Shapes of Ice

Shapes of ice do depend on how fast they felt, no doubt about it. Here is what people ask. â€Å"Does the shape of an ice cube affect the rate at which the ice cube will melt?†, and the answer to that question is a definite yes.Have you ever looked at an ice cube and just watched it melt?It is surprisingly very, very interesting. All of us have better things to do besides that, but if you have, you won't regret it. Anyway, the answer to that experiment is yes because it is scientifically proven. Many scientists in the world have wondered this same question, and they all have turned out to get the same answer. When these people finally got their answer, they all have gotten close, if not the exact same answers if they have chosen the shapes to form. Scientists have done this experiment in many ways, such as choosing different shapes to form and melt, choosing the amount of water to freeze, and the temperature of the room they have to melt the cubes.( University of Illinois, 2007). One important thing that is looked at is the scientists' hypotheses. Many scientists' hypotheses are very different, knowing it is an educated guess, but the end result shows they all come up with nearly the same answer, and that is the rectangular ice cube will melt the fastest, no matter how large they make the cube. ( Zimmermann, 2017). The most complicated question behind this experiment is why is it the rectangular shape that melts the fastests. The rate at which the ice cubes melt is also called the fusion rate. Ice melts when a warmer medium, such as air or water comes into contact with the ice surface. Also, in order to know exactly which shape melts the fastest, they need to have the same volume, or the experiment will be pointless. An important thing to know is the greater the surface area, the quicker the ice cube will melt. Other people's experiments have been slightly different than what we have here, but they are known to choose the rectangular shape as one of their shapes the majority of the time. (â€Å"Ice Melting†, 2013). It also states that each scientists went through about the same struggles during the process of the experiment. ( l Zimmermann, 2017.). The most simple struggle was getting the particular shape out of the container without having it break or making it deformed. Because the shapes weren't the normal shape, it is tricky to get it out of the ice cube tray. Many scientist have had a question, and that is the exact opposite of the question people usually deal with. Not how fast they melt, but how fast they freeze. All in all, the rectangular shape, because it is flat and has more surface area than the others, will melt the fastest. If you think and picture in your mind, the larger the surface area is, the more heat will get to it at the same time, and of course heat melts ice. ( David Zimmermann, 2017.) ( â€Å"Shapes of Ice Cubes†, n.d.)

