Plea bargaining Essay Example | Topics and Well Written Essays - 250 words

Plea bargaining - Essay Example However, if the criminal knows he will most likely be pleading guilty to a lesser crime than the crime he is committing, the punishment for the lesser crime might not be enough to prevent him from committing it. While I agree that it is certainly true that many criminals will get away with a lesser charge, I think the harm caused by this is mitigated by the fact that more guilty criminals will be convicted. This is because it seems that someone who knows they are guilty is likely to accept a lesser charge, even if there is a possibility they will be acquitted. The second issue has to do with the concern that innocent people will plead guilty to lesser crimes. Although the defendant may know he is innocent, instead of maintaining this position, he may feel coerced into accepting the plea bargain. The innocent person may feel it’s not worth the risk to face the greater charge, and feel almost forced to plead guilty to a charge he never committed. I agree this is a serious moral issue, for if large amounts of people are pleading guilty to crimes they did not commit, then the credibility of our justice system is undermined. Despite moral criticisms plea bargains continue to play a key role in our justice system. Prosecutors still often benefit from the ability to get more convictions, while defense attorneys benefit from being able to get their clients a better deal. Perhaps more regulation needs to be provided to prevent coercion of innocent people. It’s doubtful though, that plea-bargaining will ever be eliminated from our legal system completely, and it will likely remain

Religion and Corruption in Nigeria Essay Example for Free

Religion and Corruption in Nigeria Essay In the constitution of our nation religion feature prominently at the very beginning. I the preamble to the 199 constitution, it is affirmed and solemnly resolved that we intend to live in hrity and harmony as one indivisible and in dissolvable fevereigh nation under God. Indeed the overwhelming mighty of Nigerian are religions people we believe in the supremacy of God, we believe that God is the very basis of our individual lives and our corporate existence. We believe in and relate with supernatural realities through prayers and supplications and through the offering of sacrifices find churches, musgus shrines and Sunday prayer houses everywhere in the land we take part in crusades, worship sessions and might rights, we offer sacrifices and observe fasting days and religions holidays, and we so in large numbers on religion is pilgrimages to Jerusalem and mecca, taking pride in being called Jerusalem pilgrims (JP) or Alhaji throughout our lives. While thee is noticeable decline in religion farour in may parts of the world to lay the religion inter praise seem to thrive very much in Nigeria, as more and more company ware houses private buildings, schools, and our spirit stadia are being courted to prayer arena, and the stadia hort more religion crusades than for spiriting events. It is noticeable that street within our town and villages as well as inter-state highways are often blocked these days by enthusiastic worshippers who flock to church and camp meetings. It is not and exaggeration to state that there are as many churches and Mosques as there are streets in our urban areas. According to Norimitsa Onishi in an article in new York times march 13,2002 â€Å"Christianity is growing faster in sub-Saharan Africa than in any other place on earth. Roman Catholicism and the other Major protestant denomination are gaing mine follows everyday, but new churches are leading the boom. Within this religion firmament, bishops, evangelists pastors, prophet, faith leaders and visionaries, as well as sheikhs, mams and gurus of all sorts are swelling in number and having a failed day in recent past a new dimension has been added to the throwing religions enterprise. And this is the increased patronage of high ranking public official who not openly call for and sponsm regular prayers sessions in different churches and prayer houses have themselves become born again Christians and prayer erchants, often appearing at church crusades and prayer vigils with all the paraphernalia of public office and sometimes grabbing the microphone to render sanctiononion homilies and earthshaking prayers. Also worthy of note is that these days prayer and preaulims sessions are no longer limited to churches, Mosques and homes, but they are held in government offices, in commercial buses, corporate boardrooms and in open markets. Nigerian going about their daily businesses are seen brandishi ng the Bible Wkoran, the Rosary or Islamic prayer beads. The langeil bill boards in our town and cities are those colvertising upcoming religions crusades are faith healing carnivals. The exclamations, to God be the glory, praise the Lord, the Lord is God, Bless you, â€Å" and Alaahu wa K’bar,† are often on the lips of Nigeria at worker at play from the exacted members of the National Executive council or Council of State to the young own who are about to sick common entrance examination. Succinctly put from all outward indication Nigerians are a chronically religions people. Unarguably one can perrps say about there is no nation in the modem world unit as muner religiosity as contemporary Nigerian . Now how do you place the religion piety of Nigeria with the endemic corruption in our society ? With all the show of religiosity one would have expected to see a very high degree of social morality in Nigeria, since all world religions generally promote truth, justice, honesty and probity. But this is a reverse case withy us. The is an embarrassing contradiction between the high ethical demands of the religion profess by majority of Nigerian and the phenomenon of corruption greed and graft that has earned our country one of the most corrupt nation in the world. Some observes of the phenomenon actually say that corruption is so endemic in the Nigeria society that the society economic and political system can almost not tinetion without it. Along side religiosity corruption in its many shapes and sizes is becoming in Nigeria- from the petty bribery taken in the work in the office or the policeman at the check point, to the grand corruption by which huge project contract are hurriedly awarded, not for the sake of common good, but because of the greed awarding official, who requires some money via contract â€Å"kick-baiks† The Nigeria society is prevalence with frauct, thievery and roguery even as our environment is a wash with prayers and ritual sacrifices to the God of truth, justice and holiness. Doesn’t it seen a contradictory to many highly placed Nigeria hat they embezzle and misappropriate stupendous amounts of public and company, and even church funds while at the same time trying to occupy the front seats and even struggle or pray to take religion titles in their churches corruption is so perverse that it has infiltrated every facet of the Nigeria society procure medical certificates of fitness from hospitals when they have not undergone any medicate testy obtain sick leave permits from doctors when they hale and hearty, falsify the age of their children obtain fake certificate in order to gel them to school or obtain jobs for them, routinely swear to false affidavit in order to obtain false age declarations when seeking employment etc. it is a statement or fast that many or those who today and drivers licence have never been to a drawing school. They simply pay for the license and declare themselves drivers thereby putting the lives of genuine drivers into jeopa rdy. Many of our country men who flock our churches on Sundays and fill the mosque on Fridays are constantly involve in such fraudulent activities as evading tax, issuing and obtaining of take receipts, over invoicing and under –invoicing importation of take drugs, petty and large scale bribery, take anclit report, adverse fee frond, ete. All these practices are so common place so inside spread that many Nigerian youths can not decipher between good eril or between what is right and wrong. As a result, corruption in Nigeria has been described as system, and the consequence are legion corruption has bred in efficiency and diminished productivity in both the public and private sectors of the economy. It has discourage investment, fuelled capital flight, increased unemployment and inflation, created and acute degree of poverty, brought about a severe decline in the quality of life and life expectancy in Nigeria and given Nigeria and Nigeria a terribly bad image in the cornity of Nations. Infant corruption is an affront on human dignity and an assault on the human conscience apart from being a negation of the Christian rocation to promote holiness and righteousness in the world. Are they truly Christians? This question is pertinent and fundamental because many of our people who engage in the sharp practices enumerated above would like to be seen as pious Christians. But really are they? Do they really know the God of Abraham, Isaac and Jacob, the God of holiness and righteousness, who in Leviticus 19:2 says† be holy for the Lord am holy† Do they really know the God of Moses and Joshua who on mount Siriat presented the ten commandment as the tempt of his contract with him people insisting that fidelity to this ethical code is what will distinguish his people from others? Do Nigerian who claim to worship God, but who at the same time offer and take bribe, defraud, evade tax and circumvent justice know the God of Mosses who in Exodus 22:8 says â€Å" You will accept no bribes, for a bribe blinds the clear sighted and is the cause of the ruin of the upright. Do they know the God of the prophets who in Isaiah 33:15 says that the person who will be qualified to be in his presence is the one who â€Å"acts uprightly and speaks honestly, who scorns to be rich by extortion, who rejects bribes out of hand, who refuses to listen to plan involving bloodshed and shuts his eyes rather than countenance crime. Do Nigerian worshippers who make a daily show of their religiosity known that what the Lord truly require of us is to love terekerly, to do justice and to work humbly by me God (Micah6:8 John the Baptist while preparing for the coming of our Lord Jesus Christ crudemned the kind of religion that thrives side by side with corruption as empty ritualism. In his addrer to those who gathered to listen to him, amongst whom were solders and tax collectors, he admonished â€Å"Exalt no more than the appointed rate†¦ No intimidation. No Excntinu be content with your pay† Luke 3:13-14. Jesus himself denounced the kind of religions practice that was not matched by high moral and ethical standards in realize that not all those who claim to be Christians will enter the kingdom of heaven but only those who do the will of the father Mathew 5. This Christianity make no room for crooks and fraudsters. It has no place for those who offered take bribes. Genuine Christianity does not accommodate the cnetire of â€Å" settlement† in Nigeria to day. Therefore, faced with the contradiction and the embarrassment of a booming Christianity in the most of an environment that stinks with corruption and indiscipline, one is poise to conclude that what is spreading like wildfire in contemporary Nigeria is not genuine Christianity at all, but a masc movement with elements of Christian ritualism, one that is in large measure shallow, superficial, noisy and devoid of substance and depth. Popular Christianity in Nigeria is often Materialistic and individualistic in orientation, with an in credibly high sense of devotion to the cult of material and physical prosperity, success and healing, and with little or no attention at all given to the social morality of the believing persons.

