Theories of Therapeutic Alliance

Theories of Therapeutic Alliance QUOTE:- The therapeutic alliance is a key concept and quintessential variable whose importance is commonly accepted. It is seen as a multi-dimensional concept, emerging trends indicate four dimensions, namely: the patients affective relationship to the therapist; the patients capacity to purposefully work in therapy; the therapists empathic understanding and involvement; the client/therapist agreement on the goals and tasks of treatment. B. JUST 1997 Essay The concept of the Therapeutic Alliance has its roots in the seminal works of Freud when he began formulating his theories in respect of the various concepts relating to the phenomenon and dynamics of transference. (Freud S 1912). Freud began to refer to the concept in his early writings in different terms as a the therapeutic, working, or helping alliance which encapsulated the idea that a relationship between therapist and patient was important for therapeutic success. We note, in the context of this essay, that Freud’s opinion was that such a working arrangement was important but not essential for a therapeutic outcome. His early comments tended to refer to the â€Å"positive feelings that develop between doctor and patient â€Å" although, as his theories evolved, these concepts developed into more concrete forms. As is the case with most evolving concepts it was developed and expanded by a number of other notable figures. Zetzel looked at a number of different types of alliance formation (Zetzel E R 1956) and Greenson conceptualised this in a fuller form drawing a distinction between the real and adaptive forms of this type of relationship and drawing attention to the transferential properties and the possibility of the transference of fantasy in the adaptive elements of the alliance. (Greenson R R 1967) Working at about the same time as Greenson in the USA, Rogers characterised the Therapeutic Alliance in the terminology of â€Å"Client-centered therapy† and, for the first time in the literature, we find a reference to such an alliance being considered â€Å"essential† rather than â€Å"desirable† for the possibility of a positive outcome. (Rogers C R 1965). Rodgers referred to the Therapeutic Alliance as an â€Å"empathetic bond† which had to be actively developed by both doctor and patient and was an essential precursor to any form of exploration of the patient’s problems. Bordin expanded and generalised this concept further still and sought to increase its usefulness by adapting it to psychotherapy in all of its various forms. (Bordin E S 1979) and, in a seminal move towards Just’s analysis, proposed three elemental components of the Therapeutic Alliance, namely the identification of the goal, the identification of the task in hand and the formation of the doctor / patient bond of trust and empathy. In consideration of the title of this essay we should consider this analysis more fully. Bordin conceived of the Therapeutic Alliance as a totally bipartisan construction which required an equal (but different) input from both therapist and patient. This construction required the mutual identification and recognition of the shared goals that were going to be achieved together with an agreed and accepted delineation and acknowledgement of the various tasks necessary to achieve these goals and the bond which he saw as and â€Å"attachment bond generated primarily from mutual respect and empathyâ€Å". (Bordin E S 1979). It follows from this analysis, that Bordin conceived the Therapeutic Alliance not as something which arose spontaneously form the efforts and interaction of therapist and patient, but as the actual vehicle and mechanism by which psychotherapy worked. His attempts to apply this concept to the various contemporary forms of psychotherapy culminated with the realisation a nd articulation that the different forms of psychotherapy focussed in on, and exploited different aspects of the Therapeutic Alliance at different stages of the treatment. This finding is echoed in other writings. As we have outlined, the concept of the Therapeutic Alliance has its origins in the psychodynamic traditions of psychotherapy but has been embraced by the other traditions as well. Those theorists who are grounded in the cognitive school also acknowledge the establishment of a collaborative relationship between therapist and patient as an essential prerequisite to effective therapy. (Beck A T et al. 1979) More recent work as sought to quantify the nature and depth of the Therapeutic Alliance in the various disciplines. Martin’s tour de force on the subject is an impressive meta-analysis which sought to quantify the relationship between the strength of the Therapeutic Alliance and the eventual outcome of treatment. (Martin D J et al. 2000).His findings suggest that it depends how one quantifies the Therapeutic Alliance as to how strong the relationship is found to be. This is an area that we shall return to shortly. Horvath takes this point further with a similar meta-analysis across various forms of psychotherapy and comes to the conclusion that the impact of the Therapeutic Alliance is roughly similar in the different forms and the efficacy of outcome is directly related to the strength of the Therapeutic Alliance bond, irrespective of which particular mode of measurement is used. (Horvath A O et al. 1991). These issues, and indeed the thrust behind Just’s terminology of the Therapeutic Alliance as being the â€Å"quintessential variable are all totally dependent on just how one defines or measures the concept. It is clear from the discussions presented already that it is a â€Å"multidimensional concept†. One is certainly tempted to observe, from a brief overview of the literature, that it has at least as many dimensions as there are authorities writing on the issue. Although such a comment is superficially clearly bordering on the flippant, is can be taken at a much deeper level as a reflection of the fact that the Therapeutic Alliance is defined and measured by different authors in different ways. Historically the evolution of the ability to measure the strength of the alliance has evolved in much the same was (and to some extent in parallel) as the actual formulation of the concepts of the Therapeutic Alliance itself. (Luborsky L et al. 1983). In essence, a judgement of the extent to which one considers the Therapeutic Alliance essential rather than simply desirable, is dependent on the way that one either quantifies or measures it. If we consider the implications of this statement further we can cite comments by two authorities that we have quoted earlier in a different context. In their critical analysis of the role of the Therapeutic Alliance in the field of general psychotherapy, Horvath and Luborsky suggest that research is unlikely to provide guidance to clinical practice unless the relations between clearly defined therapist actions in specific contexts and the effect of these interventions on process or outcome can be demonstrated (Horvath A O, Luborsky L 1993 Pg. 568 ) The effectiveness of the Therapeutic Alliance is also demonstrably effected by other factors. In his book the Heart and Soul of Change, Miller (et al. 1999) puts forward the suggestion that what is of fundamental importance in establishing the alliance is not the persuasion, or theoretical background of the therapist, nor even how empathetic the therapist actually is to the problems of the patient (even if the criteria that one uses is how empathetic the therapist believes that they are being) but is actually the degree to which the patient believe that the therapist understands their own perceptions of reality. To quote Miller â€Å"It the client’s theory of change not the therapist’s that is important.† This thread of argument is taken further with Gabbard’s analysis (Gabbard G O et al. 1994) that the efficacy of the eventual therapeutic intervention, if measured in terms of transference interpretations, defence interpretations, and supportive interventions is ultimately dependent on factors that are therapist independent such as the strength of the patient’s ego, the state of readiness that the patient has reached in terms of their own self-exploration or elaboration, the current phase of the therapeutic process and even the timing within any particular session. Which implies that it is both dynamic and variable. If we consider the third of Just’s four dimensions, that being that the therapists empathic understanding and involvement is an essential prerequisite for the formation of the Therapeutic Alliance, then we can see that Gabbard’s analysis is clearly at odds with Just’s. It is fair to observe that Gabbard is not alone in his assertions as Sexton’s slightly later and incredibly detailed assessment of the status of the Therapeutic Alliance, came to essentially the same conclusions. (Sexton H C et al. 1996). A rather more controversial view is expressed by Kernberg who was admittedly considering the phenomenon of Therapeutic Alliance in the specific context of severe personality disorder (Kernberg O F 1994) and came to the conclusion that the Therapeutic Alliance has to be initially very strong to allow the possibility of negative transference in order for the therapist to sometimes avoid the possibility of either premature termination of therapeutic stalemates. To an extent, he vicariously supports Miller’s contentions by pointing out that the practical strength of the Therapeutic Alliance is largely independent of the therapist’s wishes if one is dealing with a patient who is angrily attacking or even overtly manipulating the frame and goals of treatment. He adds the comment that in these circumstances the strength of the Therapeutic Alliance is largely determined by the level of the patient’s intrinsic anxiety state. Perhaps this can be interpreted as an extension or perhaps a paraphrasing of Miller’s later suggestion. It therefore follows that if we are to agree or to disagree with Just’s original statement, we need to consider just how we can quantify the strength of the various parameters of the Therapeutic Alliance. This is no easy topic and the literature on the subject is vast. One of the first significant and serious attempts to produce some form of measuring tool came in the form of the Luborskys Penn Helping Alliance scales (Luborsky L et al. 1983). This had a number of serious shortcomings and was modified many times in the years immediately after its publication. The Penn Helping Alliance questionnaire was an offshoot of this collaboration and this evolved further into a 19 item scale. Many difficulties arose in the original tools because, to a degree they were dependent on the degree of benefit that the patient had already received from any previous attempts at therapy. A number of commentators made the suggestion that the tools, in order to maximise their applicability and usefulness, should be as independent as possible from the degree of benefit that the patient had already received. (Marmar C R et al. 1989). If we return to our consideration of Bordin’s tripartite assessment of the Therapeutic Alliance which can be considered a fundamental progenitor of Just’s model, then we can cite Horvath and Greenbergs Working Alliance Inventory (Horvath H O et al. 1989) as a useful tool to measure the Therapeutic Alliance in terms of the three subsections of the Bordin definition mentioned earlier. This is perhaps the best direct justification and support of Just’s hypothesis that we can find as Bordin’s threefold thrust of assessment is essentially the same as three of the four elements of Just’s and the fourth element that Just included of the therapist’s empathetic understanding and involvement as being an â€Å"essential prerequisite† of the Therapeutic Alliance, is largely dismissed by authorities such as Gabbard and Sexton who we have cited earlier. Clearly we do not presume to make a judgement as to which authority is essentially correct as we have to observe that the evidence base to support either view is not particularly strong. To return to the original thrust of the concept of measurement, we can state that authorities have regarded Horvath and Greenbergs Working Alliance Inventory as being highly reproducible and as having high levels of interrater reliability in both the 36 item and the shorter 12 item version. (Horvath H O et al. 1989) A degree of vindication for Just’s analysis of the Therapeutic Alliance can be found in the California Psychotherapy Alliance Scales (CALPAS) , which essentially measures the strength of the therapist / patient alliance as a multidimensional construct. It uses four subscales to assess the strength of the bond namely: (i) the patients capacity to work purposefully in therapy, (ii) the affective bond with the therapist, (iii) the therapists empathic understanding and involvement (iv) the agreement between patient and therapist on the goals and tasks of treatment. Which, in essence, cover the four basic premises of Just’s hypothesis. Like the other scales already referred to, the CALPAS scale utilises a 6 point Likert scale for each item. This particular scale has achieved wide acceptance in research literature with a good predictive ability which appears to be valid across the majority of psychotherapeutic disciplines including cognitive behavioural therapy (Fenton L R et al. 2001), psychodynamic psychotherapy (Barber J P et al. 2000) and across several other different treatment areas (Gaston L et al. 1991). It has been found to be especially useful among neurotic patients, but it does appear to be only a weak predictor of outcome with cocaine-dependent patients (Barber J P et al. 1999). In terms of the arguments set out earlier, we note that all of the scales that we have already cited have both a therapist rated and patient rated version as well as an independent observer version. If one considers the literature we can see that the patient self-reported versions tend to give better predictions of outcome than those reports that are therapist based (particularly when assessed early in treatment trajectory). This gives credence to Miller’s view that it is the patient ‘s perception of the Therapeutic Alliance which is the single most important prediction measure of outcome in the psychotherapeutic field. Thus far in this essay we have largely considered the presence of the Therapeutic Alliance as being a comparatively static modality which is either present or not. Although we have acknowledged some views that refer to its dynamic state, we should perhaps examine this in more detail. We have referred to the evolution of the strength of the Therapeutic Alliance as therapy progresses, but we should point to the fact that a number of authorities refer to the relationship of either the variability of the fundamental stability of the Therapeutic Alliance to a number of both clinical and empirical implications. (Hatcher R L et al. 1996). As long as three decades ago Luborsky wrote about the dynamic nature of the Therapeutic Alliance which was actively responsive to the dynamic and changing demands of the evolution of the various phases of therapy. (Luborsky L 1976). A further aspect of this dynamism is to be found in the writings of Bordin who, while acknowledging that the role of the therapist is generally one of support, noted that the role of the therapist tends to be the dominant factor at the beginning of the therapeutic relationship and this evolves into a more shared responsibility as goals and treatment plans are both articulated and defined. He writes that it is the inevitable cycle of the Therapeutic Alliance bond being strained, ruptured and then repaired that is central to the therapeutic process. (Bordin E 1980) Writers such as Gelso and Carter (Gelso C J et al. 1994) formalised (some would say stylised) the evolution of the alliance over the therapeutic interaction as involving â€Å"a weakening after an initial development, followed in successful therapy by an increase to earlier, high levels.