Motivational theories within the workplace Essay

Motivation is ‘a reason or reasons for acting or behaving in a particular way’. Motivation can be defined as a process that helps achieve goals through behaviour that guides and maintains behaviour in order to achieve a positive end result. Motivation leads to actions, such as researching a topic, educate yourself to further your knowledge or working to earn money. Abraham Maslow believed that humans had motivation and drive dependant on their needs. The main need being physiological which is followed by other needs of less importance such as safety, love, esteem and self actualisation. This was then placed into a hierarchy of needs represented into a pyramid (See appendix 1). Maslow believed that the first need had to be met in order to achieve to move forward to the second. Alongside Maslow’s theory of motivation, Herzberg has a two factor content theory of motivation which is also a main theory. From Herzberg’s research he suggested a two-step approach to understanding employee motivation and satisfaction. Herzberg’s two factor theory distinguishes between the motivators and hygiene factors. Hygiene factors are needed for employees to feel comfortable at work if these are not met and are adequate, this can cause dissatisfaction for employees. Hygiene factors include feelings of job security, working conditions, wages and company policy. Overall hygiene factors are needed to ensure employee is not dissatisfied. Motivator factors are needed to create job satisfaction once motivational factors are met this can see employees are performing above what is expected of them. Motivator factors include a sense of personal achievement, opportunity for promotion, responsibility and gaining recognition. Motivator factors are needed to motivate employees to perform at higher level. (Appendix 2†¦) An Advantage of Maslow’s theory is the order that is needed to identify the needs of the employees, ranging from basic to higher needs. Another advantage of Maslow’s theory is that it can be applied to various ways of understanding employee behaviour and deciding rewards at different levels from a management view. Disadvantage of Maslow’s model is that one stage  needs to be met before progress onto another stage can be achieved. Another disadvantage is that Maslow theory may be restricted to western cultures it does not take into account different cultures and the need of those cultures. An Advantage of Herzberg’s theory is identification of factors which will motivate and demotivate employees, factors which can be controlled by management. Herzberg’s model can also be used to identify issues that need to be addressed by management for example; hygiene and cleanliness in the workplace. A Disadvantage of Herzberg’s model is; the model can be seen as a generalisation which may not be applicable to all employees and workforces. Some employees get paid by the hour, therefore may not be interested in motivator factors, rather completing many hours of work which will result in a larger paycheque. Both theorists based their argument on human internal feelings needing to be satisfied, before work of a higher standard can be expected. Both theories suggest similar criteria that motivate employees. Similarities also extend to one stage must be completed before advancing onto the next. Both theories are also influenced by factors such as environmental conditions and employee attitudes. Although both theories have similarities there are also differences, Maslow’s theory has a hierarchy and Herzberg does not have a hierarchy. The main goal of Maslow’s theory is for needs to be met in order for an individual to develop a healthy way of life. Herzberg’s ultimate goal is for motivation to be the attitude of the employee, whilst not focusing on the quality of life for the employee. Maslow’s hierarchy of needs is relevant to Google. Google focuses on the psychological, friendship and esteem needs of Maslow’s theory. Google believes in providing awards for its employees. Google recognises that employees are not alone motivated by pay bonuses. Google provides dining facilities, laundry rooms, massage rooms, haircuts, car washes and dry cleaning services within their workplace for their employees. Google recognises that if employees can get errands done on their work breaks that they will feel much walk accomplished and this will show in their work. Hertzberg’s theory is relevant to Apple. Apple implements aspects of  Hertzberg’s theory within the structure of the company. Apple uses hygiene factors as a foundation that they launch from, these factors in themselves do not motivate staff yet leave them in a neutral state. Building on from this, motivating factors that are used for employees are the knowledge they are gaining working for Apple one of the world’s leading companies in technology. Everything is top-secret employees have regular meetings keeping them refreshed with tasks, not always knowing the full extent of the work they are doing aware we can lead to. Employees are set to work in groups with each other this motivates them together to come up with new ideas, which could possibly be used in technology all over the world. After reviewing both Hertzberg and Maslow’s theory, I believe Maslow’s theory to be more effective when implemented in a work force environment. Maslow’s theory considers a step-by-step needs of the employees, whereas Hertzberg’s theory does have step-by-step needs, it’s simply allows the employee to be a neutral state of mind whilst adding in factors which can motivate them. Maslow’s theory is much more details and when implemented can have higher results. Apple uses the theory of Hertzberg, whereas Google uses the theory of Maslow. Google seem to have a much more content work force stemming from the luxuries they offer. Where as if it wasn’t for the fact that Apple employees were working for such a well-known employer, i believe Hertzberg’s theory would be much less effective within a workforce. Evaluate the usefulness of a motivation theory for managers in achieving organisational performance Management approaches are important to an organisation as they are the voice between the management and workers within an organisation. If management value their workers and make them feel valued, this will produce a positive working environment, which allows employees to perform at their best. Dependant on the approach used this can also increase communication within the workforce, which can lead to spur of the moment ideas which the business benefits from. By delivering a positive management approach to the workforce, organisation will need to invest time and money, which is then put back into the company with a positive workforce. There are three  categories of motivation theories. The first is the satisfaction theory, this is the assumption that satisfied worker is a productive worker. Incentive theories, believe the individual will work harder when good performance is rewarded. Intrinsic theory believes the reward will come from the satisfaction in the work itself, employees enjoy participating in their role and see it as an opportunity to learn. All three theories of motivation believe the individuals need encouragement to perform at their best. Google uses satisfaction theory; they satisfy their workforce by offering them numerous benefits which makes them happy they believe that by workers having perks such as laundry service, car wash, massage etc. available at work, they will perform at the highest standard. Apple uses the intrinsic theory; they believe that their employees should be privileged to work for the company, employees also believe in the reward will come from the satisfaction in the work yourself. Employees will feel motivated by the thought that they are possibly changing future technology. Discuss the impact that different leadership styles may have on motivation in organisations in periods of change Leadership is ‘the action of leading a group of people or an organization’. Leadership can be seen as a person or team with authority who offer guidance to employees which are under their control of management. Democratic leadership allows members of the group to share and contribute ideas. This approach is taken upon the belief that the learning style is usually most effective and will lead to more productive results. Benefit of democratic leadership is that quote members are encouraged to share their thoughts which can lead to better and more creative solutions to problems. The downside of a democratic leadership can be communication failures in group work, also, team members