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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.
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Wright, Christopher Wellman. "The Arts and Crafts aesthetic in a contemporary setting /." Online version of thesis, 1988. http://hdl.handle.net/1850/11547.
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Denney, Matthew John. "Arts and Crafts furniture and vernacular furniture." Thesis, Bucks New University, 1997. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.714467.
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Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.
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Machenheimer, Cassandra Elizabeth. "An American "Bookbuilder": An Examination of Loyd Haberly and the Transatlantic Arts and Crafts Movement." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556243824913042.
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Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.
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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.
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Roberts, Rosalie. "Crafting Radical Fictions: Late-Nineteenth Century American Literary Regionalism and Arts and Crafts Ideals." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19668.
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This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization.
Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.
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Ibbotson, Verity Rose. "Collaboration and the Arts and Crafts Movement : the Art Workers' Guild, the Arts and Crafts Exhibition Society, the Quarto Imperial Club, and related group endeavour in Boston and Chicago." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577638.
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Rubinson, Claude. "The Production of Style: Aesthetic and Ideological Diversity in the Arts and Crafts Movement, 1875--1914." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194514.
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What explains the aesthetic diversity of the Arts and Crafts movement? Typically, artistic movements are characterized by a single style but the Arts and Crafts produced both organic and geometric forms. Examining two Arts and Crafts retrospective exhibitions, I find that organic aesthetics predominated in Great Britain, Scandinavian countries, and Hungary and that geometric aesthetics were more prevalent in the United States, Germany, and Austria. This finding is largely consistent with previous sociological research on artistic form, which has found that stronger political-economies are more likely to produce geometric work while weaker political-economies are more likely to produce organic work. Austria, however, is a contradictory case and here the Arts and Crafts movement was more geometric than the political-economic model would predict.Through a comparative-historical study, I determine that the cause of aesthetic diversity of the Arts and Crafts movement was not per se a region's political-economic situation. Rather--and in contradiction to existing sociological theories of artistic style--the aesthetic variation of the Arts and Crafts was a function of whether, in a given country, the movement was backward-looking or forward-looking which, in turn, was function of which Arts and Crafts principles particular regions privileged. In regions where the members of the movement emphasized the value of labor (Great Britain) or regionalism (Scandinavia and Hungary), the movement was backward-looking and characterized by an organic aesthetic. In contrast, in regions that emphasized the democratization of the arts (the United States and Germany) or artistic unity (Austria), the movement was forward-looking and characterized by a geometric aesthetic. I further argue that in order to make sense of the ideological diversity of the movement, we must appreciate that the Arts and Crafts was a cultural manifestation of a period of political and economic turbulence characterized by the emergence of the first great world-wide depression, the decline of British hegemony, and the rise of American hegemony. The Arts and Crafts movement served to buffer the disruptive effects of this period and, in doing so, helped to usher in the modern age.
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Gower, Beverley Michael. "Craft idealism as an influence on design : with particular reference to furniture and interiors." Thesis, Cape Technikon, 1989. http://hdl.handle.net/20.500.11838/1322.
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Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.
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Rosenthal, Ashley A. "The British Arts and Crafts movement manifested in an American case study of Gustav Stickley's Craftsman architecture." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1338880.
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This thesis describes how components of the British Arts and Crafts Movement crossed the Atlantic and inspired the American Gustav Stickley's Craftsman residential architecture. As part of the Movement's reaction against the Industrial Revolution, Stickley's Craftsman residences emphasized honest and simple design and the use of natural materials. My thesis identifies the expressions of Stickley's ideals in the case study of a surviving Craftsman home located in the suburb of Irvington in Indianapolis, Indiana. The case study examines the house's configuration, construction methods, original materials and ornamental motifs. This study is particularly significant because original plans and documentation are available for research. The residence has had few owners and has therefore retained most of its original features and materials. These factors make the residence an exceptional example of Craftsman architecture.Department of Architecture
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.
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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Donlin, Jane. "The dialectics of textile hand production : In search of poetic content : an enquiry into the position of the traditional textile crafts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/439.
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This thesis frames the significance of traditional textile hand production as a means of furthering the concept of aesthetic socio-cultural development. It approaches the traditional textile crafts in relation to the proposition that contemporary society is post-traditional and has broken away from nature. By examining the concept of tradition and the processes by which society transforms from the pre-modern context into the late modern, the changing nature of the crafts is explained. The research also examines wider social losses, gains and unforeseen consequences that occur in the continuous process of social transformation. My art praxis is contextualised within the framework of reflexivity, the idea that creative art practice and theory build on one another. Two research methods are used. The first is a reflection on my situation as a maker. Integral to my work is the actual experience of traditional textile hand production. The second, in drawing on the literature from critical theory, proposes the concept of reflexivity as a means by which to rethink the position of the traditional textile crafts, particularly in relation to questions concerning tradition, culture, society, identity, nature and responsible human action.