School Uniforms Essay -- essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Schools today aren't in the best condition. There is teasing, violence, discrimination, cliques, and poverty. There is much to say about how having mandatory school uniforms will help these problems. My question is, will uniforms help these problems enough to dismiss the hurt that they would cause? I say the uniforms do little to help.   Ã‚  Ã‚  Ã‚  Ã‚  Having uniforms would stop the teasing and discrimination about clothing, but there is more to tease or discriminate someone about rather than just clothing. Such as hygiene, looks, personality, intelligence, race, and the list goes on. So unless people somehow find a way to be perfect in everyone's opinion, teasing and discrimination won't stop.   Ã‚  Ã‚  Ã‚  Ã‚  As for violence, it's the same story. Uniforms would only stop the smallest percentage. In some ways uniforms actually make violence less preventable by eliminating one major warning sign. For example the black trench coats that were worn in by the murderers at Colorado's Columbine High School shooting. Of course I'm not saying we should arrest anyone who wears a trench coat, but the way that someone dresses can say a lot about their personality.   Ã‚  Ã‚  Ã‚  Ã‚  If you're thinking that uniforms will end symbols of being in a gang such as gang colors, think about how many other ways that a gang member could symbolize that they were in a gang such as rolling up your sleeve or leaving out the tag on y...

Essay on Sophocles Antigone :: Antigone essays

In ancient Greece, men who died in war fulfilled the civic ideal to the utmost.   The women, destined to live out a degrading life, died in bed.   Certainly, not all men died in battle, but every epitaph shows in one way or another, the city would always remember the men who died in war.   Additionally, not all Athenian women died in bed; nonetheless, it was left to her family to preserve the memory of her not the city.   No matter how perfect a woman was she would never receive the same status or level of social expectations from the city that a man received. No accomplishments were allowed beyond living a life of motherhood and submissiveness to a man, namely her husband.   In fact, in early Greece, women were typically viewed as subservient to men, submissive in their actions, and of a status only slightly above slaves; however, Antigone was not your typical Greek woman.   Many ancient Greek Philosophers have written and expressed their views on women’s’ status in ancient Greece.   One author, Sophocles, wrote plays about how you cannot escape fate, because the Gods give fate and men cannot escape what the Gods decide. Sophocles shows his case in point, that human laws can destroy a city, using Antigone as a noticeable illustration to show his points.   Pericles according to the author Thucydides has hardly anything to say about women, but when he does, it is in a demeaning statement.   Socrates never says anything in reference to women, but more to society in a whole.   Finally, Sappho’s writings have been threatened to be destroyed because of her indifferent views towards women and how she portrayed them.   In the play Antigone, Sophocles stretches the role of a woman. There is a battle between what is right and laws of Gods or laws of man.   Sophocles places Antigone in this fight against her Uncle Creon.   Antigone stands up for ancient law and Creon stands up for man’s law.   Creon voices his opinion on how he feels about women in ancient Greece.   Creon states â€Å"We must defend the men who live by law, never let some woman triumph over us.   Better to fall from power, if fall we must, at the hands of a man – never be rated inferior to a woman, never.† (Pg. 77 – line 755-762)   Antigone, with her sharp tongue, challenges Creon with what she feels is right  Ã‚   â€Å"It wasn’t Zeus, not in the least, who made this proclamation – not to me.

