Economics - Economic Policy - Discuss and critically evaluate the Essay - 1

Financial aspects - Economic Policy - Discuss and fundamentally assess the salvage and incitement bundles by the UK Government since the beginning of the credit smash in 2007 - Essay Example It is in this setting, we dissect the components prompting the emergency and the viability of the salvage and incitement bundles acquainted by the UK government with improve the circumstance. As per the Banking Guide it has been a scene of budgetary unsteadiness that was, apparently, the most genuine since the 1930s. It states â€Å"The dangers of negative value (where home loans are more prominent than the estimation of the property) turned into a reality and home loan defaults hit record highs. Banks have lost the trust which is a pre-essential to the effective working of credit markets†. The table as given in Appendix I shows the fall in the world’s significant value markets since June 2007, and the total change from 30-6-2007 to 10-10-2008 on account of ‘FTSE All-share Index’ of the UK is negative by 40.9%. The propensity for obtaining by the people and corporate bodies instilled dominatingly in the US culture at an amazing level which over the timeframe made the budgetary structure in the nation powerless. As a lightedâ match to aâ train of explosive, the subprime emergency went about as a trigger for the breakdown of the main banks. The instances of disengaged awful obligation in the financial framework could be an ordinary marvel. Notwithstanding, when it has gotten difficult to evaluate the awful obligations in the country all in all, the framework became casualty to the emergency. This exceptional marvel has captured the progression of capital and liquidity, essential to the financial framework. It is an endless loop and the financial framework has been stopped up totally because of developing doubt among the market players. The bank money secured up subprime home loans and lodging improvement ventures has deadened the framework all in all. The bailout plan was planned under the Treasury Secretary, Henry Paulson, who had been the Chairman and Chief Executive Officer of Goldman Sachs prior.

Task2 multimedia lesson Essay Example | Topics and Well Written Essays - 500 words

Task2 sight and sound exercise - Essay Example This game will require cooperation and won't just measure how quick your gathering can fit the right sorts out yet in addition how well you can find the planets position in the nearby planetary group. (Educator will watch the time and bring out understudies to hurry in their action. Stop the game when one gathering has finished the riddle. Request that all the understudies investigate the finished riddle, at that point to the rest of the riddles.) Educator: Congratulations to the triumphant gathering and great job to everybody. I might want everyone to return to their seats. This time every one of you will peruse quietly. I will be giving you a book to peruse for 15 minutes. In the wake of perusing I will pose a few inquiries about the planets and anybody can answer then after we will have another movement which you will do separately. (The instructor will disseminate the â€Å"Styrofoam Solar System Kit† to every understudy. Understudies will fabricate their own close planetary system dependent on what they have gained from the day’s exercise. Educator will play ambient sounds â€Å"Solarbeat† while understudies are accomplishing their work.) Instructor: Thank you and awesome understudies. Presently I will convey this â€Å"Styrofoam Solar System Kit† for your last movement. In view of what you have seen on the video, what you read, and our past exercises, I need every one of you to make your own model of the Solar System utilizing this pack. The unit has styrofoam balls, rings, and bars to finish your Solar System. Every last one of you should chip away at your Solar System until the finish of class. In the event that you can't wrap up your Solar System, you can take it home, finish the establishment and paint it as needs be. Bring it back and submit to me in our next gathering. While you are building your Solar System you will listen a music entitled â€Å"Solarbeat† by Luke Twyman. 1. Picture: (1) Poster: The banner will give a level visual introduction of the nearby planetary group for the understudies to see the

Considering Overdraft Protection Here Are the Pros and Cons

Considering Overdraft Protection Here Are the Pros and Cons Considering Overdraft Protection? Here Are the Pros and Cons Considering Overdraft Protection? Here Are the Pros and ConsOverdraft protection can be a handy last line of defense. But the more you use it, the more dangerous it becomes to your financial wellbeing.Nobody likes having a card declined. That’s why people sign up for overdraft protection, Even if you don’t have the cash in your account, overdraft protection will have you covered.But here’s the thing: overdraft protection could actually be providing you the opposite of protection. It could be posing a huge threat to your long-term financial stability.So which is it? Well, the answer’s a little more complicated than that. What is overdraft protection?Overdraft protection comes in a couple different forms, but the basic idea is this: If you make a transaction on your debit card that exceeds the funds in your account, overdraft protection will provide you with the extra money you need to cover it. Of course, this service won’t often be performed free of charge, but it does save one the embarrassment of having their card declined.The first type of overdraft protection comes by linking the checking account to another account, most likely a savings account or a credit card. (Some banks will let you link multiple accounts.) If the account owner then overdraws their checking account, funds are transferred in from that linked account to cover the transaction. A transfer fee will usually be charged.The other type of overdraft protection is an overdraft line of credit. With this form of overdraft protection, your bank is essentially loaning you money to cover the cost of your overdraft. Depending on the bank, you might get charged interest on this line of credit, and you will almost always be charged an overdraft fee to cover the transaction.What are the pros of overdraft protection?The most obvious upside to overdraft protection is that it will save you the embarrassment of having your card declined or having a check bounce. While having a card declined can be d eeply embarrassing, a bounced check will likely result in a hefty Non-Sufficient Funds (NSF) fee and a black mark on your banking history.If your overdraft protection involves a linked savings account, you’re not actually borrowing money to cover the shortfall. You’re using your own money, which can prevent you from overloading yourself with debt. And the transfer fees for linked account transfers are usually fairly reasonable.A final argument for overdraft protection is that it allows you to cover emergency expenses, even if you don’t currently have the funds in your account. Otherwise, you’d be stuck with high-interest bad credit loans and predatory no credit check loans like cash advances and title loans.Even if overdraft protection isn’t a great option, it’s definitely better than a predatory payday loan, right?What are the cons?Actually, overdraft protection might not be much better than a predatory payday loan. Even after legal reforms in the wake of the 2008 finan cial crisis that prevented banks from automatically opting customers into overdraft protection, overdraft fees are still a huge business.And those fees are on the rise. In 2017, American consumers paid over $34 billion in overdraft fees alone, the most they’ve paid since 2009.In some ways, overdraft protection is a much better proposition for banks that it is for their customers. So much so that the line between overdraft protection and predatory lending can get very blurry indeedâ€"starting with the fees.Overdraft fees are high, with an average fee of $30. And when customers are using an overdraft line of credit instead of a linked account, many banking institutions will charge a separate overdraft fee for every transaction that exceeds the account balance. Imagine paying $34 on a five small $4 transactions. That’s $170 in fees for $20 in spending, an effective interest rate of 850 percent!And since many banks prioritize processing large transactions before they process smaller ones, the likelihood that you’ll rack up multiple overdraft fees is high. Getting charged one $34 fee on a $600 transaction wouldn’t leave you feeling great, but it’s a heck of a lot better than getting charged those $34 fees on the ten smaller transactions that came after it.Lastly, while avoiding an NSF fee is great for your Chexsystems Consumer Score (which is like a credit score for your banking history), overdrafts are also recorded on your Chexsystems report. Too many overdrafts and you could find yourself unable to open a checking account for the next five years.So is overdraft protection a good idea?Sort of. The thing about overdraft protection is that its just like any other kind of emergency bridge financing. Overdraft protection can be great as your last line of defenseâ€"an account feature that gives you peace of mind, even if you almost never use it. But if you find yourself regularly overdrafting your account, overdraft protection is a bad idea.For people with l ow incomes and bad credit, overdraft protection can end up trapping them in a dangerous cycle of debt. Those fees eat away at their account balances, which then lead them to  overdraft  even more frequently.If this sounds like you, go ahead and shut off your overdraft protection. Sure, dealing with the embarrassment of having your card decline is going to suck, but clawing back all that money that’s currently going towards overdraft fees is well worth the trade-off.Finally, if you are going to use overdraft protection, make sure it’s through a linked savings account instead of a credit line. Even linking a credit card to your checking account is a better option than an overdraft line of credit. The fees are lower, the interest rates are more manageable, and you can use your cards 30-day interest-free grace period to your advantage.There are very few easy answers in personal finance. The pros and cons of overdraft protection will ultimately be decided on a case by case basisâ€"by what works best for you. To learn more about managing your finances, check out these related posts from OppLoans:What’s the Quickest Way to Fix Bad Credit?How to Save Money When You’re Already on a Tight BudgetFrom Budget to Baller: 6 Tips to Grow Your Money8 Ways To Save Money Today, Tomorrow and Every Day AfterWhat other questions do you have about personal finance? We want to hear from you! You can find us  on  Facebook  and  Twitter.

Defining General Education

General Education is the program of education that typically developing children should receive, based on state standards and evaluated by the annual state educational standards test. It is the preferred way of describing its synonym, regular education. It is preferred because the term regular connotes that children receiving special education services are somehow irregular. General Education is now the default position since the passage of the reauthorization of IDEA, now called IDEIA (The Individuals with Disabilities Education Improvement Act.) All children should spend a significant amount of time in a general education classroom, unless it is in the best interest of the child, or because the child is a danger to him/herself or others. The amount of time a child spends in the general education program is part of his or her Placement. Once again, General Education is the curriculum designed for all children which is meant to meet state standards, or if adopted, the Common Core State Standards. The General Education program is also the program which the states annual test, required by NCLB (No Child Left Behind,) is designed to evaluate.   IEPs and Regular Education ​In order to provide FAPE for special education students, IEP goals should be aligned with the Common Core State Standards. In other words, they should show that a student is being taught to the standards. In some cases, with children whose disabilities are severe, IEPs will reflect a more functional program, which will be very loosely aligned with the Common Core State Standards, rather than directly linked to specific grade level standards. These students are most often in self-contained programs. They are also the most likely to be part of the three percent of students allowed to take an alternate test. Unless students are in the most restrictive environments, they will spend some time in the regular education environment. Often, children in self-contained  programs will participate in specials such as physical education, art, and music with students in the regular or general education programs. When assessing the amount of time spent in regular education (part of the IEP report) time spent with typical students in the lunchroom and on the playground for recess is also credited as time in the general education environment.   Testing Until more states eliminate testing, participation in high stakes state tests aligned to the standards is required of special education students. This is meant to reflect how the student performs alongside their regular education peers. States are also permitted to require that students with severe disabilities are offered an alternate assessment, which should address the state standards. These are required by Federal Law, in the ESEA (Elementary and Secondary education act) and in IDEIA. Only 1 percent of all students are allowed to take an alternate test, and this should represent 3 percent of all students receiving special education services.