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Panayotidis, Euthalia Lisa. "The bureaucratization of creativity, the British Arts and Crafts Movement and its impact on Ontario education, 1880-1940." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0015/NQ45830.pdf.
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Connellan, Kathleen. "New craft in a Western Cape design identity." Thesis, Cape Technikon, 1996. http://hdl.handle.net/20.500.11838/1309.
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Thesis (MTech (Interior Design))--Cape Technikon, Cape Town,1996This research project has endeavoured to analyse the extent to which craft ideas and techniques are combining with technological skills in order to formulate an identity for Western Cape furniture design. This identity has been shown to be strongly linked to the determinants of style". which include the national striving for a South African zeitgeist. a sense of unified spirit. The problems of eclecticism are discussed in the light of superficial ethnic cooption. The new craft of the Western Cape (and more specifically Cape Town) of South Africa. is represented against the background of the old craft of the Arts and Crafts Movement in Britain at the turn of the century. Those old methods and ideas influenced the Cape Colony especially when it was under British rule. This dissertation shows that the new craft ideas and methods are synonymous with the new ideology of South Africa. a new craft for a new South Africa. The designers and practical work selected to be part of this research all share a common approach in their positive attitude towards experimenting with new techniques and using available resources to produce quality furniture which is accessible to most consumers. The work of four design groups: Greenspace. Metropolis. Flying Cow and the Montebel70 Smithy are discussed in terms of the objectives of this research which are essentially linked to the unravelling of the determinants of style and their relation to the concept identity in the South Africa which has succeeded the first free and fair general elections of April 1994.
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Tillyard, S. K. "Early English Modernism and the Arts and Crafts Movement 1910-1914 : A study of the reception of early English Modernism in the visual arts." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371753.
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Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.
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Carter, Victoria Katsuko. "Gustav Stickley's Hapke-Geiger House and Noland and Baskervill's Hunton House: Richmond Architecture ca. 1915." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/752.
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Textbooks teach architecture as conveniently divided into styles and periods, but in reality styles overlap. At the turn-of-the-twentieth century there were three major architectural and decorative movements in the United States: the Aesthetic Movement, the Arts and Crafts Movement, and the American Renaissance Movement. This thesis shows how superficial stylistic labels can be by comparing two very different-seeming houses of the early twentieth century: The Hapke-Geiger House of ca. 1912 in Chesterfield, Virginia, based on a Gustav Stickley Arts and Crafts design, and the Hunton House of 19 14 in Richmond, Virginia, designed in the American Renaissance style by Noland and Baskervill. These homes are very different from one another, but they have three major similarities: They each use an established plan with no essential connection to the building's supposed style, they mix styles, and they have similar kinds of porches. This thesis will pursue these issues to go beyond the superficial stylistic labels and examine how the three major movements of the time are interrelated.
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Stutchbury, Anne. "'At home' in Standen : a study of the Beale family's lived experience of their late-nineteenth century Arts and Crafts home, 1890-1914." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/63357/.
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This thesis is a study of the social and cultural significance of Standen from the perspective of the Beale family's lived experience of the property from 1890 to 1914. The Beales commissioned architect Philip Webb to design Standen in 1891, they were sole owners of the property until it was bequeathed to the National Trust in the early 1970s. Although Standen is recognised by architectural historians as a fine and complete example of Art and Crafts architecture of the period and is celebrated for its William Morris wallpapers, little is known about how the family experienced the house. Drawing on Henri Lefebvre's theory which understands a user's space as lived and not represented, this thesis moves away from traditional architectural accounts to focus on the family's lived experience and the role they played in the creation of Standen. It analyses family and estate archives, the property and its collection of objects and photographs to reveal that Standen's decorative interior, as an ‘eclectic' mix of styles blending Arts and Crafts with Aestheticism, was interwoven with social and cultural meaning. Representing original and innovative research into the history of domestic interiors and living space, this thesis aims to encourage new ways of engaging with and critically understanding the late-nineteenth century Arts and Crafts Movement.
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Hein, Dawn Michelle. "The art and craft of the interior." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1209805.
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This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered.Department of Architecture
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MacDonald, Margaret. "Elwyn Richardson and The Early World of Art Education in New Zealand." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2010. http://hdl.handle.net/10092/5114.
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This study examines the work of Elwyn Stuart Richardson, director and teacher of Oruaiti School between 1949 and 1962, an experimental school in Northland, New Zealand and places it with the context of the history of art education in New Zealand. After documenting the historical and educational reform contexts of the first half of the twentieth century, Richardson’s philosophy of art education is framed through an analysis of moments of his early life, schooling and teaching experiences.
Richardson (1925-) is best known for his book In the Early World published by the New Zealand Council of Educational Research in 1964. The book describes his work as a teacher at Oruaiti and highlights his pedagogical belief that the most powerful learning arises out of children’s own lives and experiences, that learning through the arts raises students’ potential for self-knowledge, critical discernment, imagination, understanding, awareness and empathy for others, and that the arts have an important role to play in the fostering of community and social reform.