† Other authorities have taken a more idiosyncratic view, which may reflect their own personal experience rather than necessarily an informed overview. Horvath characterises the typical trajectory as â€Å"an initial phase of development for the alliance, held to occur within the first five therapy sessions (and probably peaking during the third session), followed by a second, more critical phase, during which the therapist challenges maladaptive patterns, the effect of which is a weakening or rupturing of the alliance that must be repaired if therapy is to continue successfully†. (Horvath A O et al. 1994). In order to provide a balanced picture of the literature, one could also cite the opinion of Greenberg who appears to have a more philanthropic outlook when he describes the process of evolution of the Therapeutic Alliance in successful therapies as â€Å"either rising or holding a steady value over time†. (Greenberg L S 1994) In consideration of the evidence that we have assembled thus far we can state that the Therapeutic Alliance, in Just’s words, is clearly a key concept. We would suggest that the evidence points to the fact that not only is it a key concept but that it is both crucial and fundamental to the whole discipline of psychotherapeutic intervention. References Barber J P, Luborsky L, Crits-Christoph P, Thase M, Weiss R, Frank A, Onken L, Gallop R: 1999 Therapeutic alliance as a predictor of outcome in treatment of cocaine dependence. 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Comment on Gelso and Carter (1994).  Journal of Counselling Psychology 1994 ; 41 : 307 – 310 Greenson R R: 1967  The Technique and Practice of Psychoanalysis.  New York : International Universities Press, 1967 Hatcher R L, Barends A W: 1996  Patients view of the alliance in psychotherapy: exploratory factor analysis of three alliance measures.  J Consult Clin Psychol 1996 ; 64 : 1326 – 1336 Horvath H O, Greenberg L S: 1989  Development and validation of the Working Alliance Inventory.  J Couns Psychol 1989 ; 36 (2) : 223 – 233 Horvath A O, Symonds B D: 1991  Relation between working alliance and outcome in psychotherapy: a meta-analysis. Journal of Counseling Psychology 1991 ; 38 : 139 – 149 Horvath A O, Luborsky L: 1993  The role of the therapeutic alliance in psychotherapy.  J Consult Clin Psychol 1993 ; 61 : 561 – 573 Horvath A O, Gaston L, Luborsky L: 1994  The therapeutic alliance and its measures, in Psychodynamic Treatment and Research, edited by Miller L, Luborsky L, Barber J et al.  New York, Basic Books, 1994, pp 247 – 273 Kernberg O F: 1994  Severe Personality Disorders: Psychotherapeutic Strategies.  New Haven, CT, Yale University Press, 1994 Luborsky L, Crits-Christoph P, Alexander L, Margolis M, Cohen M: T 1983  Two helping alliance methods for predicting outcomes of psychotherapy: a counting signs versus a global rating method.  Journal of Nervous and Mental Disease 1983 ; 171 : 480 – 492 Luborsky L: 1976  Helping alliance in psychotherapy, in Successful Psychotherapy, edited by Cleghhorn JL. New York; Brunner / Mazel, 1976, pp 92–116 Marmar C R, Gaston L, Gallagher D, Thompson L W: 1989  Towards the validation of the California Therapeutic Alliance Rating System. Psychological Assessment:  J Consul Clin Psychol 1989 ; 1 : 46 – 52 Martin D J, Garske J P, Davis M K: 2000  Relation of the therapeutic alliance with outcome and other variables: a meta-analytic review.  J Consulting and Clin Psych 2000 ; 68 : 438 – 450 Miller E A et al. 1999  The Heart and Soul of Change  APA : Detroit 1999 Rogers C R: 1965  Client-Centered Therapy.  Boston : Houghton Mifflin, 1965 Sexton H C, Hembrek K, Kvarme G: 1996  The interaction of the alliance and therapy microprocess: a sequential analysis.  J Consult Clin Psychol 1996 ; 64 : 471 – 480 Zetzel E R: 1956  Current concepts of transference.  Journal of Abnormal and Social Psychology 1956 ; 53 : 16 – 18 ################################################################ 11/01/07 Word count 3,493 PDG

Postmodernity And Brecht In Contemporary Theatre Film Studies Essay

Postmodernity And Brecht In Contemporary Theatre Film Studies Essay This essay will demonstrate the postmodern theory and how playwright, Bertolt Brecht has influenced postmodernity with contemporary theatre. I shall analyze how Brechts styles and techniques have influenced postmodern theatre and the comparisons he had with Aristotle. By doing this, I shall discuss Frederic Jameson, Jean Baudrillard and Jean-Francois Lyotards respective ideologies. References are evident from the sources from the bibliography. What is postmodernism? Postmodernism is a broad phrase that is realistic to various cultural texts like beliefs, skill and writing amongst others (Bertens, 1995: p.63). It is mainly a response to the exact anticipated belief, idea and determination in clarifying realism. In other words, it stops from an acknowledgement which realism is not basically represented in peoples beliefs but alternatively, it is very creative as the belief attempts to appreciate its individual certainty and subjective realism. Postmodernism is extremely uncertain of reasons that argue to be acceptable for every nation, practices and civilizations (Rosenau, 1992: p.113), (Sarlak, 2010: p.32). It alternatively involves every individuals comparative realities. To identify postmodernism, analysis is significant and realism simply explains peoples understanding of what humanity represents to them independently. Postmodernism furthermore trusts actual encounter upon conceptualizing cultures which understands that peoples aftermath encou nter will unavoidably be comparative and imperfect before general and definite (Sarlak, 2010: p.32). Postmodernism additionally rejects several basic reality beliefs and it requires the logical enthusiasm and methodical reality that will describe entirely for everyone with a supposed contemporary representative approach. The postmodern contradiction view is that it should understand that the individual beliefs are still not past searching when identifying every belief below the disbelief analysis (Sarlak, 2010: p.32). There are three key theorists of postmodernism and they are Frederic Jameson, Jean Baudrillard and Jean-Francois Lyotard. Jameson is very judgmental of the contemporary past circumstances as he believes postmodernism has changed it into a sequences of meaningless conventions of what he calls, pastiche that can then be used up and produced (Buchanan, 2006: p.95). He conflicts this postmodern situation with the modernist circumstances which was discontinued. Postmodernis m has absorbed an advantage of several differences of culture and realism. Jameson explains that postmodernism has extended to a huge opening of cultures area of interest massively and traditionally in regards to the creative sophistication of realism. Jameson defines his concept of pastiche as a postmodern parody without any political problems (Buchanan, 2006: p.95). According to Jameson, parody was changed by pastiche in the postmodern stage of development. In his own words he said, Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parodys ulterior motives, amputated of the satiric impulse, devoid of laughter. (Hill and Fenner, 2010: p.82) People have failed to link to the olden times that changes the directions into a sequence of techniques and discontinued categories like Simulacra and Simulations. Simulacra and Simulations is coined by another postmodern theorist, Jean Baudrillard. Baudrillard is allied with the concept of what is generally known as The loss of the real. This is an interpretation which in modern life, the general stimulus of fantasy from television, film and advertising has directed to a failure difference of depth and surface, illusion and reality and imagine and real (Bishop, 2009: p.32-35, p.95). The outcome is a culture of hyper realism that differentiates the connections is wearing down. Jean-Francois Lyotard also contributed a lot to postmodernism. The term postmodernism was employed in the 1930s but its present style and views can be assumed to have started with Lyotard (Barry, 2002: p.86). Lyotard believes he should get rid of the discontinued task of modernism, that of the enlightenment ideology (Gabrielle and Ilcan, 2004: p.77). Contrast with Enlightenment Ideology Its characteristic engages with the theory of which style is understandable (Marshall, 2004: p.50). Differences of opinions work as interpretations of beliefs but they do not have a meaning past that at all. Modern cultures look to the theory which people continuously direct to their own suggestions and developed it. In postmodernism, there are just influential people (Klages, 2006: p.169). There is no constant reality. There are only faces with no seriousness. This is carefully associated by means of what Baudrillard advices in his theories with reference to simulacra as there are no fundamentals and just duplicates. Contrast with Modernism Modernism on the other hand, is a general appealing actions of the twentieth century and it relates to a group of moral, diplomatic and theoretical beliefs that give the foundation for the modernism artistic view (Zafirovski, 2011: p.265). However, postmodernism gives out comparable appeals with modernism as they eliminate limits of high and low cultural styles. They point out that pastiche changes theatrically in its view in direction of these styles and developments. Modernism shows peoples partial disintegration as a little dreadful although postmodernism never weep this position but observes it instead. One of the majority important arguments of postmodernism and modernism is the matter for the entirety and shared quality. Postmodernists have forbidden these objectives as Meta-narratives despite the fact that modernists tried to catch the entirety and shared quality in certain point (Strinati, 1995: p.215). Semiological Factors Structuralism advancing to post-structuralism has also had certain control on postmodernism (Taylor and Winquist, 2001: p.265). One of the post-structuralists focal influences theories is that every importance is a subtext (Strinati, 1995: p.116). Therefore, people are left with reality collected of interpretation methods. Moves in semiotics have resulted in a bigger intertextuality impression which applies to the clues certainly having to do with each other. The content is interpreted in connection to different content and that is why a stylistic series suggestion is taken to accept on the content. Baudrillard gives the term simulacrum that is a certain significance in semiotics perspective which gives from a usual one that is a duplicate of another duplicate that has been so immoral in its regards to the unique that cannot be a duplicate anymore (Klages, 2006: p.169), (Sandlin and McLaren, 2010: p.45). The simulacrum rests on its own as a duplicate lacking a representation and it i s not a difficulty of repetition and pastiche anymore. On the other hand, simulation is the creation by representations of common sense without foundation and actuality which is called, Hyper-realism (Baudrillard and Poster, 2001: p.149). Baudrillard has established more on the simulation view as he disputes that the simulation judgment had gone beyond allegations to a main common reality to the idea where such simulacra amounts to represent realism itself (Baudrillard and Poster, 2001: p.181). However, pastiche consists of the disintegration and creation of common procedures as it explains the neutral reference of primary creative ways in postmodernism production. Technological Factors According to Jameson, the area under this discussion turns out to be further incomplete as it deals with a society inside the one that discovers the conclusion of the notable history in the postmodern period (Jameson, 1998: p.73). Postmodernism and Theatre Traditional theatre is represented by the importance identifying within the story and the devotion to Aristotles theatrical theory concept (Styan, 1965: P.60). Hegelian ideology has furthermore categorized into contemporary theatre alongside the persons actions at the theatre lead (Chemers, 2010: P.42). Aristotles art representation is additionally engaged in the naturalism pinnacles as convinced by the Darwinian rule of contemporary drama performance. Drama practices include approaches like dancing, singing, stage blocking and symbolic speaking that required theatrical aim progresses. Raymond Williams commented the calamity achievement in contemporary theatre where the isolated persons difficulty in a favourably developed sphere is emphasized (Williams, 2006: P.10). He highlighted how theatre principles are distinguished by its audiences suitability and its interactions to certain principle values. He emphasized how theatrical styles are argued as characterizations over which playwr ights, audience and actors correspond to encounter. Therefore, the production could be continued. Postmodern theatre is motivated to appear on artistic and past perspectives for communications to express itself alongside the common closure style (Nash, 1996: P.153). A similar representative is seen in various cultural types. Postmodern theatre views separate past and artistic cultures as an infinite motion basis. Theatrical approaches depictions and new features are reserved since various perspectives. Postmodern theatre acquires technique choices and general development with the style confinement failure (Wallis and Shepherd, 2004: P.139). This is considered in many methods in performance. Additional significant