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The Dialogue of Craft and Architecture
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Dialogue of Craft and Architecture Thomas J. Forker University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architectural Technology Commons, and the Cultural Resource Management and Policy Analysis Commons Recommended Citation Forker, Thomas J., "The Dialogue of Craft and Architecture" (2015). Masters Theses. 197. https://doi.org/10.7275/7044176 https://scholarworks.umass.edu/masters_theses_2/197 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE MAY 2015 DEPARTMENT OF ARCHITECTURE THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Approved as to style and content by: ___________________________ Kathleen Lugosch, Chair ___________________________ Ray Mann, Associate Professor ____________________ Professor Kathleen Lugosch Graduate Program Director Department of Architecture ____________________ Professor Stephen Schreiber Chair Department of Architecture DEDICATION This thesis is dedicated to my parents, for their love and support. ACKNOWLEDGMENTS I would like to thank my professors Kathleen Lugosch and Ray Mann. They have been forthright with their knowledge, understanding, and dedicated in their endeavor to work with the students in the department and in the pursuit of a masters of architecture degree with spirit and meaning. -
Manual for Trustees. Philadelphia College of Art. January 1972
MANUAL FOR TRUSTEES Philadelphia College of Art COi. .^* A> nil January 1972 K\?i'i\u^::.h't»X': TABLE OF CONTENTS Title Page General Information Short History 1 Educational Objectives 4 Educational Program 5 Articles of Incorporation 7 By-Laws 13 Board of Trustees 23 Trustee Names and Addresses 27 Biographical Information 3 3 Officers of the Corporation 50 Administrative Staff 50 Administrative Offices 5 3 College Senate 58 Alumni Association 58 College Events 61 Firms Employing Recent Graduates 63 College Memberships 65 Enrollment 67 Tuition and Expenses 68 Housing 68 The Library 69 Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/manualfortrusteeOOphil GENERAL INFORMATION ABOUT THE COLLEGE A Short History of the Philadelphia College of Art It is worth noting that the present continuing concern of the College — the professional education of artists and designers to meet the growing needs of industry — was the motivating purpose at its incep- tion. The change from an agrarian to an industrial society in the second half of the 19th century was significantly reflected in the Centennial Exhibition held in Philadelphia's Fairmount Park in 1876. Respond- ing to the view of a future shaped by technology and mass produc- tion, a group of citizens met to establish the Pennsylvania Museum and School of Industrial Art, under a charter approved February 27, 1876, by the Court of Common Pleas No. 3 of Philadelphia under December Term, 1875, No. 1041. The institution received per- mission from the State Centennial Supervisors, the Fairmount Park Commissioners and the City to take possession of Memorial Hall at the close of the exhibition in November, 1876, which housed the museum part of the operation until it was moved to the present building on the Parkway. -
Commencement Program, 1991
The University of the Arts Commencement May 18, 1991 ^^ Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/commencementprog1991univ The University of the Arts Commencement May 18, 1991 Philadelphia College of Performing Arts 1870 Philadelphia College of Art and Design 1876 Processional Welcome Peter Solmssen, President Commencement Address Ambassador Daniel J. Terra Student Address Stacey N. Martino Ronald Scott McBain H. Colton O'Conner Jeff T. Ryan Anthony D. Thyne Alumni Awards Lydia Artymiw Ed Colker Honorary Degree of Doctor of Fine Arts Ivan Chermayeff WillardG. Rouse Ellen Stewart Conferring of Degrees and Certificates Dorrance H. Hamilton, Chairman Board of Trustees Closing Remarks Peter Solmssen Recessional Audience will rise Degrees Bachelor of Fine Arts, Pennsylvania Academy of the Fine Arts Coordinate Program "Jane E. Buscher " Lisa George Fox William Thompson "James Brian Walsh Bachelor of Fine Arts in Animation Samuel H. Bullock James E. Eyies Maria Crisstina Mailey Commencement "Christopher Scott Moeller Candidates Larry C. Schmehl II Anthony D. Thyne Bachelor of Science in Architectural Studies Sherri M. Adier Elizabeth Maria Blengino Master of Arts in Amena C. Najjar Art Education Helen H. Kang Ambar Astuti Jeffrey Reid Kiefer Annette Barnett Lea Marie Munjone 'Elizabeth Hoak Doering Janice Emily Muscio "Elizabeth Puetter Schaeffer Sittisan Sundaravej Jess A. Walker "Jennifer K. Woodhouse Master of Arts in Teaching Bachelor of Fine Arts in Visual Arts in Crafts •Rebekah Finstein Mary Anna Boston Cheryl Fisher :t:Devin Coyne Linda Audrey Keels Elizabeth L. Despard Keith C. Sharp Laura Ferry 'Patricia M. Siembora "David Downing Gibson Kevin Charles Washabaugh Rebecca C. -