The administration of art and craft education in the New Zealand primary school during Richardson’s years at Oruaiti was shaped by early advances in manual and technical education. The development of these reforms and the varied educational doctrines school officials used to advocate for the inclusion of these subjects in the curriculum are examined from 1885 to 1920. As well, significant educational policies and events in the 1920s provided exposure to progressive education ideology from abroad. These initiatives contributed to the great interest in child art which grew out of the New Education movement of the 1930s. New ideas about the development of artistic ability in children led to innovative policies in art and craft education that transformed teaching practices and the place of art and craft in New Zealand schools during the 1940s and 1950s. The newly formed Art and Craft Branch of the Department of Education in 1946 reorganised the administration of art education to change public perceptions of art, create contexts of art appreciation and develop community education in tandem with primary school art education.
Examining Richardson’s educational biography is another lens used to understand his philosophy and pedagogy. Oruaiti's status as an experimental school is explored through the unique relationship of Oruaiti School to the Art and Craft Branch of the Department of Education. Further, Richardson’s developing educational philosophy, in particular his ideas about artistic ability in children and the growth of aesthetic standards, is explored relative to the teaching practices of his day.
The study also uncovers the critical role that science played in Richardson’s educational pedagogy and curriculum and the profound influence Richardson’s early educative experiences were to have on the development of his educational philosophy. Locating Richardson’s work within its historical context demonstrates both that he worked in an environment which was hospitable to educational experimentation in the field of art and crafts, and that, on many levels, he transcended the educational practices of his times.
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Nasstrom, Heidi. ""Live in the country with faith" Jane and Ralph Whitehead, the Simple Life Movement, and Arts and Crafts in the United States, England, and on the continent, 1870-1930 /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8021.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Ferone, Jennifer. "Women and China Painting at the Turn of the Twentieth Century: An Analysis of the Influence of The Art Amateur and The Art Interchange." Akron, OH : University of Akron, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1163640056.
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Thesis (M.A.)--University of Akron, School of Family and Consumer Science: Clothing, Textiles, and Interiors, 2006."December, 2006." Title from electronic thesis title page (viewed 08/20/2007) Advisor, Virginia Gunn; Faculty readers, Sandra Buckland, Teena Jennings-Rentenaar; Director, School of Family and Consumer Science, Richard Glotzer; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Bettis, Robert J. "Herbert Smenner : Muncie eclectic." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313955.
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Herbert Smenner was one of the most prolific architects in the east central Indiana area from 1920 up until his death in 1950. During those three decades, Smenner designed some of Muncie's most beloved and recognizable buildings, including churches, schools, homes, and governmental institutions. The purpose of this study is to study trends in architecture from 1920 to 1950 through Herbert Smenner's work, to determine if he followed these trends, and to see if these trends themselves influenced his work.Smenner was a very sought after architect in Muncie and the surrounding area. His main clientele were the upper class of Muncie, as well as being the choice for many public commissions. Smenner's work, for the most part, did follow the architectural trends of the time. He worked mostly in the revival styles, which was the primary mode of choice during the 1920's and 1930's. In the early 1930's he also designed several buildings in the popular Art Deco and Art Moderne styles. His innovative design the Harrison Township School in 1924, was popular among many regional architects who came to study the unique layout of the school.Smenner was a troubled man. Throughout his career he battled illness, depression and severe issues with his temper. His work was widely appreciated, but the man faced many trials in the public eye do to his personality and legal problems. Smenner was often known as a copy artist by his peers. Many of his contemporaries felt that Smenner never had the creative skills to be a true architect, and that he was simply a wonderful draftsman interpreting the designs of others. Sadly, he took his own life at the age of 52 only leaving behind his buildings as a testament to his life and accomplishments.Department of Architecture
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Ouellet, Hubert. "En harmonie : les oeuvres architecturales résidentielles par le mouvement Arts & Crafts réalisées à flanc de coteaux par Bernard Maybeck, à Berkeley en Californie (1892-1904)." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25429.
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À partir de l'examen des maisons réalisées à flanc de coteaux par Bernard Maybeck (1862-1957) durant la période comprise entre 1892 et 1904 aux États-Unis à Berkeley, dans l'État de la Californie, l'auteur aborde comment s'est créé un langage architectural unique inspirée de le mouvement Arts and Crafts et plus particulièrement des écrits théoriques de l'auteur et critique John Ruskin (1819-1900). Sous l'influence de Maybeck, l'ensemble bâti des maisons « gothiques » devient un outil d'influence majeur dans la mise en place d'un nouveau mode de vie centré autour de l'architecture et de la nature. Le site lui-même influence substantiellement les recherches plastiques par leur liaison importante au site d'implantation. Comprenant ce développement architectural comme étant une interprétation du paysage et de l'esprit gothique théorisé par Ruskin, l'architecte affirme la nécessité de revenir à une vie plus « simple » où l'immixtion entre l'homme et la nature est en harmonie.Using residential architecture constructed by Bernard Maybeck (1862-1957) in the hillside of Berkeley (United States of America, California) during the period comprised between 1892 and 1904, this thesis shows how was articulated a unique architectural language inspired by the Arts and Crafts movement and more specifically the English author, theorician and critic John Ruskin (1819-1900). Under Maybeck's guidance, the architectural ensemble that he affectionately called his « gothic houses » became an important tool helping the establishment of a new way of life centered around architecture and nature. Berkeley's hillsides and landscape influenced considerably the artistic research, as the houses had to reflect their surroundings. Understanding this architectural development as an interpretation of the landscape and of the nature of Gothic as defined by Ruskin, Maybeck shows the necessity to go back to a « simpler » life where man and nature are in harmony.
