architectural and urban history by studying how people have defined and redefined, valued and devalued, their buildings, cities, and landscapes.

Early childhood emotional dysregulation is critical in recognizing and preventing psychological well-being disorders, laying the groundwork for developing healthy emotional behaviors early on. This study aims to determine the direct influence of smartphone addiction, executive function, and the mother-child relationship on emotional dysregulation in early childhood in West Sumatra. This research method is a quantitative survey. The data collection technique in this research uses a questionnaire design on 309 parents who were selected using a simple random sampling method. This data processing tool uses the SmartPLS software. The results of the study indicate that smartphone addiction has a significant impact on emotional dysregulation in early childhood, executive function has a positive and significant effect on emotional dysregulation in early childhood, and the mother-child relationship has a positive and significant influence on emotional dysregulation in early childhood. The findings of this research can offer valuable insights into improving the understanding of the factors that influence emotional dysregulation in early childhood and intervention strategies to address the issues that arise as a result. Keywords: smartphone addiction, executive function, mother-child relationship, emotional dysregulation, early childhood References: Aisyah, Salehudin, M., Yatun, S., Yani, Komariah, D. L., Aminda, N. E. R., Hidayati, P., & Latifah, N. (2021). Persepsi Orang Tua Dalam Pendidikan karakter Anak Usia Dini Pada Pembelajaran Online di Masa Pandemi Covid-19. PEDAGOGI: Jurnal Anak Usia Dini Dan Pendidikan Anak Usia Dini, 7(1), 60–75. https://doi.org/http://dx.doi.org/10.30651/pedagogi.v7i1.6593 Allison, S. Z. (2023). Islamic Educational Provisions in South Korea and Indonesia : A Comparison. Journal of Islamic Education Students, 3, 50–61. https://doi.org/10.31958/jies.v3i1.8772 Anggraini, E. (2019). Mengatasi Kecanduan Gadget Pada Anak. Serayu Publishing. Annisa, N., Padilah, N., Rulita, R., & Yuniar, R. (2022). Dampak Gadget Terhadap Perkembangan Anak Usia Dini. Jurnal Pendidikan Indonesia, 3(9), 837–849. https://doi.org/10.36418/japendi.v3i9.1159 Annisavitry, Y., & Budiani, M. S. (2006). Hubungan antara Kematangan Emosi dengan Agresivitas pada Remaja. 1–6. Anzani, R. W., & Intan Khairul Insan. (2020). Perkembangan sosial emosi pada anak usia prasekolah. Jurnal Pendidikan Dan Dakwah, 02, 180–193. APJII. (2019). Pengguna Internet Indonesia Hampir Tembus 200 Juta di 2019. Asosiasi Pengguna Jasa Internet Indonesia (APJII). https://blog.apjii.or.id/index.php/2020/11/09/siaran-pers-pengguna-internet-indonesia-hampir-tembus-200-juta-di-2019-q2-2020/ Aryanti, Z. (2017). Kelekatan dalam perkembangan anak. Arbawiyah: Jurnal Ilmiah Pendidikan. Ashari, L. F., & Anwar, F. (2022). Moral Problems and Mothers’ Efforts to Educate Children in Single Parent Families. 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Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of the gameplay experience. In doing so I propose that an understanding of aesthetic spatial issues as an element of player interactivity and engagement is important for understanding the cultural practice of adventure gameplay. In approaching these questions, I am focussing on the single-player exploration adventure game in particular Myst and The Crystal Key. In describing these games as adventures I am drawing on Chris Crawford's The Art of Computer Game Design, which although a little dated, focusses on game design as a distinct activity. He brings together a theoretical approach with extensive experience as a game designer himself (Excalibur, Legionnaire, Gossip). Whilst at Atari he also worked with Brenda Laurel, a key theorist in the area of computer design and dramatic structure. Adventure games such as Myst and The Crystal Key might form a sub-genre in Chris Crawford's taxonomy of computer game design. Although they use the main conventions of the adventure game -- essentially a puzzle to be solved with characters within a story context -- the main focus and source of pleasure for the player is exploration, particularly the exploration of worlds or cosmologies. The main gameplay of both games is to travel through worlds solving clues, picking up objects, and interacting with other characters. In Myst the player has to solve the riddle of the world they have entered -- as the CD-ROM insert states "Now you're here, wherever here is, with no option but to explore." The goal, as the player must work out, is to release the father Atrus from prison by bringing magic pages of a book to different locations in the worlds. Hints are offered by broken-up, disrupted video clips shown throughout the game. In The Crystal Key, the player as test pilot has to save a civilisation by finding clues, picking up objects, mending ships and defeating an opponent. The questions foregrounded by a focus on the aesthetics of navigation are: What types of representational context are being set up? What choices have