Meditations on First Philosophy by René Descartes - Free Essay Example

Sample details Pages: 4 Words: 1092 Downloads: 6 Date added: 2019/07/30 Category People Essay Level High school Topics: Rene Descartes Essay Did you like this example? Descartes findings through skepticismThrough the entirety of Meditations on First Philosophy by Renà © Descartes, the concept of skepticism is brought upon its readers quite heavily. Within this text, Descartes addresses the notions of ones self-ability to know. He utilizes multiple reasoning which can positively account for his overall ideology. Don’t waste time! Our writers will create an original "Meditations on First Philosophy by Renà © Descartes" essay for you Create order The initial thought is that one cannot believe everything that is presented to them. One must have doubt in order to find the truth. Essentially, through his meditations, he suggests that an individual may not rely on his own ability or senses.Within these six meditations, Descartes presents various arguments. One which specifies in dreams. To put it simply, Descartes questions as to whether or not one is being deceived by their own dreams and potential reality. He wrote I see so plainly no definitive signsto distinguish from being awake from being sleep (Descartes and Cress, 1993). Through this meditation, Descartes expresses his doubtful thoughts in reference to his own dreams. He blatantly suggests that an individual cannot fully distinguish between what is real and what is not. These doubts are in accordance with images that one obtains while in slumber. How is one able to fully decide which is the true reality? Everything that an individual knows is derived from a perception or experience. He basically questions an individuals ability to know which world is deceiving them. If colors and shapes are similar in both realms, how does one know which is true? Here Descartes suggests that one should not rely on retained knowledge. Such knowledge may often fail a being. To further explain he uses the example of himself sitting and writing beside a fireplace. How is that he may be in this specific room writing? He does not know. He believes that he will not soon.Aside from the uncertainty of dreams, Descartes also questions ones ability to know by presenting an evil deceiver within his first meditation. He presents such deceiver as someone who can distort the reality that one may think is true. Essentially, Descartes suggests that his evil deceiver is conspiring against him. This argument implies that the deceiver is not presenting the truth towards him. Therefore, he cannot rely on what has been taught to him for it may be false. Meaning, that all humans may not r ely on their own understanding. What they know, their senses, and thoughts are not true. The two previously discussed arguments aid Descartes explanation for thinking I. These two arguments, dreams and the evil deceiver, allow for one to understand that even though ones knowledge is false, he still exists. This refers back to Descartes famous realization. He created the term I think, therefore I am. The term defines the fact that one does really exist even though everything else in the universe is proven incorrect. Descartes wrote I exist is necessarily true every time I utter it (Descartes and Cress, 1993). He, Descartes, exists in his dream scenario because he is able to doubt. He doubts whether he is really in that room, sitting and writing. Therefore, this means that even if one is dreaming it does not matter. Doubt and reasoning make humans existent. Without it, one is not able to decipher what is real. Though, that is okay. The mere ability to think makes an individual existent. Just as he wrote if I were to cease all thinking I would then utterly cease to exist ( Descartes and Cress, 1993) If an individual is not able to think rationally then he does not exist. Though, if he is then his body is nonexistent is soul and mind are. To Descartes, the mind and soul are all that really matter.When introducing the evil deceiver in his first meditation, Descartes also implies that there is a God. He does not try to prove his existence until the third meditation. Within the third section, Descartes notices that not only does he exist but so do other factors on earth. These factors include arithmetic or geometry (Descartes and Cress, 1993). Though, he also notices that they are not able to exist on their own. The reality of God and idea assist Descartes in supporting this belief by explaining so. He stated that if God really created him, an existent soul, then he must have created other existent objects. This train of thought leads to Descartes declaring that God necessarily exists (Descartes and Cress, 1993). Descartes has a valid point here. If God, who is considered to be perfect, can allow for one to acquire such knowledge of arithmetic then he must exist. For one cannot break apart numbers in the same way as other forms of ideas.It would appear to be that Descartes idea of Gods existence does not lead to the problem of evil. Rather it is the free will of man that causes the error in the world. Descartes mentions this in his fourth and fifth meditations. Descartes wrote that he certainly understands that erroris not something real that depends on God (Descartes and Cress, 1993). He further explains that because of this free will and the ability to be deceived; individuals are prone to sin. Overall, it seems to be that this is a serious criticism. Descartes fully explains as to how God has created well and how humans strive for it but, free will gets in the way. Ultimately, this free will leads to the mid becoming deceptive. This initial thought leads some to believe that Descartes is r ight in this particular sense. Even though there might be individuals who disagree. Those that do not agree with the thought of free will leading to the error may use the idea that God can be thought of as nonexistent (Descartes and Cress, 1993). These individuals would try to completely debunk the idea of God himself. Yes, it is difficult to prove his physical and spiritual existence at times. Though, according to Descartes, it is highly evident in the creation of the mind and soul. Thus, making the idea that God does not pertain to the evil of the world a solid thought. Especially since he is not a deceiver.In conclusion, Descartes uses the idea of skepticism to explain why one should not rely on their own rationalizations for they are simply in an uncertain universe that is full of deceit. Through his short meditations he suggests that even though everything may be false, the one thing that he can be sure of is his existence and that of God.BibliographyDescartes, Renà ©, and Don ald A. Cress. (1993). Meditations on first philosophy. Hackett Publishing Co. Inc.

Global Health Nursing Primary Health Care/Primary Care Free Essays

Global Health Nursing Primary Health Care/Primary Care This discussion will cover the demographic trends that impact global health today, look at patterns of health and disease that impact global health, explain the difference between primary health care and primary care, and review the World Health Organizations (WHO) priority for global health. There are many factors that affect global health including population, environment, and disease. One of the greatest pressures on the global community is the growing population. We will write a custom essay sample on Global Health Nursing Primary Health Care/Primary Care or any similar topic only for you Order Now This demographic trend has a great impact on global health. The global population was 2. 8 billion in 1955 and is 5. 8 billion now. It will increase to about 8 billion by the year 2025. Average life expectancy at birth in 1955 was just 48 years; in 1995 it was 65 years; in 2025 it will reach 73 years (World Health Organization [WHO], 2012). The increasing population means more people living in urban areas; therefore the closer we live together the increased chance of disease and illness. The added people also puts an increased stress on the environment leading to air pollution, water contamination, and less land to depend on for food. The growing numbers presents a threat to health and the economy of many nations. In developing counties, malnutrition and disease are problematic; whereas in developed countries overcrowding leads to pollution, disease, and violence. With increasingly dense living arrangements and global travel, the health of the general populations is threatened by environmental factors and disease, for example, the H1N1 influenza pandemic (Nies McEwen, 2011, p. 270). Mortality rate, based on disease patterns, vary throughout the world. The biggest difference depends on if it is in a developed country or a developing country. Of 57 million deaths worldwide in one year, 33 million are from noncommunicable disease, 18 million are from communicable diseases, and 5 million are from injuries and violence (Nies McEwen, 2011, p. 271). Developed countries have the highest mortality rate of chronic disease patterns such as cardiovascular disease, cancer, respiratory disease, stroke, violence, and traumatic injury. While developing countries have the highest mortality rates of infection, malnutrition, and violence. Developed countries are able to reduce mortality rate due to diseases by improving sanitation and immunization through community health. As a country becomes developed, an epidemiological change occurs from risk of infection and malnutrition to having chronic disease. In developing countries, infectious diseases that contribute to high rates of mortality include acquired immune deficiency syndrome (AIDS), tuberculosis, endemic malaria, hepatitis B, rheumatic heart disease, parasitic infection, and dengue fever. Yet, these diseases could be reduced by 50% through effective public health interventions (Nies McEwen, 2011, p. 71). When we discuss the global community, some tend to get the terms primary health care and primary care confused. Primary health care refers to essential services that support a healthy life including access, availability, service delivery, community participation, and the citizen’s right to health care. In contrast, primary care refers to first-line or p oint-of-access medical and nursing care controlled by providers and focused on the individual (Nies McEwen, 2011, p. 276). In developing countries focusing on the individual in not realistic, the main focus is on the group, therefore primary health care is first priority. One must meet the basic needs such as safe drinking water and food before we can provide individual care. Promoting health worldwide is a great challenge. Several agencies play a part in accomplishing this goal, including the WHO. The WHO stated a goal of â€Å"health for all by the year 2000† back in the 70’s. This goal was then extended to 2010 once it was unattained. Working for the WHO as a nurse would require one to open their mind and think more broadly. The main focus would be solving the problems of the health care delivery system (Nies McEwen, 2011, p. 275) in order to accomplish the stated goal. As nurses’ we need to look at the comparison between developed and developing counties because there is much we can learn. There is a need for health care reform, and the goal of â€Å"health for all† should guide this. Cuba and Canada were both recognized for reaching the goal of â€Å"health for all†. Collective responsibility or population-based focus must be established with less emphasis on the individual (Nies McEwen, 2011, p. 275). Prevention is the first line of defense for the reduction of disease and illness. As a nurse working for the WHO, my main focus would be health care reform. Read also: The Advantage of Free Health Care Nursing, as the pivotal health care profession, is well positioned to advocate on behalf of, and in concert with, individuals, families, and communities who are in desperate need of a well-financed, functional, and coordinated health care system that provides safe, high-quality care. Accessible, affordable, and high-quality health care will positively contribute to our individual health, the strength of society, our national well-being, and overall productivity (American Nurses Association [ANA], 2008, p. 4). References American Nurses Association. (2008). ANA’s health system reform agenda. Retrieved from http://www. nursingworld. org/Content/HealthcareandPolicyIssues/Agenda/ANAsHealthSystemReformAgenda. pdf Nies, M. A. , McEwen, M. (2011). Globalization and international health. In Community/public health nursing: promoting the health of populations (5th ed. , p. 269-283). St. Louis, MO: Elsevier Sanders. World Health Organization. (2012). Global health observatory. Retrieved from http://www. who. int/gho/ncd/mortality_morbidity/ncd_total/en/index. html World Health Organization. (2012). The world health report. Retrieved from http://www. who. int/whr/1998/media_centre/50facts/en/ How to cite Global Health Nursing Primary Health Care/Primary Care, Essay examples