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Kahn, Patricia Hymson. "HOW THE SOCIAL REFORM MOVEMENT IMPACTED HANDIWORK AT HINDMAN SETTLEMENT SCHOOL IN HINDMAN, KENTUCKY DURING 1902-1920." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1047354711.
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Lippincott, Richard Hysler. "Rookwood architectural faience tile." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/865963.
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The Rookwood Pottery Company was one of the most outstanding American pottery producers in the early 20th century. Rookwood produced a line of significant architectural facing tiles, unlike anything else produced in the Arts and Crafts tile industry. This thesis is an assimilation of all the primary product. Rookwood's catalogues, commissions, and artisans are discussed to illustrate the design and production significance Rookwood's product. The analysis will be valuable for the documentation and identification of tile installations produced by the Rookwood Pottery Company from 1903-1931.Department of Architecture
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Krissberg, Alex. "Crafted Architecture, An Investigation into Handcrafted Glass Techniques." Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6362.
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This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture.
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Olofsson, Ammy. "Computer-human relation through glass : a part of the masters project “Growing Computers, Connecting Bodies, Cutting the Cord”." Thesis, Konstfack, Keramik & Glas, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6287.
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In this master project I investigate materiality, transhumanism and alternative ways of producing knowledge and new discussions in the fields of glass craft, electronics and biotechnology. I make do-it-yourself glass computers and explore the relation between body/human-machine/computer with a hacker approach.
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Sharp, Deborah Carryl 1973. "Responsibility, Participation, and Social Engagement: Women's Capacity-Building Programs in Johannesburg, South Africa." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11086.
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xvi, 139 p. : ill. (some col.), col. maps. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This thesis explores the empowerment effects of arts-and-crafts programs targeting women in Johannesburg, South Africa, focusing mainly on one case study: Boitumelo Sewing Project. Interviews with participants, facilitators, and management reveal that empowerment manifests in Boitumelo Project primarily in individual and collective forms, though also on an economic level to a limited degree. While many development projects focus on economic empowerment, this research suggests that other forms of empowerment may be even more important in the long term. Economic empowerment helps people meet short-term responsibilities, but it is through individual and collective empowerment that personal and community forms of healing take place, enabling people to engage more successfully in society overall. In light of this, I argue that development projects should focus on engendering genuine participatory empowerment on both the individual and collective levels in order to increase sustainability and development success in the long term.
Committee in Charge: Dr. Anita M. Weiss, Chair; Dr. Dennis Galvan; Dr. Michael Hibbard
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Kuchenbecker, Emily E. "Lifetime." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5838.
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Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities.
I do not fear death.
The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am.
But what am I? Am I my body- or is it much deeper?
Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.
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Hart, Imogen. "Arts and crafts objects." Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434024.
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Pustina, Petter. "Arts & Crafts Laboratory." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135596.
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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.
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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Hartigan, Nancy. "A center for arts and crafts: Georgetown." Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/63976.
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“Two great desires which are in essence the desire to absorb and then desire to emit, the desire to know and the desire to test, the desire to hear and the desire to utter, and the basis not only of a true and effective education, not only are they the wholesome body and the enchanting voice of art, but they are greater then these, for they are the animation of quality of that higher purpose and significance of art that we call poetry”
Lois Sullivan
Crafts are the integration of art and life. They bring together nature and man in the form of a usable object. Architecture may be named the ultimate craft endeavour for through building we create a work of art which is used by man. In the thesis the two disciplines are brought together in the Center for Arts and Crafts. The Center, a complex of structures united by public space acts like the guilds of the early twentieth by providing “a forum for exchange of ideas and theories and [a place for] socializing.” (Cummings, page 25) The craft center offers an opportunity to learn about craft; the use of our minds and hands together. Visitors have the chance to participate with craft through viewing the making process, and making them oneself. The theme for the design becomes “interaction.” Interaction is possible for the neighborhood with those outside and those inside.