postmodern theatre approach is the inter-text where different versions are employed to describe on one another (Wallis and Shepherd, 2004: P.159). However, postmodern theatre is differentiated by agreeing and conflicting with the parallel modernist failed concept of Aristot le and Hegelian ideology judgements. While performing, actors wait for their cues and when they come in front of an audience besides learning their lines. Modernism and its features are not only seen in how messy the story is (Wallis and Shepherd, 2004: P.91). Actors also go across various portrayals and presentation aspects in the exact time and space while they are in their characters. Actors and their characters supports from one another because when actors are in their characters concurrently, they are in distinct worlds because they anticipates their cues but are not basically featured in the performance deliberately, substantially and instantly, although in actual reality, they are there. Postmodern theatre is furthermore distinguished from the modern theatre with the type of styles (Wallis and Shepherd, 2004: P.52-P.60). The industry separation, media beliefs and modernization influences drama performances (Wallis and Shepherd, 2004: P.60). This innovative theatre performance standard needs a distinct opinion from the audience but in postmodern theatre; Aristotles liberating idea revives radical unimportance. Artistic knowledge also develops entirely relating to the meaning-making development (Kershaw, 1999: P.12). Postmodern audience is furthermore appealed to go past this meaning-making development like how postmodern theatre is obligated to go past discussion advancements in demonstrating ideology into routine and back to ideology for it to be capable to articulate itself. Postmodern theatre compels the audience to continually assume an important attitude in observing. Meaning-making and communication invention in postmodern theatre is never a basic individual connection awareness form. Postmodern performances are then demonstrated with habitual interruptions in the audiences rational development with a careful attitude regarding communication partiality. Brechtian Aesthetics, Language and Post-Modernity Bertolt Brecht was perhaps a highly symbolic individual in dramatic artistics during the last century. His analysis of Aristotles extended recognized example and his later investigation and invention of the alienation effect or the distancing effect as people sometimes call it as well as his innovative style of theatre called, the Epic Theatre has modernized the style to dramatic custom and many statuses when it comes to creative talents. It has turned out to be idolized in its personal claim during the course of the sphere (Banham, 2000: p.261). Jameson shortens the alienation effect as The V-Effect as it is originally known in German as Verfremdungseffekt (Jameson, 2000: p.11, p.85). Jameson has specified certain elements in the alienation effect as it is most importantly implied as an inner experience where the creative show gets the audience into understanding the sphere in odd traditions. The methodical element of the alienation effect is situated in the show presentation and it s dramatization where the engagements of items and the positioning of performers are structured to dismay what the audience looks forward to in the theatre. Another element of the alienation effect and imaginably the highly alienating is carried out across the effort to separate the audience from the drama by shutting down and turning down support and compassion (Jameson, 2000: p.39). The reason for this is because it is aimed to make a vital gap so that the audience is capable to imagine throughout the show presentation in order for them to take action once it finishes. For Jameson, the doubt around the objective of denying and disagreeing the affecting link includes a different stage of alienation to Brechts work (Jameson, 2000: p.52). The reviewers along with the audience are incapable of making their minds up of the alienation effect objective and they are so alienated from their knowledge theory protection. So here situates with the instructive carries across of the alienation effect that is primary to what Brecht called the, instructive theatre (Willett and Brecht, 1964: p.71). The instructive theatre is when the audience is stimulated of finding for additional communications of understanding, explanation, criticisms, narratives and further critically to make the sphere once again. That is why it pours out of the previous constitutions of the alienation effect which is possible as the instructive revelation that has peoples requirement is beyond the past. Everything is not normal, destined, fixed or emotional characteristically in direction of a permanent conclusion in particular when every practical characteristic of peoples lives makes the stage up for their individuals show presentations which have to do with organizations providing educations that are variable. The particular character appears on or after following the disguise of the independence as soon as the sphere is formed oddly to people such as the demonstration of theatre that is made by the moving of sets on stage. It was looked as constant some time ago as it is recently established as curtailed, fragmentary, hypothetical and crucial. To run through and sum up, alienation is another word for estrangement and Brecht said, Estrangement means to historicize, that is, consider people and incidents as historically conditioned and transitory. (Ewen, 1967: p.222) That means the audience will not see the characters on stage anymore as they are not stimulus, unchangeable and vulnerable in bringing above to their outcome. The radical objectives of Brechtian alienation that puts across around instructive theatre must be compared with the acceptance of a natural past that permits no other course of action and in that way introduces the forthcoming events as a present unlikelihood. Instructive theatre separates the daily petrified and insensible reality (Willett and Brecht, 1964: p.71). The practicality of Brechts alienating effect holds people to the instructive characteristic o f performance that has the realistic outcome of separating that philosophical explanation of the modern public realism. For Brecht, the alienating work characteristic is exactly its proposal to the idea which the sphere could be otherwise (Jameson, 2000: p.39). When it comes to alienation, people carry on and finish a helpful ancient story through uncovering the likelihood of revitalizing, restructuring and modernizing the sphere (Philosophy of Education Society, 2002: p.186). Splitting the times that have gone by across extracts is one example and that is why it is unsuccessful when it never found the impression for the influence of the likely undevelopment in the constant contemporary. Jameson has ran through the checking development amount which consists of dividing the times that have gone by in that modern performances are designed simultaneously from elements of the previous performances where the entire surface objective of an era outwardly further than history and alteration as it gives in to an initial logical unstructured one prior to succeeding at a genuine modern and common united modernization reestablishment (Buchanan, 2006: p.42). The importance is on the modern drive unclassified and unconfined by the alienation effect which is articulated in the artistic influence of extracting, dividing, classifying and transplanting the frightened and fixed sphere. However, Brechts disputes and peoples importance have collapsed further down the analysis by famous postmodern cultural critics and mass media philosophers with the information time of life start and its influential issues on the topic of how about they corresponds. Culture and civilization can decide the Brechtian artistics and visuals importance by supporting the contemporary interpretation and the social and literary creation styles. The dramatic artistics and visuals main rule was credited to Aristotle in the middle of others up to Brecht and it is particularly in Brechts poetics (Bennett, 199 7: p.24), (Suvin, 1984: p.115). Aristotle had a very particular introduction for popular theatre that consists of the three unities of time, action and place (Brockmann, 2010: p.295). Aristotle thought that theatre ought to keep a life experience in its substance for the audience to recognize by means of it and remain stimulated by way of it afterwards. He also wanted this idea to have a successively feeling to the changed pardoning of catharsis. Brecht appeared during the 1920s and as he grew up, he established his artistic and visual in the course of the 1930s that opposed a lot of Aristotles extended recognized unities (Thomson and Sacks, 2006: p.209, p.212). Brecht alternatively chose to look theatre over as a modern type and not a changeable knowledge beyond catharsis but instead to some degree is increasingly crucial to work the audience into reacting by moving themselves away after the performance to imagine and believe rather than feeling. Brecht advised that the mental stat e of disappointment and understanding represented as difficulties to an important manifestation while Aristotle disputed that a central character must be an understanding character who has power over an unfortunate error with the purpose of bearing for them (Shaffer, 1992: p.123), (Hiltunen, 2002: p.46). Furthermore, Brecht reflects on the public procedures and understanding despite the fact that Aristotle asserts that the plays central point is a particular characters hamartia (Shaffer, 1992: p.120-p.121). Brecht supports his alienation effect as a method that upsets the audience by way of an ostensibly surprising and odd action and image whereas Aristotle highlights the poetic continuity categorization. Brechts aim and objective is to have the audience vitally separate themselves from the play and estimate the public and shared perspective. He also wanted them to achieve in addition of an extra demand to action than a passionate liberation. Culture and art was very influenced by t he scientific developments in interaction very remarkably with the television and the knowledge era over the last four decades. Cultural critics have asked issues of how reality was represented in the simulation era as these skills and scientific developments turned out to be more and more dominant. Jean Baudrillard was one of the many theorists who believed that a move in the realistic realism style had followed. This claim has been introduced even though it is not clearly to a standard and natural Brechtian artistics and visuals significant analysis that disputes that the representation is a traditionally represented clue and it is itself an Aristotle contradiction idea which explains that a representation is an unchangeable reality. Reality is additionally a variable unit and it is needful on certain elements which are only observed highly by the media with Baudrillard along with his contemporaries (Baudrillard and Poster, 2001: p.149). The realitys pastiche is no longer an indic ation and it is made aware by its clear difference of the formation and the initial analogue. The interpretation in the knowledge era is not so evident in an affiliation anymore if it is to find Aristotles concept of peoples facts or Brechts concept of public fact while theatre in Brechts time and period was evidently defined as an expression means for the factual. Baudrillard also thought that representation does not happen to be present anymore and it also does not influence an allusive characteristic anymore as that is all people have to behave (Pawlett, 2007: p.87). This contradicts Brechts artistic and visual ideas that are centred on confronting public realism as the result of the characteristic imaginable of representations made on stage. Brecht could not have quite estimated these theatrical variations in the manner that people have to do with reality. The postmodern condition uniqueness and distinctiveness is important to this argument after it advances itself through the s cientific era beginning. Certain concepts and suggestions have claimed the postmodern condition artistic and visual unique and distinctiveness but there are several that constantly reverberate which consist of analysis and critique as an aesthetics search and the philosophy analysis. On the other hand, analysis and critique is an ideology that generally links with grammatologist (Taylor and Winquist, 2003: p.164). Jean-Francois Lyotard also disputes that culture was additionally unified by political hegemony (Strand and Le Hir, 2000: p.149). Brechts artistic and visual is clearly established on a distinct set of beliefs. His epic theatre and alienating effect theory are entirely embedded with Marxism and this not just a political basis but it is one of the majority generalizing theories of contemporary Western concept (Reis, 1993: p.136). The Marxist artistic and visual is very consolidated and it is political and diplomatic as it is against the market as an important aspect in peop les works. This aim and objective is similar to Brechts aim and objective as it has to do with basic transformation which brings a technique down and replaces it with a pristine conceptual and philosophical theory and traditions. The alienating effect supports this theory by establishing a theatre type which carries out the surprises to reduce the vital distance that is centred on the theory of the reality in an understandable point and focus in mental reality (Jameson, 2000: p.84). The philosophy, aesthetics, analysis and critique tradition and presentation dispute this idea to distancing and not engaging to support a different purpose and theme which additionally continues critical hegemonic probabilities such as fascism. The connection, purpose and theme mix altogether and as the result of that, it eliminates their double reality which confuses the view but it eventually directs an extra gentle and genuine judgment (Jameson, 2000: p.21). On the other hand, it is not necessary to entirely ignore Brechts theories as they support importance contemporarily in spite of the basic move in the purpose and theme connection, interpretation, philosophical and moral basis. There are also some tactics and approaches for Brechts theatre which really appear to suit very suitably in the postmodern condition and its artistics method (Wright, 1989: p.135). Brechts leftover utilization can be clearly linked to the suitable movements of the scientific era and the market culture and civilization even if it is used with the focused of essential distancing. The point that Brecht employs a dramatic plan that breaks itself for the alienation effect can presently be recontextualized