designers made about representational context? How are the players positioned within these spaces? What are the implications for the player's sense of orientation and navigation? Architectural Fabrication For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. The creation of a digital architecture in adventure games mimics the Pompeii wall paintings with their interplay of extruded and painted features. In visualising the space of a cosmology, the environment starts to be coded like the urban or built environment with underlying geometry and textured surface or dressing. In The Making of Myst (packaged with the CD-ROM) Chuck Carter, the artist on Myst, outlines the process of creating Myst Island through painting the terrain in grey scale then extruding the features and adding textural render -- a methodology that lends itself to a hybrid of architectural and painted geometry. Examples of external architecture and of internal room design can be viewed online. In the spatial organisation of the murals of Pompeii and later Rome, orthogonals converged towards several vertical axes showing multiple points of view simultaneously. During the high Renaissance, notions of perspective developed into a more formal system known as the construzione legittima or legitimate construction. This assumed a singular position of the on-looker standing in the same place as that occupied by the artist when the painting was constructed. In Myst there is an exaggeration of the underlying structuring technique of the construzione legittima with its emphasis on geometry and mathematics. The player looks down at a slight angle onto the screen from a fixed vantage point and is signified as being within the cosmological expanse, either in off-screen space or as the cursor. Within the cosmology, the island as built environment appears as though viewed through an enlarging lens, creating the precision and coldness of a Piero della Francesca painting. Myst mixes flat and three-dimensional forms of imagery on the same screen -- the flat, sketchy portrayal of the trees of Myst Island exists side-by-side with the monumental architectural buildings and landscape design structures created in Macromodel. This image shows the flat, almost expressionistic trees of Myst Island juxtaposed with a fountain rendered in high detail. This recalls the work of Giotto in the Arena chapel. In Joachim's Dream, objects and buildings have depth, but trees, plants and sky -- the space in-between objects -- is flat. Myst Island conjures up the realm of a magic, realist space with obsolete artefacts, classic architectural styles (the Albert Hall as the domed launch pad, the British Museum as the library, the vernacular cottage in the wood), mechanical wonders, miniature ships, fountains, wells, macabre torture instruments, ziggurat-like towers, symbols and odd numerological codes. Adam Mates describes it as "that beautiful piece of brain-deadening sticky-sweet eye-candy" but more than mere eye-candy or graphic verisimilitude, it is the mix of cultural ingredients and signs that makes Myst an intriguing place to play. The buildings in The Crystal Key, an exploratory adventure game in a similar genre to Myst, celebrate the machine aesthetic and modernism with Buckminster Fuller style geodesic structures, the bombe shape, exposed ducting, glass and steel, interiors with movable room partitions and abstract expressionist decorations. An image of one of these modernist structures is available online. The Crystal Key uses QuickTime VR panoramas to construct the exterior and interior spaces. Different from the sharp detail of Myst's structures, the focus changes from sharp in wide shot to soft focus in close up, with hot-spot objects rendered in trompe l'oeil detail. The Tactility of Objects "The aim of trompe l'oeil -- using the term in its widest sense and applying it to both painting and objects -- is primarily to puzzle and to mystify" (Battersby 19). In the 15th century, Brunelleschi invented a screen with central apparatus in order to obtain exact perspective -- the monocular vision of the camera obscura. During the 17th century, there was a renewed interest in optics by the Dutch artists of the Rembrandt school (inspired by instruments developed for Dutch seafaring ventures), in particular Vermeer, Hoogstraten, de Hooch and Dou. Gerard Dou's painting of a woman chopping onions shows this. These artists were experimenting with interior perspective and trompe l'oeil in order to depict the minutia of the middle-class, domestic interior. Within these luminous interiors, with their receding tiles and domestic furniture, is an elevation of the significance of rhyparography. In the Girl Chopping Onions of 1646 by Gerard Dou the small things are emphasised -- the group of onions, candlestick holder, dead fowl, metal pitcher, and bird cage. Trompe l'oeil as an illusionist strategy is taken up in the worlds of Myst, The Crystal Key and others in the adventure game genre. Traditionally, the fascination of trompe l'oeil rests upon the tension between the actual painting and the scam; the physical structures and the faux painted structures call for the