Providing public space is essential to encourage interaction. “Space is the principle medium of urbanism - the matrix that units public and private interests in the city, guaranteeing a balance between the two.” (Michael Dennis, Court and Garden, page 2) The making of a public rooms is often neglected in today’s architecture. Where ever these courtyards and piazzas occur, they are active and full of life. The Washington Harbor which neighbors the Incinerator site is a successful example of the desire of people to congregate and their need for socializing. The Arts and Crafts Center becomes a stage, enlivening the structure through activities of the public and their interaction with the inhabitants of the complex. The creation of a space which requires human participation to complete the architecture ensures that we, humanity, and the primary subject or object of architecture.
Architecture is built by human hands for humans to inhabit. It should spark our imagination and encourage our participation. The honest expressions of structure and materials are rare in recent buildings leaving us faced with false images and removed from reality. How can we interact with false truths? In our search for a new reality we can look back to simpler times and apply their principles to our complex world. Nature and our own histories must become our guide on the journey toward meaningful and engaging architecture.Master of Architecture
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Chow, Wan-king Janice. "Urban villa for Chinese folk arts and crafts." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31986390.
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Thesis (M.Arch.)--University of Hong Kong, 2002.Includes 1 technical study and 1 special report. Content page of thesis report missing. Includes bibliographical references. Also available in print.
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周韻琼 and Wan-king Janice Chow. "Urban villa for Chinese folk arts and crafts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986390.
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Noseworthy, Molly. ""Ya'll Come Back" Continuing Arts and Crafts in Gatlinburg." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/36.
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Gatlinburg, Tennessee is a tourist town. I was born and raised in this area, and am currently employed at a ceramics shop in the historic Arts and Crafts Community. Due to this job, I have decided to research the importance of the town and crafts area. In this paper, I will present an overview of the history of the town and its art community, and also present an inside look at life and business in a tourist town. Although the Arts and Crafts Community has grown to be a tourist attraction, its roots still lie in the traditional handmade trades, and its artisans attempt to balance the integrity of their crafts with modern demand and economic realities.
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Summerton, Janet. "Designer crafts practice in context." Thesis, City University London, 1990. http://openaccess.city.ac.uk/7724/.
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This research attempts to identify patterns of successful independent practice among contemporary visual arts practitioners for the purpose of increasing understanding of the structures of and activity within the visual arts in England. The intention is to draw conclusions regarding how such practice can be facilitated and supported. It looks at a particular kind of practice in the area of design craft, and at the organisations charged with the responsibility for state provision, setting this critique in a context of a historical and social perspective. Much of recent conventional practice in the visual arts is considered to have a narrow view of what constitutes acceptable practice and is based on the gallery-based fine arts model. This model is a dubious base line from which to encourage a healthy range of independentpractice, and is of little use to the practitioners in this study, and others of similar intent. The practitioners encountered in this research might beconsidered applied artists, as they have a need to engage with a public during the processes of conception, creation and selling of their work. The patterns have been documented with the assistance of concepts regarding small business, particularly a subsector called micro business. Micro business has recently been identified to describe a pattern of activity which is not conducted for profit or with goals of expansion. The motivation behind micro business is to maintain self determination.
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Gordon, Catherine. "The Arts and Crafts architecture of the Cotswold region." Thesis, University of Manchester, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601222.
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The Cotswold region is a relatively well-defined, upland district that reaches across the heartland of Britain. It has a rich and complex history and is renown for its natural beauty and its outstanding vernacular architecture. During the second half of the nineteenth century, after a long period of decline, it began to attract the interest of artists, designers and craftsmen, among them William Morris. They were followed by several prominent architects associated with the Arts and Crafts Movement, who welcomed the opportunity to work in the Cotswolds as its unspoilt character provided the perfect environment to foster their principles and beliefs. They were responsible for an impressive number of new buildings and repair and alteration works in the region. This thesis is divided into three parts. The first part provides a general background to the Arts and Crafts Movement in Britain, and to the Cotswold region itself, its history, topography and building traditions. It also describes the special appeal of the region to Arts and Crafts designers and craftsmen who established workshops in the region. Particular reference is made to the achievements of Ashbee and the Guild of Handicraft in Chipping Campden and of Ernest Gimson and the Barnsley brothers in Sapperton. The second part of the thesis examines Cotswold Arts and Crafts architecture according to type. The majority of commissions were for domestic buildings, which range from large country houses to cottages. There are also some important Arts and Crafts community projects and minor ecclesiastical works found throughout the region. A significant proportion of commissions concerned the repair and reuse of old buildings, and these include many of the most inventive and imaginative designs. In the third part of the thesis. the late flowering of Arts and Crafts architectural talent in the region is summarised. Some of the best works date from the inter-war years. Many of these were deSigned by a younger generation of architects and craftsmen, notably Norman Jewson and F.L. Griggs, who gave new direction and purpose to the Movement's architectural ideals. This remarkable group of Arts and Crafts buildings share an admirable sympathy for their surroundings, and they reveal an inventive and informed response to the dominant vernacular precedent. The high standard of design and craftsmanship that was established, together with the notable emphasis on conservation, had important implications at a local and national level. This thesis aims to reveal the significance of this group of Cotswold Arts and Crafts buildings to an evaluation of the Movement's architectural achievements in general.