to fulfil the postmodern artistic range (New Observations Publications Incorporated, 1985: p.47). If the alienation effect is secluded, it could clearly be accredited to Brechtian techniques. The artistic could clearly be disputed as postmodern even if his dramatic techniques are centred on theories with reference to entirety but unfortunately Brechts dramatic custom would turn out to be very contradictory if this were the issue (Trussler and Barker, 2002: p.326). It would also not stimulate public engagement anymore but only satisfy a culture and civilization which are driven for strong media and reducing the characterless. Dramatic performances in media should be reconsidered with television and digital media on the internet as the main source of interaction in the postmodern age. The creativities determining the amount rupture, the reality investigation and the theme loss could appear to reduce Brecht and every theatre conventions. However, this is just the start of the era and by way of it occurs in every basic and principle; the theories are predominant and forceful just as similar as Brechtian theatre. Maybe a further explained contemporary media outcome result will appear from the sense of modification and the remnants of it will be capable for directing the theatre role as well as Brechts theatre in the future. Fantasy Brecht views performers as a suitable representation because they market and promote an invented dignity set to the audience that feels an emotional blast causing a demonstrative climax but however, the audience has previously felt the utmost demonstrative finish at the end of the performance. This involves the recollection which follows by the certain plot outcome. The audience has no alternative but to avoid the fast diminishing recollection of their theatrical stimulation and revert to the small actual representation which looks out for them beyond the theatre inside. This is Brechts critical style of Aristotles catharsis. Brecht also wanted the audience to see the characters as part of a bigger issue rather than revolving around the specific difficulty (Heinen and Weber, 2010: p.13). His alienation effect ideology was made to stop the audience from understanding the characters on stage and it would make his aim and objective realistic. In his own words, Brecht said, Estrangement means to historicize, that is, consider people and incidents as historically conditioned and transitory. The spectator will no longer see the characters on stage as unalterable, uninfluenceable, helplessly delivered over to their fate. He will see that his man is such and such, because circumstances are such. And circumstances are such, because man is such. But he in turn is conceivable not only as he is now, but also as he might be that is, otherwise and the same holds true for circumstances. Hence, the spectator obtains a new attitude in the theatre. He will be received in the theatre as the great transformer, who can intervene in the natural processes and the social processes, and who no longer accepts the world but masters it. (Ewen, 1967: p.222) Aristotelian theatre has understood the well designed theatrical production, advanced character occurrence and delay of doubt. Brecht created Epic Theatre which consist the plot viewed in a sporadic manner as there is very insufficient cause and effect of the character progress and scene sequences is collective (Benjamin, 2003: p.6). On the other hand, the alienation effect identifies with explanation, impartiality, neutrality and it gets around feelings. Brecht attempted to succeed distancing in so many ways as he made the action representative, cruel and complete. The action for Brecht is direct which lacks the conclusion as every scene sequence is conclude inside it and it is dramatically understood to stop the misconception feeling (Jones, 1987: p.105). So as a result in Brechts Epic Theatre adaptation, Brecht not only aimed to aggravate the audience into changing culture by reconsidering mutual theory. He also wanted the audience to see the characters in the theatre performance as part of a bigger and further essential unity. He used his Alienation Effect ideology to that influence. For Brecht, the difference of theatre and existence and the performer and observer is unclear and constricted which makes it eas ier for the theatre production conclusion to be left in charge of every audience participant (Reis, 1993: p.136). Furthermore, the audience is left in sensitive condition height at the theatre production conclusion in Brechts catharsis style. The audience have to furthermore do something in opposition to the public issue which was introduced to them for finishing the demonstrative purification (Barranger, 2006: p.123). The move from realism to hyper-realism happens when the representation interpretation succumbs to simulation. The simulation scene is a distancing exterior that permits for no theatre production representation of comparison and the entire sphere it provides and characterizes. The essential world, its very infinity and hugeness is nothing more than the simulation of these importances that is a simulacrum which present a limitation approach as it controls and restrains the spaceless understanding and the partial procedure sphere from a Brechts point of view. The distanc ing fades away into closeness and existence turns out to be a simplicity and simultaneity condition. People might still come across something similar to Lyotards theory of passibility (Crockett, 2001: p.49). Lyotard expresses this conflict as an effort to change modernity to move complication and purpose by transcribing beyond the theories of its telos (Holmes, 1997: p.175). He suggests a concept he called, Working Through as opposed to modernitys guided creation which is a free theatre performance as opposed to tactical theatre performance (Malpas, 2003: p.119). Brecht and Lyotard had one thing in common. Both of them agreed that the appeal to avoid the control of a complete method pushed in direction of its individual beliefs and ahead of it whilst being in different realms in numerous concerns. In Lyotards own words, he said, Being prepared to receive what thought is not prepared to think is what deserves the name of thinking. (Williams, Crome and Lyotard, 2006: p.277) Neverthele ss, modernist works are limited and separate units for every free theatre performance in them that is just what the conventional culture organization empathizes (Murphy, 1999: p.30). The innovative modernity that is existent to this problem was overcome by political and diplomatic historical past. However, postmodernity is encountered with these circumstances and will then take the separate exit (Frascina, 1992: p.97). If the culture work is surely a commodity then it may also confess on it because the commodity as the instinctively copy argument forces the commodity out. Postmodernist culture will end its individual limits and turn out to be comparable by means of normal commodified existence in an ironic explanation on the modern work whose constant arguments and changes in any circumstances understand no recognized limits which are not continuously doing wrong (Bell and Le May, 1993: p.175), (Eagleton, 1986: p.141). If every work of art can be corrected by the decision direction, then it is boldly better to anticipate this outcome rather than reluctantly enduring it which by this time is a commodity that can keep from commodification. Postmodernist culture will give a downgraded respond to certain selectivity by fixing itself in the ground if the elevated modernist work was established in the concept (Harris and Frascina, 1992: p.97), (Eagleton, 1986: p.141). However, Brecht has commented this theory as a beginning after the bad new things instead of a beginning after the good old

Affirmative Action Essay -- essays research papers

Pros on Affirmative Action Affirmative action refers to a variety of programs and policies that are race, gender, national origin, and ethnicity conscious. Such programs are targeting women and minorities that had suffered discrimination in the past. History tells us that women and minorities suffered severe discriminations until the middle of 20th century. Women and minorities were treated as inferiors and subordinate status. According to Gilroy, "women were not allowed to enter entire areas of employment such as mining, fire fighting, law, and medicine." They were not even allowed to vote until the early 1920s. The racial segregation in one form or another forced American Indians, African Americans and Latinos into low-wage, dead-end jobs. No one can deny this historical truth, not even opponents of affirmative action reluctantly admit this (Gilroy 79). Critics of affirmative action have argued that because of affirmative action, white males are discriminated against as a group. They call this a "reverse discrimination." This argument sounds somewhat believable but it is simply wrong if we look at the facts. Women and minorities today are still significantly underrated in spite of the enforcement of affirmative action programs. 'According to a 1995 government report, white males hold 95 percent of senior management positions although they make up only 29 percent of the workforce. White males are still, by a great margin, over represented in most high st...

The Successes and Failures of the Zapatista Movement Essay -- Autonomy

The Successes and Failures of the Zapatista Movement On January 1, 2004, over one thousand people in the mountain hamlet of Oventic, Chiapas, celebrated the 10th anniversary of the Zapatista Army of National Liberation (EZLN) rebellion with song and dance. Thus, it seems a fitting time to take stock of the successes and failures of the Zapatista movement in the context of its original goals. While the EZLN has been able to establish thirty eight autonomous indigenous communities in Chiapas, it has failed to weaken the Mexican government's commitment to neo-liberal economic policies. In the following pages, we will explore those factors which enabled the Zapatistas to establish regions of autonomy and extrapolate from Theotonio Dos Santos' understanding of the effects of reliance on foreign capital and Nora Hamilton's analysis of the 'limits to state autonomy' to rationalize the failure of the Zapatista's broader vision of social justice. In a letter to President Zedillo in 1994, Subcomandante Marcos of the EZLN demanded ?democracy, liberty and justice? for all Mexicans. These nationalist ideals were supplemented by practical demands to meet the needs of the impoverished and exploited indigenous peoples of Mexico. In 1993, the EZLN promoted an indigenous struggle ?for work, land, housing, food, health care, education, independence, freedom, democracy, justice and peace. We declare that we will not stop fighting until the basic demands of our people have been met by forming a government of our country that is free and democratic.? By the late nineties, the struggle for indigenous autonomy had become ?the central basis of the Zapatista movement.? Since 1994, the Zapatistas have made significant gains... ...94. ?Over 20,000 Zapatistas take San Cristobal.? http://www.nadir.org/nadir/initiativ/agp/free/mexico/2003/0103 take_san_cristobal.htm. 2/22/04 Pastor, Jr., Kevin, and Carol Wise. ?Mexican-Style Neoliberalism: State Policy and Distributional Stress.? in The Post NAFTA Political Economy: Mexico and the Western Hemisphere, Carol Wise, ed. University Park : Pennsylvania State University Press, 1998. ?Plan Puebla-Panama.? Nafinsa Securities, Inc. http://www.nafinsa.com/planpueblapanama.htm. 3/17/04 Ross, John. ?The Zapatistas at Ten.? NACLA, Vol. xxxvii, No. 3, November/December, 2003: pp. 11-16. Trudeau, Robert. Guatemalan Politics: The Popular Struggle for Democracy. Boulder: L. Rienner, 1993. ?Zapatista movement marks 10th anniversary.? http://www.cnn.com/2004/WORLD/americas/ 01/01/mexico.zapatista.anniversary.ap/. 2/22/04.

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Ch. 20 -Practice 1. If M = the money supply; Y = real output, P = the price level, and V = velocity, which of the following equals the velocity of money? A. (Y x M)/P B. (P x M)/Y C. (P x Y)/M D. (P x Y) +M 2. If the equation of exchange is MV = PY the Y represents:Â   A. Nominal GDP B. Real GDP C. Potential output D. Economic growth 3. According to the equation of exchange, if real output and the money supply stay the same and the price level increases:Â   A. The velocity of money has to increase B. The velocity of money has to decrease C. The real GDP had to rise D.Nominal GDP remains constant 4. Which of the following expresses the equation of exchange? A. MY = PV B. MV = Y C. MV = PY D. MP = VY 5. Using the equation of exchange, if inflation is 1. 5%, real output grows by 3. 0%, and the growth rate of money is 5. 0%, the change in the velocity of money is:Â   A. Zero; velocity is constant B. -0. 5% C. +4. 5% D. +0. 5% 6. Using the equation of exchange, if real GDP increases by 3. 0%, the velocity of money grows by 1. 0% and the growth rate of money is 3. 0%; what is the rate of inflation? A. +1. 0% B. It is constant or a 0% change C.It is the same as the growth rate of money, or 3. 0% D. -1. 0% 7. Using the equation of exchange, if inflation is 1%, the velocity of money grows by 1. 0% and the growth rate of money is 3. 0%; what is real growth? A. +3. 0% B. 1% C. 4. 0% D. -1. 0% 8. If velocity of money is constant; real growth in the output of the economy is +2. 5%; and inflation is 2. 0%; what is the growth rate of money? Here we can employ the percentage change form of the equation of exchange where: %M + %V = %P + %Y. Inserting the known values and solving for the %M we obtain: %M + 0 = 2. 0 + 2. or %M = 4. 5. 9. The CPI is a commonly used and closely watched measure of inflation. However, it has limitations. What are they? Economists maintain that the CPI, which is a common measure of inflation, overstates the true rate of inflation by about one perce ntage point per year. This is primarily due to the fact that the CPI is measured using a fixed basket of goods. The bias in the CPI arises from several sources. First, consumers' buying patterns change, and in particular, consumers can substitute away from higher priced goods towards less expensive substitutes.A second source of bias arises from the fact that quality improvements are not always adjusted for, so what looks like a higher price may simply be an improvement in quality. 10. Assuming a constant nominal GDP, would the velocity of M1 equal the velocity of M2? Explain. No, the velocity of M1 would be greater than the velocity of M2. The formula for velocity is nominal GDP/M. Given a constant numerator and the fact that M2 ; M1 the velocity of M1 has to exceed the velocity of M2.

