Textile and its cultural aspects

TEXTILE AND ITS'S CULTURAL ASPECTS

Textile is one of the basic necessities for each and

every being on this planet.

• It plays a very crucial role in the 

economic status of the nation.

•The textile export brings great returns to

the nation and act

as a major national income.                  

•It provides employment to a wide sector of

subjects of the

nation and brings out an economical

balance and prevents unemployment in

the nation.                                              

•When the textile industry

of a particular nation stands out and 

export quality is met to the fashion

standards of this date it puts

thenation on the map. 

WHAT IS CLOTHING?

•Clothing is a term that refers to a covering for the

human body that is worn. The wearing of clothing is

exclusively a human characteristic and is a feature of

nearly all human societies.

•The amount and type of clothing worn depends on

physical, social and geographic considerations.

•Physically, clothing serves many purposes; it can serve

as protection from the elements, it can enhance safety

during hazardous activities such as hiking and cooking. 

•It protects humans from rough surfaces by providing a

barrier between the skin and the environment.

•Clothes can protect humans from insect bites or

splinters. Clothes can regulate temperature in the cold or

heat.

•Further, it can provide a hygienic barrier, keeping toxins

away from the body and limiting the transmission of

germs.

•Clothing also provides protection from harmful UV

radiation.

CULTURAL ASPECTS

 
 Gender differentiation

•      In most cultures, gender differentiation of clothing is considered appropriate for men and women. The differences are in styles, colors and fabrics.

•      In Western societies, skirts, dresses and high-heeled shoes are usually seen as women's clothing, while neckties are usually seen as men's clothing.

•  Males are typically allowed to bare their chests in a greater variety of public places.

• Men may sometimes choose to wear men's skirts such as togas or kilts,especially on ceremonial occasions. 

Social status

•In some societies, clothing may be used

to indicate rank or status.

•In ancient Rome, for example, only senators were permitted to wear garments dyed with Tyrian purple.

• In traditional Hawaiian society only high-ranking chiefs could wear feather cloaks and palaoa or carved whale teeth.

•Under the Travancore Kingdom of Kerala, (India), lower caste women had to pay a tax for the right to cover their upper body.

•In China, before the establishment of the republic, only the emperor could wear yellow.

Religion

•Religious clothing might be considered a special case of occupational clothing. Sometimes it is worn only during the performance of religious ceremonies. However, it may also be worn everyday as a marker for special religious status.

•The cleanliness of religious dresses in Eastern Religions like Hinduism, Sikhism, Buddhism, Islam and Jainism is of paramount importance, since it indicates purity.

In Islamic traditions, women are required to wear long, loose, non-transparent outer dress when stepping out of the home.

Fashion

•There exists a diverse range of styles in fashion, varying by geography, exposure to modern media, economic conditions, and ranging from exclusive to traditional garb, to thrift store grunge.

•The world of clothing is always changing, as new cultural influences meet technological innovations.

• Researchers in scientific labs have been developing prototypes for fabrics that can serve functional purposes well beyond their traditional roles, for example, clothes that can automatically adjust their temperature, repel bullets, project images, and generate electricity. 

VARIOUS USAGE OF TEXTILE

*CLOTHING – 

SUMMER COLLECTION

WINTER COLLECTION

*WALL CLADDING 

*DRAPERIES

*LIGHTING

*CARPETS

Refrence:

Kittler, R., Kayser, M. and Stoneking, M. (2003). Molecular Evolution of Pediculus humanus and the Origin of Clothing. Current Biology, 13(16), pp.1414-1417.

         http://everything.explained.today/Clothing/

Architecture and cinema

ARCHITECTURE IN CINEMA

Cinema is a multi-dimensional art form as Jean-Luc Godard states: "There are several ways of making films. Like Jean Renoir and Robert Bresson, who make music. Like Sergei Eisenstein, who paints. Like Stroheim, who wrote sound novels in silent days. Like Alain Resnais, who sculpts. Like Socrates, Rossellini I mean, who creates philosophy. The cinema, in other words, can be everything at once, both judge and litigant.'4 Godard's list of the alternative ways of film making could be expanded by one more specific mode: cinema as architecture."(Pallasmaa, 2001)

The interaction of cinema and architecture

The inherent architecture of cinematic expression, and the cinematic essence of architectural experience is equally many sided. Both the art forms are brought about with the help of a host of specialists, assistants and co-workers.