Photography Exhibition ‘This Place’ Will Be Presented by Tang Teaching Museum in Collaboration with Museums at Colgate, Hamilton and Ualbany
The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College For Immediate Release Photography Exhibition ‘This Place’ will be presented by Tang Teaching Museum in collaboration with museums at Colgate, Hamilton and UAlbany The Tang to feature work by Wendy Ewald, Gilles Peress, Stephen Shore, Nick Waplington that explores Israel and the West Bank SARATOGA SPRINGS, N.Y. (December 12, 2017) — The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College is leading a four-campus exhibition of This Place, which features more than 600 images by twelve internationally acclaimed photographers who explore the personal and public spaces in Israel and the West Bank. Opening February 3 through April 22, 2018, the Tang’s presentation will feature work by four of the twelve photographers, who each took different approaches, highlighting how photography can illuminate multiple perspectives on a complex topic: Wendy Ewald, taught and photographed children and adults in fourteen communities in Israel and the West Bank in their homes and villages, collecting tens of thousands of digital images, a selection of which is on display at the Tang Museum; Gilles Peress photographed the Road of Patriarchs from Hebron to Jerusalem and the Palestinian village of Silwan in East Jerusalem, areas he considers to be fault lines in the Israeli-Palestinian conflict; Stephen Shore used a his 8 x 10 view camera and a digital camera to photograph landscapes and cityscapes, sacred places, street scenes, and community; and Nick Waplington created a photographic survey of Jewish settlements in the West Bank through both family portraits and images of the natural and built environment. -
Commencement Program, 1996
The University of the Arts Commencement May 23, 1996 ^^ Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/commencementprog1996univ The University of the Arts Commencement May 23, 1996 Philadelphia College of Art and Design 1876 Philadelphia College of Performing Arts 1870 Grand Marshal: Ward Stanley, Humanities Faculty Marshals: Marc DIcclanI, Music Johnnie Hobbs, Jr., Theater Arts Mary Phelan, Book Arts Robert Stein, Illustration • Processional Welcome Peter Solmssen, President Student Address Christopher James Sweeney Alumni Awards Tom Butter Janine Cappello Honorary Degree of Doctor of Fine Arts Robert M. Greenberg Marjorie Samoff Conferring of Degrees and Certificates Dorrance H. Hamilton, Chairman Board of Trustees Closing Remarks Peter Solmssen Recessional Audience will rise Degree Candidates Master of Arts Master of Fine Arts in Art Education in Book Arts/Printmaking * Bruce A. Mackie Mi Kyoung Lee Julia Catherine Ungar Elizabeth Straith McGhee *** Kristen Allis Urffer Kelsey K. Osborn Elias John Anthony Roustom Master of Arts Laura Kay Scheerer in Museum Education * Thomas IVl. Amidon *** Master of Fine Arts Jacqueline Pacita Carter ** in Museum Exhibition Lori R. Davis '** Planning and Gay DiPadova Design *** Jennifer Escalante Rebecca V. Gray *" Michelle Nicole Lewis Marisa Hall ** Tzu-Ching Lin Portia Ellen Henderson Molly A. Miller" Hui-Wen *' Huang *** Alisa Jane Richardson Samantha Ann Matlock t ** Inger Severson Efrossyni Mavrikiou *** Pichaya Suphavanij Elizabeth Nettles Master of Industrial Design Master of Arts "* Richard Warren Fox in Teaching ** Jeffrey B. Jenkins in Music Education Daniel Singer * Santo Andrew Cannizzaro Mark Capriotti Timothy Joseph Garton Graduate Diploma Jason B. Harris in Performance Michael Kevin Hood Jennifer A. -
DP 15Ans Centre Andre Malraux.Indd
DOSSIER DE PRESSE Le Centre André Malraux de Sarajevo Fondé pendant le siège de Sarajevo, incarnation d’une « certaine idée de la France », fidèle à l’engagement intellectuel et moral qui a présidé à sa création, le Centre André-Malraux est le cœur de la présence culturelle française en Bosnie- Herzégovine. Le Centre André-Malraux fête aujourd’hui son quinzième anniversaire. De nombreuses manifestations, en France et en Bosnie-Herzégovine, célèbrent l’événement. A cette occasion, Jorge Semprun, président de l’association Paris- Sarajevo-Europe et Francis Bueb, directeur du Centre André Malraux, vous invitent soutenir cet événement pour permettre au Centre André-Malraux de poursuivre son œuvre et de la développer. « …il y a dans cet entêtement une leçon de fidélité et de morale … » Bernard-Henri Lévy « Il nous semble que Sarajevo, foyer toujours brûlant de l’histoire européenne, peut constituer un observatoire privilégié, et un des