Project Report Cow Dairy

|Area Considered 27500 Sft. |Scope of work | |   |Civil and Interior Work | |1 |Dismantling of existing flooring | |2 |Brick work | |3 |Providing and laying brick wall with plaster finished with POP punning and including | | |plastic emulsion paint | |4 |Vitrified flooring in 2nd floor entrance lobby and 1st floor passage, waiting area, | | |reception area and cafeteria. | |5 |Vitrified tile flooring in toilet and vitrified tile dado in toilet and pantry. | |6 |Fire alarm systems with sprinklers. | |7 |Kota in store room. | |8 |Raised floor in Electrical room, UPS and server room | |9 |Granite toilet counter | |10 |Dry pantry counter in cafeteria. |11 |100mm & 75mm thick full height partition finished with plastic emulsion paint | |12 |Full height glass partition in main entrance lobby, conference room & meeting room. | |13 |Gypsum ceiling & acoustic ceiling | |14 |Doors: 12mm toughned glass with ozone make hardware and 38mm laminate finish flush door | | |with ozone fittings. | |15 |Built in furniture: Full height storage made out of commercial ply with 1mm thick | | |laminated shutter, overhead storage made of commercial ply with laminate finish. | |16 |Loose Furniture: Reception table with corian top and laminate on inside with pedestal | | |unit. | |17 |16 seaters and 10 seaters meeting room table with laminate finish. |18 |Security table | |   |Electrical work | |   | Design, fabrication,supply and installation of main LT panel board, capacitor control | | |panel, lighting distribution board, power distribution board, UPS distribution board, | | |power cabling, control cabling, wiring in conduits, lilghting with lighting fixtures and | | |appliances. Cabling, telephone cabling, Floor trunking and cable tray. | |   |HVAC | |   | Ductable 50 tones split AC with grills and defusers and duct insulations with electrical | | |cabling. |   |Carpet | |   | Rest of the floor will be carpet flooring. | |   |Blinds | |   |Blinds in external wind ows | |   |Signage: | | | Signage’s in toilet. Meeting room, fire fighting staircase etc. | |   |Network Cabling | |   | 2 data and 2 voice point in each work station and 4 data and 4 voice point in each | | |conference and meeting room. |   |UPS | | |Required capacity of UPS battery with racks. | |   |AV Equipment-LCD/Projecter, | | |Polycom Phones | |   |LCD in conference room and cafeteria, polycom phone in conference room. | |   |Furniture | | |65 Linear work station in laminate finish. | |   |All Chairs (Except work station chair and meeting room chairs )in cafeteria and sofa for | | |reception. |   |Office Equipments | |   |Office Equipments: 230 Ltrs Refrigerators, door mate and steel dustbin. | – Required Scope of services : 1. Design Services:- Interior design of office fit out covering space planning , interior layout , furniture fixtures , false ceiling  (with minimum modifications possible), partition , carpentry etc. Prepare and p resent final design development plans and details, fixing dimensions and describing in details the interiors , mechanical , electrical ,  Ã‚  IT,   AV and lighting solution. 2. Fit -out Management:-   Project Management of the fit-out works including submission of design to handing over of facility . 3.MEP Consultant :- Design of all services like UPS , Electrical ,   HVAC , IT Network , Security system & AV equipment . 4. Fit out work :- Providing , Supplying & Installation of Civil interiors , Electrical , HVAC , Modular furniture's , Chairs (excluding workstation and meeting room chairs) , Carpet , Blinds , AV equipment , UPS , IT networks , Signage's/Graphics & Office equipment  as per approved design. for spaces including (but not limited to) Workstation Area, Reception Area, Server Room, UPS Room, Meeting Rooms,  Cafeteria, Dry Pantry, Quite Rooms, Reprographics cum Stationary Area, Store Room, Electrical Room etc. Please refer the attached scope of works (specific ations and Proposed Plan) for  Ã‚  further details  . |S. No. SPECIFICATION – CIVIL & INTERIOR | |A |CIVIL & WET WORKS | |A-1 |DISMANTLING | |1 |DISMANTLING OF FLOORING :- Dismantling of existing flooring and skirting including removing | | |base in cement mortar of any depth etc. and disposal of unserviceable material to the closest| | |dumping ground. | |2 |DISMANTLING OF BRICK WORK :- Dismantling of brick wall of all thickness in cement mortar, | | |including glazed tiles, cement plaster and disposal of unserviceable material as directed. | |3 |DISMANTLING OF RCC :- Dismantling of RCC work in lintel, beams, counters, slabs etc. including| | |cutting of reinforcement steel and disposal of unserviceable material as directed to municipal| | |dumping ground. |4 |DISMANTLING OF DOOR FRAMES & SHUTTER :- Dismantling of existing door frames and shutters and | | |stacking of serviceable material and disposal of unserviceable material to nearest municipal | | |dumping ground.. | |5 |MAKING CUT OUT IN SLAB/Wall :- Making cutout in slab upto to size of 0. 5 sqm including cutting| | |reinforcement and making good all opening for other allied works as directed. | |A-2 |MASONRY AND PLASTER | |1 |CLOSING OF CUT OUTS :- Closing of cut out in cement concrete and fixing of PVC sleeves as | | |directed. |2 |REPAIRING OF FLOORING:- Repairing of existing flooring of approximate width 150- 300mm taken | | |as average and 50mm deep in cement concrete 1:2:4(1cement : 2 coarse sand : 4 graded stone | | |aggregate) mixed and finished with cement mortar plaster 1:4 (1cement:4 coarse sand) etc. | | |complete as directed by the Architect. (for race way) | |3 |HALF BRICK WALL :- Providing and laying half brick partition wall with well burnt good quality| | |of first class designation 75 in cement mortar 1:4(1cement: 4 coarse sand) including providing| | |2 Nos of 6mm dia MS round bars at every IV th course, including scaffolding, curing rubbing | | |the surface, racking out joints etc. omplete as directed and specified for walls, at all | | |floor and levels, including 12 to 15mm thick cement plaster in 1:4:2(1cement:4 fine sand : 2 | | |coarse sand) | |4 |230MM THICK BRICK WALL :- Providing and laying 230mm thick brick wall with well burnt good | | |quality , class designation 75 in cement mortar I:4 (1cement:4 coarse and) including, | | |scaffolding, curing, rubbing the surface, racking out the joints etc. completed as directed | | |and specified for walls, at all floor and levels. | |5 |CEMENT PLASTER :- Providing and laying 12to 15mm thick cement plaster of mix 1:4:2( 1cement:4 | | |fine sand: 2 coarse sand) to all type of RCC work in line , level and plumb including smooth | | |cement finish as directed including providing necessary bands, drip moulds groove and wiremesh| | |at all junction of walls and ceiling including racking the joints or roughening the RCC | | |surfaces, necessary curing scaffolding etc. complete as directed and specified. |6 |REINFORCED CEMENT CONCRETE :- Reinforced cement concrete work with M-20 grade reinforced | | |cement concrete in lintels, beams counter, shelves including the cost of centering and | | |shuttering finishing and reinforcement at all height & levels | |7 |CEMENT CONCRETE UNDER FLOOR :- Providing and laying cement concrete under floor etc. at all | | |levels including the cost of centering, shuttering , finishing etc. complete | |* |1:4:8(1cement: 4 coarse sand: 8 graded stone aggregate 20mm nominal size) | |8 |POP Punning (6mm-12mm): Providing and fixing Average 6mm to 12mm thick POP Punning over cement| | |plaster in line & plumb finished smooth to receive paint. | |9 |POP Punning (25mm-30mm): Providing and fixing Average 25mm to 30mm thick POP Punning over | | |cement plaster in line & plumb finished smooth to receive paint. |10 |WATERPROOFING WORKS :- Providing and applying water proofing treatment to toilets, pantries | | |and other wet areas base and walls with four coats of Ta pecrete or approved equivalent mixed | | |with white cement in proportion 1:2( 1tapecete: 2 white cement) including mixing silica sand | | |in second coat in proportion 1:2:1. 5(1tapecrete :2white cement :1. 5 silica sand) and sealing | | |all junction corners and concrete after first coat with epoxy mortar as per approved | | |specifications of specialist agency. | |11 |Providing and laying on sunken areas light weight concrete of approximately 600 kg per cum | | |density laid, consolidated, cured, finished, smooth, including finishing and grouting with | | |water proof cement mortar and as per specification. |12 |Providing and applying Ardex HydrEpoxy -300 (Damp proofing Membrane) in two coats on walls, | | |floors as per Ardex directions & specification and as per Architects approval. (Server/UPS | | |room) | |A-3 |PAVING AND WALL CLADDING | |   |   | |1 |VITRIFIED TILE FLOORING (white colour) :- Providing and laying mirror polished 592x592mm | | |vitrified floor tiles of E uro make laid over adequate thickness of cement mortar | | |1:4(1cement:4carse sand) using chemical grouting aquamix/ laticrete grout 5mm, plastic | | |spacers Tile adhesive unitile make.The rate shall be inclusive of necessary preparation, | | |cleaning, protection with POP etc. complete (BR of tile to be taken as Rs 80/sft) | |5 |VITRIFIED TILE DADO (white colour) :- Providing and laying mirror polished 600x600mm | | |vitrified tile dado at Toilet and Pantry of Euro make laid over adequate thickness of | | |cement mortar 1:4(1cement:4carse sand) using chemical grouting aquamix/ laticrete grout 5mm,| | |plastic spacers Tile adhesive unitile make. The rate shall be inclusive of necessary | | |preparation, cleaning, protection with POP etc. omplete – (BR Rs 80/sft) | |6 |WALL TILES :- Providing and fixing 200x200mm ceramic tiles of Kajaria make shade as approved | | |by the Architect with balendura grouting, plastic spacer, tile adhesive , chemical grout of | | |balendura or e quivalent laid over 12mm thick cement mortar 1:4(1cement:4 coarse sand) | | |including cutting of tile in proper shape and size all complete as per design and drawing. | | |(B. R 35Rs/Sft) | |7 |ANTI STATIC VINYL FLOORING :- Providing and laying 2mm thk 600Ãâ€"600 tile PVC antistatic vinyl | | |flooring of approved shade and quality with adhesive, as per manufacturers recommendation and | | |specification etc. complete Cost of leveling as required to be included in the quoted rate. (LG| | |floors or approved equivalent) (BR 145/Sft) | |8 RAISED FLOOR :- The entire access floor system shall be made from steel cementitious infill | | |and provide for adequate fire properties, acoustic barrier and air leakage resistance. The | | |system shall be able to withstand a UDL of 1200kg. Per sqmt. And a point load of 360 kg. The | | |pedestal shall withstand Axial Load of 2200kg. | |   |PANELS: -Panels shall be made from steel. The bottom of the panel shall be embossed in | | |hemispherica l shape to give strength and flexural rigidity. The top sheet shall be plain and | | |resistant welded at various locations after the top and bottom sheets have been degreased and | | |phostated to form a single composit unit.The entire panel shall be quoted with epoxy coating | | |on the exposed surface and then the hollow panel shall have an infill of light weight | | |cementitious material, panel shall remain flat through and stable unaffected by humidity or | | |fluctuation in temp through out its normal working life. Panel shall provide for impact | | |resistance top surfaces minimal deflection, corrosion resistance properties and shall not be | | |combustible or aid surface spread of flame, panels shall be insulated against heat and noise | | |transfer. Panels shall provide qualities of concrete slabs, panels shall be of size 600x600mm | | |and 30 – 37mm thick fully interchangeable with each other within the range of a specified lay | | |out. Panels shall be free standi ng onto the structure. |   |Pedestal – Pedestals installed to support the panel shall be suitable to achieve a | | |specified floor height from the existing floor level and shall be placed 600mm distance in | | |both directions to form a grid of 600x600mm. Pedestal design shall confirm speedy assembly and| | |removal for relocation and maintenance. Pedestal base shall be permanently secured to position| | |on