Zinn and Johnson Essay Example For Students

Zinn and Johnson Essay Historian Howard Zinn doesn’t believe that Americans were civilized in terms of sex and national origin. He views the United States from 1865 to 1900 as oppressed and racist. Many examples are presented in his book â€Å"A people’s History of the United States†, one of the examples he presents and perhaps one of the most important is that in 1877 the industrial and political elites of North and South would take hold of the country and organize the greatest march of economic growth in human history (Zinn, 253). Zinn views this country as unorganized because of the working strike, they oppressed minorities to do the work to built and stabilize the economy of this country. The separation of labor between black and whites is what emphasizes the idea of oppression in the United States during this period. Between the Civil War and 1900, steam and electricity replaced human muscle (Zinn, 253). The creation of new machines soon began to change farming. Huge supplies of human beings were needed to test out these new machines that were backbreaking, unhealthful, and dangerous work. This shows how the United States only cared about social status, inventors were not to adjust or work the new machines, and therefore, people from a lower economic status, such as immigrants from Europe and China, would come to the United States and take the risks. An additional example of the change that occurred during this time period was the construction of the first transcontinental railroad which was built with blood, sweat, and politics ( Zinn, 254). Americans felt they were superior and submitted three thousand Irish and ten thousand Chinese to built the railroads for only about one or two dollars a day. Many workers died because of the heat and the war that was being held by the Indians that opposed the invasion of the territory ( Zinn, 255). Political standings also played a big role in the social injustice. The wild fraud on the railroads led to more control of railroad finances by bankers, who wanted more stability (Zinn, 255). J. P Morgan started off selling stocks for the railroads for good commissions but, during the Civil War he bought five thousand rifles from an army arsenal, and sold them to a general in the field. The rifles were defective and would shoot off the thumbs of the soldiers using them. He thought of himself as an American but the degradation of humanity in this act shows the contrary. James Mellon’s father wrote to him â€Å"a man may be a patriot without risking his own life or sacrificing his health. There are plenty of lives less valuable† ( Zinn, 255). This statement emphasizes the idea that Zinn is presenting about the United States and how it is full of oppression and racism. However, Historian Paul Johnson viewed things differently from Zinn. He described the United States from 1865 to 1900 as a panorama of general progress in which all classes shared and in which all intellectual and cultural interests were abundantly displayed (Johnson, 591). He ultimately believes that the United States was composed of American geniuses. If this were true I do not understand why minorities were being exploited by having them work long hours with no good payment. Johnson argues that although America’s high status elites deliberately spent their money on conspicuous consumption, they were still great Americans that wanted to succeed in being self satisfying, competitive swaggers, and excellent leaders for this country during that time. He compares American leaders to French and English noblemen, when in fact the United States as stated by Zinn had French and English people building the first transcontinental railroad. .ue641f7ae1f47001b3080dd039032512c , .ue641f7ae1f47001b3080dd039032512c .postImageUrl , .ue641f7ae1f47001b3080dd039032512c .centered-text-area { min-height: 80px; position: relative; } .ue641f7ae1f47001b3080dd039032512c , .ue641f7ae1f47001b3080dd039032512c:hover , .ue641f7ae1f47001b3080dd039032512c:visited , .ue641f7ae1f47001b3080dd039032512c:active { border:0!important; } .ue641f7ae1f47001b3080dd039032512c .clearfix:after { content: ""; display: table; clear: both; } .ue641f7ae1f47001b3080dd039032512c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue641f7ae1f47001b3080dd039032512c:active , .ue641f7ae1f47001b3080dd039032512c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue641f7ae1f47001b3080dd039032512c .centered-text-area { width: 100%; position: relative ; } .ue641f7ae1f47001b3080dd039032512c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue641f7ae1f47001b3080dd039032512c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue641f7ae1f47001b3080dd039032512c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue641f7ae1f47001b3080dd039032512c:hover .ctaButton { background-color: #34495E!important; } .ue641f7ae1f47001b3080dd039032512c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue641f7ae1f47001b3080dd039032512c .ue641f7ae1f47001b3080dd039032512c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue641f7ae1f47001b3080dd039032512c:after { content: ""; display: block; clear: both; } READ: U.S Human Rights Intervention EssayWhen describing the â€Å"Age of Robber Barons† Johnson compares, once again, French people and the building of a large country house to the building of the railroad constructed in 1877, the lack of information and no interest at all in what American history really was about, leads him to find without any facts a similarity between these two countries that had nothing to do with each other during that time. Johnson goes on talking about how between 1880 and 1920 there more country houses were built in the United States than in any other period of time. He again demonstrates us that he was more interested in story telling about the French instead of actually providing us with important facts about the United States. The history of the United States was not composed of how many houses were built; it was composed on how immigrants and lower class people were exploited to build more important things such as the railroads, while the white upper class spent their money on useless things. Zinn’s theories and ideas about the United States are much more meaningful than those of Johnson. Johnson is more interested in story than presenting actual facts about the United States. Johnson does not focus on the issue of race and the differences in treatment between social classes. Zinn on the hand provides us with facts about the cruelty that went on during this time. He focuses on telling us how people were mistreated, minorities were abruptly abused and the government did nothing to help the situation. The government of the United States was behaving almost exactly as Karl Marx described a capitalist state: pretending neutrality to maintain order, but serving the interests of the rich.

In 1825, A Group Of American Businesspeople Announced The Essays

In 1825, a group of American businesspeople announced the formation of a canal building company, with interests in constructing a canal system across the Isthmus. This project was to take place in an area now called Panama. The endeavor was filled with controversy. Though the canal itself was not built until the early 1900's every step toward the building and ownership, was saturated with difficulty. Walter LaFeber illustrates the dilemmas in a historical analysis. In his work he states five questions that address the significance of the Panama Canal to United States. This paper will discuss the historical perspective of the book's author, address pertinent three questions and give a critique of LaFeber's work, The Panama Canal. For proper historical analysis one must understand the importance of the Canal. The Panama Canal and the Canal Zone (the immediate area surrounding the Canal) are important areas used for trade. Even before the canal was built there were to large ports on both sides of the Isthmus. Large amounts of cargo passed through the Isthmus by a railroad that connected the two ports. The most important cargo was the gold mined in California before the transcontinental railroad was completed in the United States. It has strategic significance because of its location, acting as a gateway connecting the Pacific and Atlantic oceans. This allows for rapid naval deployment between fleets in either ocean. These two facets make the Panama Canal very important in the region. LaFeber notes that Panamanian nationalism played a large role in the creation of the canal and, consequently, the cause for the area's constant instability. The first expression occurred in the late 1800's with Panamanian struggle for independence from Columbia. The United States eager to build the canal, and control its operation, used and backed Panamanian nationalist. During the Roosevelt administration, not only did the United States manipulate factors isolating Panama from other world powers through the Monroe Doctrine; but it committed troops aiding the revolutionaries against another sovereign state. The reason this is a surprise is because the Roosevelt administration normally held a position favoring stability. The United States had no legal right to use force against Columbia. Nationalism came back to haunt the United States. With the treaty signed and a 99-year lease given to the United States, the Canal was built. Since then, the United States has varied on its stance of ownership and the principles of sovereignty concerning the Canal. The ever persistent debate of who owns the Canal and who should have sovereign control over it, has not been solved. The United States has occasionally attempted to "claim" the Canal zone through various methods such as military occupation, exclusion of Panamanians for important jobs in Canal operations and even through the customary aspect of international law. However, each time the Panamanians have managed to maintain claim to the Canal despite the United State's imperialistic posturing to get it. The most recent and notorious of the United States' attempts to annex the Canal Zone was during the Reagan administration. President Reagan said that the Canal Zone could be equated as a sovereign territory equal to that of Alaska. The question here is, was he correct? LaFeber points out that, "the United States does not own the Zone or enjoy all sovereign rights in it." He uses the treaty of 1936 in Article III that states, "The Canal Zone is the territory of the Republic of Panama under the jurisdiction of the United States." The entire topic was summed up neatly by Ellsworth Bunker, a negotiator in the region, when he said, "We bought Louisiana; we bought Alaska. In Panama we bought not territory, but rights." A second important question, is the Canal a vital interest to the United States? LaFeber gives three points suggesting that it is not. First, the importance of the Canal decreased after 1974, because of the end of the Vietnam War and all related military traffic ceased. Second, is the age of the antique machinery dating back to 1914. Inevitably the machinery will need to be replaced. Lastly, the size of the new tankers and cargo ships. The capacity of the canal is too small to handle such a large amount of tonnage. These are viable factors; however, the first argument is concerning whether a war is taking place. It is circumstantial in providing a solid reason for increased traffic through the Zone. This can easily change through and emergence of a new conflict or trading habits of other countries. Thirdly, why have the Panamanians insisted on assuming total control of the Canal. The Panamanians are making millions of dollars annually and the United

The Human Comedy essays

The Human Comedy essays One Day Homer Macauley signs up for a telegram delivery job and gets it. While he delivers these letters he discovers the truth about love, hope, and pain seeing the reactions on the faces of the people when they receive the message. He relates his life to the letters awaiting one from his brother Marcus who is in war. When he is not out sending telegrams he goes to school in which he is very admired by all of his teachers but Mr. Byfield who despises him. Being a poor boy is held against Homer, which Mr. Byfield emphasizes trying to get him in trouble. Getting on with the story. Homer is later faced with a life experience when his telegram advisor, Mr. Gangley, dies when he is typing an incoming message a message that states "The Department of war regrets to inform you that your son Marcus........", not finishing the statement. Later, when homer returns home he sees a young soldier on his steps. He is ovious that he is injured, but he is also holding a message. It is a message from a dead Marcus Macauley. Homer invites him in and the ...