Platos Influence in Western Culture Essay

Plato (429-347 B. C. E) is seen by many as one of the greatest philosophers of the classical period, if not of all time. Coming from a wealthy Athenian family it is the belief that he followed and further developed philosophy from his mentor Socrates. His first works are seen as the most trust-worthy accounts of Socrates life, and after his death Plato would continue to develop Socrates works with the help from Plato’s most famous student, Aristotle. During this time Plato would develop his most famous work The Republic. This would notably, along with many of his later works, blend his ideas of politics, ethics, psychology, and metaphysics into an interlinked philosophy. Plato’s dialogues present much of the idea’s founded and developed by the trio, especially in one of his most famous dialogues, The Apology of Socrates Trial. It is from these experiences that with the help of his teacher Socrates and his student Aristotle, Plato would develop the philosophical foundations of Western culture. When asked to define the philosophical style of Plato most people would be quick to label him as a political philosopher, this is due to his views on social implication and the idea of an ideal state or government. Plato was an elitist political thinker in the fact that he said that only those with reason, experience and wisdom should govern. The way he put it was: â€Å"Until philosophers rule as kings or those who are now called kings and leading men genuinely and adequately philosophize, that is, until political power and philosophy entirely coincide, while the many natures who at present pursue either one exclusively are forcibly prevented from doing so, cities will have no rest from evils,†¦ nor, I think, will the human race. † By saying this Plato re-enforces his thought that only those with great wisdom should become leaders and politicians. His belief was that cities will remain evil and tyrant until their current kings either began to think and philosophize, or philosophers were to take rule over the kingdom. Plato’s theory was that these new superior leaders would be seen as â€Å"those who love the sight of truth. † And from this they would then create a perfect city much like the one which he outlined in The Republic, which begins with the city being run by an aristocracy, whose virtue is wisdom, lacks honour and because of this gets replaced by a militant government, which had the virtue of honour but also has the vice of poverty. This too is then overthrown by an elitist group whose wealth corrects the poverty of former militant government but also brings the vice of greed. The elitists are once again replaced by an elected democracy whose vision of equality and fairness corrects the former greed but brings the mistake of to much freedom resulting in anarchy. Finally, the movement of democracy brings forth the order of a tyranny, which establishes peace through cruelty and oppression. It is from this cycle of inevitable and more disturbingly logical political change that Plato disliked the idea of democracy, stating that the average person is selfish, envious and stupid, which leads democracy to be highly corruptible and can cause it to open gates to potential dictators. Democracy was seen as a government dependant on chance which for success must be mixed with competent leadership. The belief was that to run a state a government politicians needed expert rulers and not an average unintelligent citizen who may be elected in by accident. A political decision needs good judgement and because of this leaders must be carefully selected and prepared by means of extensive training. Because of this theory Plato would influence Aristotle, the English constitution and the founding fathers of America to develop a mixed republic that combines democracy, aristocracy and kingship. After the death of Socrates Plato returned to Athens and from there founded a school knows as the Academy, which is where we get the English word â€Å"academic† from and still to this day call institutes of higher learning â€Å"academies†. It was around 387 B. C. E in which Plato bought land outside of Athens to set up his school of philosophy there, which many see as the Western world’s first university. The aim of this academy was to train future politicians of Greek states, and studies focused primarily on philosophy and mathematics. The academy would continue to educate for more than 900 years after its founding even surviving the Roman invasion on Greece in 146 BCE, eventually though the academy would close when the Christian Emperor Justinian closed it in 529 A. D. Later though in Florence sometime during the mid-15th century the â€Å"Accademia Platonica† would be formed by a group of scholars who met under the Platonic philosophy professor Marsilio Ficino, to discuss philosophy and the study of classical politics. Finally in 1926 a modern academy of Athens would be built and labelled as Greece’s national academy. Staying true to its original routes to this day the academy still focuses on the study of humanities and science. It is from this initial establishment of his original academy that the legacy was able to pass on through hundreds of years to the point where the tradition is still alive to this date. Had it not been for Plato’s founding of the academy, the education process would most likely be very different than from that of which it is as we know it today. In Plato’s last and longest work entitled the Laws, he begins by asking â€Å"Who is given credit for laying down the laws? † As opposed to his earlier work in the Republic, which focused on what the best possible state might be like and what experiences and adjustments must be made to achieve that status, the Laws rather focuses on the idea of creating a practicable, yet ideal form of government in a much more realistic way than the former. The characters in this work deal with designing rules to meet â€Å"real world† problems and human affairs. Unfortunately though, the dialogue went unfinished at 345 pages at the time of Plato’s death in 347 B. C. E. The incomplete work of the Laws was still able to outline many questions and themes including, divine revelation, divine law and lawgiving; the role of intelligence in lawgiving; the relations of philosophy, religion, and politics; the role of music, exercise and dance in education; natural law and natural right just to name a few. Once again it was because of Plato’s teaching of his theory’s and publication of his dialogue’s that this theory was also able to spread so quickly through Western culture and even play a role in the way we choose laws to this date. Overall it appears that without Plato’s influence and writings the Western world and it’s culture would have been drastically different from what is the current norm in society. Political structure, academic education and formation of laws would all be heavily affected to the point in which many key things that one would see vital in today’s society may not even exist such as the use of a constitution or an academic university, since it was Plato who established and helped spread the development of such institutions. With Socrates and Aristotle, Plato not only helped develop the foundation of Western culture, but he steered it down the right path as well.