viewer to step closer to wave at a fly or test if the glass had actually broken in the frame. Mirian Milman describes trompe l'oeil painting in the following manner: "the repertory of trompe-l'oeil painting is made up of obsessive elements, it represents a reality immobilised by nails, held in the grip of death, corroded by time, glimpsed through half-open doors or curtains, containing messages that are sometimes unreadable, allusions that are often misunderstood, and a disorder of seemingly familiar and yet remote objects" (105). Her description could be a scene from Myst with in its suggestion of theatricality, rich texture and illusionistic play of riddle or puzzle. In the trompe l'oeil painterly device known as cartellino, niches and recesses in the wall are represented with projecting elements and mock bas-relief. This architectural trickery is simulated in the digital imaging of extruded and painting elements to give depth to an interior or an object. Other techniques common to trompe l'oeil -- doors, shadowy depths and staircases, half opened cupboard, and paintings often with drapes and curtains to suggest a layering of planes -- are used throughout Myst as transition points. In the trompe l'oeil paintings, these transition points were often framed with curtains or drapes that appeared to be from the spectator space -- creating a painting of a painting effect. Myst is rich in this suggestion of worlds within worlds through the framing gesture afforded by windows, doors, picture frames, bookcases and fireplaces. Views from a window -- a distant landscape or a domestic view, a common device for trompe l'oeil -- are used in Myst to represent passageways and transitions onto different levels. Vertical space is critical for extending navigation beyond the horizontal through the terraced landscape -- the tower, antechamber, dungeon, cellars and lifts of the fictional world. Screen shots show the use of the curve, light diffusion and terracing to invite the player. In The Crystal Key vertical space is limited to the extent of the QTVR tilt making navigation more of a horizontal experience. Out-Stilling the Still Dutch and Flemish miniatures of the 17th century give the impression of being viewed from above and through a focussing lens. As Mastai notes: "trompe l'oeil, therefore is not merely a certain kind of still life painting, it should in fact 'out-still' the stillest of still lifes" (156). The intricate detailing of objects rendered in higher resolution than the background elements creates a type of hyper-reality that is used in Myst to emphasise the physicality and actuality of objects. This ultimately enlarges the sense of space between objects and codes them as elements of significance within the gameplay. The obsessive, almost fetishistic, detailed displays of material artefacts recall the curiosity cabinets of Fabritius and Hoogstraten. The mechanical world of Myst replicates the Dutch 17th century fascination with the optical devices of the telescope, the convex mirror and the prism, by coding them as key signifiers/icons in the frame. In his peepshow of 1660, Hoogstraten plays with an enigma and optical illusion of a Dutch domestic interior seen as though through the wrong end of a telescope. Using the anamorphic effect, the image only makes sense from one vantage point -- an effect which has a contemporary counterpart in the digital morphing widely used in adventure games. The use of crumbled or folded paper standing out from the plane surface of the canvas was a recurring motif of the Vanitas trompe l'oeil paintings. The highly detailed representation and organisation of objects in the Vanitas pictures contained the narrative or symbology of a religious or moral tale. (As in this example by Hoogstraten.) In the cosmology of Myst and The Crystal Key, paper contains the narrative of the back-story lovingly represented in scrolls, books and curled paper messages. The entry into Myst is through the pages of an open book, and throughout the game, books occupy a privileged position as holders of stories and secrets that are used to unlock the puzzles of the game. Myst can be read as a Dantesque, labyrinthine journey with its rich tapestry of images, its multi-level historical associations and battle of good and evil. Indeed the developers, brothers Robyn and Rand Miller, had a fertile background to draw on, from a childhood spent travelling to Bible churches with their nondenominational preacher father. The Diorama as System Event The diorama (story in the round) or mechanical exhibit invented by Daguerre in the 19th century created a mini-cosmology with player anticipation, action and narrative. It functioned as a mini-theatre (with the spectator forming the fourth wall), offering a peek into mini-episodes from foreign worlds of experience. The Musée Mechanique in San Francisco has dioramas of the Chinese opium den, party on the captain's boat, French execution scenes and ghostly graveyard episodes amongst its many offerings, including a still showing an upper class dancing party called A Message from the Sea. These function in tandem with other forbidden pleasures of the late 