IP1 management report Essay Example | Topics and Well Written Essays - 500 words

IP1 management report - Essay Example Business choices frequently require the information of individuals in more than one practical region(Dell, 2015). This prompts a superior understanding of the bigger view, permitting individuals with distinctive thoughts, viewpoints and ability to voice their plans and find innovative and creative answers for issues that the association is encountering. Among the major organization and overall management strategies, Dell Inc. uses framing, particularly in solving challenges and as a good example on how the company’s managers observe the organization function. Framing does not necessarily give a solution for this issue but it gives a sense of direction and intuition. It prompts teamwork and contribution from everyone including the staff, middle-level management etc. It structural attribute that rationalizes the need for organization, accuracy and self-driven motivation as key constituents for making the right decisions and countering an issue efficiently(Dell, 2015). Additionally, communication is among the core factors and an aspect that Dell management emphasizes on throughout the operations. This helps the managers to create a bond and strong relationship with the rest of the staff members. Consequently, it facilitates novelty and expression without any pressure from the employees; they will freely approach the leader with new ideas and potential solutions for problems (Chapman, 2014). According to Dell’s management, leadership is as significant as management itself hence their key aims is establishing the harmonizing link between both. They ensure that the company’s corporate leaders are experts of all business functions, and through this management, supervision and control is easier because, an executive has more details on the different modules of an organization(Dell, 2015). Additionally, under leadership and sustainability, the leader rotates through different roles before they come to their main project as part of individual

Economics Essay Example | Topics and Well Written Essays - 250 words - 3

Economics - Essay Example attempted to obtain data for analysis through qualitative research method whilst attempting to use various theoretical concepts. Netting et al. on the other hand used purely qualitative research methodology by applying grounded theory in order to obtain and analyze relevant data. C. Propose at least one dependent variable and four independent variables for your study (you will use these for the Written Assignment in this module). How would you measure them? (e.g. ordinal, interval, ratio scales)? D. In your writing assignment for this module you will describe the research methodology to be used in your paper. This section will spell out the qualitative and/or quantitative methodology you would propose using as well as any sampling. In this posting, answer the following questions (the answers to which you will also document in your assignment): While carrying out research on chosen topic with questionnaire as data collection instruments, it would be advisable to obtain information on the participants’ background as well as general information such as gender and age (Leedy and Ormrod, 2010). Other personal information including name of the participants will be avoided in conducting the research. In addition, the questionnaire will have multiple choice and long structured questions. The appropriate sample size will depend on the population under investigation (Leedy and Ormrod, 2010). In any case, the sample size selected should proportionately represent the population under study. If interviews were to be used in collecting information, general questions that doe not touch on individual’s personal information should be asked (Leedy and Ormrod, 2010). Such questions should be directly linked to the subject or topic of research. Case studies are usually effective in circumstances where there are no adequate data obtained or derived from various data collection tools. In this case, the employed case studies will provide

