Sir Richard Rogers Lloyds Building Essay Example | Topics and Well Written Essays - 2500 words

Sir Richard Rogers Lloyds Building - Essay Example This building, started in 1979 but not completed until 1984, is a complex combination of both Modern and Postmodern ideals that manages to evade allowing either framework to dominate. A basic description of the building indicates a tall structure with the unusual feature of having its service features exposed to the exterior and utilized as a decorative element. This follows the Modernist movement in its focus on the mechanical elements of the structure while it also reflects the postmodern element of everything being in a constant state of flux. The building was originally designed to serve as the corporate headquarters of a large insurance firm and is erected in the center of London’s financial district. This context illustrates the importance of its design as a means of reflecting the higher monetary, capitalistic values of the community and thus much in line with the Modernist ideals of the era. However, the building was also required to be highly flexible to be able to ac commodate perhaps as yet unknown technologies and to adapt to often changing uses, thus reinforcing the concepts of Postmodernism. As the following investigation will prove, though, the building itself, in its focus on mechanics and materials, falls more within the realm of the Modernist movement while its means of addressing the concerns of the times and the context incorporates the values and ideas of Postmodernism. The concepts of the Modern approach focus upon the assumption that everything can be classified into specific categories and definitions. â€Å"Modernity is a project, and not only a period, and it is, or was, a project of control, the rational mastery over nature, the planning, designing and plotting which led to planomania and technocracy† (Beilharz, 2001: 6). Emerging as a product and reaction to an increasingly mechanized world in which standardization seemed inevitable; the basic

SAM 482 UNIT 8 Essay Example | Topics and Well Written Essays - 500 words

SAM 482 UNIT 8 - Essay Example In the identification phase for risks in crowd management plan, the following factors are considered; crowd behavior and control, noise levels, risks of fire, weather and use of drugs and alcohol that would lead to unruly behavior. The plan also incorporates suppliers and contractors. Risks related to their participation in an event must be identified. These could include incompetence of staff, resignation or absenteeism, theft and loss of assets among others. In the risk management action plan, the risks are identified in order and an action drafted with a timeframe. Responsibilities are allocated to experienced staff and recommendations drafted on how the risk will be monitored. This justifies that an effective crowd management plan must be in harmony with the risk management plan. Incorporate an emergency plan. A written action plan is important for this issue. The staff should be in a position to respond to emergencies promptly. Instructions detailing emergency phone numbers, exit routes, fire extinguisher strategic positions should be accessible to all users of the facility. Any risk and or an accident must be recorded by the event holders. This will assist in planning future events. Transfer of risk is an appropriate strategy for the organization. Before an event, the event organizer should hold Public Liability Insurance with a detailed Risk Management Plan. The plan should incorporate all risks anticipated during the sporting event. Crowd management plan is an integral element of the larger risk management plan for sporting facilities. An effective crowd management plan will mitigate risks to an equal level of the risk management plan. The two plans must be harmonized since their objectives are

Edgar Allan Poe Essay Example for Free

Edgar Allan Poe Essay Edgar Allan Poe, those who are familiar with that famous name always allow a chill to run down their spines when they hear it. Poe has always been known for his dramatic and eerie writing style that has entertained readers for centuries. Of course we, as the reader, believe it is simply his brillance that sends a cold shudder through our bodies as we curl up on the couch with The Raven or The Masque of the Red Death, but there is still something more that we can attribute to his writing style. The techniques Poe used in his many stories are what created the fantastic sensation of acutally being a part of the story. In the following paragraphs, I will discuss the chilling techniques this legendary figure, Edgar Allan Poe, used to rope in his reader into the horrible, grotesque, and disturbing world of Prince Pospero and the age of The Red Death. Poe provided us with three major techniques to lead us through this disquieting and disconcerting world that is the reality of Prince Prospero, Poe provided us with, setting, tone, and props. Simply using these three sutble yet powerful techniques, Poe has created an imaginative and mind-boggling universe. First of all, Poe introduced us with surreal, but profound imagery to paint the landscape and life of Prince Prospero and his friends. Setting, one of the most dominant techniques in this short story, can be find around every corner of Prince Prosperos dark maze. Poe described seven rooms that connected to each other in a sick and twisted maze. In order to leave this maze you had to walk through all seven rooms which ranged from color to color and when you finally reached the end you found yourself inside a room, closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. This obviously represented the room of the red death and the eventual downfall all the masqueraders would certainly meet.