the sub floor mostly by effective glue of mechanical fastening for more than 600mm | | |finished floor height. Pedestal assembly shall provide for easy adjustment of levelling and | | |accurately align panels to ensure lateral restrain. or prevention of corrosion pedestals are | | |either powder coated or zinc electroplated as required. Pedestal shall support an axial load | | |of 2200kg. without permanent deformation and an ultimate load of 3500kg. The pedestal flat | | |head then shall receive the panel which shall be fastened by screws to the pedestal head to | | |f orm a rigid grid. (UNITILE/CANI-MICROTAC) | |* |300 mm high with high abrasion anti- static HPL in size 600x600mm. | |9 |TOILET COUNTER :-P/F 450MM deep clear granite counters @ Toilets, rate shall be incl. of 20mm| | |thk granite 200mm deep 20mm thk granite front fascia; 75mm thk. :2:4 RCC counter slab duly | | |cured; cutting & creating holes in slab & stone ; bull nosing in stone ; Include necessary | | |preparations, cleaning & protection w/ polythene & POP as required; all as per design & | | |Architect's approvals. (B. R. 160 per sft) | |10 |PANTRY COUNTER :-(2400X2100mm) Providing and fixing pantry counter 350/700 deep over head and | | |under storage with granite top and 200 high back splash, 600X600mm vitrified tile | | |cladding,over head and base cabinet made of laminated shutter of 20mm BWP board . All internal| | |surfaces to have balancing laminate.The rate inclusive of necessary hardware,140 HIGH D | | |shaped Hetitch handle code no 011869 lock sets, self closing hing es, spring loaded shutter, | | |latch inside, all cabinet hardware to be†HETTITCH† or equivalent complete as per Architects | | |approval. (BR to be taken as Rs 160/sft) | |11 |PERIMETER GLAZING CILL/LEDGE :-Providing and laying , laminated cill/ ledge comprising of | | |1mm thick laminate over 19mm thick commercial board with 32Ãâ€"12 beech wood lipping and clear | | |transparant silicon sealant at junction with wall and glass. all complete as per design and | | |drawing. | |* |150 wide with moulding at window level. |12 |STEPS IN SERVER & HUB ROOM:- Providing and fixing in position steps in server room made of | | |hard wood frame work of 75Ãâ€"75 section laid to receive 19mm thick commercial ply to be screwed | | |to the hard wood frame work complete as directed. | | |   | |B. |DRY WORKS | |   |   | |B-1 |PARTITIONS AND WALL CLADDING | |   |   | |1 |FULL HEIGHT GYPSUM PARTITION (100MM THICK) :- Providing and fixing 100mm thick gypsum board | | |partitio n comprising of 48mm proprietary vertical studs , Two layer of 12. mm thick gypboard | | |on both sides of 48mm GI studd as per manufacturers specification (â€Å"India Gypsum make†) | | |including 50mm, (24 kg/cum) thick glass wool insulation of UP Twiga make grade specified by | | |the Architect from raw floor to the bottom of ceiling (Rate to be inclusive of GI corner | | |beads, hard wood scantling and other GI accessories finished with proprietary topcoat) | | |(including plastic emulsion paint) | |2 |Item same as above of 100mm thick gypsum partition but with hard wood framing instead of G. I | | |proprietary channel/ stud. | |3 |Item same as above of 100mm thick gypsum partition but above false ceiling. | |4 |PROVIDING ADDITIONAL LAYER OF:- | |a |Extra for providing single layer of MDF board in place of single layer of gypsum board) | |b |Extra for over and above of Item 1 for providing additional layer of 8mm+4mm thick MDF board| | |screwed/ nailed on one side of par tition. |c |Extra for over and above of Item 1 for providing & fixing additional layer of 12mm thick BWP | | |ply screwed/ nailed on one side of the partition | |d |Extra for over and above of Item 1 for providing additional layer of 12mm thick bison board | | |screwed/ nailed on one side of the partition | |e |Extra for over and above of Item 1 for providing and fixing 1mm thick laminate pasted over 4mm| | |thick MDF board over 8mm MDF board glued/ nailed with the existing partition. | |f |Extra for over and above of Item 1 for providing 4mm thick veneer duly melamine fixed over 8mm| | |thick MDF board glued/ nailed with the existing partition. | |g |Extra for over and above of Item 1 for providing extra layer of gypsum board nailed / screwed | | |with the existing partition. (without paint) | |5 |75MM THICK GYPSUM PARTITION :-Item same as above of 1 but with two layer of 12. mm thick | | |gypboard on one side only of studd all as per manufacturers specification (â€Å"India Gyps um | | |make†) (Rate shall be inclusive of GI corner beads, hard wood scantling and other GI | | |accessories finished with proprietary topcoat ready to receive paint. ) & closing of opening | | |made for duct and other piping work etc. (including plastic emulsion paint) | |6 |DUCO PAINTED PANELLING (62MM THICK):-Extra over 100mm thick partition for providing and fixing| | |MDF panelling fixed over 8mm + 4mm thick MDF board including metallic duco paint of (Belco | | |shade) as approved by the architect, including all hardware, â€Å"V† groove etc. complete as per | | |architects approval. |7 |132 THICK FIRE LINE BOARD PARTITION:-Providing and fixing 132 mm thick fire line partition two| | |layers of 15mm thick fire line board on both side of 70mm studs as per manufacturers | | |specification (â€Å"India Gypsum make†) including Vapour barrier and mineral fibre wool | | |insulation from raw floor to bottom of ceiling. Complete as per manufacturers specification. | |8 |110 THICK FIRE LINE BOARD PARTITION:-Providing and fixing 110 mm thick fire line partition two| | |layers of 15mm thick fire line board on both side of 48mm studs as per manufacturers | | |specification (â€Å"India Gypsum make†) including Vapour barrier and mineral fibre wool | | |insulation from raw floor to bottom of ceiling. Complete as per manufacturers specification. |9 |WOODEN SKIRTING;- Providing and fixing 12mm thick and 50mm high beech wood skirting flushed| | |to wall/gypsum partition with wooden plugs including all necessary nails, screws melamine | | |polishing on exposed surfaces, fire retardant paint etc. complete as per design and drawing. | |10 |VENEER PANELLING:- Providing and fixing veneer panelling made of hard wood framing fixed with | | |one layer 12mm thick MDF board & 8mm thick MDF board fixed/ pasted with 4mm thick veneer of | | |approved shade in batten form including making 10mm wide groove filled with metalic laminate | | |of Ventura make all hardware melamine polishing etc. complete as per architects approval. |11 |VENEER PANELLING:- Providing and fixing veneer panelling made of 8mm+ 4thick MDF board fixed | | |over hard wood framing pasted with 4mm thick veneer including making 4X4mm groove, all | | |hardware melamine polishing etc. complete as per NSN/architects approval. | |12 |WALL TRACTS FABRIC PANELLING:- Providing and fixing fabric panelling over hard wood framing | | |and MDF base and pinnable cellotex board to be installed as per design and drawing including | | |wall tracts channels, and 35mm wide laminated band at top andbottom complete as per | | |manufacturers specification. BR of fabric to be taken as Rs 500/rmt) | |13 |FABRIC PANELLING:- Providing and fixing fabric panelling over hard wood framing fixed with | | |fabric wrapped over 12mm cellotex board with 3mm cushion backing including all hardware, | | |fireretardant paint etc complete as per design and drawing. (Basic rate of fabric to be taken| | |as RS. 500/ meter) | |   |   | |14 |PROJECTED MDF POSTER PANEL:- Providing and fixing projected MDF panel pasted with laminate of | | |approved shade to receive the digitally printed graphic vinyl poster. |   |   | |15 |3M FILM OVER GLASS SURFACE:-Providing and fixing 3M scotchcal 3650-114 printed with 3M over | | |laminate 8952 with 5 yrs MCS warranty (By 3M India) over glass surface complete as per | | |approval of the Architect. (only film surface area shall be measured and paid) | |16 |3M FROSTED FILM (CRYSTAL QUALITY):- Providing and fixing 3M scotchcal 7725/324 over glass | | |surface with 15 yrs MCS warranty (By 3M India) as approval of the Architect. (only film | | surface area shall be measured and paid) | |17 |3M GRAPHIC FILM OVER MDF/GLASS SURFACE:-Providing and fixing 3M controltech comply with 3M | | |over laminate digitally printed with 5 yrs MCS warranty (By 3M India) as approval of the | | |Architect. (only film surface area shall be measured and paid) | |18 |G LASS PANELING :- 6mm thick SaintGobain Lacquered glass fixed/pasted to BWP ply/MDF base | | |complete as per design and drawing. (only glass surface area shall be measured and paid) | |19 |GLASS PANELING :- 6mm thick SaintGobain Lacquered glass fixed/pasted to BWP ply/MDF base | | |with hard wood framing and SS surround complete as per design and drawing. | |20 |WALL PAPER:-Providing and fixing wall paper (Vinyl wall covering) of VESCOM, Orient quality | | |(Code 146. 2)distributed by Wall Tracts on POP/ Gypboard surfaces with suitable addhesive as | | |per manufacturers specification. (BR 140 sft) | |21 |EDGE PROTECTION PROFILE:-Providing and fixing 25Ãâ€"25 wide GI edge protection profile of India | | |Gypsum make at all the corners of the wall/column as per Architects approval. | |22 |HARD WOOD FRAMING:- Providing and fixing 50mmx50mm hard wood framing in partition as vertical | | |and horizontal supports for overhead storage's, white boards, art works LCD screens etc. | | |incl uding fire retardant paint etc. omplete as per direction of the Architect. | |23 |DUCO PAINTED JAMB:-Providing and fixing 20X125mm thick Duco painted jamb fixed to the hard | | |wood framing and commercial ply with 4mm thick MDF board etc. complete as per approval. | |24 |SS CORNER EDGE PROTECTOR:- Providing and fixing 50Ãâ€"50 SS angle edge protector with and wooden | | |steps all accessories as per approval of the Architect. | |25 |CORIAN COUNTER:- Fabricating, supplying and placing in position corian counter 550 wide made| | |of corain cladded over commercial board with facia supported with 80 dia SS legs of HETITCH | | |make height adjustable Code No. 46064 covered with commercial ply and laminate at bottom | | |as per approval of the Architects. (BR of Corian to be taken as Rs 750/sft) (at Cafeteria) | |26 |Aluminium Glazed partition having 10 mm tempered glass. Section of Aluminium shall be as per | | |manufacturer specification. Make – Alloy / To be Proposed by Design er/Vendor basis Acoustics | | |and overall Aesthetic quality | |27 |Aluminium glazed partition with 6mm+6mm laminated glass with vinyle in between two glassess | | |. section of Aluminium shall be as per manufacturer specification. Make – Alloy / To be | | |Proposed by Designer/Vendor basis Acoustics and overall Aesthetic quality | |   |   | |   |Notes:- | |   |   | |* |1)All beech wood and veneer to be seasoned and melamine polished to shade as / architects | | |approval | |* |2) All stainless steel cladding work to be provided and fixed by Architect approved specialist| |* |3) All hardwood to be seasoned and painted with anti-termite and fire retardant paints. | |* |4) All partition to be erected from floor to the bottom of the ceiling (Ceiling ht. + 3900), | | |filled with sound insulated material, as specified & directed by the architect. | |* |5) All partition to be extended upto existing window mullions, when it comes in contact with | | |the existing window and to be airtight closed all widow edges to have 4 mm groove with silicon| | |fill. | |* |6) All openings for the cutouts for ducting/raceways/cables etc. in the partitions to be | | |closed & made air tight. |* |7) The rate shall be inclusive of GI corner beads, hard wood scantling and other GI | | |accessories finished with proprietary topcoat ready to receive paint and providing minimum 70b| | |sound barrier. | |* |8) All materials shall be as per manufacturers specification (â€Å"India Gypsum make†) and | | |insulation material shall be as manufacturers specification (â€Å"UP Twiga make†) | |* |9)Contractor to procure certification from manufacturer of sound insulativeness of partition. | |* |10) Rate to include for fixing of hard wood framing below false floor level as required. |* |11) Rate to be inclusive of GI corner protector angle of India Gypsum make. | |B-2 |CEILING & FLOORING | |1 |GYPBOARD CEILING :- Providing and fixing suspended false ceiling, which includes providing and| | |fixing GI perimeter channels of size 0. 