Preposition Review ESL Lesson Plan

Preposition Review ESL Lesson Plan Prepositions are a challenge for almost all students. There are many reasons for this, not least of which is the fact that English has numerous phrasal verbs. In this case, theres little to do except to encourage consistency and the ability to listen carefully to mistakes made. In any case, there are a few activities teachers can undertake to help students learn basic differences. Aim: Develop recognition of similar preposition use through contrast in written exercise, review of prepositionsActivity: Discussion of similar prepositions followed by a written exerciseLevel: Intermediate Outline Take a few objects into the class, such as a model car, an apple, etc. Use simple sentences to help the class understand the differences between in/into, out/out of, etc. using the propositions.Give the students some of the objects and encourage them to come up with their own sentences, especially focusing on the finer differences between the prepositions discussed.Discuss some of the basics using the preposition checklist below. Ask students to come up with exceptions such as in the morning, afternoon, and evening but at night.  Pass out the handout and ask students to get into pairs to work through the short exercise.Correct worksheet as a class and discuss problems  or questions.Repeat first activity to help reinforce learning. Preposition Checklist Use to with verbs of movement.  She drove to the store./He walked to the park.Use at with places within a city with verbs that do NOT express movement.  Ill meet you at the shopping mall./I like to relax at home on the weekend.Use on with surfaces, both horizontal and vertical.  Thats a beautiful picture on the wall./I like the vase on the table.Use into, out of and onto to express movement from one place to another.  She drove out of the garage./Please put the keys onto the table.  Use in with months, years, cities, states, and countries.  She lives in San Diego./I will see you in April.Use at with times of the day. Lets meet at five oclock./I want to begin the meeting at two.   A Strange Noise in the Night Worksheet It was late (at/in) night when I heard the noise. I got (out of/outside) bed and decided to investigate. First, I went (into/in) the living room and kitchen. Everything seemed to be OK in those rooms. Then I heard the noise (again/over). It was coming from (out/outside), so I put (on/off) my jacket, opened the door and went (into/out of) the backyard. Unfortunately, I had forgotten to (pick up/in) a flashlight on my way (inside/out) the door. It was a dark night and there was a light rain falling. I couldnt see much, so I kept stepping (into/onto) things in the yard. The sound continued to repeat and was coming (over/from) the area (on/in) the other side (to/of) the house. I slowly walked (through/around) the house to see what was making the noise. There was a small table (in/on) the porch which was (next/near) to the wall. (On/To) top of this table was a bowl with some rocks (into/inside). A small mouse was trying to get (out/above) and was moving the rocks (around/through) the bowl making the noise. It was very strange, but now I could go back (in/to) sleep!