Both architecture and cinema are arts of an author. The relationship between the two art forms could, for example, be studied from a multitude of viewpoints: how different directors depict a city, as "Walter Ruttman in Berlin, der Sinfonie der Grossstadt (1927) or Fritz Lang in Metropolis (1927); how buildings or rooms are presented, as in German Expressionist films with their fantasy architecture suspended between reality and dream"(Pallasmaa, 2001)

"An architect who made superb projects both as a designer of buildings and set designer was Paul Nelson. His project Maison Suspendue (1936-38)" (Pallasmaa, 2001)

It consisted of a house in which each room was suspended like bird nests within a steel-and-glass cage, a fantastic idea expressed through projected illusion. 

one could never speculate on the kind of buildings the wizards of cinema architecture would have built if they had not decided to devote their architectural talent to the service of the illusory art of cinema.

Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences.  In the continuous shot/sequence that a building is, the architect works with cuts and edits, framings and openings.

The Architecture of Cinema

There are hardly any films which do not include images of architecture. This statement holds true regardless of whether buildings are actually shown in the film or not, because already the framing of an image, or the definition of scale or illumination, implies the establishment of a distinct place.

On the other hand, establishing a place is the fundamental task of architecture; the first task of architecture is to mark man's place in the world. Through architecture we transform our experience of outsideness and estrangement into the positive feeling of domicile. The structuring of place, space, situation, scale, illumination, etc, characteristic to architecture the framing of human existence  seeps unavoidably into every cinematic expression. In the same way that architecture articulates space, it also manipulates time.

Lived space is not uniform, valueless space. One and the same event a kiss or a murder is an entirely different story depending on whether it takes place in a bedroom, bathroom, library, elevator or gazebo.

An event obtains its particular meaning through the time of the day, illumination, weather and soundscape. In addition, every place has its history and symbolic connotations which merge into the incident. Presentation of a cinematic event is, thus, totally inseparable from the architecture, although often unknowingly. It is exactly this innocence and independence from the professional discipline of architecture that makes the architecture of cinema so subtle and revealing.

The Mental Reality of Place

The event and place, mind and space fuse into a singular experience; the world exists through the mind and the mind is in the world.
  

In architecture of cinema the event ,characters, and architecture interact and designate each other. 
Architecture gives the cinematic episode its ambience, and the meanings of the event are projected on architecture. The cinematic narrative defines the boundaries of lived reality.The realities of material and lived image are fused.

The Logic of Emotions

We place our fears, desires and feelings in buildings. A person who is afraid of the dark has no factual reason to fear darkness as such; he is  afraid of his own imagination, or of the contents that his repressed fantasy may project into the darkness. 

The great mystery of artistic impact is that a fragment is capable of representing the whole.
The reader constructs a building or a city from the suggestions of the writer, and the viewer of a film creates an entire epoch from the fragmented images provided by the director. 
A work of art, however, cannot give the viewer emotions stored in its layers. The work receives the emotions of the viewer. A work of art does not reflect the affections of the artist; the subject lends his own emotions to the work. When experiencing a work of art, we project ourselves onto the object of our experience.

Yet even buildings are devoid of emotion; a work of architecture obliges us in the same way as literature and cinema to lend our emotions and place them in it. 
The buildings of Michelangelo do not mediate feelings of melancholy, they are buildings fallen into melancholy. 
Cinema and architecture, as all art, function as alluring projection screens for our emotions.

REFERENCE:

Ucalgary.ca, (2015). in situ: Lived Space in Architecture and Cinema. [online] Available at: http://www.ucalgary.ca/ev/designresearch/publications/insitu/copy/volume2/imprintable_architecture/Juhani_Pallasmaa/index.html [Accessed 23 Nov. 2015].

Pallasmaa, J. (2001). The Architecture of image. Helsinki: Rakennustieto.

Knowledge from one subject to another

A STUDY APPLICATION OF KNOWLEDGE FORM ONE SUBJECT TO ANOTHER SUBJECT

OVERVIEW

It is the process of inspiration and evolution from one subject or object to a 
different subject or object which in turn becomes a new subject and unique 
invention. 
Example: biomorphic architecture, cybertecture

CYBERTECTURE

This term was introduced by Architect James Law. It is a 21st century architecture style.