55mm thick having one flange of 20mm and another flange| | |of 30mm and a web of 27mm along with perimeter of ceiling, screw fixed to brick wall/partition| | |with the help of nylon sleeves and screws at 610mm centers. The suspending GI intermediate | | |channel of size 45mm, 0. mm thick with two flanges of 15mm each from the soffit at 1220mm | | |centers with ceiling angle of width 25mmx 10mmx 0. 55mm thick fixed to soffit with GI cleat and| | |steel expansion fastene. Ceiling section of 0. 55mm thickness having knurled web of 51. 5mm and | | |two flanges of 26mm each with lips of 10. 5mm are then fixed to the intermediate channel with | | |the help of connecting clips and in direction perpendicular to the intermediate channel at | | |457mm centers. 12. 5mm tapered edge Gypboard (Conforming to IS- 2095-1982) is then screwed | | |fixed to ceiling section with 25mm dry wall screw at 230mm centers. Screw fixing is done | | |mechanically. |   |Finally the boards are to be jointed and finished so as to have a flush look which includes | | |filling as finishing the tapered and square edge of the boards with joining compound, paper | | |tape and two coats of primer suitable for Gypboard (as equivalent) extra frame work for | | |electrical fittings, A/C diffusers, and/or any other cutout, trap doors, wooden shadow battens| | |(hollock wood black enamel painted-25x40mm) at wall peripheries and ends, 12mm thick MDF board| | |for pelmet etc. complete including opening to be made for AC grills, light fittings, trap | | |doors etc. (The quoted ate shall be inclusive of suspenders at all heights) ( The rate to be | | |quoted including plastic emulsion paint) | |* For horizontal & vertical surfaces | |   |   | |2 |DOUBLE SIDE COVE LIGHT:- Providing and making double sided cove light in gypboard including | | |lastic emulsion paint. | |3 |SINGLE SIDE COVE LIGHT:-Providing and making single side cove lig ht in gypboard including | | |plastic emulsion paint. | |4 |ACOUSTIC CEILING TILE (WHITE) :- Providing and fixing of Armstrong Acoustical Ceiling system | | |with Dune Max Microlook edge Tiles with SILHOUTTE† grid and shadow angle of size 600x1600x18mm| | |laid on 24mm hot dipped galvanized steel suspension system.The tile should have thickness of | | |18mm and humidity resistance of 95% RH, average NRC 0. 7, sound attenuation of 20db, light | | |reflectance >84%. Thermal conductivity k= 0. 036 w/mk, colour white , fire performance 0/class | | |I (BS-476) Installation to comprise main runner spaced at 1200mm maximum centres. The last | | |hanger at the end of each main runner should not be greater than 450mm from the adjacent wall. | | |Flush fitting 1200mm long cross tees to be interlocked between main runner at 600mm centres to| | |form 1200x600mm module. Perimeter trim to be Armstrong wall angle of size 19x19x3000mm, | | |secured to wall at 450mm maximum centres. |5 |TRAP D OOR:- Providing and fixing trap door in false ceiling made of â€Å"Novapan â€Å"prelaminated | | |board , dead locks, lipping all around including all hardware, hinges etc. complete as per | | |design and drawing. | |6 |CEILING PELMETS;-Providing and fixing 19mm thick B. W. P pelmets with hard wood lipping and | | |fixied to ceiling with hard wood framing complete including painting. (as indicated in the | | |drawing) to take vertical blinds. | |7 |MOTORISATION SCREEN PELMET AT CEILING:- Providing and fixing motorisation screen pelmet of | | |size 150mm x150mm with hard wood and commercial board with edge lipping etc complete. | 8 |BACK PAINTED PLY:-Providing and fixing black painted 6mm thick commercial ply over hard wood | | |framing above pelmet as per Architects approval. | |9 |PROVIDING AND FIXING :- 6mm th. commercial ply backing on mineral fiber modular false ceiling| | |tiles to support light fitting, speakers, CCTV cameras, diffuser of grid work size with | | |necessary cut outs for the same. | |10 |AC GRILL PROTECTOR:- Providing and fixing 150mm wide, 4mm thick black painted commercial ply | | |behind AC grill to avoid visibility of the services above the false ceiling as per Architects | | |instruction. |B-3 |DOORS | |   |   | |* |All door frames to be braced from raw floor slab upto soffit of ceiling slab. All rates to | | |include requisite hard wood frame work to be provided below finish floor/false floor and | | |finished ceiling of supporting glazing section and floor springs. | |* |All 4mm thick veneer should be as per Architects approval & duly polished. | |* |All door fame to be seasoned best quality steam beech wood or duco painted as per | | |specification and Architects approval. |* |Flush door made out of boiling water proof kiln seasoned, styles, rails for minimum thickness | | |45mm & treated with preservatives as per IS:2002 | |* |All flush doors shutter lipping to be 12Ãâ€"45 melamine polished white beech wood or duco pain ted| | |as per specification and Architects approval. | |* |All wood to be treated with anti-termite and fireretardant paint. | |* |Contractor to prepare sample of all door frames, shutters and glazing type for Architects | | |approval. | |* |Contractor to submit sample board for all hardware for Architects approval. | |* |All seasoned white beech wood & veneer to be duly melamine polished as per Architects | | |approval. | |* |All laminate to be 1mm thick as approved by the Architects | |* |Contractor shall provide all necessary protection of glass until handover. |* |All glass doors/windows to be 12/10mm thick clear float tempered glass with mirror polished | | |edges. As per specification | |* |Cost to include 3M frost film (Crystal Quality) | |* |Joints between glazing in door/ windows to have silicon sealants. | |* |Glass in patch fitting door/windows to be 12mm thick with clear float tempered glass with | | |mirror polished edges. | |* |Wherever shown powder coated extruded al uminium transfer grill size would be as per drawing | | |or as mentioned in the boq. | |2 |ED2 (1000X2100) ,12mm thick single leaf tempered glass door .The rate should be inclusive of | | |all hardware , OZONE make door handle 25Ãâ€"1200 H shape 304 grade , floor spring FS9400, patch| | |lock OPL-1 , ceiling mounted door stopper, etc complete as per design and drawing. (Ent door) | |   |   | |3 |G1 (12670X2100) Door/fixed glazing 12mm thick tempered glass fixed with SS U channel at | | |floor and inside the ceiling, The rate should be inclusive of all hardware OZONE patch | | |fitting, top patch OPF-2, bottom patch OPF-3, OZONE make door handle 25Ãâ€"1200 H shape 304 | | |grade , floor spring FS9400, patch lock OPL-1 , ceiling mounted door stopper all complete as| | |per design and drawing. |4 |G2 (7800X2100) Door/fixed glazing 12mm thick tempered glass fixed with SS U channel at | | |floor and inside the ceiling, The rate should be inclusive of all hardware OZONE patch | | |f itting, top patch OPF-2, bottom patch OPF-3, OZONE make door handle 25Ãâ€"1200 H shape 304 | | |grade , floor spring FS9400, patch lock OPL-1 , ceiling mounted door stopper all complete as| | |per design and drawing. ( touchdown cafe ) | |5 |G3 (6530X2100) Door/fixed glazing 12mm thick tempered glass fixed with SS U channel at | | |floor and inside the ceiling and 4 nos 50X200 mm duco painted wooden mullions as/app, The | | |rate should be inclusive of all hardware OZONE patch fitting, top patch OPF-2, bottom patch | | |OPF-3, OZONE make door handle 25Ãâ€"1200 H shape 304 grade , floor spring FS9400, patch lock | | |OPL-1 , ceiling mounted door stopper all complete as per design and drawing. Touchdown | | |cafe ) | |6 |G4 (3300X2100) Door/fixed glazing 12mm thick tempered glass fixed with SS U channel at | | |floor and inside the ceiling, The rate should be inclusive of all hardware OZONE patch | | |fitting, top patch OPF-2, bottom patch OPF-3, OZONE make door handle 25Ãâ€"1200 H shape 304 | | |grade , floor spring FS9400, patch lock OPL-1 , ceiling mounted door stopper all complete as| | |per design and drawing. (Meeting room) | |7 |G5 (2230X2100) Door/fixed glazing 12mm thick tempered glass fixed with SS U channel at | | |floor and inside the ceiling, The rate should be inclusive of all hardware OZONE patch | | |fitting, top patch OPF-2, bottom patch OPF-3, OZONE make door handle 25Ãâ€"1200 H shape 304 | | |grade , floor spring FS9400, patch lock OPL-1 , ceiling mounted door stopper all complete as| | |per design and drawing. Meeting room) | |8 |G6 (3000X2100) Fixed glazing,12mm thick tempered glass fixed with Jeb Aerofoil/aero span | | |member fixed with SS U channel at floor and inside the ceiling, The rate should be inclusive | | |of all hardware OZONE patch fitting, top patch OPF-2, bottom patch OPF-3, OZONE make door | | |handle 25Ãâ€"1200 H shape 304 grade , floor spring FS9400, patch lock OPL-1 , ceiling mounted | | |door stopper all complete as per design and drawing. (Collaboration) | |9 |D1 (900X2100) ,38mm thick single leaf laminated flush door . The rate should be inclusive of | | |all hardware , OZONE make door handle 25Ãâ€"1200 H shape 304 grade , floor spring FS9400, patch| | |lock OPL-1 , ceiling mounted door stopper, etc complete as per design and | | |drawing. Pantry,store, Quite room) | |10 |D2 (1200X2100) Single leaf with vision panel (300Ãâ€"300) with wired glass, access controlled | | |door of non metallic 50mm thick asbestos free composite fire & smoke check shutter comprising | | |of two non – combustible boards 12mm thick sandwitching 20mm thick fire resistant filler of 2| | |hour fire rating resistance rating confirming to BS: 476 part-22 IS: 3614 suitable for | | |mounting on duco painted wooden frame of size 50X125 mm both side laminated, 2 hr. fire rated | | |vision glass panel with heat activated intumescent fire seal strip of size 12x4mm fixed on all| | |three sides except bottom and frame s hutter to be mounted with SS fire rated hinges with | | |necessary screws and one coat of anti termite fire resistant primer. Rate shall be inclusive | | |of all hardware OZONE make door handle 425 long OGH-55, OZONE door closer NSK 980 with track | | |arm and hold open function with SS cover, hinges, all complete as per design and | | |drawing. Server room) | |11 |(1800X2650) Double leaf Door comprising of 10mm thick toughened glass with Aluminium frame | | |of Alloy / To be Proposed by Designer/Vendor basis Acoustics and overall Aesthetic quality | | |having stainless steel handle 1200mm long 32 mm dia. Complete as per detail | |12 |(1200X2650) Single leaf Door comprising of 10mm thick toughened glass with Aluminium frame | | |of Alloy / To be Proposed by Designer/Vendor basis Acoustics and overall Aesthetic quality | | |having stainless steel handle 1200mm long 32 mm dia.Complete as per detail | |13 |(1000X2600) Single leaf Door comprising of 10mm thick toughened glass with Alum inium frame | | |of Alloy / To be Proposed by Designer/Vendor basis Acoustics and overall Aesthetic quality | | |having stainless steel handle 1200mm long 32 mm dia. Complete as per detail | |14 |(900X2600) Single leaf Door comprising of 10mm thick toughened glass with Aluminium frame of| | |Alloy / To be Proposed by Designer/Vendor basis Acoustics and overall Aesthetic quality having| | |stainless steel handle 1200mm long 32 mm dia. Complete as per detail | |C. BUILT IN FURNITURE | |1 |FULL HEIGHT STORAGE:- Providing & fixing Storage cabinets made out of 19mm commercial board | | |with 1 mm thick laminated shutter in facia and balancing laminate all inside adjustable | | |laminated shelves,50X12mm veneered finish band alaround, 20mm laminated groove, 50mm high | | |laminated skirting. Rate should be inclusive of necessary Hardware- 140high D shaped Hetitch | | |handle code no. 011869, Lock sets, self-closing hinges, spring loaded shutter latch inside, all| | |cabinet hardware to be HETITCH make & as/Architects approval. | |2 |ELECTRICAL D. B. CUPBOARD:- Providing & fixing cupboard for D. B. panel cabinets comprising | | |shutters constructed from 20mm thick. comm. board finished in 1mm thick. laminate. and | | |balancing laminate