History of Furniture Design

History of Furniture Design How did furniture develop through the centuries? Furniture (probably from the French fournir — to provide) is the mass noun for the movable objects (mobile in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things. The question above is not an easy one to answer. Going through the ages of the past it can easily be seen that people invented loads of different types and shapes of furniture. To try to answer this question we would have to go all the way back to the medieval times. This period in time would have to be the starting point in this matter and the Fourteenth-Centurys Great Hall would have to be our point A. Moving forward in the pursuit of evolution of the furniture we would come across the Fifteenth-Centurys Solar (room) and following that road the typical Tudor Interior from the Sixteenth-Century in which the Elizabethan trend was the strongest one to point out. Another development going forward was presented in the Seventeenth-Century in the age of Stuarts quickly followed up by the Georgian Times with its changes in the furniture art and craft. Late Eighteen-Century was known as the golden age for furniture also names as â€Å"age of mahogany†. Moving forward into the Victori an times and drastic increase in furniture demand and finally put an end to the journey through the development of furniture and settle in the Twentieth-Century and its long history. The pursuit of the answer to the above question will not be straight forward and it will involve getting into details of different fashion and behaviour of people who lived in the periods presented above. The time frames would have to be examined carefully and the conclusion have to be made after comparing and reviewing examples from each period of time. The plan would be to keep the research chronically and go over the terms of years in historical order. That is the best possible way to point out the differences and potential development of the furniture along the ages. The fact that people are the creators of the furniture supports the positive answer to the question as all human beings are unique and persons mind is infinite. Therefore the furniture build by the hand of men can and will vary among the time. MEDIEVAL: The quest through the ages in the aim of furniture development will start in the medieval time. Furniture in that period was created purely to help people with day to day tasks table was used only to eat or draw on it. It was not designed to be a piece of art, it was more of a tool. There was a very little furniture in a medieval home and the piece were all of basic, utilitarian design. One of the most valued items was the wooden bed on which lay the feather mattress, supported on boards or rope mesh. After the bed the chest was the most important article of furniture, the craftsmen were outrunning themselves in the decorative piercing of them. There were also cupboards for storage of food and plate. Benches and long oak solid and trestle tables were popular as well in that time, the families were big and the longer the table the more people could eat at the same time. Practicality was the main purpose of the medieval age furniture. Great Hall was the main room where peopl e used to dine and festive together. Most furniture was made of oak, boarded for the most part and decorated by carving and painting. Medieval Trestle table Medieval Chest ELIZABETHAN / JACOBEAN: The introduction of joined furniture towards the end of the Fifteenth-Century made possible stronger and lighter articles. In the time of the Tudor dynasty furniture was slowly becoming more varied in design and greater in quantity. Oak was still the wood most in use and decoration was by carving and inlay. In the first half of the Sixteenth-Century linenfold panelling was extensively carved to decorate panels for chests and cupboards. The reign of Elizabeth I (7 September 1533 24 March 1603) is a good starting point for the study of furniture. Elizabethan furniture is characterised by the bulbous leg, carved with acanthus leaf decoration (seen in beds, tables, court cupboards and buffets). The four-poster bed made its appearance in this century. The framework of tester, posts and headboard was richly carved over the entire surface. Through still not common, chairs were more numerous than in the previous times. Elizabethan bedroom Elizabethan table STUART: Furniture, as elsewhere in the house had become more adequate and convenient. Additionally to the kitchen table there was always a settle, a dresser, and chairs. In the second half of the Seventeenth-Century the carving of woodwork reached exceptionally high standard of craftsmanship. Classical ornaments were used in carving. Most common ones were egg and dart, bead and reel and acanthus foliage. After the Restoration of the Monarchy (1660) furniture become more decorative but at the same time they were more useful at home. Charles II after his return to England from France brought different methods of making the furniture. Also, use of the other types of wood and the meaning of ornamentation strongly evolved at that time. Craftsmen from France were permanently moving to England and they were improving and implementing their way of creating the furniture to the local ones. The period between 1660 and 1750s was known in the history as the â€Å"age of walnut†. This wood was generally used purely due to the low cost and the colour of it. The construction of the furniture became more delicate and the design of it varied. Legs were turned in bobbin vase or columnar form or as the quality of lathe design improved, in the spiral twist. The day bed appeared along with the usage of more chairs and settees. Solid dining tables were pushed out by the gate-leg design, card and small side tables. Upholstery was in common use for seating furniture, it was covered with turkeywork, velvet or embroidery and edged with fringe and tassels. The appearance of new decorative techniques (veneering, japanning, gesso, marquetry) raised the art of furniture to the next level. Stuart chair Gate-leg table GEORGIAN: The form of classicism followed by architects during this long period changed markedly. Palladianism appeared and developed in