A National Artist

A national artist refers to a person who has been given a high recognition for having made significant contributions towards the development of national arts in regard to music, theatre, literature, film, visual arts and other allied arts.   Italian artists are professional artists who have mastered all the themes of fine arts and are Italians by virtual of either working or living in Italy.Italy is well known for its art and artistic culture.   It has been globally recognised for its numerous monuments such as the Leaning tower of Pisa and the Colosseum in Rome.   Italy is also famous for other fine arts, music, cinema, theatre and other forms of arts.History of the Italian art.The origin of Italian art can be traced many centuries back with major happenings having began in the early 14th century (Feller 85).   Art in Italy has been marked by several eras or periods as they are commonly known this includes:The Roman period.This began immediately after the the end of the Puni c wars which was marked by the invasion of the Greek into the Roman empire.   This era was marked by Hellenistic styles which were common in the Greek civilization.There was cultic and decorative use of sculptures and mosaic pictorial presentations which are still evident from the remains of many temples and villas.   As the Roman period came to an end, more naturalistic and severe styles of art were developed at the centre of the empire and were later spread to the East of Italy and before moving to the Constantinople.Byzantine period.Due to the collapse of the western capital of the Roman empire, Italy stayed under the leadership of Constantinople for close to a thousand years.   During this time, artists in the region were involved in many projects throughout Italy and the Byzantine styles were most dominant in all these projects.   This style extended throughout the 14th century.Gothic period.The Gothic era was marked by various religious disputes and the Franciscans and the Dominicans were struggling to address the controversial issues within the aim of uniting the Roman catholic.During this time, Giovanni and Giotto being the first painters in Italy revolutionised the role of an artist from being a copier of traditional social norms and beliefs to being a creative individual.   These two artists strived towards improving the depiction of the whole artistic figures into more realistic pictures (Gibbons and George 19).By the 19th century, the art of Italy was marked with a lot of resurgence.   Italy's unification which happened in early 1871 had all the local paintings which had been painted decades earlier already expired.   This caused a lot of embarrassment for the Italian artists who had to deal with the lost glory in order to define the national voice of a pre-Garibaldi state which had now been unified from dozens of antipathetic small states.Panaroma period.Garibaldi Panaroma marked a special form of survival period for the public art i n Italy which was prevalent in the 19th century.   During this time, the panaromas were easily found on display on the streets to provide visual and knowledgeable   entertainment.   This were linear paintings which served the purpose of interpreting history and news concerning such great cities such as Rome and Paris (Mohen 78).The panaroma art work which depicted the life of Garibaldi is an example of a panaroma which was used to offer commercial entertainment during this era.   In order to keep up with the current happenings, most of the large panaromas were repainted over time but the small ones were just left to wear out.Recently in 2007, the department of Italian studies offered financial support for the state's national library to digitize the Garibaldi panaroma and make it available all over the world.   Etruscan bronze figures together with the terracotta funerary relief are some if the examples of the Italian traditions which were denounced after the Roman unifica tion.

Internship Application Essay

I write to apply for a position in this internship program. My strong commitment to my works has been demonstrated to my numerous volunteer experiences in the community and at university. Throughout my degree, I volunteered weekly at local primary schools where I taught grade 4 and 5 mathematics. Seeing the students light up with excitement while participating in a science experiment or the student who has struggled with a mathematical concept finally understand what to do has been immeasurably rewarding for me. Beyond the rewards, these experiences have taught me how to tailor my approach to the students’ needs and effectively communicate concepts to a group, skills I know would serve me well in my future jobs. I have a genuine interest in learning as much as possible about a career in business and finance and would view any task put before me as a positive learning experience. Through my study as a mathematics student, I have proven my ability to maintain high curiosity, learn complicated things and not giving up easily. Proficient in statistical, business data analysis, and excels in collaborative team-based environments, I believe it is a perfect way to utilise my skills to solve business and financial problems. My primary goal in beginning a career in business and finance is to acquire as much experience as possible. Not only I hope to deepen my knowledge in current business and financial worlds, but I would also hope to acquire some of the practical skills that I will need to be better equipped for this field. I believe that working in business and finance, I would have the privilege to appreciate that everything in the world somehow affects my works. I would hope that this internship would provide an opportunity to build a working relationship with leaders in the field from whom I could gain valuable knowledge. I am certain that any experience from this internship would prove to be indispensable to me in accomplishing my future goals.