19th century -- public displays of the dead, waxwork museums and kinetescope flip cards with their voyeuristic "What the Butler Saw", and "What the Maid Did on Her Day Off" tropes. Myst, along with The 7th Guest, Doom and Tomb Raider show a similar taste for verisimilitude and the macabre. However, the pre-rendered scenes of Myst and The Crystal Key allow for more diorama like elaborate and embellished details compared to the emphasis on speed in the real-time-rendered graphics of the shoot-'em-ups. In the gameplay of adventure games, animated moments function as rewards or responsive system events: allowing the player to navigate through the seemingly solid wall; enabling curtains to be swung back, passageways to appear, doors to open, bookcases to disappear. These short sequences resemble the techniques used in mechanical dioramas where a coin placed in the slot enables a curtain or doorway to open revealing a miniature narrative or tableau -- the closure of the narrative resulting in the doorway shutting or the curtain being pulled over again. These repeating cycles of contemplation-action-closure offer the player one of the rewards of the puzzle solution. The sense of verisimilitude and immersion in these scenes is underscored by the addition of sound effects (doors slamming, lifts creaking, room atmosphere) and music. Geographic Locomotion Static imagery is the standard backdrop of the navigable space of the cosmology game landscape. Myst used a virtual camera around a virtual set to create a sequence of still camera shots for each point of view. The use of the still image lends itself to a sense of the tableauesque -- the moment frozen in time. These tableauesque moments tend towards the clean and anaesthetic, lacking any evidence of the player's visceral presence or of other human habitation. The player's navigation from one tableau screen to the next takes the form of a 'cyber-leap' or visual jump cut. These jumps -- forward, backwards, up, down, west, east -- follow on from the geographic orientation of the early text-based adventure games. In their graphic form, they reveal a new framing angle or point of view on the scene whilst ignoring the rules of classical continuity editing. Games such as The Crystal Key show the player's movement through space (from one QTVR node to another) by employing a disorientating fast zoom, as though from the perspective of a supercharged wheelchair. Rather than reconciling the player to the state of movement, this technique tends to draw attention to the technologies of the programming apparatus. The Crystal Key sets up a meticulous screen language similar to filmic dramatic conventions then breaks its own conventions by allowing the player to jump out of the crashed spaceship through the still intact window. The landscape in adventure games is always partial, cropped and fragmented. The player has to try and map the geographical relationship of the environment in order to understand where they are and how to proceed (or go back). Examples include selecting the number of marker switches on the island to receive Atrus's message and the orientation of Myst's tower in the library map to obtain key clues. A screenshot shows the arrival point in Myst from the dock. In comprehending the landscape, which has no centre, the player has to create a mental map of the environment by sorting significant connecting elements into chunks of spatial elements similar to a Guy Debord Situationist map. Playing the Flaneur The player in Myst can afford to saunter through the landscape, meandering at a more leisurely pace that would be possible in a competitive shoot-'em-up, behaving as a type of flaneur. The image of the flaneur as described by Baudelaire motions towards fin de siècle decadence, the image of the socially marginal, the dispossessed aristocrat wandering the urban landscape ready for adventure and unusual exploits. This develops into the idea of the artist as observer meandering through city spaces and using the power of memory in evoking what is observed for translation into paintings, writing or poetry. In Myst, the player as flaneur, rather than creating paintings or writing, is scanning the landscape for clues, witnessing objects, possible hints and pick-ups. The numbers in the keypad in the antechamber, the notes from Atrus, the handles on the island marker, the tower in the forest and the miniature ship in the fountain all form part of a mnemomic trompe l'oeil. A screenshot shows the path to the library with one of the island markers and the note from Atrus. In the world of Myst, the player has no avatar presence and wanders around a seemingly unpeopled landscape -- strolling as a tourist venturing into the unknown -- creating and storing a mental map of objects and places. In places these become items for collection -- cultural icons with an emphasised materiality. In The Crystal Key iconography they appear at the bottom of the screen pulsing with relevance when active. A screenshot shows a view to a distant forest with the "pick-ups" at the bottom of the screen. This process of accumulation and synthesis suggests a Surrealist version of Joseph