the early years of this period (1714 1760). Typical English style restrained and almost austere on the exterior, correct in its classical design and detail, richer, warmer and bold within. The country houses of this type were set in carefully selected exteriors, ideal positioned in laid out parklands. The Eighteenth-Century was the golden age of the English house. The quality of design and craftsmanship in architecture and the decorative arts had been steadily improving since Elizabethan times and this reached its zenith in the years 1760 1790. There was a trend in furnishing design to follow a rapidly changing variety of different source material. The standard of workmanship suffered due to mass production of decorative parts based on the cost and time saving background. In total, the time and patience required to train a craftsman and the money to pay him to produce a superb piece of furniture were running out and the decay of taste was imminent. The general quality of the furniture was dropping down rapidly. Due to quick increase of population classy and stylish furniture were pushed out by simpler quicker to made designs, more efficient and less effective mass products. The golden age was also called the mahogany age in the furniture history. Although walnut was continued in use until mid-century, other woods were also employed. After the abolition in 1721 of the import duties of West Indian timers, mahogany began to enter the country in numbers. It was a perfect wood for a furniture making industry. Strong, suitable for delicate carving (ribband or lyre back chairs and cabriole legs terminating in claw and ball feet), also available in greater widths than walnut what made it ideal for veneered surfaces of larger area and for table tops. It had a beautiful patina and resistance to woodworm. In this period many new designs appeared at a glance, such as tables, chair, stools, settees, bureaux. China and corner cabinets were also popular, along with dumb waiters, mirrors, candle stands desks and commodes. The designs of the first half of the century were larger scale, nicely carved in classic manner and superbly veneered surfaces. 1750s was the time of the Rococo motif in furnishing, followed by Chinese and Gothic forms. 1760s was a more delicate period characteristic with carved mahogany but also painted and gilded beech, harewood and satinwood veneers, ormolu mounts and marquetry and brass inlay. In this period more delicate furniture pushed out the heavier designs from previous years i.e. the cabriole leg was pushed out by the tapering square leg. New items started appearing in the 70s and 80s of Eighteen-Century and Pembroke table was one of the examples. At the end of the century came the Sheraton era, displaying simultaneously strength, function and delicacy in the furnishing designs. Decoration was restrained in painting, inlay and veneer, often with metal inlay and mounting. The design was plain and mostly copied from antique originals Greece. The sofa table evolved from the Pembroke form. Chairs were characterized with by horizontal backs rather than vertical splats, and legs which often curved in sabre design (Egyptian or Etruscan samples). Typical of mirror design was the circular convex type. The long dining table was revived, standing on curved legs and pillared supports. 1740 1750s room 1760s room (Adams Room) Pembroke table Lattice-back chair Rococo set Regency furniture (late 18th cent.) VICTORIAN: Nineteenth-Century period. The interiors of Victorian houses were in marked contrast to the previous century. One of the major reasons for this was the urbanization process and the migration of people from country to the cities. Also, the major growth of population forced the change in the design of the houses and its interiors. Mass-production methods of supplying the needs led to a greater similarity in their designs, which overall resulted in a poorer level of design and workmanship. The early part of this period saw machines beginning to replace hand labour, the beginning of the industrial age.This period created a large gap between the designer and the craftsmen. The factories had changed, the designers no longer had direct contact with the customer. The new machines were introduced to take away from man the back braking jobs and speed up manufacture. They soon began to take over most of the work and the furniture started to be designed around what the machine could m ake, therefore the quality of design declined. The demand for furniture was high, the factories were manufacturing at a fast pace, and a frantic rush for the designers to keep ahead of each other created poor quality design. Interior decorative schemes were in great contrast to the Regency ones. White or light painted wood work had been replaced by dark brown tones. Furnishing fabrics were all darker and richer in hue and most often strongly patterned. There was a strong tendency to drape materials over everything, tasselled velvet covers to tables and chimneypieces, antimacassars on the chair and sofa backs. Upholstery was heavy, button designs were very fashionable. The whole interior was over furnished and over decorated, a profusion of stuffed birds, framed photographs, lace mats and wax fruit. Designers rather used and modified many styles taken from various time periods in history like Gothic, Tudor, Elizabethan, English Rococo, Neoclassical and others. The clean Grecian lines of the Regency period were out of favour by 1835 and everyone wanted furniture that was showier with plenty of curves. This showier furniture after 1850 led to low prices and poor construction and workmanship that was often h idden by veneer and applied ornament. The Gothic and Rococo revival style were the most common styles to be seen in furniture during this time in history. In the last 20 years of the century colours became lighter again, patterns less vivid, and fewer pieces of furniture were placed in a room. Mass production was still at its height therefore the quality and individualism of the furniture started to extinct. Because of the technical progress in the industry the interior became more casual and was supposed to be functional more than elegant. Furniture was less attractive, it was