Financial Markets and Institutions Essay Example | Topics and Well Written Essays - 2000 words

Financial Markets and Institutions - Essay Example A number of investors had seen these signs as warnings for the development of the crisis situation. Based on these signs, some of the investors had predicted that the tremendous growth of the US economy was a temporary phenomenon and the US economy was ultimately going to collapse (Connolly and Wall, 2011). Several researches have been conducted since then, and are being continued still now, regarding the causes and the warnings of the crisis. Several leaders belonging to different countries have predicted the inevitable collapse of the economy of United States. However, some of the leaders made legitimate and confident forewords about the critical elements within the economy’s financial structure and the extent of dire consequences that the economy was going to face in the near future (McDonnell and Burgess, 2013). Several logical analyses were made on the facts and data that were collected from the-then economic and financial condition of the economy. A considerably large fr action of investors, including buyers of private homes, received credible warnings about the occurrence of a housing bubble. According to some researchers and market observers, the root to this crisis lied in the policies and regulations developed by the Federal Reserve. Additionally, many of the investors ignored these messages received and did not make any changes in their course of action. Banks were also bound by the need to meet the credit needs of local investors. This policy forced the â€Å"banks to make subprime loans† (Gramm and Solon, 2013). Bank authorities transferred this pressure to the banking personnel and regulators to make more loans of the subprime category. The banks performance was measured on the basis of the loans that they were able to extend to the investors (Wang, Ali, and Al-Akra, 2013). In this process, the issue of credibility of the investors was ignored. The quota to provide affordable housing loans was fixed at 30 percent in the year 1993 (Gra mm and Solon, 2013). This was made during the era of President Bill Clinton of the USA. Within three years this quota was increased to 40 percent. The quota further increased within a few years and reached the target of 50 percent by 2000. At that point of time, the administration of President George W. Bush took control of the American economy. Under his control the affordable housing loan goals were increased further. Documents from that period of time reveal that â€Å"these quotas were promoting irresponsible policy† (Gramm and Solon, 2013). The risks involved in these subprime loans were severely high as due to lack of credibility check a large proportion of the borrowers would be found to be defaulters. According to some sources, researchers claim that as high as 28 million high risk loans were provided to borrowers. Although the safety enforcement laws advised the banks to reduce high loans, there existed conflicting regulations regarding the promotion of affordable ho using loans. Thus, the safety and soundness measures were ineffective in restraining the pattern of loan giving, conflicting laws regarding providing housing credit

The Redefinition of female gender roles in the 19th century and the Essay

The Redefinition of female gender roles in the 19th century and the use of Darwinism toward Political objectives - Essay Example History reveals the very fact that women had been leading an oppressive life in England as well as the rest of Europe for centuries, and their activities were confined to the four walls only. Being the reflection of the contemporary society, early nineteenth literature portrays the women busy in performing domestic chores and obligations without taking part in any political, social or economic activity. They used to go to excursions and attend balls and dinners under the supervision of family members; hence, they were not allowed to travel alone or without the prior permission of the family. The novels produced by Jane Austen, Dickens, Bronte sisters, Eliot and others depict the same male-dominated cultural scenario, where women were the direct target of discriminative behavior at the hands of male members of society. Somehow, the situation took a drastic turn during the second half of the same century, and the same Mary Evans Ann, who used to produce works under the male name George Eliot, got such courage that she started living with G. H. Lewes for more than 20 years quite as if his wife did not exist; Sarah Austin (the wife of the famous jurist), who wrote letters of such ardor and indiscretion to a visiting German prince as to invite blackmail. (Himmelfarb, 1961) The Victorian literature reveals that female writers, poets, intellectuals and artists used to feel hesitation in participating into any literary, social or political activity, for they were discouraged to get their works published. It is therefore the renowned authors and novelists including Bronte sisters, George Eliot and others had to conceal their female names while creating the pieces of literature. Though Victorian literature contained the works of female writers, but the atmosphere was not appreciable at all. The share of women community in social construction was not acknowledged, although they worked in fields, hospitals, teaching institutions and other professions at limited scale. Stil l the male domination was oppressive and tyrannical. At first, Elizabeth Cady Stanton in 19th century and Emma Goldman in the beginning of 20th century raised their voice for the women rights. However, later part of nineteenth century observed imperative changes in women’s role and responsibilities in society. It was the era when Charles Darwin presented his astounding Evolution Theory under the title â€Å"Survival of the Fittest† in his magnificent work On the Origin of Species (1859), and proved that only strong and powerful species maintained the right to survive and reproduce. Darwin vehemently argues in favor of the notion natural selection, and declares it as the law of nature. He is of the view that it is the law of nature that the favorable traits and features in species contain more probability of inheritance and transformation into next generations. (1872: 159) Renowned sociologist Herbert Spencer extended the same survival theory, called social Darwinism, a nd claimed that socially strong communities make sure headway in the world, while the financially weak people are sure to eliminate sooner or later. Nineteenth century women also got inspiration from this very notion to obtain freedom from the awkward clutches of suppression and humiliation. Thus, women’