may not have the necessary knowledge needed to make contributions. Autocratic leadership is when an individual takes control over group members. Autocratic leaders will generally make choices based on their own preferences. Benefits of autocratic leadership are decisions can be made without consulting employees. Disadvantage of autocratic leadership is that it can be easily abused by an individual member, which employees may then hold resentment towards. Employees may also feel that there are opinions are not being taken on board. Laissez faire is the style of leadership where management allow employees freedom. Employees have the power and authority to choose their own decisions and goals. Benefits of this approach are that employee’s feel they have been trusted, therefore work harder to achieve a better result. Negative effects of this leadership may lead to employees not managing their schedule effectively enough, costing company’s time and money. Paternalistic leadership is a form of fatherly management style. Generally used by dominant male figures, where employees are expected to be loyal such as the father and son relationship. Benefits of this leadership style are loyal and obedient employees. Disadvantage of this style of leadership are employees not able to contribute their ideas regularly. Laissez faire leadership is consistent with that of Google. Google allow their employees to self manage their own time schedule, they believe this to be the most effective method to get the best results possible. Google believe if employees are allowed to manage their own workload, this will create a more productive workforce. Autocratic leadership is consistent with Apples method of leadership. The decisions are chosen by Steve jobs solely. While Steve would take on opinions from employees the end product decision is his. Democratic leadership has aspects of both Apple and Google leadership styles within it. Both Apple and Google allow their employees to work within team, to discuss ideas and thoughts, allowing employees with certain skill sets to come together and to bounce off each other. Skills needed by a leader are presents, motivation, creating a vision,  creating a good team atmosphere, being able to utilise the skills of different team members. The main skill needed is being able to achieve effective performance from their employees. Explain the nature of team working Groupwork is ‘a number of people or things that are located, gathered, or classed together’. There are two types of groups, formal groups and informal groups. Formal groups are those such as work relations defined by structure. Informal groups such as friends, society are structured. The difference between a team and a group in the workplace is that a group interacts primarily to share information, whereas a team binds individual efforts to perform better together in a group. The goal within groups is to share information; the goal within teams is for collective performance. The synergy between groups can be negative whereas in teams it is mainly positive. The skills within a group are random and varied whereas in a team they are complementary. Research is done by management when organising together a team, so that key skills complement allowing employees to thrive off each other. Whereas groups are always varied, if in a group you fail, you fail your part. If in a team you fail, the whole team suffers as a consequence. There are five stages of group development. Forming, storming, norming, performing and adjourning stage. The forming stage is the first stage, when groups gather; there is much uncertainty about the group from the differing personalities to whom will take charge. The second stage is storming stage where there are many conflicts, as the group get to know each other. Norming stage is the third, where conflicts are generally resolved, closer relationships are formed and employees find ways of tolerating one another. Performing stage is stage four, a team is created where employees know how to motivate each other and recognise one another’s skill set. Adjourning stage is stage five, where activities are wrapped up and finalised. In a team where you have different employees playing different roles, the more variety you have the roles and skills you have, with a better outcome. Factors which can promote effective teams are diversity, communication, leadership and team-building exercises. Diversity can promote an effective  team by embracing different cultures and talents aswell as raising awareness/respect for differences which will then go on to support effective teams. Lacking diversity in teams can lead to team members not able to solve problems as their mindsets are very similar. Effective communication can promote an effective team, if team members feel confident to question each other on the task; this will lead to a more defined overall product. An effective team is supported by leadership, leaders support teams by utilising and coordinating skills, aswell as keeping a positive atmosphere. Belbin was upon the belief that if you bought employees together with a varied skill set, the end result would speak volumes. Belbin decided which roles would need to be fulfilled within a team these are (Appendix 3). Cohesiveness is ‘degree to which group members are attracted to each other and are motivated to stay in the group’. Ways in which group cohesiveness can be increased can be to make the group smaller, so that employees have a closer connection to one another and can communicate more effectively. Increasing time employees spend together will increase motivation to participate. Stimulating competition with rival groups will create good cohesiveness as groups will strive to win. Physically isolating the group in an environment where they can only leave until the task is done, will increase the cohesiveness as the group will all have the same aim in mind of finishing the project a.s.a.p. The overall importance of teams is essential to the both Apple and Google. Much of the process of initiating new ideas for the company is created within teams of employees with specialised skill sets. Discuss what factors may promote or threaten the development of effective teamwork in organisations Ability can affect an employee’s behaviour within the workforce, if they are capable of doing the work at hand; they are likely to accomplish it. If an individual does not feel they have the ability to do the work set, this can affect their behaviour in the workforce as they can become lazy,  un-enthusiastic and brush this off onto their peers. Google work with their employees so that employees can set their own targets, this is an advantage as employees would only set targets they have the ability to achieve. An attitude is ‘a mental’ state an individual has within the workforce, individual behaviour can be affected severely if a person does not have the correct attitude needed for the task, work may be completed to an unsatisfactory level with the maximum time taken to do so, a person’s ambition can also be affected by poor attitude towards their work. (Appendix 4)†¦ Stress and change can have a huge influence on an individual’s behaviour, for somebody who is suffering with stress, this may cause low confidence levels and poor obedience in line with the company’s values classing the employee as a liability.(Appendix 5)†¦ All these factors which can affect an employee’s performance within teamwork, can brush off onto other members of the team with the same negative results. Apple and Google do their best to ensure these negative factors do not occur within their workforce, by the perks which employees are offered. Evaluate the impact of technology on team functioning within the two organisations There are many different ways of technology in which employees of Apple and Google can communicate with each other. Skype, e-mails, messaging, voice calls. Advantages of using technology to communicate within teams is this can be done outside of the workforce, and is available at all times, so if a team member had spontaneous idea, they could relay this to their peers, this also allows employees increased times for decision making aswell as equalisation of team members. Disadvantage of this is employees may then lack professionalism and not focus on the task at hand; the quality of technology responses can be hindered such as an employee replying to a quick e-mail on a Friday afternoon which is likely to be brief. Issues in using today’s technology is that it may not always be reliable, as all employees cannot access the technology at the same time, or if it is under maintenance.