French Long Stay Visa and Residence Permit Application

French Long Stay Visa and Residence Permit Application If youre a United States citizen and want to live in France for an extended period of time, you will need a visa de long sà ©jour (long-stay visa) before you go- France will not let you into the country without it. You will also need a carte de sejour, a residence permit which you complete after you arrive in France. The following is a general overview of the process required by United States citizens to obtain long term residence in France. This information is derived from the exceptional amount of detail in English on the France-Visas website. Processes change and it is essential that you be au courant with the appropriate method, so plan to become familiar with France-Visas. The process is conducted in part online but it is a long one and can take weeks or months, and you may not be accepted the first time out. No matter what, France will not let you into the country without a proper visa, so dont buy your ticket until you have completed all the paperwork and have your visa in hand. Process and Function Basically, the long-stay visa is operationally equivalent to a Schengen visa- the visa used by residents of the 26 European states and members of the European Union that have officially abolished all passport and other border controls at their mutual borders. That means that with the visa you will be able to visit the 26 Schengen countries. There are some restrictions and some exceptions, depending in part on the purpose and length of your stay.   The visa and residence permit application process can vary not only due to different family and work situations but also based on where you apply. Beware of scams and unofficial websites: the official secure France-Visas portal is: https://france-visas.gouv.fr/en_US/web/us/ The official list of U.S. VFS Global Centre locations- a third party service provider where you will have to go to submit your visa application- is: https://france-visas.gouv.fr/en_US/web/us/a-qui-sadresser Do You Need a Long-Stay Visa?   In general, an American holding an ordinary passport who wishes to stay in France for a period between 90 days to a year will need a Visa de Long Sà ©jour acquired in advance. Exceptions include if you (or, if you are a minor, your parent) already hold a French residence permit or are a citizen of a European Union Member State. All visa requests must be entered online at the secure France Visas website- since you will be inputting personal information, be absolutely sure you are at the right website. The French government has created a Visa wizard so that if you have any doubts about whether you need one or not, use that.   Will You Also Need a Residence Permit? There are two types of long term visas: the visa de long sejour (VLS) and the visa de long sà ©jour valant titre de sà ©jour (VLS-TS). The VLS requires that you submit a request for a carte de sà ©jour (residence permit) within two months of your arrival in France; the VLS-TS is a combined visa and residence permit, which you must validate within three months of your arrival. They are both long term visas but they have administrative differences which are assigned to you by the French consulate. Either way, if you wish to stay beyond the one year limit, you must apply for a residence permit at your local prefecture in France. Categories of Long Stay Visas (VLS) There are four categories of long-stay visas, based on your purpose for going. The categories determine what supporting documentation you will require in advance, at the border, and in France, and any restrictions youll need to adhere to- such as whether you can work for pay while you are in the country.   The categories of purposes of a long-term stay are:   Tourism / private stay / hospital care: all of these purposes restrict you from working for pay.  Professional purpose: If you will be in France to work, you will need a professional visa regardless of whether you are an employee of a company, or self-employed. Youll have to describe the type of business you will conduct and, if you are in a profession that requires credentials such as doctors and teachers, you will need to prove that you meet French criteria to conduct that work.  Studies training: This category includes if you will be taking an advanced degree; if you want to learn French while working as a family assistant or an au pair; or if you want your minor child to study in a French school. You or your child may need to be officially enrolled before you go.  Family purpose: Youll need to provide the address, names, and nationality of your relatives in France, what your relationship to them is, and the reason for your stay.   Starting the Visa Process Once you have determined that you do need a visa, you can prepare your application online at the France-Visas portal, regardless of where you live in the United States. The online application form and you will be guided through the whole process by on-screen explanations. In order to save your form and print it out, youll have to create a personal account that includes your email address. Once you have finished, you will receive the list of required supporting documents required to the type of visa you have requested, and have the opportunity to book your appointment. All visas for France are ultimately reviewed by the French counsel in Washington DC, but first, youll have to appear in person at the VFS Global Centre for your region to get it submitted to DC. There are ten Global Centres in the United States- youll need to request an appointment through the France-Visas portal.   Submission Requirements   The specific documents you need will depend on your specific circumstances, but you will need a current passport, two recent identification photos in the  specific International Civil Aviation Organization (ISO/IECI) format, and whatever other documents (originals and a copy) are required because of your situation.   As of June 1, 2019, the legal requirements to successfully submit a visa are:   Your passport must be clean and in good condition, issued no more than 10 years ago, valid three months beyond your intended departure date from the Schengen Area, and with at least two blank pagesThe purpose and conditions of your stayDocuments and visas (if any) required by international conventions, which will depend on the circumstances of your visitProof of accommodation: either a hotel reservation or a form filled out by your hostEvidence of your financial ability to live in France: you must have proof that you can spend â‚ ¬65–120â‚ ¬ per day depending on where you will be housed and no less than â‚ ¬32.50 per day if youre staying with familyApproved insurance for medical and hospital expensesGuarantees of repatriationDocuments (if required) for the exercise of a professional activity2 recent photographs according to strict ISO/IECI specificsYour return ticket or the financial means to acquire one at the end of your stayNon-refundable application fee which is t ypically â‚ ¬99 ISO IEC restrictions on photographs which are acceptable for identification are quite specific. The photos must have been taken within the last six months, they must be about 1.5 inches (35-40 mm) in width. The image must be a closeup of your head and top of your shoulders, not too dark or light, your face must take up 70–80% of the photograph. It must be in sharp focus without shadows, you must be standing in front of a plain background, and the picture must not include another person. Dont wear heavy framed glasses, dont wear a hat- if you wear religious headgear your face must be clearly visible. Look at the camera and you can smile, but your mouth must be closed.  You will need several copies during the process. Submitting Your Application After you have filled out your form, you will be given an opportunity to set up an appointment at the VFS Global Centre for your regionbut you can also do it later. Request your appointment through the France-Visas portal.  Bring all of your original documents to the appointment, as well as at least one photocopy of each. The service provider at VFS will receive you, review your application, collect the visa fee, and capture your biometric data (a photo scanned or taken during your appointment, and ten individually-taken fingerprints). She or he will retain your passport and the copies of all your supporting documents in order to forward them to the consulate. You can track the progress of your application online at the France-Visas site; you will be notified when your documents are ready at the VFS Global Centre you applied at. On Arrival To enter France, you will need to offer the following documentation (at least) to the Border police: valid passport and visaproof of accommodationproof of sufficient financial meansyour return ticket or financial means to acquire oneany document providing details on your profession Unless you obtained a VLS-TS, the visa de long sà ©jour does not give you permission to live in France- it gives you permission to apply for the carte de sà ©jour. If your visa has the words carte de sà ©jour solliciter,† you do need to get a residence permit. Start that process within two months of your arrival, at the prefecture of your place of residence within two months of your arrival. If you live in Paris, you must report your presence to police headquartersif you live in another department, you must report to the prefecture or subprefecture of your department   Validate Your Residence Permit (VLS-TS) If you received a VLS-TS visa, you wont need a carte de sà ©jour, but you must validate it within three months of your arrival. While the process is completely online, you will need to provide the information on your long term stay visa, the date you arrived in France, your residential address in France, and your credit card to pay the required issuance fee or electronic stamp.

The Younger Years of Grace Murray Hopper

The Younger Years of Grace Murray Hopper Computer programming pioneer Grace Murray Hopper was born on December 9, 1906, in New York City. Her childhood and early years contributed to her brilliant career but also showed how she was a typical kid in many ways. She was the oldest of three children. Her sister Mary was three years younger and her brother Roger was five years younger than Grace. She fondly recalled the happy summers playing typical childhood games together at a cottage on Lake Wentworth in Wolfeboro, New Hampshire. Still, she thought that she took the blame too often for mischief the children and their cousins got into on vacation. Once, she lost her swimming privileges for a week for instigating them to climb a tree. Besides playing outdoors, she also learned crafts such as needlepoint and cross-stitch. She enjoyed reading and learned to play the piano. Hopper liked to tinker with gadgets and find out how they worked. At age seven she was curious about how her alarm clocked worked. But when she took it apart, she was unable to put it back together. She continued taking apart seven alarm clocks, to the displeasure of her mother, who limited her to taking apart just one. Math Talent Runs in the Family Her father, Walter Fletcher Murray, and paternal grandfather were insurance brokers, a profession which makes use of statistics. Graces mother, Mary Campbell Van Horne Murray, loved math and went along on surveying trips with her father, John Van Horne, who was a senior civil engineer for the city of New York. While it wasnt proper at that time for a young lady to take an interest in math, she was allowed to study geometry but not algebra or trigonometry. It was acceptable to use math to keep household finances in order, but that was all. Mary learned to understand the familys finances because feared her husband would die from his health problems. He lived to be 75. Father Encourages Education Hopper credited her father for encouraging her to step beyond the usual feminine role, have ambition and get a good education. He wanted his girls to have the same opportunities as his boy. He wanted them to be self-sufficient since he wouldnt be able to leave them much of an inheritance. Grace Murray Hopper attended  private schools in New York City where the curriculum focused on teaching girls to be ladies. However, she was still able to play sports at school, including basketball, field hockey, and water polo. She wanted to enter Vassar College at age 16 but failed the Latin exam, She had to be a boarding student for a year until she was able to enter Vassar at age 17 in 1923. Entering the Navy Hopper was considered too old, at age 34, to join the military after the attack on Pearl Harbor that brought the United States into World War II. But as a mathematics professor, her skills were a critical need for the military. While Navy officials said she should serve as a civilian, she was determined to enlist. She took a leave of absence from her teaching position at Vassar and had to get a waiver because she was underweight for her height. With her determination, she was sworn into the U.S. Navy Reserve in December 1943. She would serve for 43 years. Her younger years shaped her path to the computer programming legacy for which she is famous. Later in life, after her time in the Navy, she invented the Mark I Computer with Howard Aiken. Her early math talent, her education, and her Navy experience all played a role in her eventual career. Source and Further Reading Elizabeth Dickason, Remembering Grace Murray Hopper: A Legend in Her Own Time, The Department of the Navy Information Technology Magazine, 27 June 2011.