heavier in design and often over elaborately decorated. In the late century the whole 18th century and the earlier style designs were copied and reproduced for a mass market. It was very hard to establish which the differences between the originals and the reproductions. One of the characteristic Victorian features was the extensive use of the papier mache and to a lesser degree, Tunbridge ware. The balloon back chair and the introduction of brass and iron in the construction of the bedsteads were crucial in the Victorian furniture history. Rocking chairs were v ery popular along with tent beds. Plainer, more traditional furniture was made by a number of designers at the end of the century. William Morris started a rebellion against this trend, founding a company to demonstrate the superiority of quality handmade furniture. Honesty of the handmade joints was his feature of construction. This lead to the Arts and Crafts Movement on the 1880s leading on to Art Nouveau. This drew attention to the merits of 18th Century furniture and led to the practice of purchasing second hand furniture and the antique shop began. Victorian chairs Victorian hall Victorian rocking chair Balloon back chair Tunbridge ware box Papier mache table THE TWENTIETH-CENTURY: Throughout history there has been great change in furniture design, but by far the most rapid and revolutionary period of furniture history was the 20th Century. The two world wars of this century were not themselves responsible for the changes in society. The wars did however act as catalysts speeding up the processes of change. They have created specific barriers before and after the years of struggle with no chance of returning back to the previous existence. All of the above has changed peoples attitude towards change drastically. After each war the position of women and their functionality had altered fundamentally. Middle and upper class housewives found themselves without sufficient labour to run their homes as before needed to arrange labour save equipment and finishes without outer help. Interiors quickly became plain and far lesser furniture was used inside. The history of furniture design in the 20th century reflects the changing tastes and trends within the design community. The early years of 20th century design were dominated by the slow reaction from the mid-Victorian over furnished interior, were the excess of decoration taken place once again. International Arts and Crafts Movement which was quickly followed by Art Nouveau (circa 1910-1920) and Art Deco (circa 1920-1930) became more of a trend than periods in the early 20th century furnishing history. There was a great furniture demand to supply all new build houses after the wars. Machine production had to be established to cope with the needs, however this has greatly impacted the quality of the furniture. Some excellent modern designs were manufactured in Scandinavia and in the 30s were gradually influencing the English product for the better. This flat packed furniture revolutionised the market in the whole Western Europe. By mid century Modern and Post Modern styles accounted for the changing tastes of post-war consumers. Convenience and time-saving became more important to the whole family in the decades after 1945. After World War II, the public as a whole looked to warmer and softer furniture, organic forms, warmer products like timber and upholstered chairs. They wanted to be cared for by their furniture, feel comfortable and most of all have some luxury that had long been missing. Central heating replaced the heating of the individual rooms. These two factors, together with a rising standard of living and a desire for greater privacy for the individual members of the family led to general rearrangement and the new decor of the rooms. The recognition that with a central heating there was no need for a fireplace led to the fact that in most homes the TV receiver became now the focal centre. Smaller, more individual bedrooms appeared in the households. One of the most popular developments of that period was the usage of plastic textiles. In the field of plastic an extensive range of materials has become available to produce colourful, attractive, and easy to care surfaces at home. The plastic materials together with development of synthetic textile fibres, have revolutionised the decoration processes in the furniture industry. Plastics were like the tubular steel of old, it opened up doorways for new furniture design, lightweight and versatile, designers like Joe Colombo, Vernon Panton and Anna Castelli-Ferreri stormed ahead concepting and manufacturing plastic stacking chairs, beautiful and versatile. The industrial style or Hi Tech movement developed in the 70s. The greatest advances were in office furniture and equipment with Olivetti of Italy leading the way. The 80s period of furniture design continued to focus on the industrial sector. Designs were predominately commissioned for retail shopping, hospitals, restaurants, school s and hotels. The favoured materials were metal, perforated metal became popular along with steel reinforcing mesh. Designers of this period searched to find greater meaning and purpose for their furniture design. Some strange and unusual forms were explored like the W.W. Stool by Phillipe Starck a fantasy style piece of furniture that makes you question if you can indeed dare to sit on it! The Soft Heart chair by Ron Arad showed how by using polyurethane foam that the choice of shapes and form was limitless! Clever materials, technology and production methods meant that the only limits were the designers imagination. Going through the period of time and examining all different trends in the history of furniture few interesting conclusions appeared. Bibliography: 1. â€Å"English Interiors a pictorial guide and glossary†, Doreen Yarwood 1983 2. â€Å"The Encyclopedia of Furniture third edition†, Joseph Aronson 1965 3. â€Å"A Century Of Interior Design 1900 2000†, Stanley Abercrombie 2003 4. 20th Century furniture history http://www.slais.ubc.ca/courses/libr559f/04-05-st1/portfolios/G_Bahnemann/Furniture_Design.pdf 5. Victorian Furniture history http://www.interiordezine.com/index.cfm/Furniture_History/Victorian_Furniture