Research on Dribbling and Passing

Research on Dribbling and Passing Submitted By: Andro Joseph Dela Cruz Basketball dribbling skills Basketball dribbling skills are something that you have to work at to obtain, maintain and improve. Most everyone knows how to dribble a basketball, but not everyone can dribble like a pro. When you first begin to learn dribbling techniques you will learn that you don’t dribble with the palm of your hand, dribbling a basketball is done with the tips of your fingers. You will use your forearm and wrist to balance the ball as you learn to dribble with using the tips of your fingers.Your coach will usually put together a different basketball practice plan for the team each practice. This will assist each player individually and as a unit to improve both their individual and team skills. Don’t just stop with scheduled practices if you truly want to improve your skills and control on the court. On your own you can start by running dribbling drills. Remember to keep your weight on the balls of your feet and in the ready position. As you continue to learn and improve your foot and dribbling control on the court as an individual player, you will begin to show your improved skills as a team player.Your team members may also want to run drills with you after practice, or just play for fun. These are other ways for you to learn potential opposing team types of moves and learn different offensive techniques. A team works together toward the goal of winning, but they also work together offensively to help prepare each other for what the opposing team may be bringing to the court. Protect the Ball When dribbling against a defender, ALWAYS protect the ball with your body. You can do this by dribbling with your left hand when you are going left and your right hand when you are going right.This will force the defender to reach across your body to attempt a steal. Developing your â€Å"off† hand It is important to work right from the start at developing both ha nd equally well. When practicing your ball handling, make sure that you practice at least as much with your weak hand as you do your strong hand, eventually increasing to twice as much with your weak hand. Coaches like†¦ Coaches like a person who: 1) can dribble with both hands 2) doesn? t try to show off for no reason 3) isn? t afraid to make the extra pass to get a teammate more open than you are.And if coaches like you, then they tell other coaches. Word spreads very quickly and just by doing the little things you can have a name for yourself in no time. Keep Your Head Up When doing all drills involving dribbling, it is extremely important that you keep your head up. You must be able to see where you are going and where your teammates are so you can pass them the ball when they are open. Speed Dribble The speed dribble is used to advance the ball quickly up the floor, against little or no defensive pressure.The dribblers hand should be behind the ball pushing it in front, th en running to catch up. This prevents a â€Å"palming† or â€Å"carrying over† violation. The speed dribble in the open floor can be a little higher than other dribbles. Control dribble moves should be around the knee, but a speed dribble can be waist high. Power dribbling-Dirt dribbling This drill actually requires you to leave the basketball court and find a patch of dirt. Do a Power dribble on the dirt for 1 or 2 minutes. You will need to power dribble the ball even harder than usual in order to get the ball to bounce on the dirt.This drill is an extremely good arm workout with power dribbling. Dribbling to avoid pressure By dribbling the ball over half court on the sideline, you are giving the defense an advantage. They can set up their help side defense or trap you. Change directions and it helps relieve some pressure. As often as possible, bring the ball up the middle of the court and NEVER pick up your dribble in the corners. Passing 1)  Two-Handed Chest Pass Overview This is the most effective and efficient pass you can use. It can be used successfully from anywhere on the court.Use this pass whenever possible because it's the fastest way to advance the ball to teammates. Fundamentals Place each hand on either side of the ball and spread the fingers evenly. Fully extend your arms as you push the ball out from your chest and snap your wrists outward so that the back of your hands are now facing each other. You'll get a good rotation on the ball when you snap your wrists. This makes the ball easier to handle for the receiver. Be sure the pass is thrown crisply with the ball remaining parallel with the floor.You want the pass to arrive at your receiver above the waist and below the shoulders. 2)  Two-Handed Bounce Pass Overview This type of pass is good on the fast break, to a teammate in the post, under a defender, to a teammate making a back-door cut, on out-of-bounds plays, etc. A lot of times, players will make a shot or high-pass fa ke before making the bounce pass. The bounce pass is the slowest pass available. Fundamentals Use the same grip and motion with this basketball pass as you did with the chest pass. The ball should hit the floor about two-thirds of the way to the receiver.To be more accurate, step toward that spot. You want to hit your teammate between the knees and waist. A backspin is good to use to give the receiver a longer lead. Push the thumbs throught the ball to achieve the backspin. A forward spin can be used to get the ball through a narrow opening and to produce a quicker pass. You'll need to be more accurate when using a forward spin but if you can perfect it, it will add more to your game. 3)  Two-Handed Overhead Pass Overview This is an effective basketball passing option for every player on the court.Players often use it to start a fast break, forwards will use it to hit post players or guards cutting off the post, guards use it to hit the post, centers and players receiving high pas ses use it to make a quick return pass or pass off. This type of pass is easy to control and helps you keep the ball away from your defender. Fundamentals Position your hands on the sides of the ball with your fingers pointed up. Your thumbs should be on the back of the ball and pointing in toward one another. Bring the ball up above your head (be sure your hands go straight up, not up and back over your head).Release the ball with a quick snap of your wrists and fingers like on a chest pass. It's usually good to make a slight step forward with the foot of your strong arm side. 4)  Push Pass Overview This pass is used most often to advance the ball down the floor in order to set up the offense or to get the ball through or past a close-guarding defender (usually to a cutter). The bounce pass version is good for passes to a cutter on fast breaks or reverses, many out-of-bounds plays, to a post player or to pass under a defender. Fundamentals Hold ball chest high.Spread your fingers on each side with thumbs directly behind, but a bit toward the top of the ball and pointing toward one another. Keep elbows close in. The force of the ball is provided with a quick snap of your wrist, fingers and elbows. You should move forward with your body crouched a bit. Step forward with your passing-hand-side foot and push off with your non-passing-hand-side foot. You can use a direct or bounce pass. Direct pass should reach receiver between the waist and shoulders and bounce pass should hit the floor about two thirds of the way to receiver and arrive between the knees and waist. )  Off-the-Dribble Pass One of the quickest basketball passing options because there's really no set-up with it. As you're dribbling, instead of bouncing the ball back to the floor for another dribble, move your hand behind the ball and push it towards a teammate as a pass. It's hard for defenders to steal this one because they're expecting a dribble instead of the pass. 6)  Baseball Pass Effecti ve for long passes to a cutter or to inbound the ball quickly after allowing a score. Place the ball high above the side of your head with the passing hand behind the ball while the other hand is in front of and slightly under the ball.Be sure the fingers of each hand are pointed upward and your thumbs are pointing inward over your head. Plant your rear foot and step toward the receiver with your front foot. Try to keep both hands on the ball as long as possible and throw the ball with a quick wrist snap and arm thrust. As you follow through, snap your wrist straight down so the ball doesn't curve on you. 7)  Behind-the-Back Pass A basketball passing technique that can work wonders when done well or end up terrible if done wrong or carelessly.So make sure you practice this one to perfection and only use it when the situation warrants it. This pass can be used off the dribble, standing still or while moving toward the basket and is used often with two-on-one fast breaks. If you can deliver this pass correctly, it will be very difficult for your opponent to defend. Cup the ball in your hand. Swing your arm behind your back with the elbow bent, fingers pointed down and your thumb pointed toward your back. Release the ball with a whip of your arm and a quick wrist and finger snap

Lenovos Retail Supply Chain Essay Example | Topics and Well Written Essays - 3000 words

Lenovos Retail Supply Chain - Essay Example The paper tells that Lenovo is an individual-technology firm that is worth approximately twenty-one billion dollars and the second biggest dealer of personal computers. The company’s head offices are in Beijing, China while a second head office is in Morrisville in the United States. Six Sigma is a collection of techniques as well as implements that assist in the improvement of elements which was established by Motorola and embraced as a business strategy for General Electric in 1995. Computer manufacturers have applied six-sigma for progressive quality enhancement as well as lean manufacturing with the aim of decreasing process wastage so that they can in the best way meet the needs of the customers. The focus of this comprehensive essay is to review Lenovo’s retail supply chain as well as logistics operations as well as the effect on costs and consumer experiences for the retail customers. Initially, Lenovo’s supply chain was not properly incorporated partially for the reason that it had been developed from a union between two firms that did not have the same characteristics. The company had different distributors in various regions of the globe, with varying customer bases and operating under different models. The initial supply chain was also not created to deal with the volumes that the company started attaining and this made deliveries arrive at their destinations late. The company embraced Workout, which is a group based improvement approach that was initially developed by General Electrics, whereby, all the core decision makers on a difficult issue converge in a room and remain there until they find a solution. In some cases, the productivity of the manufacturing line was able to be doubled as a result of this.