Compare and contrast Burke's narrative of the scientific revolution Assignment

Compare and contrast Burke's narrative of the scientific revolution with Merchant's - Assignment Example This film primarily focuses on highlighting the impacts of science and technology on the western culture. Episode 04 of the movie talks about how â€Å"printing has transformed knowledge†. Storage, use, and processing of information were significantly changed by Gutenberg’s discovery of printing (Burke @-7:40). In episode 05, Burke talks about â€Å"how science has revised the heavens†. The main issue addressed in this episode is that the heavens do not revolve around the earth (Burke @-9:10). The key issues that are presented by both Merchant and Burke are that scientific and technological advancements have changed human societies. Merchant narrates that science and technological advancements have significantly transformed the environment and its fraternity in a negative way, while Burke believes that science and technological advancements have influence human societies in a positive way. Merchant believes that science and technology have led to excessive destruction of the natural environment and its fraternity. Activities like logging, hunting, and tapping at the onset of increasing urbanization and industrialization that took place in European nations, influenced Indians to begin destroying their natural environment (Merchant 143). Burke on the other hand, claims that written materials made it possible for information to be stored in hard copies, and this in turn also made it possible for history to be stored in the form of writing for easy remembrance. The ability to keep recorded financial statements among other records reduced the rate of corruption in the Catholic Church, and this is what also led to the emergence of Lutheran movements (Burke

Analysing specific financial issues in Oxford Instruments PLC Essay

Analysing specific financial issues in Oxford Instruments PLC - Essay Example The company has a vision to actually turn smart science into viable and affordable commercial products which can be easily available to the target market. It is involved in the development of sophisticated The company started as a small company manufacturing magnets used in the scientific research however, over the period of time, company grew and become one of the most important players in the market. Its history also suggests that it was the first spin-off from the Oxford University and was the first venture which was successfully launched from Oxford University. This paper will explore the financial performance of the Oxford Instruments Plc with special reference to how stock markets are related with the public limited companies and their performance, relationship between the investor values and financial performance of the firm, the gearing level and issue of debt to the investors besides summarizing the overall things with special reference to the limitations of the ratio analysis. There are different methods under which an organization can actually raise money and utilize those funds for the expansion and development of business. One of the key methods of having funds is to basically borrow from the banks, financial institutions or through issuing debt to the investors. Debt or the money borrowed by the companies however, have to be paid repaid along with the interest rates to the debt holders i.e. the persons who actually buy the debt and expect to be repaid with their original principal amount and the interest. Secondly, however, firms can also raise money by selling their equity on the stock markets. A firm, when issuing stocks for the first time to raise money, enters into what is called primary issue of stock listing. Primary issue is basically when the firm sells its stocks for the first time at the price they decide to set whereas secondary selling of the stock market takes place

International HRM PowerPoint Presentation Example | Topics and Well Written Essays - 1500 words

International HRM - PowerPoint Presentation Example Other studies suggest that there are certain aspects to business organisations like technology, structure and other common practices that transcend culture and form a commonality between how businesses operate across cultures (Kerr et al, 1973 & Hickson et al, 1979 cited in Mullins, 1999). In Hofstede’s words, â€Å"effective multinationals have created practices that bridge the national value differences† (1997). This suggests that uniformity in organisational structure may in fact help the organisation create its own culture regardless of national culture differences. These common practices are what help international managers operate effectively beyond their own cultures. Identifying Cultural Differences and Prejudices: â€Å"One’s own culture provides the ‘lens’ through which we view the world; the ‘logic’ by which we order it; and the ‘grammar’ by which it makes sense† (Avruch and Black, 1991) Hofstede (1994, 199 7), argues that ethnocentrism, the behaviour where one considers their own culture to be superior over others, has no place in a world that is getting smaller due to globalisation. The same applies to management, as Evans et al (1989) suggest that managerial styles designed in one culture may not easily translate to another because of the differences in traditions and values of the management and workforce. Globalisation has increased pressure upon firms to invest across cultures to maintain their competitive advantage and to be open for new opportunities. This calls for international managers to be prepared for the challenges they may face as they venture into unknown cultures. Understanding people requires understanding their background, as their background has provided them with their culture and would help one predict their present and future behaviour (Hofstede, 1991 cited in Tulder & Zwart, 2006; Scullion and Linehan, 2005). This calls for an understanding of historical origin s of culture in terms of religious beliefs, values and norms (Hofstede and Bond, 1988). In most cases cultural traits can be identified through culture-specific literature, for example, the Holy Bible, which has historic significance in the evolution of both American and British cultures. Both cultures, argues Cleary (1991), are derived from belief in Biblical texts, which suggest an absolute truth outside of oneself, and as a consequence, one evaluates issues in terms of absolutes and fixed goals. So both Brits and Americans, or westerners in the general sense, according to Trompenaars (1993), tend to be goal oriented and tend to rely on legal contracts during business negotiations. Also, as multicultural nations, both offer a weak culture (Robbins, 2003), which is flexible to change. People in both cultures also tend to be more short-term oriented in their association with organisations. Evans et al (1989) suggest that in the west in general, â€Å"workers ‘sell’ the ir time to the company for wages and do not owe any allegiance to the company in their own time† (pg130). The Five Cultural Dimensions: Hofstede’s five dimensions of cultural values can be now applied to both cultures to better understand the challenges of cross-cultural management, and to derive suggestions for the International

