Accounting - Organizations & Society Unstructured employment sample

Question: 1. Examine a portion of the reasons why chiefs keep on utilizing unstructured work interviews regardless of the bounteous proof that they are not valuable for anticipating future occupation performance.2. Depict the idea of direct dynamic. Likewise, talk about how a straight dynamic model could have helped you in making a past decision.3. Bazerman and Moore recommend that we ought to comprehend the predispositions of others. Talk about this idea as far as why it is significant for us to comprehend other people groups' predispositions. In your conversation, center around how you may have the option to improve your dynamic in a gathering setting.4. Portray the idea of analogical thinking. At that point, thinking about your last buy choice, examine how analogical thinking could have helped you to improve your choice and increment your fulfillment with the item or administration that you bought. Answer: Talk about a portion of the reasons why directors keep on utilizing unstructured work interviews in spite of the plentiful proof that they are not helpful for anticipating future employment execution. The Formless activity meetings notice the example of conversations where the inquiries are changed abandoned on in what way the candidate counters to the style and substance of cross examinations. The clarifications referenced by the administrators or executives articulate about the impression of singularity and impartiality with fluctuated sort of cross examinations that leaves insignificant odds of leaving any imperative question. Also, the unstructured meetings endeavor to limit the impression of nervousness and frenzy and develop an adaptable stage (Smolkin, 2015). Thirdly, the unpremeditated strategy incorporates the cross examinations which may help to perceive the particular skills and gifts appropriate for the huge position. Fourthly, the crucial parts of specific concerns may show up in spotlight which could be overlooked in the expert or scholarly suggestions. The unimaginable layers of human brain are gently delivered through the psychometric valuations of open meetings in LT that examines the idle issues of mind boggling or horrifying conditions of contemplations (Farago, 2010). The most energizing actuality proclaims the highlights of financial and efficient components while meeting a candidate, but comes up short on the show of down to earth experience required for anticipating the potential points of view of calling. Portray the idea of straight dynamic. Additionally, talk about how a direct dynamic model could have helped you in settling on a past choice The technique for building a choice alludes to extra decisions to be estimated just as the choice must guarantee the chief probabilities of achievement or profitability notwithstanding the ideal type of acknowledgment of points and destinations for securing the administrations or ancient rarity. Therefore, the choice structure method includes picking an open door in the midst of various arrangement of factors with unknown outcomes. The straight type of creation of choice determines the portrayals where the appraisal is set up with consideration of the result that thinks about the worries of thoughtfulness (Yoneda Celaschi, 2013). As needs be, the decision with unbeatable expectant stuff is favored above other measures. The manufacture of direct choice exceedingly remains on the prompts that are emotional to explore the course of scholarly intuition in arranging a predetermined choice. Regardless of whether direct example of choice is incredibly unswerving as it dodges the negative an gles, it ends up being trying to choose the standout track while there stay indistinguishable stuffs with voluminous substitutes with the equal possibilities. Rendering to the announcements of Tu. (2014), direct choice establishes portion of the reasonable show of gathering the contemplations of choice universally with fruitful signs. The procedure of direct choice would have encouraged me to shape intelligent and logical decisions grounded on scientific translation of dissecting the nutritive incentive nearby the expense of cheddar burger from Mac Donalds while picking to choose the gainful decision. Bazerman and Moore recommend that we ought to comprehend the predispositions of others. Talk about this idea as far as why it is significant for us to comprehend other people groups' predispositions. In your conversation, center around how you may have the option to improve your dynamic in a gathering setting. There are assorted issues that sway on choice productive course. The predisposition, purposely or incidentally contacts the standards of decisions concerning the sensation and achievements that draws in the characters. During the time spent making choice, it is imperative to grasp ones inclinations or biases remembering others to outline the conclusive procedures for the right course. It sanctions us to recognize the genuine demeanor or standpoint of people (Sobel, 2014). In any case, some faculty in a work environment may reveal the urging highlights of realities to support their situation in a predetermined setting while, others probably won't have the option to depict the whole issue attributable to ignorance and inaccessibility of data. The inclinations or marks of prejudicial issues foresee the imperativeness of estimations and convictions that sway on the all out decisions and firm difficulties Gazal Sulitzeanu, 2010). I would have the option to expand my imaginative and fittin g investigation of the detectable idea of the people while setting the objectives of choice in regards to the gathering execution. This would heighten the intensity of perceiving the genuine viewpoints of mindfulness recognizing the benefits and bad marks of conduct morals. Depict the idea of analogical thinking. At that point, thinking about your last buy choice, talk about how analogical thinking could have helped you to improve your choice and increment your fulfillment with the item or administration that you bought. Analogical thinking stands broadly in appreciating the musings and angles of people. The declarations on twofold or included worries in unwinding stunts are emphatically applied as a faultless component in moving the speculation of premises in policymaking circumstances. The relative highlights of the indistinguishable issues or beginnings uncover the establishment of similarity that is expressly executed in refering to the reasons for sensible occasions or points of interest. The belief system indicates the vision of concluding deductions from the coherent unfurling of layers of realities (Davis, 2012). The mindfulness and comprehension of brand picture and item esteem including the after deals offices of last buy convinced me select the Redme portable set from MI stores through online exchange. Figure: Model of Analogical Reasoning (Source: Gohari, 2014) References Bazerman, M. Moore, D. (2011). Is it time for reviewer autonomy yet?. Bookkeeping, Organizations And Society, 36(4-5), 310-312. https://dx.doi.org/10.1016/j.aos.2011.07.004 Burtscher, M. Meyer, B. (2014). Advancing great choices: How administrative center influences bunch data preparing and dynamic. Gathering Processes Intergroup Relations, 17(5), 663-681. https://dx.doi.org/10.1177/1368430214522138 Davis, K. (2012). Analogical thinking in a model of future-arranged inspiration and self-guideline. English, L. (2012). Numerical and analogical thinking of youthful students. New York: Routledge. Farago, B. (2010). Candidate responses to organized and unstructured enrollment interviews. Gazal-Ayal, O. Sulitzeanu-Kenan, R. (2010). Release My People: Ethnic In-Group Bias in Judicial Decisions-Evidence from a Randomized Natural Experiment. Diary Of Empirical Legal Studies, 7(3), 403-428. https://dx.doi.org/10.1111/j.1740-1461.2010.01183.x Gohari,. (2014). Improving dynamic. Slideshare.net. Recovered 29 September 2016, from https://www.slideshare.net/omidazg/improving-dynamic 40326384 Hullermeier, E. (2012). Adaptable vulnerability the executives. Berlin: Springer. Robson, A. (2012). Analogical thinking and working memory. Durham University. Simmonds-Moore, C. (2014). Investigating the perceptual predispositions related with accepting and distrusting in paranormal wonders. Awareness And Cognition, 28, 30-46. https://dx.doi.org/10.1016/j.concog.2014.06.004 Smolkin, A. (2015). Mutilations of Self-Descriptions in Unstructured Interviews: Sensitive Situation and Informants Self-Justification Strategies. RSR, 14(3), 64-79. https://dx.doi.org/10.17323/1728-192x-2015-3-64-79 Sobel, J. (2014). On the connection among individual and cooperative choices. Hypothetical Economics, 9(1), 163-185. https://dx.doi.org/10.3982/te1185 Tu, Y. (2014). Utilization of Generalized Linear Mixed Models for Network Meta-investigation. Clinical Decision Making, 34(7), 911-918. https://dx.doi.org/10.1177/0272989x14545789 Yoneda, K. Celaschi, W. (2013). An Utility Function to Solve Approximate Linear Equations for Decision Making. Dynamic In Manufacturing And Services, 7(1-2), 5. https://dx.doi.org/10.7494/dmms.2013.7.1.5