Color and Light Research Paper Example | Topics and Well Written Essays - 1250 words

Color and Light - Research Paper Example On the other hand, black objects absorb all colors thereby reflecting no colors at all. This is the reason the eyes only see the black color. This is the main reason scientists consider black, not a color since it is a representation of no color. Therefore, the human eye can see the various colors due to the reflection caused by the lit objects. In other word, there would be no color if there were no light since it is through the light that objects can reflect color. Everything seems black at night due to the absence of light. Light is a term commonly used to refer to the visible spectrum. This spectrum is a range of wavelengths that form the part of electromagnetic spectrum. That visible part of the electromagnetic spectrum ranges from 380 nm to 750 nm. Each and every wavelength corresponds to a color of the spectrum. Notably, light rays contain colors. The electromagnetic light waves travel at tremendous speeds of about 186,000 miles per second. However, the different colors have different wavelengths .The longest wavelength any human eye can see is red while the shortest is violet. However, some animals such as bees and birds can see longer wavelength such as the ultraviolet light. Human eyes cannot see such light since they cannot feel the heat generated by such wavelengths. In inertia, color is carried by light, the electromagnetic waves but the color sensations are subject to many other influences that make the quantitative description complex to describe. Light wavelengths differ and therefore they result in the production of different colors (Riley, 76-100). For instance, X-rays have short wavelengths. On the contrary, these shorter wavelengths constitute vast amounts of energy. Light constitute visible light that moves in a more medium wavelength, a reason people can see the light. People tend to think of objects as containing

Changing Character of Alien Immigration in Early Modern Period Essay

Changing Character of Alien Immigration in Early Modern Period - Essay Example It is evidently clear from the discussion that the most powerful of European powers ventured into the immigration spree during the Early Modern Period to show specific interests. Nearly through the entire 16th century, the most explorative and dominant figure of alien immigration into the Americas was undoubtedly Spain. Since the turn of the Century, Spanish interests in the New World were perhaps one of the most organized and resolute. As early as 1513, sections of the continent had been identified for settlement by the Spanish explorers as led by Ponce De Leon. Florida was among the settlement areas identified by De Leon, paving way for similar incursions into other American territories by the Spanish. In as much time, Cazabeza de Vaca and his crew had discovered Arizona, New Mexico and Texas in a similar adventure. Discovery and navigation of main American rivers such as Colorado and Mississippi were nigh as exploration continued into the 1500s, soon making it possible to take ove r Florida and California. In the meantime, other explorer countries in Europe were preparing to compete with Spain in the venture and English explorers sooner came on board. Despite the fact that much of the discoveries leading to the immigration of the Europeans were by chance, they took complete advantage of the discoveries and eventually occupied the New World. The English explorers, for instance, were in search of routes to the Indies, making the stumble-upon impact good to their interest in overseas territories. Virginia was taken over in 1607 by the British. The French got interested in the immigration and settlement in 1608 through the assistance of Samuel Champlain in form of identifying and taking over Quebec. By 1670s, interests of expansion of the overseas territory by the French led to exploration and takeover of Louisiana.

Ned Kelly Business Plan Essay Example | Topics and Well Written Essays - 1000 words

Ned Kelly Business Plan - Essay Example Budgeting in business is beneficial not only because it enables projecting the yearly expenses to be incurred while following a certain plan, but it also allows to determine how costs will incur and how can they be controlled resulting in efficient operations (Dury, 2008; Albrecht et al., 2008). As for instance, without doing any budgeting of the business activities, an entrepreneur may only be able to visualize to a certain extent that what expenses will be incurred and how they will be financed and what revenues would be required to keep the business profitable. But, on the other hand, with budgeting the entrepreneur is in fact able to foresee that what expenses will be incurred and how much revenues will be required to cover those expenses and at the end make profits. This in turn allows not only setting up targets for revenue generation, but also allows ascertainment of cost controlling techniques (Jiambalvo, 2010; Horngren & Harrison, 2009). In this regard, cash budgeting is con sidered as one of the most beneficial and important procedure to forecast the results of a certain business approach or plan on monthly basis (Horngren & Harrison, 2009). ... Keeping in view these benefits, cash budget can also be prepared for taxi business and revenues and expenses can be forecasted, which can be then used to ascertain the required working capital to be raised. Apart from this, as it has been noted that the owner of the taxi business requires the amount of money required to be taken from bank to be ascertained prior to starting the business. In this regard, it is pertinent to ascertain the cash inflows and outflows expected from a year’s operations and the net profit or loss which will be earned by the business. Having taken into consideration the information provided for the case, income statement and cash budget has been prepared and presented as follows for the business to be started by Ned Kelly. Income Statement The income statement forecasted for Ned Kelly’s business has been presented as follows: Forecasted Income Statement Amount Sales ? 417,312.00 Less: Â   Diesel (15 % of Total Sales Revenue) - ? 59,875.20 Mainte nance Costs (? 120 per taxi per month) - ? 4,320.00 Annual Road Tax and Licence Fee (3 x ? 600) - ? 1,800.00 Drivers' Salaries per Month (9 x ? 24,000 / 12) - ? 216,000.00 Drivers' Social Security (10 % of Gross Annual Salary) - ? 21,600.00 Cost of Sales - ? 303,595.20 Gross Profit ? 113,716.80 Depreciation - ? 12,000.00 Office Staff's Salaries per Month (4 x ? 16,000 / 12) - ? 64,000.00 Office Staffs' Social Security (10 % of Gross Annual Salary) - ? 6,400.00 Utility Costs - ? 6,000.00 Rent - ? 18,000.00 Local Property Tax Charges - ? 5,000.00 Drawings - ? 30,000.00 Advertisement - ? 6,000.00 Net Profit - ? 33,683.20 Sources: (Albrecht et al., 2008; Dury, 2008; Horngren & Harrison, 2009; Jiambalvo, 2010) It can be observed