THE AMERICAN EDUCATION SYSTEM Vs. THE EUROPEAN EDUCATION SYSTEM Pre-K Assignment

THE AMERICAN EDUCATION SYSTEM Vs. THE EUROPEAN EDUCATION SYSTEM Pre-K to 12 GRADE ONLY - Assignment Example educational system is the fact that geographic and cultural differences can have a profound effect on the way that information and education in general is imparted to the shareholder. Obviously this is evident in a range of cultures and even on the micro scale between one county or region to the next; however, it is particularly evident between the United States and Europe. Understanding some of the key determinants as to why this has taken place to the extent that it has is both important and helpful to the educator as it provides a clear level of analysis into the means by which one system establishes itself based upon a different set of values and approaches than another. As a function of this particular level of inquiry, the analysis will seek to view the issue from a historical and sociological approach as well as viewing the different methods in their native environments and seeking to draw inference with regards to the means by which a combination approach is observed and how it ultimately functions. By seeking to integrate with the reader on all of these levels, it is the hope of this author that the educator will not only be made aware of key differences between the United States and European model but that they will also be able to seek to understand a few of the benefits and shortcomings that each model exhibits as a means of incorporating further strength into their own classroom or research experience. As a function of this, the first aspect of the key differentials that exist among the systems of the United States and Europe’s educational models is to seek to understand how and why a seemingly homogenous culture that was more or less established by Europeans has strayed so greatly from the European model of education. One does not need to look very heard to understand that the two greatest reasons for this are geographic separation as well as the result of the Revolutionary War. As a function of the fact that the population of the United

Procter and Gamble Assignment Example | Topics and Well Written Essays - 3000 words

Procter and Gamble - Assignment Example As the paper declares the matrix formula suggested by Burrell and Morgan demonstrates interaction by any organization with its internal and external environment. The matrix is summarized into four quadrants representing the four paradigms: radical humanistic, radical structuralist, interpretive and functionalist.This discussion highlights that  the society constitutes of organizations that share civic values on which they base their status quo. Change would be realized by implementing minimal structural adjustment to fit within prevailing external context. Interpretive researchers hold that reality is a construct of individuals based on how they interpret their environment. Individual elements and members of an organization influence its competitiveness. Change can be realized as a result of individual reframing of events and other factors in the organizational context. An organizational analysis from this perspective investigates input by individual departments, management decisio ns, staff members and performance of individual products. Its subjective nature allows for creative ideas in crisis resolution and implementing change in organizations.  An appreciation of unique strength and weaknesses among members of staff provides insight in responsibility allocations. In market competitiveness interpretive research realize that various regions are defined by unique characteristics which marketers should be aware. In order to penetrate such regions evaluation of specific marketing strategies and their relevance should be conducted by marketers on the basis of the product being handled. This is based on the interpretive view that events are better understood through active

Parmenides and Heracleitus Essay Example | Topics and Well Written Essays - 750 words

Parmenides and Heracleitus - Essay Example A surprising amount of what we feel we know about the world today, and the way in which we interpret the nature of the world around us, was actually shaped by the ideas and concepts brought forward for discussion by the ancient Greek philosophers. Although their ideas have been modified and added to over the millennia since their first recording, the views of these philosophers helped shape the avenue of investigation and thus our concept of our role in the physical plane. Two of these philosophers, Heraclitus and Parmenides, introduced two opposing schools of thought regarding the nature of the physical world, each influencing the thoughts and actions of two more widely known philosophers, Socrates and Plato. Heraclitus proposed that everything around us was in a continual state of flux while Parmenides believed change was nothing but an illusion. To understand how their philosophies differed and how they affected Socrates and Plato, it is necessary to understand the position of eac h man and how he came to his conclusions. Heraclitus based much of his knowledge of the natural world on his concept that everything is in constant flux between one state of being and another. According to Plutarch, â€Å"Heraclitus holds it impossible to go into the same river twice; no more can you grasp mortal being twice so as to hold it. So sharp and swift is change; it scatters and brings together again, not again, no nor afterward; even while it is being formed it fails, it approaches, and it is gone†