Ir Essay Example | Topics and Well Written Essays - 750 words

Ir - Essay Example Mr Johnson has admitted that the people have a just point when they complain. The claim that the rebels represent Islam, but Muslim theologians say they do not follow the teachings of Islam. An Islamic theological institute, Al-Azhar in Egypt, has strongly denounced the abductions, saying it â€Å"completely contradicts the teachings of Islam and its tolerant principles.† President Johnson has admitted the country is struggling, but his wife has told the group they are just playing games. The report states that the government is corrupt. Boko Haran only has a few hundred men, yet the Nigerian army seem powerless. The kidnappings have taken place just before the World Economic Forum on Africa, with 6,000 troops deployed for security, so this is an embarrassment for the president. The delegates may be kept secure, but the army cannot protect its own vulnerable people safe, so how can it hope to attract investment. This is written from a very personal viewpoint of the ‘It could have been me’ as the reporter had travelled as a student on the very same ferry route to that where tragedy recently struck. He describes how there was no thought of possible danger and that the ship was just a giant playground for the school children. The incident is described as a preventable accident, and from this the writer sees lessons which can be learnt. The ship was very overloaded and the cargo was not properly secured so it moved about, affecting the stability of the ship. The captain had left the ship in the charge of a very inexperienced mate, and this resulted in only two life boats being used and many lives lost. He describes the fury of the Korean public that the captain was among the first to leave the ship. This isn’t the only image of Korea he insists, and gives the example of a Korean crash in San Francisco where stewardesses carried injured passengers to safety. The difference

Insight into the Stagnant Performance of Textile Industry in Pakistan Literature review

Insight into the Stagnant Performance of Textile Industry in Pakistan - Literature review Example Pakistan is a major player globally in the textile industry. The textile industry in Pakistan can be traced back to its origins in 1947. In 1947, the country produced approximately 1.1 million bales of cotton (Iqbal 2010). Over the years, the production of cotton has increased to reach over twelve million bales in 2010. The country has also diversified its cotton products to increase the quality and quantity of products that are exported. For instance, Pakistan textile industry has increased the quantity of ready made garments that are exported. However, the textile industry in Pakistan has been faced with numerous challenges. One of the issues that have affected the textile industry in the country is the stagnation in the amount of textile products that are exported (Channar & Nannik 2010). Also, other Asian countries such as Bangladesh and China have become fierce competitors in the textile industry. Due to these challenges, it is necessary for the Pakistan textile industry to reinvent itself in order to improve the quantity and quality of cotton products so as to stay competitive. The study would evaluate the current status of the Pakistan textile industry and globally. The research will examine the global market and production of cotton and cotton related products in to contextualize the situation in Pakistan. The rapid globalization of the world economies has made all countries to be intertwined such as that international issues significantly affect national economies. The research will also look at the amount of investment that Pakistan has dedicated to the development of the textile industry in the country. The research aims to evaluate the factors that have led to the stagnation of the Pakistan textile industry with a view of answering the research objectives. A critical understanding of the issues affecting the growth of the textile industry will help the

Ir Essay Example | Topics and Well Written Essays - 750 words

Ir - Essay Example Mr Johnson has admitted that the people have a just point when they complain. The claim that the rebels represent Islam, but Muslim theologians say they do not follow the teachings of Islam. An Islamic theological institute, Al-Azhar in Egypt, has strongly denounced the abductions, saying it â€Å"completely contradicts the teachings of Islam and its tolerant principles.† President Johnson has admitted the country is struggling, but his wife has told the group they are just playing games. The report states that the government is corrupt. Boko Haran only has a few hundred men, yet the Nigerian army seem powerless. The kidnappings have taken place just before the World Economic Forum on Africa, with 6,000 troops deployed for security, so this is an embarrassment for the president. The delegates may be kept secure, but the army cannot protect its own vulnerable people safe, so how can it hope to attract investment. This is written from a very personal viewpoint of the ‘It could have been me’ as the reporter had travelled as a student on the very same ferry route to that where tragedy recently struck. He describes how there was no thought of possible danger and that the ship was just a giant playground for the school children. The incident is described as a preventable accident, and from this the writer sees lessons which can be learnt. The ship was very overloaded and the cargo was not properly secured so it moved about, affecting the stability of the ship. The captain had left the ship in the charge of a very inexperienced mate, and this resulted in only two life boats being used and many lives lost. He describes the fury of the Korean public that the captain was among the first to leave the ship. This isn’t the only image of Korea he insists, and gives the example of a Korean crash in San Francisco where stewardesses carried injured passengers to safety. The difference

Do all arguments about abortion come down to the question of what is Essay

Do all arguments about abortion come down to the question of what is the moral status of the fetus Explain - Essay Example Debate on abortion has two premises: pro-life and pro-choice. The pro-life argue in favor of the right of the fetus. The pro-choice school of thought is proponent for the mother has a right of choice on whatever she has to do with her body. They argue that the mother can decide to either terminate or keep her pregnancy. They recognize the fact that any being able to be pregnant can make autonomous choices and decisions regarding what they want to do with their body. Pro-life augments based on human reason: The reason why the bible does not speak directly about Abortion is because it was an unthinkable malady in the Israelite culture. Secondly, the bible views children as a gift from God and as such, life begins during conception and should thus be protected including the fetus. Secondly, Christians believe that God is in control of the womb and finally bareness is a bad omen. Apart from the biblical point of view on abortion, there are other arguments that are provided for non-believers. They include researched pro-life arguments whereby studies have been undertaken in medicine. In medicine arguments against abortion arise from the fact that after conception has taken place, this embryo is different genetically from its mother. A growing fetus has a DNA that is different from the mother. An embryo that is developing is scientifically dissimilar from the ova and sperms that created it. There are 46 or 47 chromosomes in a human being whereby a sperm egg is believed to have 23 chromosomes. Since geneticist can easily differentiate embryo’s DNA and that of sperms and ovum. However, there is no clearly distinct difference between the DNA of the fetus and the afterwards fully grown human being. In addition, the idea of defining death and life leads to a medical argument. It is known that death refers to the cessation of the heartbeat of an individual. In the embryo, the heart is formed on the 18th