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Peñalba, Barreto Anamorella. "Plan de negocio de Arts and Crafts from Centroamérica." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/103206.
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El objetivo de este estudio es desarrollar el plan de negocio de Arts & Crafts from
Centroamerica, cuyo giro es la comercialización vía internet de productos artesanales
centroamericanos de calidad.
La empresa se propone dar respuesta a la demanda por artesanías centroamericanas,
cuya calidad, originalidad y variedad es muy codiciada fuera de la región. Sin embargo,
la oferta de estos productos se encuentra dispersa en distintos portales de la web y
además, la cantidad de portales existentes con opción de compra en línea es muy
limitada. En consecuencia, se determinó que existía una oportunidad de mercado
relevante, al integrar un mix de artesanías centroamericanas de alta calidad en un único
portal, que permita al cliente adquirir dichos productos y recibirlos en su hogar.
Los clientes potenciales residen en Estados Unidos, Alemania y Reino Unido, que son
los países que se atenderán inicialmente. Los segmentos seleccionados son los
centroamericanos, Ias personas de cualquier nacionalidad interesadas en el arte y la
cultura y las tiendas que ofrecen productos artesanales internacionales o exclusivos.
Para la captación de los clientes, se utilizará una estrategia de diferenciación basada en
la oferta distintiva de productos, así como en atributos relacionados al diseño del sitio
web, prácticas de comercio justo y difusión del valor cultural de la artesanía. Todo ello
será apoyado por un plan de marketing orientado a ganar la preferencia del cliente y a
diferenciar a la empresa del resto de compañías que ofrecen sus productos vía internet.
En relación a la metodología, en primer lugar se hizo un análisis de mercado de la
industria artesanal a nivel internacional. Se analizó la demanda mundial de artesanías,
identificando los principales países importadores de dichos productos. A raíz de esto, se
analizó la cantidad de artesanías exportadas por Centroamérica a estos países, para
definir el potencial de mercado. Dentro de esta etapa de análisis, se efectuó una
investigación a partir de encuestas, que reveló la aceptación y razones de compra de
los clientes respecto a la oferta de Arts & Crafts from Centroamerica, a la vez que se
indagó sobre el interés de los artesanos centroamericanos en relación a su
participación como proveedores de la empresa.
Tomando como base el análisis anterior, se definió un modelo de negocios que
combina diversas líneas de productos, incluyendo artesanías de cuero, cerámica,
madera, textiles, hamacas, pinturas, joyería e instrumentos musicales. Asimismo, se
incorporaron una serie de servicios que añaden valor agregado a la compra del cliente.
Para determinar la rentabilidad del modelo de negocios propuesto se diseñó un plan de
marketing, un plan de operaciones, un plan de organización y se realizó la evaluación
económica del modelo. Finalmente, se hizo el análisis de sensibilidad para determinar
cómo variaba la rentabilidad del negocio frente a desviaciones en variables relevantes.
Como conclusión del plan de negocio, se determinó que el proyecto, con una inversión
máxima requerida de US$ 316.172, recuperable en el trimestre trece de
funcionamiento, es rentable y atractivo con un VPN positivo y una TIR de 86%, creando
valor a socios e inversionistas potenciales.
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Evely, R. D. G. "Minoan crafts tools and techniques, an introduction /." Göteborg : P. Aström, 1993. http://books.google.com/books?id=7zJoAAAAMAAJ.
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Hardiman, Louise Ann. "The firebird's flight : Russian arts and crafts in Britain, 1870-1917." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709085.
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Janjulio, Maristela da Silva. "Arquitetura residencial paulistana dos anos 1920: ressonâncias do arts and crafts?" Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-26052009-111901/.
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O objetivo desta pesquisa é o estudo da arquitetura residencial que se desenvolveu na cidade de São Paulo nos anos 1920, e das influências que ajudaram a moldá-la. Entre estas, a do movimento Arts and Crafts, que revolucionou a arquitetura doméstica britânica no final do século XIX e teve repercussão internacional. Tais ressonâncias ocorreram de forma direta e também através de uma triangulação com os Estados Unidos. Ali, haverá certa popularização do movimento inglês na figura do bangalô, juntamente com o aprimoramento da cultura burguesa da habitação do Arts and Crafts. Esta nova cultura da habitação chegará ao Brasil principalmente através das revistas de decoração, trazendo uma nova maneira de morar para a classe média, que se estabelecerá principalmente nos novos subúrbios que se constituem em São Paulo nas primeiras décadas do século XX, particularmente o Jardim América, executado pela Companhia City.The subject of this work is the domestic architecture that arises in the city of São Paulo, Brazil, in the 1920\'s decade and the influences it has suffered. Among them, there is the resonance from the Arts and Crafts movement, which changed the course of the british domestic architecture in the 1890\'s and acquired international reputation. The influences on brazilian architecture probably came by two ways; straight from britain and also through the United States. In this country, there will be a mass production of a new kind of dwelling, the bungalow, which embodies the spirit of the british movement, in a more democratic way. This bourgeois housing culture, inherited from England, will arrive in Brazil mainly through domestic interior magazines. These domestic life-styles will settle in the suburbs that arise in São Paulo in the first decades of twentieth century, mainly in Jardim America from the Companhia City.