lieux d’élaboration de l’Europe de demain. » Jean-Marie Laclavetine « … les histoires doivent toujours continuer. (…) imaginez ce que serait Sarajevo sans le Centre André Malraux (…) Ou sans l’histoire elle-même. L’idée de ne pas témoigner est presque insupportable. Quelle direction prend une route sans témoins ? » Colum McCann Centre André Malraux, l’Europe tous les jours. Centre André Malraux, Mula Mustafe Bašeskije 8, 71000 Sarajevo tel/fax: (387 33) 471 975 / 206 889/ 668 605 Paris-Sarajevo-Europe (loi 1901); 26, Rue de Saintonge, 75003 Paris. Tel: 33 (0)1 48 87 21 61, Fax: 33 (0)1 48 87 21 17 [email protected] JEAN-MICHEL FRODON Critique, journaliste, écrivain octobre 2009 Pour le Centre André Malraux Il y a eu ce qui ne devait pas arriver. -
Materializing Blackness: the Politics and Production of African Diasporic
A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree by Examining Committee Members: ABSTRACT “Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness -
Photographs from the Institute of Design, 1937-1971
CHRONOLOGY Taken By Design: Photographs from the Institute of Design, 1937-1971 Photography and the Founding Generation, 1937-1946 In 1937 László Moholy-Nagy (1895-1946), a Hungarian Jew fleeing Nazi Germany, was brought to Chicago by the city's industrial leaders to establish a school of industrial design to be modeled after the original Bauhaus in Germany, the pioneering school of art, design and architecture where Moholy had taught previously. Although the New Bauhaus lasted only one year (1937-1938), it was quickly reorganized as the School of Design (1939- 1944) and eventually became the Institute of Design (1944-present). The photographs produced in the ID's early years were controlled studio experiments, more concerned with form and materials than with imitating works by photography's masters or documenting the world. Moholy's photograms, for example, are elegant light studies that reveal the complete scale of gray between black and white and illustrate photography's abstract potential. Along similar lines, faculty member György Kepes (1906-2001) produced an extensive series of photographs of his wife in which he explored solarization and negative exposure and even painting on the picture's surface. Nathan Lerner (1913-1997), a student and later teacher at the ID, worked with refractive lenses and photomontage and used his light box to test the pictorial effects of pure light. Another student, Milton Halberstadt (1919- 2000), produced a triple -exposed portrait to showcase photography's capacity for simultaneous vision. At a moment when American photography was largely confined to more conventional portraiture, landscape or documentary reportage, these experimental and abstract pictures revealed the enormous creative potential of the medium. -
Avedon Fashion 1944–2000
Contact: Communications Department 212.857.0045 [email protected] media release AVEDON FASHION 1944–2000 On view from May 15 through September 20, 2009 Media Preview May 14, 2009 11:30 am –1:00 pm RSVP: [email protected] 212.857.0045 Richard Avedon Richard Avedon Dorian Leigh, hat by Paulette, Paris, August 1949 Jade Parfitt and Esther De Jong, ensembles by Galliano, New York, March 1998 © 2009 The Richard Avedon Foundation © 2009 The Richard Avedon Foundation The centerpiece of ICP’s Year of Fashion, Avedon Fashion 1944–2000 will be on view at the International Center of Photography (1133 Avenue of the Americas at 43rd Street) from May 15 through September 20, 2009. The first exhibition devoted exclusively to Richard Avedon’s fashion work, it will occupy the main galleries of the museum and include some 175 photographs from throughout his productive career, as well as original magazines showing his work in context, and material demonstrating his creative process. The exhibition has been organized by ICP Curator Carol Squiers and Adjunct Curator Vince Aletti, with the cooperation of The Richard Avedon Foundation, and will be accompanied by a catalogue published by Harry N. Abrams, Inc. Richard Avedon is the most significant and influential photographer to have taken fashion as one of his subjects. He began working for Harper’s Bazaar in 1944, when he was only twenty-one, and revolutionized fashion photography, dispensing with its prevailing mannered and statically posed formulas and introducing a more youthful, spirited, and distinctly American style. Inspired by Hungarian photographer Martin Munkacsi and encouraged by legendary Harper’s Bazaar art director Alexey Brodovitch, he took models out of the studio and photographed them in motion to exhilarating effect. -
Christmas Decorating Tradition Carries on ZAC GRUBB ’12 Each Class Were Very Impres- Eteria Was Transformed Into Sive