Consent Essay Example | Topics and Well Written Essays - 2000 words - 1

Consent - Essay Example In this sense it is meant that the review should be constructed in such a manner that the researcher/researchers can either use it as a stand-alone published material that can assist other researchers with similar topical considerations in their own research or the researcher/researchers can use the review exclusively as an assisting part of their own research on the topic. This brings out the importance of literature review that is possibly more important a part of the initial research strategy than any other part of such initial research. Choice of Topic - The first consideration that a researcher or group of researchers must take into account is the choice of topic. For this, they may first scrutinize the subject they are studying and thresh out a topical part that has scope for research the researchers themselves feel they are competent enough to carry out. It is notable that this is the very initial step to beginning an earnest literature review (Reed, Undated). The choice of a suitable topic may constitute the following steps - Brainstorming - This is process with which the researcher scans the subject he/she is studying currently to pinpoint a topic within that subject he/she may want to research upon. Within this process the subject is broken down into its topical components and basic keywords are derived from these. For example, as in this case, where the subject is taken to be 'information within the healthcare system', some of the topical interests that may get unearthed are as follows: Acquisition of such information; Storage of such information; Retrieval of such information; Ethics regarding retrieval; etc. Next, books, journal articles and other resources that have been recommended for these topics within the main study subject are next scrutinized and studied to ensure which of these topics may be the most suitable for research. Some of the criteria with which this is judged may be as follows: if there is any scope for further research within any of these topics; and whether such research can be easily carried out with the resources and facilities that are presently available with the researchers. In this manner a topic is settled upon on which the researchers decide they want to do research. The topic has scope for further research and the research type is suitable for being conducted by the researchers, who consider themselves capable of it. The topic settled upon in this case is 'Ethical issues regarding retrieval of healthcare information available from storage'. Consultation with the Instructor/Professor - Another adjacent step to brainstorming to settle upon the research topic is consultation with the instructor ort professor in charge of the discipline the researchers are incumbent upon. Often, these able persons are capable of making valuable suggestions that allow the research to proceed smoothly and efficiently. Researching Background Information - After a topic suitable for conducting research upon has been selected, the next logical step is to find background information on it from resources like

Depiction of Culture in the Band's Visit Essay Example | Topics and Well Written Essays - 1250 words

Depiction of Culture in the Band's Visit - Essay Example The importance of cross cultural understanding has been impressively portrayed in the movie through the tale of Egyptian police orchestra arrived in Israel to play at the inauguration ceremony of the Arab Cultural Centre. When they arrived Israel there was no one at the airport to receive them and they seek the way to get at the spot at their own. On their way to reach the spot, the members of the group communicate and miscommunicate with each other and their interaction with each other and people in Israel shows the differences of cultures that influence the understanding of each other. The members of the band fall in to the problems due to the difference in the pronunciation of some letters in Arabic and English however, as they proceed they found that despite several cultural differences they share lots of human characteristics with the Israelis. The visit allows them exploring the similarities within the different cultures. The story of the movie tells about the situation when tw o set of people belonging to different culture interact with each other. The movie shows the strength of cross culture understanding and also explains how lives of the people are affected while moving in a culturally strange society. It gives the message that only the sense of humanity could help people in such situation because when someone could see them as human and not people of other culture they could come forward to help them, otherwise the culture biasness never allows people of different cultures to openly help each other at their best. The Egyptian band lost in Israel eventually reached a fictional town that was not their actual destination. At the town they were helped by a kind-hearted restaurant owner Dina who arranged space for the band members to spend night at her home and homes of her friends. While spending the night at the Israeli people’ homes the Egyptian bands and their Israeli hosts got the opportunity to know each other beyond the political and culture differences as they interact with each other as ordinary people regardless of their cultural identities. The movie shows that lives could become easy when people learn to put humanity first and political and cultural boundaries at second place. The band could face even tougher situation if people they met in Israel with give more importance to political and cultural boundaries and less to the humanity. However, their kind behaviour based on humanity allows them understanding each other and help each other to find out the way out from the troublesome situation the Egyptian band was facing in Israel. The night spent at the homes of the Israeli people turned out to be an interesting, funny yet challenging episode for the band members that changed their lives in little yet important ways by adding to their understanding of people from different cultures on the base of humanity. The strange and funny night spent by the band members allowed the learning a lot from the Israeli hosts and a t the same time the Israeli people also gain cross cultural understanding during their stay at their homes. The movie talks about the challenges that the people often encounter while interacting with the people of other c

(Narrative) Childhood event. Earning money to buy something you really Essay

(Narrative) Childhood event. Earning money to buy something you really wanted - Essay Example We dreamed of buying the coolest toys or the flashiest technological gadgets that some of our filthy rich classmates possess. Sometimes, we just wanted to splurge on fad items, food, chocolates or candies. To save for those items we longed to buy, my brother concocted of innovative and fun ways to earn money. There was this time when we saw the newest version of the portable playstation that we just got to hold on to. We thought of saving each and every penny earned for that PSP. There were a lot of jobs for kids at our neighborhood which we both were determined to monopolize. Mowing our neighbors’ lawn was one of our favorites. We get to have fun while trimming the grass, watering their plants, and ensuring that all dried leaves were kripped and properly disposed of. There were times we took turns on babysitting and selling old but reusable items, among others. The journey towards earning every penny towards our goal was challenging, fun, memorable and rewarding. In the end, we bought what we wanted and we cherished it forever.