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Hamilton, Alexander Graham. "The Arts & Crafts in church-building in Britain, 1884-1918." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:e51d8f96-ba74-4655-b290-b95107f88770.
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Academic interest in Arts & Crafts architecture has tended - as did the architects themselves - to concentrate on houses. This thesis, for the first time, examines the Arts & Crafts in church architecture: there is no book on 'Arts & Crafts churches'. Monographs on Arts & Crafts architects include their church work, of course, but there has been little consideration of the form as a type, considering as a group churches by architects working in the Arts & Crafts milieu, and at the same time. The thesis starts by discussing the underlying problems - the lack of a clear definition of Arts & Crafts, and the questionable concept of Arts & Crafts architecture. It establishes definitions, sets out criteria for considering architects and their churches, and identifies a group of 35 'core churches' from which the majority of the evidence is drawn. The second chapter sets out the historical contexts - religious, architectural, and cultural - and how these contexts intertwine to foreground the personal and individualism in both spiritual and architectural expression. The central three chapters examine the interplay of client and architect: how the attitudes and beliefs of the former affected their relationship to their churches and architects; and how architects' ideas and interests were expressed in their methods, their buildings' construction and decoration. Chapter six explores the diffusion of Arts & Crafts in churches at the end of the period - the role of enthusiastic amateurs; churches as centres of craft education; manifestations of different, even attenuated forms of the ideas in later churches. After a concluding chapter which suggests that the uncategorisability of the churches - exemplified throughout the thesis - demonstrates the way in which belief moved from the cultural centre to the margins, a substantial Appendix sets out details of the core churches: dates, client, funding, architect, craftsmen, plan.
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Evely, R. D. G. "Minoan crafts tools and techniques : an introduction /." Jonsered : Paul Åström, 2000. http://catalog.hathitrust.org/api/volumes/oclc/47104663.html.
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Seo, Jimin. "Jacquard weave for interior design : valuing arts and crafts through encoding emotion and information." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1756/.
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This dissertation exists in relation to the exhibition of design practice at the RCA, November 7th 2014 (documented in photographs accompanying the text); it is structured according to my construction of the exhibition. It therefore integrates the question of describing my practice-based research methods along with the descriptions of my research context, and case studies of other contemporary designers; the history of the Arts and Crafts ethos, as a precursor of modernity, is also reconsidered as of potential use for a crafts approach to textile sustainability. The methods used are a compound of the workshop method of experiments at the desk, drawing board, computer screen, loom and print room, along with a search for existing cases of similar textile-weave practice in current production, some historical research and some autoethnography, which documents the subjective experience of researching sustainability in one aspect of textile design. The thesis explores aspects of emotional durability through textile design. The meaning of emotionally durable textiles, particularly those using a Jacquard weave design, was encoded in the form of QR code (Quick Response code) patterns, which, when scanned by a smartphone, lead users through the digital portal to digital platforms which inform and network users. Considering the origins of the computer in the digital binary logic of weave and its mechanisation in the Jacquard loom, the use of the weave process as a medium for encoding the meaning of the material is especially interesting for the designer as a means of activating the agency of the maker and the user. The use of textiles in all aspects of everyday life ensures the proximity of textile as an interface between the familiarity and comfort of the material and the designer’s addition of the function of rationality in relation to others and to the world of knowledge, networking and activism. The research concludes with a range of prototype Jacquard designs, which activate the relationship between designer and user through the medium of encoded messages. Using the Jacquard code as a part of new digital media of twenty-first-century technology is a way for design practice to celebrate the industrial innovation of mechanised weave and to apply this to the challenges of sustainability.
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Mande, Zoleka. "Income generating projects and poverty alleviation: the Baviaans Arts and Crafts Project." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/6115.