Philadelphia, PA December 2012-January 2013 THEThe Free Student NewspaperGRIFFIN of Chestnut Hill College Christmas Decorating Tradition Carries On ZAC GRUBB ’12 each class were very impres- eteria was transformed into sive. The freshmen class took the “Great Hall,” with lights Christmas decorating night a bold approach, decorating draped from the ceiling, and has been a long-standing tradi- the cafeteria in a The Nightmare large, beaming “stars” shining tion at Chestnut Hill College-- Before Christmas theme, based at passersby. being held for the past 88 on Tim Burton’s classic stop- Senior Class President, years. It started with a class of motion animation film. Mary Frances Cavallaro ’13 15 students who were about to The sophmore class deco- was very happy with the night leave campus for the holidays. rated both the outside of and led the senior class in an They decided that decorating Fournier hall and the Piazza end-of-night heartfelt toast. around campus would be a with a “Night Light Christ- All of this happened just great gift to the Sisters of St. mas,” theme, while the juniors a few minutes before the se- Joseph and so they did. Ever took on a “Winter Wonder- niors made their way through since that evening, Christmas land” theme in the rotunda. the halls banging pots and Decorating Night has been a The seniors won however, pans to wake the school for Chestnut Hill College staple. showing off their Harry Pot- caroling- the traditional finale In the last couple of years ter themed Christmas. to Christmas decorating night. -
Optical Sculptures
Rochester Institute of Technology RIT Scholar Works Theses 10-19-1982 Optical Sculptures Alexander Syndikas Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Syndikas, Alexander, "Optical Sculptures" (1982). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. OPTICAL SCULPTURES by Alexander S. Syndikas Submitted in Partial Fulfillment of the Requirements for the Degree MASTER OF FINE ARTS MFA PHOTOGRAPHY PROGRAM SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCES ROCHESTER INSTITUTE OF TECHNOLOGY ROCHESTER, NEW YORK OCTOBER, 1982 Richard D. Zakia Dr. Richard D. Zakia, Chairperson Professor School of Photographic Arts & Sciences Rochester Institute of Technology Gyorgy Kepes Gyorgy Kepes Institute Professor Emeritus, Director Emeritus of the Center for Advanced Visual Studies. M.I.T. Cambridge, Massachusetts Charles Werberig Charles C. Werberig Assistant Professor School of Photographic Arts & Sciences Rochester Institute of Technology Andrew Davidhazy Andrew Davidhazy, Technical Advisor Associate Professor School of Photographic Arts & Sciences Rochester Institute of Technology I, Alexander S. Syndikas, prefer to be contacted each time a request for reproduction of my thesis "OPTICAL SCULPTURES" is made. I can be reached at the following address: Alexander S. Syndikas SIGNATURE : Alexander S. Syndikas TABLE OF CONTENTS Illustrations iv Acknowledgements vi Notes of a Painter vii Introduction 1 Historical Reference 4 Aesthetics 10 Technique 19 Gallery Presentation 27 Conclusion 32 Appendix 33 Board Members 34 Thesis Proposal 36 Technical Data 41 Visual References 47 Gallery Plan 48 Thesis Announcements 49 Bibliography 53 - Slides of Illustrations (II 1130) .. -
School Catalog, 1993-1994
The University of the Arts Course Catalog - 1993- ^1 Digitized by the Internet Archive in 2010 with funding from Lyrasis Members and Sloan Foundation http://www.archive.org/details/schoolcatalog199394univ The University of the Arts Course Catalog 1993-94 The University of the Arts Philadelphia Philadelphia ff U Office of Admissions College of College of 320 South Broad Street Art and Design Performing Arts Philadelphia, PA 19102 215-875-4808 The University of the Arts is the only university in the nation that is devoted exclusively to education and professional training in the visual and per- forming arts. The University of the Arts was founded in 1987 through the consolidation of two century-old institutions: The Philadelphia College of Art and The Philadelphia College of the Performing Arts. Located in central Philadelphia, The University of the Arts offers comprehensive curricula in design, fine arts, crafts, music, dance and theater arts, and prepares its students to assume over one hundred career paths in the visual and performing arts and related fields. The University of the Arts gives equal consider- ation to all applicants for admission and financial aid, and conducts all educational programs, activities, and employment practices without regard to race, color, sex, religion, national or ethnic origin, or disability. Direct inquiries to the Office of Personnel, The University of the Arts, 320 South Broad Street, Philadelphia, PA 19102; (215)875-4838. All information listed herein is subject to change. 2/94 The University of the