Franklin Delano Roosevelt Essay Example for Free

Franklin Delano Roosevelt Essay Who can forget the initials FDR? Frank Delano Roosevelt was the 32nd President of the United States. He was a very good public servant. In fact, he has served for 12 years (1933-1945) as the President of America and has great involvement during the Second World War and the world economic crisis. He worked hard and made the New Deal to aid the great depression that the world has suffered that time. With the New Deal, he was able to give some relief to the unemployed and to reform the economic systems. He was able to established several programs that became instrumental in the recovery of the economy and the nation’s commerce. One of his great contribution and became one of his essential legacies is the Social Security System. It was January 30, 1882 when Franklin D. Roosevelt was born in Hyde Park, New York. He was the good son of James and Sara Roosevelt. He acquired his education with the aid of his parent and private tutors. He got an excellent educational background. During his preparatory, he was send to Groton in Massachusetts. Amusingly, he acquired his bachelor degree in History in Harvard for only three years. After this, he took law at the Columbia University and passed the bar examination in 1907. He exercised his law expertise in 3 years in a popular law firm in New York. He was happily married to Anna Eleanor Roosevelt, who was the niece of the late President Theodore Roosevelt. They have six children in which five only survives during infancy; Anna, James, Elliot, Franklin, Jr. , and John. In 1910, his political career has started and been elected as a Senator under the banner of the Democrat Party. Two years after, he was reelected as a Senator. He supported Woodrow Wilson in his candidacy at the Democratic National Convention and as a reward for his support, he was appointed as the Assistant of the Navy for seven years. He was an effective and efficient administrator of Navy. His experience in the Navy has prepared him for his future position as the commander-in-chief during the Second World War. He was nominated for vice president by the Democratic Party during the 1920’s election however; many anti-Wilson plans have gained popularity, and thus making the Republican Party won the presidency in 1920. Roosevelt’s political career suddenly stops. In 1921, Roosevelt has stricken a poliomyelitis while having a summer vacation at the Campobello Island, New Brunswick. With a crippling illness, he established a foundation, which aims to help polio victims, and eventually directed the establishment March of Dimes program that funded anti-polio vaccines. With his current situation, Roosevelt became afraid to return to politics but with the encouragement of his wife Eleanor and Louis Howe, Roosevelt resumed his political runs. In 1924, he nominated New York Governor Alfred E. Smith for president however, smith lost to his co-nominee John W. Davis. In 1928, finally Smith became the Democratic candidate for President and campaigned for Roosevelt candidacy as Governor of New York. Unfortunately, Smith lost the Presidential election to Herbert Hoover. On the other hand, Roosevelt has won the election and been elected as the new Governor of New York. He was reelected as Governor in 1930. Following this, he then starts the campaign for presidency. I was the right time for Roosevelt to enhance his reputation. The economic depression severely damaged the reputation of President Hoover and the rest of the Republicans. During that time, Roosevelt has won the nomination as the Democratic Party candidate for president. He called for government intervention, which aims to give a relief, recovery and reform in the economic status of the United States. In 1932, he became the new president of US defeating Hoover by seven million votes. The depression has worsened the economic situation; closing of many factories and farms, increasing bank failures and rate of unemployment. Roosevelt has faced the greatest battle of his life. To be able to cope up with the worsening situations, he immediately undertook preemptive actions and initiated the New Deal. His actions include the closing of banks temporarily to calm all the depositors. He did not stop working. In his first â€Å"100 days† in the position, he worked with a special session of congress in order to pass recovery legislations. The legislations established the so-called alphabet agencies such the Agricultural Adjustment Administration (AAA) and the Civilian Conservation Corps (CCC). Both of these agencies seek to help people; AAA will support farm prices and CCC will help to employ young men. Other agencies are set up to give assistance to labor and business, to insure bank deposits, to control and regulate stock market, to subsidize home and farm mortgage payments and to help the unemployed. Although his New Deal program was, a great help in the economic recovery; it resulted to an increase in government spending and unbalanced budget allocation that led to criticisms. Nevertheless, this state did not affect the political popularity of Roosevelt. In 1935, he established the Works projects administration (WPA) that gives employment to many people including the artists, writers, musicians and authors. In addition to this, Roosevelt has established the Social Security Act that gives additional compensation and benefits to employees. He was the only American president to take the position more than two terms. He defeated Alfred M. Landon in 1936, Wendell Wilkie in 1940 and Thomas E. Dewey in 1944. After he gained his awesome victory in the presidential election in 1936, Roosevelt has also gained some critics of the New Deal. The Supreme Court had declared several legislations unconstitutional. Many setbacks have occurred during his second term. He led United States away from the Isolationism during the World War. He has supported Winston Churchill with his efforts against the Axis Powers. Roosevelt played an important role in the post-world war. He created the United Nations in 1945, which has the goal of maintaining world peace. With his leadership, the American liberalism was redefined and the Democratic Party was restructured. The United States became neutral regarding the war however when the Japanese attacked the Pearl harbor on December 7, 1941, four days after both Italy and Germany have declared war against the United States, US was put into war. As a commander-in-chief of US military armed forces, he exercised his powers in order to fight the axis powers. He initiated the formation of â€Å"grand alliance† which was against Japan, Italy and Germany. His first mission is to invade Europe. The United States together with its allies invaded North Africa, then Sicily and Italy. Axis Powers have lost their momentum. Finally, Germany was invaded and certainly, victory in Europe was attained. The stress, strain, difficulties, struggles in the war has brought Roosevelt into sickness. Early of 1944, he was subjected to a full medical examination. The findings showed that he has a serious heart and circulatory complications. His physicians took care of him and always regulate his food intake. He was placed to a very strict medication. However, none of the efforts treats the malady. The pressures of war and politics worsen his condition. April 12, 1945 at the Warm Springs, Georgia, he got a massive stroke and eventually died after two and one-half hours. He died at the age of 63. It was the time when United States have gained a complete victory in Europe and Japan. His remains were buried at his hometown. Franklin D. Roosevelt is a noble man, a brave man. Who can forget him- his contributions to his nation and even to the world? Roosevelt dedication on his role as the leader was amazing. With his crippled legs, he was able to serve the people, the people who really seek for help. I remember one of his quotations,† A conservative is a man with two perfectly good legs who, however, has never learned how to walk forward†. Roosevelt was one of the greatest men who live on earth. He was a prudent leader. He does not let his deficiencies overcome his ambitions. He was a role model to everyone. He always looked for the welfare of his people. He can be considered as a hero. I admire him for being persevering. For me he is man of his words– a man that would do anything just to serve helpless people. I admired him for being a strong-willed person. He never gives up and very firm with all the decisions he made. I admired him for being Franklin D. Roosevelt. Work Cited â€Å"2006. The American Presidency. 10 April 2008 http://ap. grolier. com/article? assetid=a2025680-h.