Enterprinureship Essay Example | Topics and Well Written Essays - 2500 words

Enterprinureship - Essay Example s / her desired outcomes Thus from an overall perspective, innovation can be described as an engine that drives the functionality and growth of a business process either small or large. Looking at the present market scenario, it can be stated that business process has turned its innovation and technology level as a competitive factor in terms of proving their efficiency and superiority over other competitors (Kakouris, 2010; Annan, 2013). Rapid development and attainment of technology by Entrepreneurs gradually provide them with one specific factor through which they can express themselves in an effective manner. This specific factor can be termed as ‘uniqueness’. Taking reference from the marketing concepts, it can be stated that uniqueness is actually what that ensures the survival of a business process along with decreases the level of market competition. As a result of all these, the discussion will remain majorly focused towards evaluating the necessity of innovatio n in terms of supporting the business processes as established by the Entrepreneurs. Furthermore, elaborations regarding these aspects have been provided in the later portions of the discussion. The aim of this paper will be towards evaluating the role of innovation in supporting the business establishment and business continuation of the Entrepreneurs. In an associated manner, this discussion will also aim towards understanding how innovation can be used as a major tool for business processes that expects a better position within the global market. Okpara (2007), in context to innovation has elaborated about the necessity of creativity within Entrepreneurship. Creativity as per Okpara (2007) is the root of new business ideas, which has the potential of providing an entrepreneur, the required career development opportunity. The misalignment of this creativity factor can also be found within major causes of large scale business failures. Speaking from the marketing point of view, one can say

Nursing Practice in Context 4 Assignment Example | Topics and Well Written Essays - 2000 words

Nursing Practice in Context 4 - Assignment Example When the body digests proteins, there is usually the generation of waste products. These wastes become part of urine. Diabetes destroys the tiny blood vessels and holes, which act as filters when they are overburdened (Bruce & Paxton, 2008). After some years, the filters will stop functioning properly and some of the important proteins will leak into urine causing a condition called micro albunuria (American Diabetes Association, 2006). The initial symptom of the chronic diseases is the buildup of fluids at various body parts. Other signs entail insomnia, loss of appetite, and lack of concentration (American Diabetes Association, 2012).Chronic kidney disease (CKD) leads to premature mortality, low quality of life, and high life expenditures. Different diseases such as diabetes, hypertension and obesity have played greater roles in the increase of chronic kidney diseases (Bruce & Paxton, 2008). The research indicated that obesity relates with diabetes and hypertension and the three ar e the major leading causes of chronic kidney diseases. In U.S, the numbers of adults with obesity have been doubling for the past three-decade (Bruce & Paxton, 2008). ... It will not rely on whether an individual looses weight through maintaining diet, exercising or undergoing bariatric surgery. The conducted studies reveals that weight loss reduces the rates of hypertension, type 2 diabetes and obesity. People should ensure that they maintain their diet and exercise in order to lose weight as it will help them in reducing the rates of obesity, hypertension, and diabetes (McBride & Korczak, 2007). Question 2 (B) The paper highlights the nursing care of Mrs. Mrs. Douglas Douglas who is 74 years old. She is a diabetic with many complications and she is admitted for surgery tomorrow. The two nursing problems that Mrs. Douglas has are nutritional deficit and electrolyte imbalance. She also has impaired skin integrity. The two nursing interventions explained in the paper are the acute and community care focus. Two evaluation criteria for each intervention will also be explained Priority Problem 1 Nutritional deficit and fruit imbalance One of the identifie d medical problems entails nutritional deficit and fluid imbalance. Mrs. Douglas is experiencing these problems because of her poor nutritional habits and she does not know about the illness processes. The assessment data used to support this diagnosis is the subjective data of the patients’ nutritional habits. Mrs. Douglas stated that she takes 1-2 glasses of juice and water per day, lack of knowledge of what to eat or drink, and sometimes she lacks appetite because of the bad taste in her mouth. The objective data that supports the diagnosis entail obesity and kidney disease. These are caused by taking food with high cholesterol, not doing enough exercises, and failure to take enough

Transformational Leadership Essay Example | Topics and Well Written Essays - 2000 words - 3