Cornell's strolls around Manhattan -- collecting, shifting and organising objects into significance. In his 1982 taxonomy of game design, Chris Crawford argues that without competition these worlds are not really games at all. That was before the existence of the Myst adventure sub-genre where the pleasures of the flaneur are a particular aspect of the gameplay pleasures outside of the rules of win/loose, combat and dominance. By turning the landscape itself into a pathway of significance signs and symbols, Myst, The Crystal Key and other games in the sub-genre offer different types of pleasures from combat or sport -- the pleasures of the stroll -- the player as observer and cultural explorer. References Battersby, M. Trompe L'Oeil: The Eye Deceived. New York: St. Martin's, 1974. Crawford, C. The Art of Computer Game Design. Original publication 1982, book out of print. 15 Oct. 2000 <http://members.nbci.com/kalid/art/art.php>. Darley Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. Lunenfeld, P. Digital Dialectic: New Essays on New Media. Cambridge, Mass.: MIT P 1999. Mates, A. Effective Illusory Worlds: A Comparative Analysis of Interfaces in Contemporary Interactive Fiction. 1998. 15 Oct. 2000 <http://www.wwa.com/~mathes/stuff/writings>. Mastai, M. L. d'Orange. Illusion in Art, Trompe L'Oeil: A History of Pictorial Illusion. New York: Abaris, 1975. Miller, Robyn and Rand. "The Making of Myst." Myst. Cyan and Broderbund, 1993. Milman, M. Trompe-L'Oeil: The Illusion of Reality. New York: Skira Rizzoli, 1982. Murray, J. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Simon and Schuster, 1997. Wertheim, M. The Pearly Gates of Cyberspace: A History of Cyberspace from Dante to the Internet. Sydney: Doubleday, 1999. Game References 7th Guest. Trilobyte, Inc., distributed by Virgin Games, 1993. Doom. Id Software, 1992. Excalibur. Chris Crawford, 1982. Myst. Cyan and Broderbund, 1993. Tomb Raider. Core Design and Eidos Interactive, 1996. The Crystal Key. Dreamcatcher Interactive, 1999. Citation reference for this article MLA style: Bernadette Flynn. "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/navigation.php>. Chicago style: Bernadette Flynn, "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]). APA style: Bernadette Flynn. (2000) Towards an aesthetics of navigation -- spatial organisation in the cosmology of the adventure game. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]).

The word ‘education’ is defined to be: ‘the process of receiving or giving systematic instruction, especially at a school or university’ by the Cambridge Dictionary. And this is supposedly the definition of what we do at the MSA as well as every other university. Except there is that other layer of learning that weaves its importance into the fabric of our everyday educational experience. The participation model of students at the MSA is exemplary in the German higher education landscape, as the student body takes an important place in responsibility and organization of the Münster School of Architecture. It is thanks to active student involvement in important tasks, faculty policy decisions and representation of the school, that it is a distinguish part of the MSA.

This paper aims to study the existing network security framework of Philippine Smart Campuses and propose a more robust network security framework based on situational awareness which addresses emerging security challenges. By investigating and analyzing the current state of smart campus construction in the Philippines, the paper reveals the current problems and vulnerabilities in network security. As educational institutions increasingly adopt smart technologies, the need for a robust cybersecurity framework to protect sensitive data and ensure smooth campus operations becomes crucial. Consequently, a comprehensive network security framework is urgently needed to safeguard vital data and maintain the secure operation of smart campuses in the Philippines. It designs a comprehensive and effective network security framework by integrating relevant domestic and international research findings and experiences. The SA framework encompasses multiple security layers, including access control, authentication mechanisms, intrusion detection systems, and incident response. Results demonstrate the significant impact of the proposed cybersecurity framework on enhancing the security of Philippine Smart Campuses. The findings of this study contribute valuable guidance to the development of network security for Philippine smart campuses. By addressing the current network security landscape, identifying challenges, conducting a literature review, and designing the framework, this research presents a more robust network security framework and verifies its effectiveness through implementation. The framework leverages various security technologies and methods such as situational awareness, and zero-trust technology to enhance the security and reliability of smart campus networks. Moreover, it provides substantial support for securing smart campuses in the Philippines, ensuring the integrity of school data, and facilitating sustainable growth.