Time Management Essay Example for Free

Time Management Essay One of the most important aspects of completing an education course is the amount of time spent on your course study. The better you are at setting aside regular study time and keeping to a schedule, the more successful you’ll be in completing your course work with a satisfactory grade. Completion won’t happen if you are a procrastinator! So, take a few moments before starting your course to think about your schedule. Be realistic. If you find yourself falling behind, reevaluate your priorities and make adjustments where needed. Here are some additional things to think about: Set aside dedicated study time (maybe in 1/2 hour chunks) and let nothing interrupt this time. Break assignments into small tasks that can be accomplished in given time periods. Determine what time of day is your best. Tackle the more difficult tasks during this time of day to take advantage of your greatest concentration and attention level. Establish one or more quiet, comfortable study areas where you have easy access to all necessary materials. Make your selection based on acceptable noise levels, light level, study-conducive furniture (chair and/or desk or study table), and minimal distractions. Keep in mind the time it takes to travel between home, school, work, and your selected study spot. If your instructor has not provided course deadlines, set them yourself and stick with them. If you start falling behind, set aside more time to catch up. Don’t put off completing your coursework to the end of your enrollment period. Do not let a problem or lack of understanding hold you up – set it aside for a short time so you can come back to it with fresh eyes. If you still don’t get it – ask for help from your instructor or from other students in the class. If this is the first distance course you’ve taken, you may soon see how easy it is to fall behind your intended schedule. By setting mid-course targets that are realistic and obtainable, you can complete the course successfully and count distance learning as another accomplishment! The institution will maintain an academic environment in which freedom to teach, conduct research, learn and administer the university is protected. Students will benefit from this environment by accepting responsibility for their role in the academic community. The principles of the student code are designed to encourage communication, foster academic integrity and defend freedoms of inquiry, discussion and expression across the university community. Institution requires students to conduct themselves honestly and responsibly, and to respect the rights of others. Conduct that unreasonably interferes with the learning environment or violates the rights of others is prohibited. Students and student organizations are responsible for ensuring that they and their guests comply with the code while on property owned or controlled by the university or at activities authorized by the university. The university may initiate disciplinary action and impose disciplinary sanctions against any student or student organization found responsible for committing, attempting to commit or intentionally assisting in the commission of any of the following prohibited forms of conduct: * cheating, plagiarism or other forms of academic dishonesty * forgery, falsification, alteration or misuse of documents, funds or property * damage or destruction of property * theft of property or services * harassment * endangerment, assault or infliction of physical harm * disruptive or obstructive actions * misuse of firearms, explosives, weapons, dangerous devices or dangerous chemicals * failure to comply with university directives * misuse of alcohol or other intoxicants or drugs * violation of published university policies, regulations, rules or procedures * any other actions that result in unreasonable interference with the learning environment or the rights of others. This list is not intended to define prohibited conduct in exhaustive terms, but rather offers examples as guidelines for acceptable and unacceptable behavior. Honesty is a primary responsibility of you and every other UAF student. The following are common guidelines regarding academic integrity: 1. Students will not collaborate on any quizzes, in-class exams, or take-home exams that contribute to their grade in a course, unless the course instructor grants permission. Only those materials permitted by the instructor may be used to assist in quizzes and examinations. 2. Students will not represent the work of others as their own. A student will attribute the source of information not original with himself or herself (direct quotes or paraphrases) in compositions, theses, and other reports. No work submitted for one course may be submitted for credit in another course without the explicit approval of both instructors. Alleged violations of the Code of Conduct will be reviewed in accordance with procedures specified in regents’ policy, university regulations and UAF rules and procedures. For additional information and details about the Student Code of Conduct, contact the dean of student affairs, visit www. alaska. edu/bor/ or refer to the student handbook that is printed in the back of the class schedule for each semester. Students are encouraged to review the entire code.

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