A Hurricane Strikes - Original Writing Essay -- Papers

A Hurricane Strikes - Original Writing It was an ordinary Sunday morning. The rays of golden sunlight shone on the modest but lively village. The constant murmur of chatting filled the morning air. As children played and laughed, the men relaxed with their noses in their Sunday papers and the old ladies gathered to exchange the latest gossip. The huge trees looked protectively down on the village below and their leaves danced proudly in the breeze. In the distance, all the identical cottages had smoke rising from the chimneys. Outside one of these cottages, a tiny tanned sparrow skipped along the concrete path that led up to the welcoming front door. The cottage was set into the grassy bank and branches full with sycamore leaves stretched out from the woodland and occasionally tapped on the old-fashioned window panes. From a cloudless blue sky, the sunlight beamed down onto the cottage’s thatched roof, under which the swallows had happily secreted a nest for their squawking young. Surrounding the cottage was a crooked fence from which dirty-white paint was peeling. Above all the clattering and chattering of the children, the little old lady could be heard, as she shouted at the youngsters to get off the fence. The morning sun disappears as a monstrous, jet-black blanket of cloud suddenly appears; even the wicked and evil ravens hurry to escape the impending storm. The rain lashes down and the shrieking wind hurls itself against the helpless trees, constantly pounding them and quickly removing the remains of the once proud foliage. Everyone immediately senses disaster; suddenly panic-stricken. Screams, shouts and squeals brea... ...ls the boys off for sitting on her fence. The clouds begin to disperse and a frail beam of sunlight marks the boy’s way as he scrambles out of the hole and steps into the world to find an unimaginable sight of destruction. The blissful and cheerful world that he once knew was now just a heap of bricks, rubble and remains of people’s homes. His mind drifts to happier times, when the village was full of rowdy children and the air was filled with constant chit-chat; when there was an essence of life rather than destruction! The boy looks for the fence expecting to see his brother but, to his shock, the fence is amongst the pile of rubble, along with the rest of the town. There, on top of all the ruins he sees a once adored doll. Her sad and lonely marble eyes gazing straight up into the clear, blue sky. Waiting...

Anti Insanity Defense :: essays papers

Anti Insanity Defense The insanity defense refers to that branch of the concept of insanity which defines the extent to which men accused of crimes may be relieved of criminal responsibility by virtue of mental disease. The terms of such a defense are to be found in the instructions presented by the trial judge to the jury at the close of a case. These instructions can be drawn from any of several rules used in the determination of mental illness. The final determination of mental illness rests solely on the jury who uses information drawn from the testimony of "expert" witnesses, usually professionals in the field of psychology. The net result of such a determination places an individual accordingly, be it placement in a mental facility, incarceration, or outright release. Due to these aforementioned factors, there are several problems raised by the existence of the insanity defense. Problems such as the actual possibility of determining mental illness, justifiable placement of judged "mentally ill" offenders, and the overall usefulness of such a defense. In all, I believe that these problems, as well as others which will be mentioned later, lead us to the conclusion that the insanity defense is useless and should be abolished entirely. Insanity is a legal, not a medical definition. Therefore, mental illness and insanity are not synonymous: only some mental illness constitutes insanity. Insanity, however, includes not only mental illness but also mental deficiencies. Due to this, there are problems in exactly how to apply a medical theory to a legal matter (Herman, 1983;128). The legal concepts of mental illness and insanity raise questions in a conflict between what are termed legalistic criminology and scientific criminology: mens rea, punishment v. treatment, responsibility, and prisons v. hospitals. This debate seesaws to and fro amidst a grey area between law and science. The major difficulty with a theory such as mental illness is that it is just that, a theory. To scientists theories are a way of life, but applied to the concept of law theories become somewhat dangerous. By applying a loose theory such as mental illness to law we are in essence throwing the proverbial "monkey wrench" into the wheels of justice. TESTING FOR INSANITY At the center of the legal use of insanity lies the mens rea. Every crime involves a physical act, or actus reus, and a mental act, or mens rea, the non-physical cause of behavior.