В данной статье авторами рассматривается международный и отечественный опыт продвижения зеленых образовательных организации, при котором реализуется активное взаимодействие зданий образовательных учреждений и природных элементов. Особое внимание уделяется включению природных элементов в школьную архитектуру и опосредованно в учебный процесс. Данное направление реализуется технологиями «зеленого строительства», позволяющими создавать устойчивую архитектурную среду зданий и комплексов, которая сохраняет, и улучшает природную среду. При проектировании и строительстве учитываются особенности природного ландшафта, природные элементы и растительность, характерные для данной территории. Также авторами обосновываются роль и значение продвижения зеленых образовательных учреждений в разных странах, целью которого является стабилизация отношений человека и окружающей среды, попытка гармонизации отношений «человек – природа». Ключевые слова: зеленые образовательные организации, образование для устойчивого развития, экологическое просвещение, зеленое строительство. Бұл мақалада авторлар білім беру мекемелерінің ғимараттары мен табиғи элементтердің белсенді ӛзара әрекеттесуі жүзеге асырылатын жасыл білім беру ұйымдарын ілгерілетудің халықаралық және отандық тәжірибесін қарастырады. Бұл ретте табиғи элементтерді мектеп сәулетіне және оқу процесіне жанама түрде енгізуге ерекше кӛңіл бӛлінеді. Бұл бағыт табиғи ортаны сақтайтын және жақсартатын ғимараттар мен кешендердің тұрақты сәулеттік ортасын құруға мүмкіндік беретін «жасыл құрылыс» технологияларымен жүзеге асырылады. Жобалау және салу кезінде берілген аумаққа тән табиғи ландшафттың, табиғи элементтердің және ӛсімдік жамылғысының ерекшеліктері ескеріледі. Сондай-ақ авторлар әртүрлі елдердегі жасыл білім беру мекемелерін ілгерілетудің рӛлі мен маңыздылығын негіздейді, оның мақсаты адам мен қоршаған орта арасындағы қарым-қатынасты тұрақтандыру, «адам – табиғат» қарым-қатынасын үйлестіру әрекеті. Тҥйін сҿздер: жасыл білім беру ұйымдары, тұрақты даму үшін білім беру, экологиялық білім, жасыл құрылыс. In this article, the authors consider international and domestic experience in promoting green educational organizations, in which the active interaction of buildings of educational institutions and natural elements is realized. At the same time, special attention is paid to the inclusion of natural elements in school architecture and indirectly in the educational process. This direction is implemented by "green building" technologies, which allow creating a sustainable architectural environment of buildings and complexes, which preserves and improves the natural environment. When designing and building, the features of the natural landscape, natural elements and vegetation characteristic of the given territory are taken into account. The authors also substantiate the role and importance of promoting green educational institutions in different countries, the purpose of which is to stabilize the relationship between man and the environment, an attempt to harmonize the relationship "man - nature". Keywords: green educational organizations, education for sustainable development, environmental education, green building.

The Cambridge School of Architecture and Landscape Architecture, active from 1915 to 1942,1 was a groundbreaking institution in architectural education. It was the first U.S. school to grant master’s degrees to women and integrated the teaching of architecture and landscape architecture.2 Beginning and ending at the height of two world wars, the Cambridge School challenged prevailing academic and professional norms, offering a disruptive, barrier-free space that redefined architectural pedagogy and influenced the field.Largely forgotten to history, this paper uses the conceptual framework of the home front to reframe the school’s legacy as one of defiance to a system that tried to silence it, particularly its influence on Harvard’s Graduate School of Design (GSD). By collecting and uncovering previously disparate source materials from several archives, this paper connects the physical manifestations of the school to its pedagogical frameworks to elucidate the school’s complex and far-reaching influence during its active years and beyond.Recognizing the Cambridge School’s contributions provides a deeper understanding of the women’s role in architectural education and challenges historical dismissals of their contributions. This pioneering institution reshaped architectural pedagogy, promoted women’s agency, and continues to offer valuable lessons for a more inclusive and equitable architectural profession.