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NAUTICAL - */ˈnɔːtɪkl/, /"nO:tIkl/1. Relating to or involving ships or shipping or navigation or seamen. 
 Norman Jaffe (April 3, 1932 – August 19, 1993) was an American architect. BackgroundNorman Jaffe was born in Chicago in 1932 to immigrant parents Harold (Lithuanian) and Mary (Russian). Norman's older brother Allen joined the Merchant Marine at age 15 and the height of World War II, leaving Norman the sole focus of his domineering mother. Following his brother's escape, Jaffe left his family to attend high school in Seattle, living with relatives while there. After military service in Japan during the Korean War he returned to Chicago to study architecture at the University of Illinois at Urbana-Champaign, where he met his future wife Barbara Cochran. After transferring to the University of California, Norman and Barbara married and produced a son, Miles. Early careerJaffe's early work experience included employment by Joseph Esherick. Esherick's natural utilitarian design philosophy, expressed so elegantly at Sea Ranch (designed with landscape architect Lawrence Halprin), was to have a strong and lasting effect on Jaffe's professional development. Eager to be on his own, Jaffe abandonded his family and moved to New York in 1961 where he worked briefly for Skidmore Owings Merrill and Philip Johnson. In 1964 Jaffe was awarded a Record House for a project designed in collaboration with his close friend and furniture designer Nicos Zographos. eagerly expecting a flood of commissions, Jaffe opened an office at 125 East 80th Street in Manhattan, only to be left scrambling for work as the dreamed-of commissions failed to materialize. At the same time, Barbara Jaffe was killed in an auto accident and Jaffe assumed custody of his son. From these weary struggles things slowly improved. A string of avant garde commissions from the likes of composer Sascha Burland and film director Harold Becker gave Jaffe's career a much needed boost. Three of these projects were on the East End of Long Island. From these humble beginnings, Jaffe built a reputation based on the warmth of his modern designs, which contrasted sharply with the cold starkness of contemporary Bauhaus modernism. While much of his inspiration came from Frank Lloyd Wright and Louis Sullivan, the professional influence of Eshrick can be detected throughout Jaffe's early work. Architect to the rich and famousWith recognition came demand for more upscale projects. The original modest vacation house designs soon gave way to much larger projects. As the size of the buildings increased, the designs often suffered loss of intimacy and connection with the environment that Jaffe's works were renowned for. The clients, no longer from the ranks of the avant-garde, became ever more demanding and egotistical, and the designs reflected those traits. Houses became monuments of self-importance, and Jaffe became a brand name of luxury architecture. Wealthy clients included Björn Borg, teddy bear magnate Russ Berrie, chairman of the board and CEO of Shearson Lehman Brothers Peter Cohen, sitcom actor Alan Alda, and a host of others. But by the mid 1970's, the joy was all but gone. The last truly avant garde client was jazz musician Chico Hamilton, whose house was completed in 1974. In the early 1980's, dissatisfied with his futile attempts to satisfy the fantasies of the nouveau riche, Jaffe fled to an Ashram in India. Transcendence and critical acclaimWith a rediscovered sense of self, unsatisfied with high-pressure clientele and the kind of work they demanded, and recalling his early utilitarian training with Joe Eshrick, Jaffe sought both meaning and refuge in non-residential work. 7 Hanover Square in Manhattan was Jaffe's first experience in the technically demanding and largely inflexible system of highrise construction. Where previously Jaffe had been able to make changes in the field, at 7 Hanover changes could only be made at the shop drawing stage, which due to his inexperience, Jaffe neglected to properly review. But great opportunities lay ahead. In 1986 Jaffe won the commission for Gates of the Grove Synagogue in East Hampton, New York. He didn't actually win the commission; after two years trying to get the commission, he offered to do the project for no fee, at which point it was awarded to him. Critically acclaimed, widely published and winner of numerous awards, Gates of the Grove was instrumental in Jaffe being awarded a fellowship in the American Institute of Architects. Within a few years Jaffe was offered another highrise commission in Manhattan by the Kipp-Stawski Management Group. This time around he was fully prepared, having learned hard lessons at 7 Hanover Square. The result was 565 Fifth Avenue, a stunning new building that combined modernist ideals with the detail and texture pioneered by classical architecture and last seen in works by Wright and Sullivan. New York Times architectural critic Paul Goldberger, after decades of lambasting Jaffe for his luxury residential work, praised 565 Fifth Avenue as the best new building in Manhattan. Tragic deathShortly after the completion of 565 Fifth Avenue, Norman Jaffe disappeared into the Atlantic Ocean a few miles from his home in Bridgehampton, New York. His clothes were found on the beach, money in the pockets; no towel could be found. His car was discovered early that morning in a friend's driveway a short walk from the beach. Rumors began circulating: Jaffe had been the victim of foul play, murdered by an irate former client; a terrible swimmer, he had drowned accidentally during an early morning swim, caught in a vicious rip current; he had staged his death in order to disappear and start a new life in India or some other country; or he had emulated Le Corbusier by disappearing into the ocean. The last was the closest to the truth, but had nothing to do with Corbusier. Jaffe, in a deteriorating relationship and fearing the return of a recently treated bout of prostate cancer, choose to end his life on his own terms. With preparations carefully made, his last will and testament recently updated and notarized and affairs as ordered as he could possibly make them, Jaffe plunged into the Atlantic Ocean near sunrise on August 19, 1993. InfluenceJaffe's style (romantic modernism[1]) transcended the traditional modernism first established by the Bauhaus movement by utilizing rich texture and a Japanese sensibility of integration with the environment. After the backlash of neoclassicism (a style deemed safe for consumption after the failure of modernism, contemporary and post modernism), Jaffe's work is being rediscovered today. Unfortunately, few original houses remain, many having been heavily renovated, others razed to make way for McMansions and other monstrosities. Renowned for his residential work, Jaffe is most widely recognized today for the Gates of the Grove Synagogue, which has had a profound influence on secular architecture and been widely hailed by critics, architectural historians and others. References
External linksAzimuth is the horizontal component of a direction (compass direction), measured around the horizon, from the north toward the east (i.e., clockwise) in astronomy and geodesy and from the south toward the west (i.e., clockwise) in surveying. It is usually expressed in degrees.
In the horizontal coordinate system, also used in celestial navigation and satellite dish installation, azimuth is one of the two coordinates. The other is altitude, sometimes called elevation above the horizon. See also: Sat finder. There are a wide variety of azimuthal map projections. They all have the property that directions (the azimuths) from a central point are preserved. In three-dimensional polar coordinate systems, including cylindrical coordinates and spherical coordinates, the azimuth of a point is the angle between the positive x-axis and the projection of the vector from the origin to the point onto the xy-plane (the component of the vector in the xy-plane). In cylindrical coordinate, theta θ is almost universally used to represent the azimuth. Although there are several conventions in spherical coordinates, the azimuth is usually denoted by either theta θ or phi φ. Azimuth is often — some consider incorrectly — referred to as a bearing. Nowadays in astronomy, azimuth is nearly always measured from the north. In former times, it was common to refer to azimuth from the south, as it was then zero at the same time the hour angle of a star was zero. This assumes, however, that the star (upper) culminates in the south, which is only true for most stars in the Northern Hemisphere. In aviation, azimuth is used to determine headings or the direction in which to fly. For magnetic tape drives, azimuth refers to the angle between the tape head(s) and the tape medium. The word 'azimuth' is derived from the Arabic 'as-sumūt' which means 'the ways', referring to the ways or directions that you can face. See also
 The wheelhouse onboard the dredge Samuel De Champlain; here, the aft command post used during dredging
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