Relationship Between Textiles and Architecture

Relationship Between Textiles and Architecture The Reconciliation of Craft in Architecture as Facilitated by Textiles Abstract This dissertation analyses the enduring relationship between architecture and textiles. Using textiles as a facilitator, the wider relationship between craft and architecture will be explored. The link between architecture and textiles harkens back to an age when woven fibers provided the primitive dwelling of man, developed in various forms throughout history. The significance of this relationship will be examined in particular through the views of nineteenth century architect Gottfried Semper and twentieth century textile artist Anni Albers. With technological advancement in the age of industrialisation, the apparent discourse and perceptions of textile use within the realm of architecture is explored. The distinction between textile use in art and architecture leads to the discussion of surface and structure within the built environment. The question as to what extent tactile and textile based materials allow us to humanise our built environment will be examined. It could be argued that the development of indigenous design has now caught up with the pace of the twenty-first centurys needs and desire for communication and manufacturing. Architecture has reached a point where the contradiction between structure and ornament is no longer apparent. Ornamentation has now become an option, not just an unnecessary expense. A critical re-examination in attitude to that of the twentieth century ‘ornament is a crime, aided by digitalisation is reviving textiles from its confines in the interior to a more multifunctional and overall structural state. It is arguable that this re-examination in attitude can lead to a reconciliation of craft within architecture. In examining the definition of craft within architecture, this dissertation will explore historical and contemporary aspects of designing and making in the process of creating buildings. The future of textiles in architecture is being pioneered in contemporary design. Particular focus is given to the concepts, forms, patterns, materials, processes, technologies and practices that are being produced with the collaboration of textile architecture. While there is wide recognition for the visual aspect of textile in architecture, new aspects of tactile tectonics, sensuous and soft constructivism are growing acclaim. There is much evidence to suggest that the preoccupation of textile in contemporary design challenges traditional perception and the very structure of architecture itself. The conclusion will argue that by applying the traditional idea of craftsmanship in the knowledge of designing and making as one holistic activity to new developments within textile inspired procedures, craft can be reconciled within architecture, as Seamus Heaney speaks of, ‘two orders of knowledge, the practical and the poetic.[1] This can in turn transform contemporary building processes at a level suitable for todays challenges in society and culture. This raises possibilities of how the concepts of the avant-garde designs of many of todays more innovative architecture can be used and realised in the present state and future of architecture and the city. Key words: textiles, humanise, visual, tactile, conceptual, hybrid, digital augmented-processes, making, craftsmanship History, origin and relationship between textiles and architecture The relationship between textiles and architecture starts with corresponding beginning. Their vast history starts from the role of providing shelter, shade and protection in the building envelope, the ‘skin, originating from crudely stitched animal skins. The history, form and expression of physical woven construction and the use of membranes exist from the light tent structures of human habitation. The significance of the connection between the two disciplines allows and carries ‘complex imprints of geographical, cultural, social and personal influences.'[2] Textiles are a powerful medium, rich with symbolic meaning and aesthetic significance. They remain ‘sources of communication and manifestations of power, fibrous forms consisting in present day ‘fashions, vehicles, interior textiles, communication technologies and cutting-edge architecture'[3]. As people became more settled, and with the erection of more solid dwellings, textile use in architecture became somewhat neglected and confined to the interiors. There is the question of the practicality as to what extent textiles could continue to be used for weather and visual protection after the development of mechanisms and insulation within the built environment. Some traditional textile materials and structure have continued to be used to present day in some parts of the world; examples including coverings over markets and stalls and basic protection such as an umbrella in Nepal as shown below: A review of the work of the nineteenth century German architect and theoretician Gottfried Semper (1803-1879) points to the significance of textiles and architecture. Semper remains certain that the ‘beginning of buildings coincides with the beginning of textiles.[4] Throughout his work, Semper gave emphasis to textiles, offering a western perspective on his interpretations of the origin of architecture. He maintained that textile processes were the principal element, from which the ‘earliest basic structural artefact was that of the knot'[5]. Semper goes as far as to state that architecture originated from the primordial need to distinguish interior and exterior spaces with dividers, ‘fencing made of branches, for example, or hanging tapestries of woven grasses.'[6] Semper showed a high level of understanding of textile arts, its adaptability, transformable state and functional elements, seeking to: â€Å"Transform raw materials with the appropriate properties into products, whose common features are great pliancy and considerable absolute strength, sometimes serving in threaded and banded forms as bindings and fastenings, sometimes used as pliant surfaces to cover, to hold, to dress, to enclose, and so forth†[7] There is much evidence to suggest that textiles share an indissoluble links with architecture, dress and the ‘fabric of society.'[8] Sempers theorys on fabric encompasses his principle of ‘bekelidungsprinzip (dressing), that rather than an abstract skin, the fabric and faà §ade of an architectural space is a functional part of the structure, ‘a tectonic figuration conceived according to the purpose and convenience of the use expected from a building.'[9] His ideas of the relationship between the architectural faà §ade as a dressing and skin refer to how cloth could be used to transform the human figure. However, Semper understood a ‘buildings aesthetic, symbolic and even spiritual significance to reside in its decorative surface.'[10] He believed that over time, memory informed building types, retaining the ‘symbolic forms of their earliest architectural predecessors. He believed the geometric patterns of brick and stone walls were ‘an active mem ory of the ancient weavings from which they were derived. [11] This leads us to the perception of tactile and textile qualities within the built environment. Attitudes and perceptions towards tactile and textile use in the built environment The previous chapter emphasises the importance of textile as a structure, distinguisher between the interior and exterior and establishing a sense of place. While he is adamant about the relevance of textiles within architecture, it is arguable that for centuries the value of textiles as a material was reduced to little significance. Furthermore, textiles can be seen to have been largely excluded from use in a majority of architecture theory and production. It could be argued that one aspect of textiles being somewhat dismissed within the realm of architecture is a result of architecture being portrayed as exclusive and elitist. The separation between textiles and architecture can be seen as dating form the Renaissance. There existed prejudicial distinctions between the importance of ‘minor arts such as craft and textiles, and the ‘major arts of architecture. Distinctions as the art critic Barbara Rose states in New York Magazine, 1972, ‘imposed at the end of the Mi ddle Ages when the guilds disappeared to be replaced by the Renaissance academies.'[12] While movements such as Art Nouveau and the Arts and Crafts pointed towards architecture that had a direct relationship with arts, the discourse between crafts could be seen to be at its highest point during the nineteenth and twentieth centuries with the event of industrialisation and modernism. The modernist purist concept lay in the emphasis on purism and functionalism of the architecture itself. It can be argued that the architectural focus on rationalism began to isolate and neglect the spiritual and humanising qualities of a building. The conflicting aspects between the modern movement and a lack of humanistic architecture can be seen through various sources. Adolf Loos twentieth century manifesto stating the removal of ornamentation is synonymous with ‘the evolution of culture'[13], had a large impact on the development of our built environment. Some feel that this restricted us from: â€Å"A language in which visual thoughts, worldly ideas, communal ethos, and memories may be directly deposited and communicated within the substance of material objects.†[14] While architects such as Le Corbusier clearly expressed their rejection of ornament, believing in that ‘form follows function, contradictions can be clearly seen with his passion and participation in the tapestry revival. Tapestries have proved an impacting force in the discussion of textiles and architecture. While it is arguable that the high period of tapestry of art can be acknowledged to be the medieval era, new developments in the late 1920s, ‘instead of a woven picture on a wall, tapestry became a wall'[15]. He considered them a ‘mural-nomad a portable mural. The addition of hanging woven reliefs after the modernist era can be seen as an attempt to â€Å"humanise the ‘brutalist architecture of the 70s.† [16] A leading figure in avant-garde tapestry is maker Tadek Beutlich, originally from Poland. His work below, ‘Archangel is eight-foot wide, feathers made out of sisal and other fibres, portraying his mastered technique of weaving, braiding, wrapping, plaiting, ravelling and unravelling. His display of enormous weavings and fiber based installations of such scale and tactile nature, bringing into question the industry versus the hand. Some textile arts can be seen as architectural by encompassing the surface they are attached to with such scale and magnitude. Sheila Hicks wall hanging shows how thread begins to take form of a structure, manipulated and composed like a ‘single brick transformed through structural multiplication into a wall'[17]. The French philosopher Claude Levi Strauss goes as far as to comment on Hicks work that: â€Å"Nothing better than this art could provide altogether the adornment and the antidote for the functional, utilitarian architecture in which we are sentenced to dwell.† The Bauhaus school, renowned for its promotion of a new architectural style, was actually founded for the arts and crafts. However emphasis passed to materials and construction in order to meet the social and technological requirements of the twentieth-century architecture and industrial design. Anni Albers is an example of a weaver at the Bauhaus whose tapestries reflect the chance and spirit of the time. It is arguable that as the ‘ethical and intellectual commitments were made and new materials and processes embraced, visceral and emotional aspects diminished. However the Bauhaus remains an important influence in the expression of materials and structure, rediscovering the ‘importance of expressing texture, structure, and broken colour and in finding new aspects of pattern with the vertical-horizontal format of woven cloth'[18]. Through an investigation between the similarities that exist between the art of weaving and the realisation of architecture, it is clear that the concepts overlap. Both of the nineteenth and twentieth century theorists Semper and Anni Albers, expressed how the similarities between architects and weavers go beyond surface appearance. Textiles within a space can affect the atmosphere, light, climate, acoustics and spatial arrangements. It is recognised that quality can be achieved by relating the physical properties of their work with aesthetic implications and the inherent and underlying aspect of structure. Anni Albers reinforces the architects and weavers common interests: â€Å"Surface quality of material, that is matià ¨re, being mainly a quality of appearance, is an aesthetic quality and therefore a medium of the artist; while quality of inner structure is, above all, a matter of function and therefore the concern of the scientist and engineer. Sometimes material surface together with material structure are the main components of a work; in textile works for instance, specifically in weavings or, on another scale, in works of architecture†[19] (really interesting but itsnt is also an indictment that we dont accept that surface also requires inherent structure) Albers reinforces the importance of textiles within the future of architecture, stating that â€Å"similarities between structural principles of weaving and those of architecture â€Å"textiles, so often no more than an after thought in planning, might take a place again as a contributing thought† [20]. Textile revival For the last several decades, expanded by recent technological advances in textiles, the craft of using textiles conceptually and visually has been gaining recognition, reframing its domestic connotations and the confines of the interior. The next generation of textiles is ‘heralded by technological interfaces, programmable surfaces and architectonic capabilities.'[21] A rejection of European modernism and ideas of universality, textiles as a craft is covering new conceptual ground. Textiles is forging an ever closer relationship with architecture, the two disciplines merging with surface and structure. New sources of sustainable materials are providing another aspect into how the human body is experiences and the urban environment built. Computer technology is inviting new relationships between craft and architecture: â€Å"By exploiting the singular meanings of textile forms, structure, and processes, these textile artists are sometimes placed outside the general art discourse.†[22] Textiles can be described as a medium â€Å"without clear, self-defining boundaries or limitations.†[23] Architects and artists from the 1990s have shown increased vigour in unravelling the essential nature of textiles. Having recaptured with the historical importance of textiles, their attention turned to infusing the same level of emphasis into textiles within the built environment. Some have commented on the flexibility and adaptability of the medium, acting â€Å"as a vacuum sucking up new materials, techniques, and modes of expression. It has changed its form, size, psychology, and philosophical stance.†[24] What unifies designers and artists as a driving force in the creative field of surface design is their enthusiasm for the dimensional possibilities inherent in cloth. There is a fascination by some about the idea of cloth holding the memory of action performed on it; â€Å"It is for each generation to expand the vocabulary of approaches to cloth.