Transformational Leadership - Essay Example According to the study  transformational leadership style is the kind of a leader the author ams. This is a kind of leadership style that believes in building relationships as well as motivating his fellow collogues at work. The motivation works well because they have a vision and mission that we all want to achieve together as a team. Naturally, the reporter is charismatic; he believes that communication is the basis of every relationship that works well. Most of the times he works confidently so that he can inspire his staff, command respect from them in addition to loyalty.  From this paper it is clear that  one vivid memory of a time the author was able to implement transformational leadership style is when the hospital had inadequate equipment. Such a situation hinders a conducive working environment for nurses. He wrote to the board of the hospital on the issue and ensured that the equipment was purchased.  His staffs were very happy and were able to perform well at wor k. There was also a time when they had an emergency case, and they had more than thirty patients being brought to the hospital. The author was able to coordinate the situation beforehand by assigning each and every nurse their role. It was a difficult job, but they managed thanks to his loyal team who gave their best shot.  As a student nurse, the author worked under the strict supervision of a nurse who was an authoritarian. He always dreaded the days he made a mistake or any of other students for that matter.

Civilization vs Savagery Essay Example for Free

Civilization vs Savagery Essay Civilization keeps a savage part of us locked down deep inside. If we become free from society and its rules, the savageness emerges. We found a quote that describes the conflict between civilization and savagery. It states, â€Å"Man†¦ is a tame or civilized animal; never the less, he requires proper instruction and a fortunate nature, and then all animals he becomes the most divine and most civilized; but if he be insufficiently or ill-educated he is the most savage of earthly creatures. † Civilization  The rules and organized meetings in the story are used to keep order and it is their own form of government. In society, we use rules and a government system to keep order. The boys created their own version of the rules to fit their surroundings. In a way, they adapted society to their new surroundings. The huts that were built were a constant reminder of the homes they had left behind along with all the rules within their homes. The boys were attached to society at the beginning of the novel and used these things to protect themselves from the harshness of the real world. At the beginning, the boys were all for creating rules and keeping order as the quote from page 42 of the novel shows, â€Å"We’ve got to have rules and obey them. After all, we’re not savages. † The boys, especially Jack and Ralph were intending to instill the rules they followed at home at the island as well. On our poster, we used a picture of the Constitution to represent the rules of civilization. We also used the quote from page 42 in the novel shown above. We used these because we thought that the Constitution showed the basis of civilization and the quote showed the boys bond to it. Savagery: In the novel, there was a lot of savagery. The boys had killed the sow for the thrill and not for the meat. In real life, while people hunt, they do it so they can provide food for their friends and family. They are not obsessed with killing as these young boys in the novel are. Also, the boys in Jacks’ tribe used face paint. While this isn’t a direct relation to savagery, face paint allows a person to hide behind a mask of indifference. It is a way for people to overcome their fears and stay unemotional to the happenings of a war or even to just hide themselves. The boys use the paint to inflict fear in others and also use it as a way to lose themselves to indifference while killing. Jacks tribe had a way of thinking that Ralphs group did not. Jacks tribe mostly thought of themselves and had a sense of self preservation. They would do anything to survive including stealing the other boys’ fire. Another thing the boys did that clearly showed savagery was that they set the island aflame. In their search for Ralph, they lost all common sense and decided to burn Ralph out. They were destroying not only the island but also their only sources of food and shelter. In the novel, Jack is the first to succumb to savagery. The rest of the other boys slowly followed. We believe Jack gave in earlier because he didn’t necessarily care for the rules either way. He just did whatever he pleased. Ralph on the other hand had a father that was a Navy officer and was more exposed to rules and society. For this reason, Ralph never fully gave in. Ralph got his first taste of savagery during Simons killing, but afterwards he felt too guilty to ever do that again. Savagery grew on him once again in the last chapter when the boys were trying to burn him out. On our poster, we decided to use a picture of a war between Spanish soldiers and Native Americans to show savageness since the soldiers were savagely invading the Native Americans land. The quote we used comes from page 152 in the novel. It is from when Jacks tribe was about to kill the pig. It states, â€Å"Kill the beast, cut his throat, spill his blood. † The quote shows not only the boys’ primitive nature but also the savagery they are exposed to.