Cybertecture is the concept that provides a harmonious relationship between the urban fabric and technology. It is a 21st century concept which forges both the hardware of the built environment and software systems and technologies from the micro to macro scales of development.

The origin of Cybertecture is in response to man’s progress into the 21st century, where working and living environments need to adapt and evolve to cope with the demands of modern working life. Cybertecture is also sustainable and 
environmentally considered in application and context.

Cybertecture embraces the future through continuous innovation and evolution of design and technology. 

CYBERTECTURE EGG
MUMBAI, INDIA

In the 21st Century, buildings will not be created by just concrete, steel and glass of the 20th Century, but also with the intangible materials of technology, multimedia, intelligence and interactivity. Buildings are no longer about. 

The concept for the Cybertecture Egg was inspired by looking at the world in terms of the planet, being a self sustaining vessel with an ecosystem that allows life to exist, grow and evolve.




Refrence:
Jameslawcybertecture.com, (2015). James Law Cybertecture. [online] Available at: http://www.jameslawcybertecture.com/index.php?section=Company [Accessed 12 Nov. 2015].

Issues at workplace

Study on issues in a Workplace 

OVERVIEW

what is a workplace?
A place where people work example : office, call centres, factory, retail shops 
etc.

www.trainingmagazine.ae

Methods that could be used to research the issues at a workplace:

For example in a restaurant
- By observation: A study can be done on what time it is really busy on a day 
and what season or time of the month it is busy, what age of people prefer 
the place 
- Questionnaire and feedback forms are good way to know the customers 
review and requests.
- Interview the staff and know their opinion and suggestions.
- Studying the surrounding places and knowing  how to attract people to the 
restaurant.

tripwow.tripadvisor.com

For example in office and call centres:
- by having regular staff meetings where the staff can voice their opinions 
and problems
-Appointing managers to look after a group of staff and make sure everything 
is smooth by observation.
- Studying the productivity of a worker by time to time log.

Reference:
TheFreeDictionary.com, (2015). workplace. [online] Available at: http://www.thefreedictionary.com/workplace [Accessed 3 Nov. 2015].

Previous research

A STUDY ON RETRACTABLE ROOF

OVERVIEW
What is a retractable roof?
It is a kinetic architectural element where the roof of suitable material can be mechanically deployed from open position to closed or extended position.  

AMSTERDAM ARENA(emansion.nl)

It is used in places where climate is either extreme 
heat or cold or if  the weather cannot be predicted. It is usually used for stadiums as the traditional outdoor game has to go on irrespective of the climate example: Amsterdam Arena , Wembley London.

WEMBLEY LONDON
(www.londontown.com)

It is also used at restaurants sometimes.

The Mechanics - How it Moves

(en.sergeferrari.com)

•The concept behind how the roof moves is similar to a locomotive train.

•The roof mechanization system that moves the roof consists of  transporters each capable of supporting over  million pounds of load.

•The transporters are equipped with wheels that travel along parallel steel rails, similar to a locomotive.

•The roof mechanization is an electrically powered traction drive system with motors

•The Roof Panels will be controlled by a single roof operator from a control room located inside.

 The control system allows the roof panels to open or close with all three panels in motion simultaneously or a single panel individually to provide partial shading to the field surface and patrons.

Reason for research: was designing a stadium for thesis project and wanted to add a different element as it h

as never been implied in my country.

Methods of research used:
-Secondary research: Referencing from books, referencing from other peoples dissertation, online research, 
study on already constructed stadiums and the mechanics.
-Primary research: observation of the location, case study,site visit, interview of the experts on the 
structure and mechanism.
- Quantitative analysis on the climate of the site on each month, how much time it takes for the roof 
to close and open according to each material.
-Qualitative analysis on the experience in the closed stadium if its good, how people breathe ,air flow,
lighting


Refrence

Everything.explained.today, (2015). Retractable roof explained. [online] Available at: http://everything.explained.today/Retractable_roof/ [Accessed 26 oct. 2015].

Miami Marlins, (2015). Retractable Roof Facts. [online] Available at: http://miami.marlins.mlb.com/mia/ballpark/retractable_roof_facts.jsp [Accessed 26 Oct. 2015].

Application of knowledge from one subject to another

study on issues in a workplace