†[25] This aspect of working with fabric is directed towards the history and memory of fabric, focusing on expressionism; an emotional connection to objects and a tactile spatial awareness. It is arguable that the uniqueness of the craft of textiles in relation to design and architecture lays in the personal input from the individual maker. Critics and scholars have â€Å"long recognised that the quality of art lies in concept and quality of insight, not in materials and tools†. (state diff textile design +art, textile designers that design +someone else manufactures-how fit into argument ? ) Matthew Koumis highlights how the establishment of textiles applied in a space can differ according to Western and Japanese environments. Koumis points out that in the West a basic element in the hanging of tapestries was to decorate walls of brick or stone, modifying and softening the space. However, These walls didnt exist in traditional Japanese homes where structures were supported by wooden beams. Some argue that the ‘fasuma and shoj (made from wood and paper) exhibit ‘textile characteristics and they can take on ‘textile functions, ‘representing a further development of traditional textile membrane materials.[26] While Japanese houses do not have designated purposes, textiles or tactile surfaces can be used to designate the function of the space: â€Å"Their contents, and especially their design elements, vary according to the use of the room at any one time. Cloth is often involved in bringing about such changes.† [27] Ornamentation Decoration has been used throughout time to apply meaning and a sense of belonging in shelters. It could be argued that textiles as a form of decoration plays a vital role in establishing a buildings identity. It can describe the function, visually define the spaces and offer up claims as to a sense of the owner or users personality. While cost factor and lack of funding in public arts can be seen as one element, artistic adornment has now reached a stage, aided by digitalisation, that can now be seen as a viable option and not just an unnecessary expense. There is a hope that this can again restore peoples pride in their environment and a representation of their culture. There is much argument to suggest that the diminished financial support for public art and corporate collections has led to: â€Å"the convergence of industrial and digital production techniques in textiles capture the essence of labor-intensive hand-craft that is lost or cannot be achieved due to economic conditions and symbolize a contemporary design spirit.† [28] A reversal in attitude towards Adolf Loos ‘Ornament is a Crime is taking place. As such, the work of artists, designers and architects are using technological advances that revive ornament and placing them at the forefront of design. Can you give evidence? And refs on this Designers such as Tord Boontje are reviving a new style of ornament taking the intention of pre-modern design and making it ‘new. His investigation into the relationship between materials, structures, and surfaces, fleshing out the relationship between craft, design and technology.[29] Boontje sees ‘design as a way of shaping the future of our world,[30] combining nature and culture, the oldest and latest materials and technologies, forms, functions and colour combinations, and the (most importantly) Be clear about why you are using him as a ref aesthetic of ornament. The computer programmer Andrew Allenson who has collaborated with Boontje, sees a relationship between craft and technology, â€Å"Architects and designers can get bogged down in professional management and policy. Tord shows you can be more concerned with process and integrity and self-belief. Ive always thought there is a similarity between craft and software.† [31] Again be sure what is improatnt about quote and why you need to use it this starts on one track and only comes to the track you want at the end Boontje has taken a new manifestation of function, understanding elements of design from a new point of view and rejoicing in the freedom it has engendered him. Engendered him to what? Like the architect and philospher†¦.Morris (William?), Boontje looks at history and acknowledges a wish for social engagement and the beauty of use based on a response to nature, but Boontje has, as †¦ says (date) â€Å"extended Morriss legacy by achieving globalised industrial production and embracing the latest technology.† [32] Fabric is used throughout Boontjes work with technical innovation, laser-cutting and digital printing. Due to the unpredictable nature of fabric with its elasticity and deformational properties, Boontje realises the difficulty in working with fabric. This unpredictability can also be turned to advantage, collaborating with Swiss and Japanese manufacturers to create a clear expression. Textile and paper are filtered throughout his work, multiple layers being manipulated to create soft definitions of space with nature acting as a dominant influence. Boontje emphasises the importance of textiles and its relationship to ourselves and the wider society; â€Å"For cloth, like the body, is a mediating surface through which we encounter the world.† [33] Boontje is also crossing the discipline between textiles into architecture, experimenting in ‘fabric room, as shown below. He states his fascination by ‘the way a draped fabric folds itself in very organic shapes, and realises the insulating properties of the cloth, providing ‘warmth in the winter and coolness in the summer. [34] Explain the relevance of this draw out the argument†¦ and does this sit under title digital ornamentation The possibility of craft within textile architecture Link textile + craft. Say textiles craft wider issues of how craft enhance environment. Applicable to textiles craftsmanship. End pt clear argument This dissertation will begin to examine the possibility of craft within textile architecture, first beginning with the definition of craftsmanship within architecture, to theories in relation to making with the hand and how the issue of craft resides with new technological advancement. Finally, I will come to a conclusion as to how the craft of textiles raises new possibilities towards a reconciliation of the traditional meaning of craftsmanship, combined with new methods and material matter through use of digital visualisation and technological manufacturing process. Henry van de Velde, the Belgian architect insisted that ‘crafts were the great creative reservoir for the future. [35] The definition and theories of craftsmanship Historically in the creation of architecture, each form of knowledge was in the making and designing as one holistic activity. The definition of an architect stems from its origins as a chief builder: â€Å"Etymologically derived from the Latin architectus, itself derived from the Greek arkhitekton (arkhi-, chief + tekton, builder)†[36] The skilled craftsmanship of the builder came from the stonemason craft, â€Å"an imaginative and creative designer on one hand, who was comprehensively and intimately familiar, at the same time, with the means by which his design could be brought to realisation in actual stone and morter.†[37] Using tools as extensions of the hand, the chief builder with a high degree of knowledge and skill ensured a synthesis between tool, material, structure and form. Malcolm McCullough (who is he?) defines a tool (When?) as ‘a moving entity whose use is initiated and actively guided by a human being, for whom it acts as an extension, towards a specific purpose. However, he clarifies what influences perceptions of craft in work as the ‘degree of personal participation, more than any degree of independence from machine technology.[38] Craft involves a union of the hand, tool and mind; craftsmanship arising from manual skill, training and experience. Juhani Pallasmaa argues that the skilled practice of a craft involves imagination of the hand. This skilled practice is at its highest art when it is working from existing knowledge, a ‘continuous meeting and joining of the hands of successive generations. This generational knowledge, of knowing how to apply craft, has came from relaying on the traditional cultures daily spheres of work and life were an ‘endless passing of the hand skills and their product on to others. [39] key point here is also succession at its highest art when it is working from existing knowledge generational knowledge/ experience /- better still ‘know how but is that applicable to ‘new craft? ummmmm interesting Show acknowledge pt new craft doesnt have same involvement, good desiner still basic knowledge cloth. May lose out, stil managing There are various viewpoints about the interaction of the bodily action of the hand and the imagination. Pallasmaa argues that: â€Å"The craftsman needs to develop specific relationships between thought and making, idea and execution, action and matter, learning and performance, self-identity and work, pride and humility. The craftsman need to embody the tool or instrument, internalize the nature of the material and eventually turn him/herself into his/her own product, either material or immaterial.† [40] In examining the value of craft inherent in artisanal work and design, it is arguable that a joint effort of manual work and technology can produce a high standard of results. From my travels in India and Nepal it wasnt uncommon to find manual work that is not merely artisanal but in fact comes very close to industrial work. Eg?- Tadao Ando reflects on how the digital age has modified his design process, feeling the brain and hands work together, the hand an ‘extension of the thinking process, however you ‘cannot ignore the creativity that computer technology can bring. While acknowledging the new kind of creativity, he realises the important in being ‘able to move between those different worlds.[41] Issey Miyake is under the opinion that the ‘joint power of technology and manual work enables us to revive the warmth of the human hand. While never forgetting the importance of tradition, Miyakes concept of ‘Making Things involves creating things that make ‘life more agreeable in todays v interestingsociety and less burdensome in tomorrows. He concludes that technology is not the most important thing: ‘it is always our brains, our thoughts, out hands, our bodies which express the most essential things, the foundation of all expression and the emotion they can provide.†[42] Indent left 1.27cm It is arguable that a discourse in craft and design can only lead to ultimate failure within architecture and its wider implications. !! in architecture or where? Richard Sennetts ‘the Craftsman shows how historical divisions between craftsman and artist, maker and user, technique and expression, practice and theory leads to a disadvantage for the individual and society as a whole. Sennett realises that a consideration of the past lives of crafts and craftsmen show us ways of working, using tools, acquiring skills and thinking about materials. However he argues for more value to craftsmanship than a mere technical ability, raising ethical questions about the craftsmans stance. This raises the question Does the designing and making in the spirit of the craftsman entail the skilled application of contemporary as well as functional tools? Is this your question or his? Not clear here While Ando uses architecture to reconcile the logic and spirit of new technologies, he realises â €˜that people always relate to the spirit of the place, or the spirit of the time. We are reminded that our cities themselves are more important than individual reputations and accomplishments. This is emphasized with Aldo Rossis claim that â€Å"places are stronger than people.†[43] legends, rituals and and genetics outlive any building silly Rossi but of course when you are a fascist power/ful structures are naturally more important than human life.- what do you believe in this- will see in conclusion Some have set forward the argument that is the architects role to unite construction, purpose and place. John Tuomey sets a clear demonstration of his desire for: getting feeling that drifting into PLACE may be dissipating argument of dissertation this section is called The possibility of craft within textile architecture- need to stay focused think comment about ‘strategy in Tuomeys quote is useful since its a shift from craft as ‘manual grafting to craft as ‘strategic thinking- very interesting the crafting occurs then within both the process and the product think I might bring this into my next paper- will reference you ORLA for inspiration ! â€Å"a way of thinking which would provide an integration between construction and the site, a re-casting of the redundant craft condition which by tradition would exploit local materials and harness indigenous skillsembedding an initial sense of strategy which could remain evident in the eventual experience of an actual building.†[44] Architecture needs mechanisms that allow it to become connected to culture. Tuomeys greatest insight is to declare â€Å"we are agents in the continuity of architectural culture†. He uses professional knowledge and experience to realise the choices architects face are not â€Å"the reaction of an individual moment, but the exercise of an established craft in the continuity of time†. I agree only 50% with this since I think Architecture has been exclusive and elitist and needs to deconstruct its genealogy at times- again very interesting Architecture can be viewed rationally and historically, its composite nature in structure, function and physical state combined with cultural, political and temporal aspects. Is this a sentence Architecture develops through new innovations connecting these forces, manifesting itself in new aesthetic compositions and affects. The most successful of which provide expressions that are contemporary, yet whose effects are resilient in time. Well said The question remains, will new effects of innovative detailing, experimental use of materials overcome the modernist failure to â€Å"visually soften or improve with age.†[45] As remarked by Alvar Aalto; â€Å"it is not what a building looks like on the day it is opened but what it is like thirty years later that matters.†[46] It is clear that craftsmanship is viewed in its preoccupation of the present, yet depends, as commented by Tony Fretton, on â€Å"relations between innovation and past events, between individual and collective activity.† [47] Architecture has had to adapt to the change caused by the industry and manufacturing, the individual genius, politics and the rhetoric at some level. It could be said in every historical age it is the people who aid change; they develop the analysis and ideal to what architecture should be. This can result in a tyranny as stated by William Curtis(date); â€Å"Detractors resorted to monolithic caricatures, blaming the mythical ‘modernism for everything from mindless materialism, to the destruction of national identity, to the construction of unbelievable housing schemes.†[48] This view is enforced by Alvar Aalto; â€Å"The architecture revolution, like all revolutions, begins with enthusiasm and ends in some form of Dictatorship.†[49] H owever it is individuals who can also move us on to create statements about the way the world should be, through forms, light, space and material. Think you need to rehease whay you were saying in this section and why as a reader I can get each statement but not the overall argument perhaps some mini conclusion at end of sections or re-statement of argument This again points out, emphasises Review of the development of Contemporary Textile Designs through Architecture Case Studies By the mid-twentieth century, largely influenced by the work of Frei Otto, a pioneer in the creation of tensile fabric structures, new developments began in the area of self-supporting membrane structures. Textile construction began ‘taking on a permanence, as an alternative to classical architecture, which it had never seen before.[50] His design for the Munich Olympic Stadium, set â€Å"new standards of material performance and aesthetic in textile architecture with tent, net, pneumatic and suspended constructions.