Research & expressing emotions Essay Example for Free

Research expressing emotions Essay Art has been one of the most prolific ways of expressing emotions and thinking by mankind. Most of the traditional artists have been using different mediums to make an art form. They range from clay to paints. But in this age of electronic media, art has also found some new mediums. Electronic art is the art form which started to emerge in early 1990’s and as a result of this many young artist from the new generation became famous. One of them is Eric Jordan. He is not just an artist; he is a philosopher and a businessman. Eric Jordan is the founder of 2Advanced.com.he founded 2Advanced when he was just 23. 2Advanced is regarded as one of the most creative web design companies in the world with clients like Ford, NBC, General Electric and many other Fortune 500 companies. Eric has been the main driving force behind 2Advanced. Eric started   Eric indulged in arts from a very early age when he started making sketches but soon moved to electronic media. He started by experimenting with different softwares but couldn’t get his hand on something which could really satisfy him to express his thinkings. During this point in life he discovered two softwares which would play a pivotal role in the life of Eric: Adobe Photoshop and Adobe Flash. He started using these softwares day and night, and his hard work result in eye-catching website of 2Advanced. Currently 2Advanced is in its fourth version of the website. His work became so famous that he got nominated and won the prestigious Webby Award. The famous 2Advanced website was created by Eric in the span of two weeks. The software he used was Adobe Flash, Adobe Photoshop and Freehand. To this date 2Advanced.com has been my favorite work designed by Eric. The blend of futuristic vision with eye-catching graphics and phenomenal graphics has taken Flash and Photoshop to new heights.   Apart from being famous for amazing work at 2Advanced Eric is also a famous DJ in California. He has an extreme passion for electronic music and has been playing electronic music since he was a teenager. He believes that he could bring his futuristic vision of the world to the electronic media and he has been successful in that by showing the work he has done in the field of web design. His work mostly depicts the world of future with a careful attention to detail. In an interview while describing the theory behind 2Advanced, Eric says: â€Å"Many people think the name â€Å"2advanced† was meant to imply mastery of everything, when in reality it constitutes a love of the future and the underlying feeling that somehow I wish I had been born in the distant future. Not because I don’t appreciate the era I was born in, simply because the idea of deep technological advances and a rise in the collective human consciousness are alluring to me. 2advanced was a way for me to tell the story. Some people pick up on the message, some don’t. But even if one person understands the 2advanced voice, it makes it all worth it.

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

Gavrilo Princip, Sarajevo and World War I Essay -- Bosnia History Poli

Gavrilo Princip, Sarajevo and World War I In present-day Sarajevo alongside the Miljacka River there used to be commemorative footprints in the concrete sidewalk. Spanning across the Miljacka River was the Princip Bridge, named after the man who took not only the life of an Archduke, but also the lives of many more during World War I. Bismarck had predicted that, â€Å"Some damned foolish thing in the Balkans† would cause the war. He was partially correct. The assassination of the Archduke Franz Ferdinand by Gavrilo Princip did not cause World War I; instead it served as one of the contributing factors to the start of the war. This is why in Sarajevo, after 1990, there are no traces of the assassination. Street names have been changed, and Gavrilo Princip is now considered a criminal terrorist by Bosnia. Today it is known that â€Å"The assassination is a very sensitive topic† and that is is â€Å"hard to find people willing to talk candidly about Gavrilo Princip.† There were many reasons for the assassination of the heir to the Austro-Hungarian throne. Many of these reasons had to do with the relationship between the countries of Austria and Serbia. After the Treaty of Berlin in 1878 Austria was given the right to govern the provinces of Bosnia and Herzegovina. At the time, Bosnia consisted of Croats who are Roman Catholic, the ethnic Serbs who were Serb-Orthodox, and the Muslims who were left from when the Turks ruled populated the province of Bosnia. Unfortunately there was no one set ethnic group for Bosnians. Many of the Bosnians wanted to have their province shared in conjunction with Serbia, which was only across the river. Serbia agreed with the Bosnians on this matter and were very eager to see this happen... ...orld War.com. Memoir of Count Franz von Harrach, 28 June 1914, http://www.firstworldwar.com/source/harrachmemoir.htm. 24 April 2003. Geiss, Imanuel, ed. July 1914 The Outbreak of the First World War Selected Documents. New York: Norton and Co., 1967. Habsburg, Otto von. â€Å"I Know This Will End Badly.† Newsweek v133 i10 (March 8, 1999): 34 (1). Hergesell, Alexandra. â€Å"Echoes of World War I.† Europe (October 2001): 44. Jelavich, Barbara. The Habsburg Empire in European Affairs, 1814-1918. Chicago: Rand McNally, 1969. Lafore, Laurence. The Long Fuse. Philadelphia: Lippincott Co., 1965. Seton-Watson, R.W.. Sarajevo. London: Hutchinson and Co., 1969. Snyder, Louis L. Historic Documents of World War I. Princeton NJ: D. Van Nostrand Co. Inc., 1958 â€Å"When Sarajevo Triggered a War.† Time, vol. 123 (January 30, 1984): 33 (1).