Hydrogen Gas Lab Essay

* For the mass, an uncertainty of0.01g was used, as the uncertainty was stated on the weighing machine. * For the volume, an uncertainty of0.05mL was used, as it was half the smallest increment on the graduated cylinder. * For the temperature, an uncertainty of0.5 was used, as it was half the smallest increment on the thermometer. Sample Calculation Converting mL to L Data Processing: Magnesium+HCl Reaction -Finding the molar volume at STP of hydrogen gas when HCl is reacted with magnesium. Finding Pressure of (Pressure of H2O at 21=0.02763) Finding Volume of at STP 0.002 Sample Calculation Finding Uncertainty for Finding moles of Moles of Finding Molar Volume of at STP. Zinc+HCl Reaction – Experimentally calculating molar mass of zinc using the ideal gas laws. Finding Pressure of (Pressure of H2O at 21=0.02763) Finding Moles of Determining Molar Mass of Zn Conclusion: In conclusion it was found that the molar volume of hydrogen gas that was produced when hydrochloric acid reacted with magnesium was 19L/mol3. Ideally it should be 22.4L/mol according to the ideal gas laws. There is a percent difference of 15% between the two values. But if uncertainties are considered the percent difference is reduced to 2%. This is an acceptable value because the actual value of 22.4L/mol is an approximation in ideal conditions according to the ideal gas laws. The ideal gas laws don’t take into consideration the attractive forces between atoms, or the volume of the atoms. And most likely if those factors were considered then the percent difference would be 0%. For the second part of the experiment it was experimentally found using the ideal gas laws that the molar mass of zinc is 124 g/mol. When compared with the actual value of 65g/mol, there is a percent difference of 90%. And even if uncertainties are considered, the percent difference is only reduced to 64%. This is too big; therefore the data is rendered unreliable. There were quite a few weaknesses and limitations in this lab. First of all the volume of H2O mixed in with the H2 gas was not considered. Had it been considered, then the volume found at STP would have been lower, and it would give a more accurate measurement to what the experimental value is. Another weakness in this lab was the fact that the molar mass of zinc was twice as big as its accepted value. The most likely reason for this is that when the zinc reacted, it is likely that some of the hydrogen gas was not in the beaker, but the hydrogen gas escaped into the air. That is why when the formula n=PV/RT was used, the volume in the numerator was half as big as it should be, which in turn caused the calculated molar mass to double. So it can be assumed that approximately half the hydrogen gas escaped into the air. Another weakness was the fact that the apparatus was left over night, and so if there was a microscopic hole or crack, then the chances of the hydrogen escaping is very high. This would be true because, and since hydrogen has the lowest molar mass of all the elements, it would have a very high velocity, and so it is possible that the hydrogen gas was able to escape through a microscopic hole at a fast rate because it has such a high velocity. Not only that, but since it was left overnight, it would have had more time to escape the beaker. There are a number of ways that this lab could be improved. First of all, a new graduated cylinder should be used to ensure that there are no cracks or holes through which the hydrogen gas can escape. Along with that the apparatus should not be left out overnight, but instead the reaction should be speeded up by heating up the apparatus, and then taking the measurements of the volume of gas every 1 minute. This in turn would decrease the amount of energy lost to the environment, and it would end up giving more accurate results. Next time, the volume of should also be considered. A percentage value can be used, since we know the pressure that gives, that pressure can be converted into a percent, and multiplies by the total volume, and then inversed. This in turn will in turn give the volume of .This will hold true because V=nRT/P, so pressure and volume are inversely proportional, and since nRT is a constant V and P have to change accordingly.