[51] Through the use of technological advancement, pneumatic structure Relationship Between Textiles and Architecture Relationship Between Textiles and Architecture The Reconciliation of Craft in Architecture as Facilitated by Textiles Abstract This dissertation analyses the enduring relationship between architecture and textiles. Using textiles as a facilitator, the wider relationship between craft and architecture will be explored. The link between architecture and textiles harkens back to an age when woven fibers provided the primitive dwelling of man, developed in various forms throughout history. The significance of this relationship will be examined in particular through the views of nineteenth century architect Gottfried Semper and twentieth century textile artist Anni Albers. With technological advancement in the age of industrialisation, the apparent discourse and perceptions of textile use within the realm of architecture is explored. The distinction between textile use in art and architecture leads to the discussion of surface and structure within the built environment. The question as to what extent tactile and textile based materials allow us to humanise our built environment will be examined. It could be argued that the development of indigenous design has now caught up with the pace of the twenty-first centurys needs and desire for communication and manufacturing. Architecture has reached a point where the contradiction between structure and ornament is no longer apparent. Ornamentation has now become an option, not just an unnecessary expense. A critical re-examination in attitude to that of the twentieth century ‘ornament is a crime, aided by digitalisation is reviving textiles from its confines in the interior to a more multifunctional and overall structural state. It is arguable that this re-examination in attitude can lead to a reconciliation of craft within architecture. In examining the definition of craft within architecture, this dissertation will explore historical and contemporary aspects of designing and making in the process of creating buildings. The future of textiles in architecture is being pioneered in contemporary design. Particular focus is given to the concepts, forms, patterns, materials, processes, technologies and practices that are being produced with the collaboration of textile architecture. While there is wide recognition for the visual aspect of textile in architecture, new aspects of tactile tectonics, sensuous and soft constructivism are growing acclaim. There is much evidence to suggest that the preoccupation of textile in contemporary design challenges traditional perception and the very structure of architecture itself. The conclusion will argue that by applying the traditional idea of craftsmanship in the knowledge of designing and making as one holistic activity to new developments within textile inspired procedures, craft can be reconciled within architecture, as Seamus Heaney speaks of, ‘two orders of knowledge, the practical and the poetic.[1] This can in turn transform contemporary building processes at a level suitable for todays challenges in society and culture. This raises possibilities of how the concepts of the avant-garde designs of many of todays more innovative architecture can be used and realised in the present state and future of architecture and the city. Key words: textiles, humanise, visual, tactile, conceptual, hybrid, digital augmented-processes, making, craftsmanship History, origin and relationship between textiles and architecture The relationship between textiles and architecture starts with corresponding beginning. Their vast history starts from the role of providing shelter, shade and protection in the building envelope, the ‘skin, originating from crudely stitched animal skins. The history, form and expression of physical woven construction and the use of membranes exist from the light tent structures of human habitation. The significance of the connection between the two disciplines allows and carries ‘complex imprints of geographical, cultural, social and personal influences.'[2] Textiles are a powerful medium, rich with symbolic meaning and aesthetic significance. They remain ‘sources of communication and manifestations of power, fibrous forms consisting in present day ‘fashions, vehicles, interior textiles, communication technologies and cutting-edge architecture'[3]. As people became more settled, and with the erection of more solid dwellings, textile use in architecture became somewhat neglected and confined to the interiors. There is the question of the practicality as to what extent textiles could continue to be used for weather and visual protection after the development of mechanisms and insulation within the built environment. Some traditional textile materials and structure have continued to be used to present day in some parts of the world; examples including coverings over markets and stalls and basic protection such as an umbrella in Nepal as shown below: A review of the work of the nineteenth century German architect and theoretician Gottfried Semper (1803-1879) points to the significance of textiles and architecture. Semper remains certain that the ‘beginning of buildings coincides with the beginning of textiles.[4] Throughout his work, Semper gave emphasis to textiles, offering a western perspective on his interpretations of the origin of architecture. He maintained that textile processes were the principal element, from which the ‘earliest basic structural artefact was that of the knot'[5]. Semper goes as far as to state that architecture originated from the primordial need to distinguish interior and exterior spaces with dividers, ‘fencing made of branches, for example, or hanging tapestries of woven grasses.'[6] Semper showed a high level of understanding of textile arts, its adaptability, transformable state and functional elements, seeking to: â€Å"Transform raw materials with the appropriate properties into products, whose common features are great pliancy and considerable absolute strength, sometimes serving in threaded and banded forms as bindings and fastenings, sometimes used as pliant surfaces to cover, to hold, to dress, to enclose, and so forth†[7] There is much evidence to suggest that textiles share an indissoluble links with architecture, dress and the ‘fabric of society.'[8] Sempers theorys on fabric encompasses his principle of ‘bekelidungsprinzip (dressing), that rather than an abstract skin, the fabric and faà §ade of an architectural space is a functional part of the structure, ‘a tectonic figuration conceived according to the purpose and convenience of the use expected from a building.'[9] His ideas of the relationship between the architectural faà §ade as a dressing and skin refer to how cloth could be used to transform the human figure. However, Semper understood a ‘buildings aesthetic, symbolic and even spiritual significance to reside in its decorative surface.'[10] He believed that over time, memory informed building types, retaining the ‘symbolic forms of their earliest architectural predecessors. He believed the geometric patterns of brick and stone walls were ‘an active mem ory of the ancient weavings from which they were derived. [11] This leads us to the perception of tactile and textile qualities within the built environment. Attitudes and perceptions towards tactile and textile use in the built environment The previous chapter emphasises the importance of textile as a structure, distinguisher between the interior and exterior and establishing a sense of place. While he is adamant about the relevance of textiles within architecture, it is arguable that for centuries the value of textiles as a material was reduced to little significance. Furthermore, textiles can be seen to have been largely excluded from use in a majority of architecture theory and production. It could be argued that one aspect of textiles being somewhat dismissed within the realm of architecture is a result of architecture being portrayed as exclusive and elitist. The separation between textiles and architecture can be seen as dating form the Renaissance. There existed prejudicial distinctions between the importance of ‘minor arts such as craft and textiles, and the ‘major arts of architecture. Distinctions as the art critic Barbara Rose states in New York Magazine, 1972, ‘imposed at the end of the Mi ddle Ages when the guilds disappeared to be replaced by the Renaissance academies.'[12] While movements such as Art Nouveau and the Arts and Crafts pointed towards architecture that had a direct relationship with arts, the discourse between crafts could be seen to be at its highest point during the nineteenth and twentieth centuries with the event of industrialisation and modernism. The modernist purist concept lay in the emphasis on purism and functionalism of the architecture itself. It can be argued that the architectural focus on rationalism began to isolate and neglect the spiritual and humanising qualities of a building. The conflicting aspects between the modern movement and a lack of humanistic architecture can be seen through various sources. Adolf Loos twentieth century manifesto stating the removal of ornamentation is synonymous with ‘the evolution of culture'[13], had a large impact on the development of our built environment. Some feel that this restricted us from: â€Å"A language in which visual thoughts, worldly ideas, communal ethos, and memories may be directly deposited and communicated within the substance of material objects.†[14] While architects such as Le Corbusier clearly expressed their rejection of ornament, believing in that ‘form follows function, contradictions can be clearly seen with his passion and participation in the tapestry revival. Tapestries have proved an impacting force in the discussion of textiles and architecture. While it is arguable that the high period of tapestry of art can be acknowledged to be the medieval era, new developments in the late 1920s, ‘instead of a woven picture on a wall, tapestry became a wall'[15]. He considered them a ‘mural-nomad a portable mural. The addition of hanging woven reliefs after the modernist era can be seen as an attempt to â€Å"humanise the ‘brutalist architecture of the 70s.† [16] A leading figure in avant-garde tapestry is maker Tadek Beutlich, originally from Poland. His work below, ‘Archangel is eight-foot wide, feathers made out of sisal and other fibres, portraying his mastered technique of weaving, braiding, wrapping, plaiting, ravelling and unravelling. His display of enormous weavings and fiber based installations of such scale and tactile nature, bringing into question the industry versus the hand. Some textile arts can be seen as architectural by encompassing the surface they are attached to with such scale and magnitude. Sheila Hicks wall hanging shows how thread begins to take form of a structure, manipulated and composed like a ‘single brick transformed through structural multiplication into a wall'[17]. The French philosopher Claude Levi Strauss goes as far as to comment on Hicks work that: â€Å"Nothing better than this art could provide altogether the adornment and the antidote for the functional, utilitarian architecture in which we are sentenced to dwell.† The Bauhaus school, renowned for its promotion of a new architectural style, was actually founded for the arts and crafts. However emphasis passed to materials and construction in order to meet the social and technological requirements of the twentieth-century architecture and industrial design. Anni Albers is an example of a weaver at the Bauhaus whose tapestries reflect the chance and spirit of the time. It is arguable that as the ‘ethical and intellectual commitments were made and new materials and processes embraced, visceral and emotional aspects diminished. However the Bauhaus remains an important influence in the expression of materials and structure, rediscovering the ‘importance of expressing texture, structure, and broken colour and in finding new aspects of pattern with the vertical-horizontal format of woven cloth'[18]. Through an investigation between the similarities that exist between the art of weaving and the realisation of architecture, it is clear that the concepts overlap. Both of the nineteenth and twentieth century theorists Semper and Anni Albers, expressed how the similarities between architects and weavers go beyond surface appearance. Textiles within a space can affect the atmosphere, light, climate, acoustics and spatial arrangements. It is recognised that quality can be achieved by relating the physical properties of their work with aesthetic implications and the inherent and underlying aspect of structure. Anni Albers reinforces the architects and weavers common interests: â€Å"Surface quality of material, that is matià ¨re, being mainly a quality of appearance, is an aesthetic quality and therefore a medium of the artist; while quality of inner structure is, above all, a matter of function and therefore the concern of the scientist and engineer. Sometimes material surface together with material structure are the main components of a work; in textile works for instance, specifically in weavings or, on another scale, in works of architecture†[19] (really interesting but itsnt is also an indictment that we dont accept that surface also requires inherent structure) Albers reinforces the importance of textiles within the future of architecture, stating that â€Å"similarities between structural principles of weaving and those of architecture â€Å"textiles, so often no more than an after thought in planning, might take a place again as a contributing thought† [20]. Textile revival For the last several decades, expanded by recent technological advances in textiles, the craft of using textiles conceptually and visually has been gaining recognition, reframing its domestic connotations and the confines of the interior. The next generation of textiles is ‘heralded by technological interfaces, programmable surfaces and architectonic capabilities.'[21] A rejection of European modernism and ideas of universality, textiles as a craft is covering new conceptual ground. Textiles is forging an ever closer relationship with architecture, the two disciplines merging with surface and structure. New sources of sustainable materials are providing another aspect into how the human body is experiences and the urban environment built. Computer technology is inviting new relationships between craft and architecture: â€Å"By exploiting the singular meanings of textile forms, structure, and processes, these textile artists are sometimes placed outside the general art discourse.†[22] Textiles can be described as a medium â€Å"without clear, self-defining boundaries or limitations.†[23] Architects and artists from the 1990s have shown increased vigour in unravelling the essential nature of textiles. Having recaptured with the historical importance of textiles, their attention turned to infusing the same level of emphasis into textiles within the built environment. Some have commented on the flexibility and adaptability of the medium, acting â€Å"as a vacuum sucking up new materials, techniques, and modes of expression. It has changed its form, size, psychology, and philosophical stance.†[24] What unifies designers and artists as a driving force in the creative field of surface design is their enthusiasm for the dimensional possibilities inherent in cloth. There is a fascination by some about the idea of cloth holding the memory of action performed on it; â€Å"It is for each generation to expand the vocabulary of approaches to cloth.