Abnormal Psychology and Therapy Essay Example for Free

Abnormal Psychology and Therapy Essay Psychology can be described as examination of ideas, intuitive feeling, and the way someone thinks and uses his or her wits be it physical, mental, or cognitive. Abnormal psychology is ideas or conduct causing the individual troubles. The deficiency may be sadness, potential fight, or simply uncomfortableness in the individuals daily life. Mental disorders or mental disease are practices not in general associated with a person. A number of these disorders can harm others or the one who is battling with the disorder. There are a number of therapies for these disorders and are different in each case. A closer look and contrast of normal and abnormal psychology is need along with mental disturbance and mental disease from a psychology position polishing off by way of a look at different therapies useful for normal and abnormal psychology. Abnormal and Normal Psychology are likewise, also the two look into behaviors, and because of individuals different cultures and beliefs some behaviors are normal. Then again oftentimes they could be different for the behavior is not really typical or something out the ordinary. To know the difference between normal and abnormal psychology helps with acknowledging mental disturbance from a psychological perspective. To help illustrate our research on abnormal psychology, this section will compare and contrast normal and abnormal psychology. Normal psychology focuses on the different ways different people see life and want to live life, rather than relying on generalizations made about whole populations of people. See more:  Mark Twains Humorous Satire in Running for Governor Essay These generalizations can often do harm because without proper consideration they can often imply norm of behavior inimical to a person’s existence. A normal psychology in this way doesn’t imply a perfect individual existence, nor that there aren’t any pathologies. Abnormal-is the branch of psychology that studies unusual patterns of behavior, emotion and thought, which may or may not be understood as precipitating a mental disorder. The field of abnormal psychology identifies multiple causes for different conditions, employing diverse theories from the general field of psychology and elsewhere, and much still hinges on what exactly is meant by abnormal. Mental disorders and mental illnesses This next section will examine mental disorders and mental illnesses from the perspective of psychology. Adjustment disorders of mental disorders is related to an identifiable source of stress that causes significant emotional and behavioral symptoms. Anxiety disorders are those that are characterized by excessive and abnormal fear, worry and anxiety. In one recent survey published in the Archives of General Psychology 1, it was estimated that as many as 18% of American adults suffer from at least one anxiety disorder. Cognitive disorders are psychological disorders that involve cognitive abilities such as memory, problem solving and perception. Some anxiety disorders, mood disorders and psychotic disorders are classified as cognitive disorders. Alzheimers disease †¢Delirium †¢Dementia †¢Amnesia Therapies Psychotherapy is a general term that is used to describe the process of treating psychological disorders and mental distress. During this process, a trained psychotherapist helps the client tackle a specific or general problem such as a particular mental illness or a source of life stress. Depending on the approach used by the therapist, a wide range of techniques and strategies can be used. However, almost all types of psychotherapy involve developing a therapeutic relationship, communicating and creating a dialogue and working to overcome problematic thoughts or behaviors. †¢Psychoanalytic: An approach to therapy that involved delving into a patient thoughts and past experiences to seek out unconscious desires or fantasies. Cognitive-behavioral: A type of psychotherapy that involves cognitive and behavioral techniques to change negative thoughts and maladaptive behaviors. Humanistic: A form of therapy that focuses on helping people maximize their potential. Medical therapy for mental disturbance and sicknesses change between each philosophical system. The earlier style of psychotherapy were the psychodynamic therapies. Psychodynamic therapy tries to change personality practices through perceptiveness and the therapist-patient relationship (Kowalski Westen, 2009). Inside this subdivision of therapy dwell the proficiencies of psychoanalysis and psychodynamic psychotherapy. These particular therapies ask the patient to lie on a sofa or sit opposite with a therapist and talk about what one thinks of, a technique known as free association. The two most adept humanistic therapies are Gestalt therapy and the client centered therapy. Gestalt therapy is somewhat like psychodynamic psychotherapy. The most commonly known technique of the therapy is the empty chair technique. Through this method the patient exercises emotional expression by visualizing that the individual him or her wants to converse with is in the chair. The second humanistic therapy is the client centered therapy. Through this technique the therapist exhibits an position of full credence for the patient by listening emphatically. Therapeutic change occurs as the patient hears his or her own thoughts or feelings reflected by the nonjudgmental listener. Conclusion There are a number of therapies for these disorders and are different in each case. Abnormal and Normal Psychology are likewise, also the two look into behaviors, and because of individuals different cultures and beliefs, some behaviors are normal. Lastly, normal and abnormal look into behavior, this behavior may be causing the individual troubles, confrontation, or simply uncomfortableness in daily life. Mental disorders including schizophrenia and Obsessive compulsive disorder can harm others or the individual battling with them. Mental illnesses comprise of perturbations of mentation, experience, and emotion cause operative disability making it very hard to nurture relationships, keep a job, and can lead to suicide. Treatment will change with regards to the form of disorder a individual has and the individuals commitment to look for assistance with a therapist. References Kowalski, R., Westen, D. (2009). Psychology (5th ed.). Hoboken, NJ: Wiley. Nami ( National Alliance on Mental Illnesses, http://www.nami.org/Content/NavigationMenu/Mental_Illnesses/Depression/Mental_Illnesses_What_is_Depression.htm retrieved December 01, 2012. Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/entries/mental-illness/ retrieved December 01, 2012. www.uidaho.edu/psych101/abnormal6.pdf. Retrieved December 02, 2012 Wood, S. E., Wood, E. R. The World of Psychology. Boston, MA: A Pearson Education Company. Page 538

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