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South Africa has witnessed series of social unrest, many of which ended in violence by very poor communities who allege poor delivery of basic goods and services. The majority of South African citizens are poor and pervasive inequality exists between men and women and between black and white peoples of the country. The poverty alleviation strategies inequalities and the consequences of poverty amongst women in rural areas (Ozoemena, 2010). Cacadu District municipality has done a study analysis on poverty alleviation in 2009-2010 together with the Baviaans municipality to verify which areas was the most poorest in Baviaans municipality. The findings came as Vondeling and Riertbron which was the poorest area. The focus was on tourism side because Baviaans is the tourist area.Rietbron and Vondeling is part of Baviaans Arts and craft program that was previously funded by DEDEAT R500, 00 but only benefited after incorporated to Baviaans municipality as they were previously managed by Cacadu District Municipality before and the municipality decided to invest in this areas. The funding for DEDEAT was utilized for trainings, starting material and equipment’s and building of the Baviaanskoof Craft Shop for two projects which is Vondeling and Steytlerville and Rietbron did not benefit at that time. This study focuses on the income generating projects in Baviaans municipality with the view to describe the experiences of individuals who participate in these income generating projects. The objective of this study was to evaluate the contribution of income generating projects in addressing poverty alleviation. Steytlerville projects is using waste materials like old newspaper, raw material, broken cups to do jewellery .Vondeling and Rietbron project is an angel factory producing beaded wire angels by using materials locally produced merino wool, wire wool, beads and local products such as ostrich feathers .This study is based on a case study which gives a description of poverty and reflects an involvement process of beneficiaries or communities in an income generating project and how it is impacting on their livelihoods. Qualitative and quantitative methodology were used. According to Neuman (2000: 30), the quantitative data methods refer to the collection of data using numbers, counts and measures of things and qualitative research basically involves the use of words, pictures description and narratives”. Data was collected for interviews. In order to collect accurate information, an interview was conducted based on the author’s research questions. Research was conducted in different areas like Steytlerville, Vondeling and Rietbron. A questionnaire was used as a form of data collection for the three projects. These interviews were conducted formally in a focus group composed of the projects members. In Steytlerville they were 5 members, Vondeling 7 members and Rietbron10 members which make a sample of 22 members. These projects have two craft shop where they sell their product which is Willomore craft shop and Baviaanskloof craft shop. The craft shop has been established to create an outlet by which locally sustainably made craft can be displayed and sold. The craft shop has been developed in such a way that is a real life example of a green building and business .The craft shop is an example of how to be environmentally friendly and utilise nature in such a way that it is sustainable and does not destroy it. The research findings suggested that in certain instances, Baviaans Craft project has been successful in generating income for members. The market for these crafters is mainly tourists. From this research it came out clear that some of the project members were able to acquire skills which help them to find employment in well-established craft business. Despite the successful of Baviaans Craft project, the project members were somewhat constrained in managing and running the business. For example with response for special markets, they had to make use of external skills i.e. someone who made contacts with the export market and there after divide the profits amongst members. The project members were not adequately empowered in management skills.
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Manasseh, Pamela. "The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/358.
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This is a study of the social work of Quakers in the town of Brynmawr in South Wales during the depressions of the 1920s and 1930s. The work, which took place during the years 1928 to 1940, has become known as the Brynmawr Experiment. The initial provision of practical and financial relief for a town suffering severely from the effects of unemployment, was developed with the establishment of craft workshops to provide employment. Special reference is made to the furniture making workshop and the personnel involved with it. The thesis attempts to trace links between the moral and aesthetic values of Quakerism and the Arts and Crafts Movement and explores the extent to which the guiding principles of the social witness project and the furniture making enterprise resemble those of the Arts and Crafts Movement of the inter-war years, 1919-1939. All aspects of the Quaker work at Brynmawr were prompted by concern for social justice and upholding the dignity of each individual. These were also the concerns of John Ruskin and William Morris which motivated the formation of the Arts and Crafts Movement in the! 880s. The Arts and Crafts principles which persisted into the twentieth century in the craft communities of C. R. Ashbee and of Eric Gill, and in the craftsmanship of the Cotswold furniture makers, provides an Arts and Crafts context for the Brynmawr furniture. It is argued that similarities between the aesthetic and moral principles of the members of the Religious Society of Friends (Quakers) and those of Ruskin, Morris and their followers establish a synonymity in which they are linked by a common integrity. It is further argued that as a social project arising out of and responding to the specific economic conditions of the time, the Brynmawr Experiment and its furniture making enterprise is, by virtue of such links with Arts and Crafts, a potentially unique Quaker social witness project.
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Guenther, Andrew. "ARTS and CRAFTS: Predictive Scaling for Request-based Services in the Cloud." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1261.
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Modern web services can see well over a billion requests per day. Data and services at such scale require advanced software and large amounts of computational resources to process requests in reasonable time. Advancements in cloud computing now allow us to acquire additional resources faster than in traditional capacity planning scenarios. Companies can scale systems up and down as required, allowing them to meet the demand of their customers without having to purchase their own expensive hardware. Unfortunately, these, now routine, scaling operations remain a primarily manual task. To solve this problem, we present CRAFTS (Cloud Resource Anticipation For Timing Scaling), a system for automatically identifying application throughput and predictive scaling of cloud computing resources based on historical data. We also present ARTS (Automated Request Trace Simulator), a request based workload generation tool for constructing diverse and realistic request patterns for modern web applications. ARTS allows us to evaluate CRAFTS' algorithms on a wide range of scenarios. In this thesis, we outline the design and implementation of both ARTS and CRAFTS and evaluate the effectiveness of various prediction algorithms applied to real-world request data and artificial workloads generated by ARTS.