†[25] This aspect of working with fabric is directed towards the history and memory of fabric, focusing on expressionism; an emotional connection to objects and a tactile spatial awareness. It is arguable that the uniqueness of the craft of textiles in relation to design and architecture lays in the personal input from the individual maker. Critics and scholars have â€Å"long recognised that the quality of art lies in concept and quality of insight, not in materials and tools†. (state diff textile design +art, textile designers that design +someone else manufactures-how fit into argument ? ) Matthew Koumis highlights how the establishment of textiles applied in a space can differ according to Western and Japanese environments. Koumis points out that in the West a basic element in the hanging of tapestries was to decorate walls of brick or stone, modifying and softening the space. However, These walls didnt exist in traditional Japanese homes where structures were supported by wooden beams. Some argue that the ‘fasuma and shoj (made from wood and paper) exhibit ‘textile characteristics and they can take on ‘textile functions, ‘representing a further development of traditional textile membrane materials.[26] While Japanese houses do not have designated purposes, textiles or tactile surfaces can be used to designate the function of the space: â€Å"Their contents, and especially their design elements, vary according to the use of the room at any one time. Cloth is often involved in bringing about such changes.† [27] Ornamentation Decoration has been used throughout time to apply meaning and a sense of belonging in shelters. It could be argued that textiles as a form of decoration plays a vital role in establishing a buildings identity. It can describe the function, visually define the spaces and offer up claims as to a sense of the owner or users personality. While cost factor and lack of funding in public arts can be seen as one element, artistic adornment has now reached a stage, aided by digitalisation, that can now be seen as a viable option and not just an unnecessary expense. There is a hope that this can again restore peoples pride in their environment and a representation of their culture. There is much argument to suggest that the diminished financial support for public art and corporate collections has led to: â€Å"the convergence of industrial and digital production techniques in textiles capture the essence of labor-intensive hand-craft that is lost or cannot be achieved due to economic conditions and symbolize a contemporary design spirit.† [28] A reversal in attitude towards Adolf Loos ‘Ornament is a Crime is taking place. As such, the work of artists, designers and architects are using technological advances that revive ornament and placing them at the forefront of design. Can you give evidence? And refs on this Designers such as Tord Boontje are reviving a new style of ornament taking the intention of pre-modern design and making it ‘new. His investigation into the relationship between materials, structures, and surfaces, fleshing out the relationship between craft, design and technology.[29] Boontje sees ‘design as a way of shaping the future of our world,[30] combining nature and culture, the oldest and latest materials and technologies, forms, functions and colour combinations, and the (most importantly) Be clear about why you are using him as a ref aesthetic of ornament. The computer programmer Andrew Allenson who has collaborated with Boontje, sees a relationship between craft and technology, â€Å"Architects and designers can get bogged down in professional management and policy. Tord shows you can be more concerned with process and integrity and self-belief. Ive always thought there is a similarity between craft and software.† [31] Again be sure what is improatnt about quote and why you need to use it this starts on one track and only comes to the track you want at the end Boontje has taken a new manifestation of function, understanding elements of design from a new point of view and rejoicing in the freedom it has engendered him. Engendered him to what? Like the architect and philospher†¦.Morris (William?), Boontje looks at history and acknowledges a wish for social engagement and the beauty of use based on a response to nature, but Boontje has, as †¦ says (date) â€Å"extended Morriss legacy by achieving globalised industrial production and embracing the latest technology.† [32] Fabric is used throughout Boontjes work with technical innovation, laser-cutting and digital printing. Due to the unpredictable nature of fabric with its elasticity and deformational properties, Boontje realises the difficulty in working with fabric. This unpredictability can also be turned to advantage, collaborating with Swiss and Japanese manufacturers to create a clear expression. Textile and paper are filtered throughout his work, multiple layers being manipulated to create soft definitions of space with nature acting as a dominant influence. Boontje emphasises the importance of textiles and its relationship to ourselves and the wider society; â€Å"For cloth, like the body, is a mediating surface through which we encounter the world.† [33] Boontje is also crossing the discipline between textiles into architecture, experimenting in ‘fabric room, as shown below. He states his fascination by ‘the way a draped fabric folds itself in very organic shapes, and realises the insulating properties of the cloth, providing ‘warmth in the winter and coolness in the summer. [34] Explain the relevance of this draw out the argument†¦ and does this sit under title digital ornamentation The possibility of craft within textile architecture Link textile + craft. Say textiles craft wider issues of how craft enhance environment. Applicable to textiles craftsmanship. End pt clear argument This dissertation will begin to examine the possibility of craft within textile architecture, first beginning with the definition of craftsmanship within architecture, to theories in relation to making with the hand and how the issue of craft resides with new technological advancement. Finally, I will come to a conclusion as to how the craft of textiles raises new possibilities towards a reconciliation of the traditional meaning of craftsmanship, combined with new methods and material matter through use of digital visualisation and technological manufacturing process. Henry van de Velde, the Belgian architect insisted that ‘crafts were the great creative reservoir for the future. [35] The definition and theories of craftsmanship Historically in the creation of architecture, each form of knowledge was in the making and designing as one holistic activity. The definition of an architect stems from its origins as a chief builder: â€Å"Etymologically derived from the Latin architectus, itself derived from the Greek arkhitekton (arkhi-, chief + tekton, builder)†[36] The skilled craftsmanship of the builder came from the stonemason craft, â€Å"an imaginative and creative designer on one hand, who was comprehensively and intimately familiar, at the same time, with the means by which his design could be brought to realisation in actual stone and morter.†[37] Using tools as extensions of the hand, the chief builder with a high degree of knowledge and skill ensured a synthesis between tool, material, structure and form. Malcolm McCullough (who is he?) defines a tool (When?) as ‘a moving entity whose use is initiated and actively guided by a human being, for whom it acts as an extension, towards a specific purpose. However, he clarifies what influences perceptions of craft in work as the ‘degree of personal participation, more than any degree of independence from machine technology.[38] Craft involves a union of the hand, tool and mind; craftsmanship arising from manual skill, training and experience. Juhani Pallasmaa argues that the skilled practice of a craft involves imagination of the hand. This skilled practice is at its highest art when it is working from existing knowledge, a ‘continuous meeting and joining of the hands of successive generations. This generational knowledge, of knowing how to apply craft, has came from relaying on the traditional cultures daily spheres of work and life were an ‘endless passing of the hand skills and their product on to others. [39] key point here is also succession at its highest art when it is working from existing knowledge generational knowledge/ experience /- better still ‘know how but is that applicable to ‘new craft? ummmmm interesting Show acknowledge pt new craft doesnt have same involvement, good desiner still basic knowledge cloth. May lose out, stil managing There are various viewpoints about the interaction of the bodily action of the hand and the imagination. Pallasmaa argues that: â€Å"The craftsman needs to develop specific relationships between thought and making, idea and execution, action and matter, learning and performance, self-identity and work, pride and humility. The craftsman need to embody the tool or instrument, internalize the nature of the material and eventually turn him/herself into his/her own product, either material or immaterial.† [40] In examining the value of craft inherent in artisanal work and design, it is arguable that a joint effort of manual work and technology can produce a high standard of results. From my travels in India and Nepal it wasnt uncommon to find manual work that is not merely artisanal but in fact comes very close to industrial work. Eg?- Tadao Ando reflects on how the digital age has modified his design process, feeling the brain and hands work together, the hand an ‘extension of the thinking process, however you ‘cannot ignore the creativity that computer technology can bring. While acknowledging the new kind of creativity, he realises the important in being ‘able to move between those different worlds.[41] Issey Miyake is under the opinion that the ‘joint power of technology and manual work enables us to revive the warmth of the human hand. While never forgetting the importance of tradition, Miyakes concept of ‘Making Things involves creating things that make ‘life more agreeable in todays v interestingsociety and less burdensome in tomorrows. He concludes that technology is not the most important thing: ‘it is always our brains, our thoughts, out hands, our bodies which express the most essential things, the foundation of all expression and the emotion they can provide.†[42] Indent left 1.27cm It is arguable that a discourse in craft and design can only lead to ultimate failure within architecture and its wider implications. !! in architecture or where? Richard Sennetts ‘the Craftsman shows how historical divisions between craftsman and artist, maker and user, technique and expression, practice and theory leads to a disadvantage for the individual and society as a whole. Sennett realises that a consideration of the past lives of crafts and craftsmen show us ways of working, using tools, acquiring skills and thinking about materials. However he argues for more value to craftsmanship than a mere technical ability, raising ethical questions about the craftsmans stance. This raises the question Does the designing and making in the spirit of the craftsman entail the skilled application of contemporary as well as functional tools? Is this your question or his? Not clear here While Ando uses architecture to reconcile the logic and spirit of new technologies, he realises â €˜that people always relate to the spirit of the place, or the spirit of the time. We are reminded that our cities themselves are more important than individual reputations and accomplishments. This is emphasized with Aldo Rossis claim that â€Å"places are stronger than people.†[43] legends, rituals and and genetics outlive any building silly Rossi but of course when you are a fascist power/ful structures are naturally more important than human life.- what do you believe in this- will see in conclusion Some have set forward the argument that is the architects role to unite construction, purpose and place. John Tuomey sets a clear demonstration of his desire for: getting feeling that drifting into PLACE may be dissipating argument of dissertation this section is called The possibility of craft within textile architecture- need to stay focused think comment about ‘strategy in Tuomeys quote is useful since its a shift from craft as ‘manual grafting to craft as ‘strategic thinking- very interesting the crafting occurs then within both the process and the product think I might bring this into my next paper- will reference you ORLA for inspiration ! â€Å"a way of thinking which would provide an integration between construction and the site, a re-casting of the redundant craft condition which by tradition would exploit local materials and harness indigenous skillsembedding an initial sense of strategy which could remain evident in the eventual experience of an actual building.†[44] Architecture needs mechanisms that allow it to become connected to culture. Tuomeys greatest insight is to declare â€Å"we are agents in the continuity of architectural culture†. He uses professional knowledge and experience to realise the choices architects face are not â€Å"the reaction of an individual moment, but the exercise of an established craft in the continuity of time†. I agree only 50% with this since I think Architecture has been exclusive and elitist and needs to deconstruct its genealogy at times- again very interesting Architecture can be viewed rationally and historically, its composite nature in structure, function and physical state combined with cultural, political and temporal aspects. Is this a sentence Architecture develops through new innovations connecting these forces, manifesting itself in new aesthetic compositions and affects. The most successful of which provide expressions that are contemporary, yet whose effects are resilient in time. Well said The question remains, will new effects of innovative detailing, experimental use of materials overcome the modernist failure to â€Å"visually soften or improve with age.†[45] As remarked by Alvar Aalto; â€Å"it is not what a building looks like on the day it is opened but what it is like thirty years later that matters.†[46] It is clear that craftsmanship is viewed in its preoccupation of the present, yet depends, as commented by Tony Fretton, on â€Å"relations between innovation and past events, between individual and collective activity.† [47] Architecture has had to adapt to the change caused by the industry and manufacturing, the individual genius, politics and the rhetoric at some level. It could be said in every historical age it is the people who aid change; they develop the analysis and ideal to what architecture should be. This can result in a tyranny as stated by William Curtis(date); â€Å"Detractors resorted to monolithic caricatures, blaming the mythical ‘modernism for everything from mindless materialism, to the destruction of national identity, to the construction of unbelievable housing schemes.†[48] This view is enforced by Alvar Aalto; â€Å"The architecture revolution, like all revolutions, begins with enthusiasm and ends in some form of Dictatorship.†[49] H owever it is individuals who can also move us on to create statements about the way the world should be, through forms, light, space and material. Think you need to rehease whay you were saying in this section and why as a reader I can get each statement but not the overall argument perhaps some mini conclusion at end of sections or re-statement of argument This again points out, emphasises Review of the development of Contemporary Textile Designs through Architecture Case Studies By the mid-twentieth century, largely influenced by the work of Frei Otto, a pioneer in the creation of tensile fabric structures, new developments began in the area of self-supporting membrane structures. Textile construction began ‘taking on a permanence, as an alternative to classical architecture, which it had never seen before.[50] His design for the Munich Olympic Stadium, set â€Å"new standards of material performance and aesthetic in textile architecture with tent, net, pneumatic and suspended constructions.[51] Through the use of technological advancement, pneumatic structure