inside, carcass constructed from 19 mm thick.Bison Board all inside, | | |12Ãâ€"50 wooden band alaround, with 20mm groove, Provide 150Ãâ€"300 powder-coated aluminum louvered | | |grills on each shutter, requisite cutouts for ventilation above and servicing trap door below. | | |Rate should be inclusive of necessary Hardware- 140high D shaped Hetitch handle code no | | |011869, Lock sets, self-closing hinges, spring loaded shutter latch inside complete as per | | |Architects approval. | |3 |Fax Printer Counter SIZE( 3490X2100) :- unit to include base cabinet, overhead cabinets, | | |pinup boards in fabric and 12mm thick tempered glass cladding pasted with 3M digitally printed| | |graphic film fixed with SS studs.Base cabinet to have wire dump channel with brush & OH | | |cabinet to have lighting pelmet as shown Constructed from best quality water proof board / | | |plywood. Top to be manufactured out of 25mm thk HPL post formed MDF board. and 200 high | | |laminated finish band. All over head shutters to have laminate outside and counter-laminated| | |inside, partitions and shelves to be finished with 1mm thk. laminate on all sides, BR of | | |fabric to be RS 500/- per Rm. The rate shall be inclusive of all hardware- 140 HIGH D shaped | | |Hetitch handle code no 011869, self-closing hinges, spring loaded shutter latch inside,, | | |complete as per architect's approval. |4 |VENDING COUNTER SIZE (2915X2100) :- Providing and fixing break out vending counter includes | | |under counter storage , vending counter made of 40mm thick corian top over BWP,200 high corian| | |back splash,base cabinet made of laminated shutter of 19mm thick BWP with shelves and | | |partitions in balancing laminate, with 6mm thick saint g obain glass cladding above back splash| | |and 100mm high laminated skirting. The rate shall be inclusive of necessary hardware, 140 | | |high D shaped Hetitch handle code no. 011869 lock sets, self closing hinges, spring loaded | | |shutter, latch inside, all cabinet hardware to be†HETTITCH† or equivalent complete as per | | |Architects approval.. |5 |WORKING COUNTER:- Providing and fixing in position fixed work counter made of 25mm thick | | |HPL post form laminated top with key board tray and 3 drawer mobile pedestal unit and every | | |1200 length of the work counter over head storage unit and pin up board including all glues, | | |nails, sliding channel, bracket for support fixed to portition, hinges, 140 high D shaped | | |Hetitch handle code no 011869, multipurpose locks, wire manager etc. complete as per design | | |and drawing. | |6 |OVERHEAD STORAGE UNITS: Providing and fixing 350 deep & 600 high Overhead Storage Units at | | |constructed from best quality bwp comm. board shutters to have 1mm thick laminate outside & | | |counter laminated on inside. Internal partitions & shelves also to be laminated.Hardware140mm| | |high D shaped Hetitch handle code no 011869, Lock sets, self-closing hinges, spring loaded | | |shutter latch inside, all cabinet hardware to be of Hetitch make as approved by the Architect. | |   |TOTAL FOR BUILT-IN FURNITURE (RUPEES) | |   |   | |D. |LOOSE FURNITURE | |   |Fabricating supplying and placing in position various types of furniture made of Ist class | | |white beech wood, commercial/BWP ply/ board 4. 0mm thick steam beech veneer, 1. mm thick | | |laminate, brushed steel sheet, internal hardwood framing all necessary hard ware like nails, | | |screws, magnetic catchers, hinges, handles, knobs etc. complete as per design and drawing. | |1 |RECEPTION TABLE SIZE (2400X700X1190high) :- Made of corian panel, corian counter top and | | |laminate on under side of the top and on inner side of the panel, 3 draw er pedestal unit with| | |SS legs 140 high D shaped Hetitch handle code no. 011869 made as as per deign and drawing. | | |(BR of Corian to be taken as Rs 750/sft) | |2 |GUARD TABLE AT LOBBY:- TABLE SIZE (900X600X1000high) Combination of laminated commercial and | | |duco painted MDF in Z shape as per approval. |   |   | |3 |MEETING ROOM CREDENZA:- Fabricating supplying and placing in position meeting room credenza of| | |size 1500x400x750 high made of 32mm thick laminated finished top with PVC edge banding | | |laminate shutter, adjusable shelves, all internal surfaces to be laminated supported on SS | | |base 140 high D shaped Hetitch handle code no. 011869, locks etc complete as per design and | | |drawing | |4 |Providing and fixing of BROCHURE RACK of size 1500 & 100deep at top and 250 dep at bottom | | |made as per design and drawing. No | |5 |COMPANY LOGO:-Providing and fixing company logo (Nokia Siemens Networks) in 8mm thick acrylic | | |sheet pasted with digitally print ed graphic film. Complete as per Architects approval. |6 |PICTOGRAMS (SS Door Signage's): Providing and fixing Stainless Steel Finish pictograms over | | |doors, walls with double solid with 3M tape & images/ letters with silk screen printing | | |technology over all size of pictogram to be 148x147mm (To be got executed by Millennium | | |Business Associates) | |7 |FOLIO (SS Name Plate):- Providing and fixing folio with size of 200x45mm brushed SS sheet | | |stuck to surface with 3M double sided tape, letters in black coloured etching embossing fonts | | |as approved. (To be got executed by Millennium Business Associates) | |8 |FLOOR MATS :- Providing and fixing 3M Brand Nomad mat – 7150 poly vinyl coil loop design with | | |vinyl foam backing made as per manufacturers specification. |9 |WHITE BOARD :- Providing and fixing white magnetic board of Alkosign display system (Alkosign | | |) on wall and fixed with all necessary arrangement as per manufacturers specifications etc. | | |complete. | |* |1050Ãâ€"1200 | |* |1200 x 1200 | |* |1800 x 1200 | |   |   | |10 |ALUMINIUM/PENCIL TRAY FOR MARKER BOARD:-Providing and fixing aluminium tray below white marker| | |board for keeping accessories. |   |   | |11 |SLOTTED ANGLE RACK:- Fabricating, supplying and placing slotted angle rack of size | | |900wx2100hx600deep made as per manufacturers specification. | |12 |TACK BOARD :- Providing and fixing pin-up board made of 12mm thick cellotex / jelly board | | |fixed with kail wood frame work and 6 mm thick commercial ply backing covered with fabric | | |fixed to wall with screws surrounded with fabric steam beech wood lipping with melamine | | |polishing etc. complete as per design and drawing. (Basic rate of fabric to be taken as Rs. | | |250/meter) | |13 |TV BRACKET :-Providing and fixing TV bracket for wall mounting 29†³ Television set. |14 |TOILET MIRROR:-Providing and fixing 12mm thick tempered float glass pasted with 3M film | | |(crystal qualit y) as approved by the architect and mounted on four numbers 19mm dia brushed SS| | |studs, complete as per design and drawing. | |15 |SS TRASH BIN:-Supplying and placing in position SS trash bin 500 dia and 800 high as per | | |Architects approval. | |16 |DLINE MAKE TOILET ACCESSORIES | |   |Providing and fixing the following fixtures of Dline make SS brushed finish. | |* |Bottle opener (Item code 14. 7071. 02. 000) | |* |SS coat hooks | |* |Toilet paper holder | |   |Soap dispenser (Item code 14. 7045. 02. 002) | |* |Mini Waste paper basket 14. 7097. 02. 000 | |* |Waste paper basket 14. 7085. 02. 201 | |* |Wall mounted paper towel dispenser | |* |Supply of Dline satin stainless steel 316 grade grab bar. 14. 4614. 02. 300 | | |14. 4963. 02. 21 | |17 |TOILET ACCESSORIES | |   |Providing and fixing the following fixtures of Kimberly Clark/ Dream Craft make or equivalent | | |make | |* |Bottle opener | |* |SS coat hooks | |* |Toilet paper holder | |* |Soap dispenser (Kimb erly clark make) | |* |Soap dispenser (BOB BRICK make in brushed finish Code B-4112 26GB) | |* |Mini Waste paper basket (WC) | |* |Waste paper basket | |* |Push Bin (Code SE 4020T) | |* |Wall mounted paper towel dispenser | |* |Providing and fixing grab bar 600mm c. p. wall flange at end of bars with heavy duty anchor | | |fastner & accessories. (FOR HANDICAP TOILETS ONLY). |18 |FLOOR DIRECTORY: Providing and fixing wall mounted floor directory with slk screen printing | | |text of approved colour and consisting of the following plates | |* |1) 1 Nos, 4mm thick aluminum plates painted in dark Grey in colour of over all size 300x55mm. | |* |2) 8Nos, SS 316 grade plates of 2mm thick with over all size 300x30mm. | |19 |TRANSITION PROFILE:- P/F transiction profile of SS L-section 6mm thk between two different | | |flooring materials | |20 |URINAL PARTITION:-Providing and fixing of urinal partition in 12mm thick toughened glass with | | |frosted film fixed with SS bracket as per desig n and drawing. |21 |Wash basin with water sancer | |22 |American satndard WC | |23 |Plumbing & sanitary work | |24 |SOFA in reception area (images of proposed sofa to be submitted along with the quote) | |25 |Sofa chairs for pantry / breakout (images of proposed sofa chairs to be submitted along with | | |the quote) | |26 |Tables for pantry / breakout (images of proposed sofa chairs to be submitted along with the | | |quote) | |27 |Tables for reception sofa (images of proposed sofa chairs to be submitted along with the | | |quote) | |   |TOTAL FOR LOOSE FURNITURE (RUPEES) | |   |   | |E. |FINISHES | |1 |PLASTIC EMULSION PAINT (ICI Dulux make) on walls and gypboard/POP ceiling including surface | | |preparation, primer coats, leveling patti and minimum 3 coats of brush and roller finish. | |2 |PASTEL COLOUR:- Extra over Item No-1 of plastic emulsion paint but for pastel colour. | |3 |OIL BOUND DISTEMPER (O. B. D) :- Providing and applying O. B.D paint of desired colour finish or| | |equal including necessary base work, preparatory work. | |4 |PROVIDING AND FIXING SILICONE SEALANT around all toilet fixtures including urinals, WCs & wash| | |basins etc. | |5 |TEXTURE PAINT:-providing and applying texture paint on wall of approved brand and manufacturer| | |after scrapping, having the existing finish and applying primer coat. | |6 |ARMOUR COAT PAINT:- Providing and applying polished platser of Armourcoat or equivalent as of | | |approved colour on wall/ Ply surface including surface preparation primer coat as per | | |manufacturers specification. BR to be taken as Rs 160/sft) | |F. |SUPPORT SERVICES | |1 |Support services to modular furniture, Carpet vendor, chair supplier, and other furniture | | |suppliers including taking delivery of consignments brought to site,safe storage, removing | | |wrapping, moving and placing them at proper locations prior to final hand over. Coordination | | |and assistance to fire detection / supression and security systems vendor for their scope of | | |work | |G. Sprinkler works (including testing and commisioning) | |   |C. I butterfly valve of approved make,with nuts, bolts, gaskets, flanges, coupler etc. complete| | |as specified. | |   |Flap Type Non Return Valve | |   |G I. ‘C' Class pipes as per IS 1239 with Flanged , Screwed or welded joints with necessary | | |Specials, clamped to wall, beams or ceilings as per specifications with approved anchor | | |fastners; MS brackets,testing to 13. 5 Kg/Sq. cm hydraulic pressure after installation, and | | painting two coats of enamel paint of approved colour over two coats of primer. | |   |Conventional Sprinkler (pendant / upright) quartzoid bulb type with 15mm screwed end | | |connection of 68 deg. C. temperature rating,K 80 and orifice shall not be less than | | |6mm. Sprinklers shall be UL Listed / FM approved with Chrome finished. | |   |Rosette plate (Recessed type, in two piece) for Sprinklers below false ceiling area. ) Same | | |should be fabricated by M. S. plate of 2mm thick and the finish shall be powder coated and | | |color shall be as approved by architects / clients. | SPECIFICATION FOR CARPET | | | |SN |DESCRIPTION | |   |SUPPLY & LAYING OF CARPET AS PER THE FOLLOWING SPECIFICATION | |   |   | |   |Threads | |   |   | |   |Specifications | |   |   | |1 |Fibre – 100% Nylon | |   |   | |2 |Yarn weight – 20 oz | |   |   | |3 |Backing – Non PVC | |   |   | |4 |Density – Greater than 4500 | |   |   | |5 |Gauge – 1/10 | |   |   | |   |Make : Shaw / interface / Milliken / Tandus / Bonar floor | | |Specifications- MEP WORKS | |Sr. No |Particulars | |   |SUMMARY | |A |M. V. SWITCHGEAR | |B |M