Social influence in psychology free essay sample

Along these, endless supply of the substances of a people economic wellbeing can prompt the investigation of social events, similar to animosity and viciousness among kids. Social impact can change a person after some time. Brain research is the cience of human and creature conduct; conduct is some of the time advert, or open (Kowalski Westen, 2009). There are numerous kinds of conduct; a few examples in lower structures depicted as impulses, for example, a youngster playing with a toy. Conduct can extend from straightforward, automatic reflexes, and excessively convoluted. (Bornstein et al. , 2010). Like science, finding a reason for conduct was accomplished by the utilization of research and hypotheses. Be that as it may, inquire about starts with a difficult that requires exceptional regard for resolve. Animosity and Violent Behaviors Animosity is an assault or unfriendly activity coordinated towards someone else or thing. Animosity and brutality are two types of conduct, which are related with each other, however don't really occur simultaneously. We will compose a custom paper test on Social impact in brain research or on the other hand any comparable theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page At the point when an individual lashes out, this physical animosity is threatening hostility (Kowalski Westen, 2009, p. 643). Youngsters respond from fierce acts or forceful conduct, inside society we live in hostility and brutality assume a significant job in culture contrasts. To depict the substance where conduct is estimated is factors. The second sort of ggressive conduct that happens inside kids is instrumental animosity, which means where the people conduct is logical or quiet (Kowalski Westen, 2009, p. 643). Impacts on Behavior First, the relationship among viciousness and animosity at school among youngsters shows mindfulness that presented to savagery inside the school can impact a childs conduct. (Social Consequences Alone in Groups, 2010, p. 1). These gatherings socially affect a childs social conduct, while talking about viciousness. Having a comprehension of how brutality presentation identified with youngsters, may educate utilize regarding reventive intercessions planned for decreasing viciousness. During a childs life, guardians assume a significant job. Regularly guardians search for forceful conduct and not knowing whether conduct is ordinary, move should be made. Numerous guardians search for pieces of information or animosity and viciousness among their own youngsters. In the event that a parent that shows forceful or brutal conduct raises a kid, the youngster will follow similar strides later on throughout everyday life. The conduct that a parent shows socially to their kid becomes proper conduct. In any case, a parent can build a childs risks by eveloping this attribute of conduct by remarking on the childs conduct. Negative remarks will increment forceful and vicious conduct. Friend Group and Behavior All of these social practices are manipulable by changing inside a gathering. At the point when people accumulate gatherings, the less the number the less contrary social remarks. Social loafing and social help have been connected in tests previously, however social loafing and deindividuation isn't associated. Social loafing is a general finding that when individuals act in gatherings however accomplish less work or put less exertion when working alone. There are keys components connected to social loafing: the recognizability of members, assessment of execution inside a gathering, trouble of the errand, and desires (Arnett, 1996, Para. 2). Social conduct can impact a childs life. Social help is which youngsters perform better alone or inside a little gathering. Kids improve p laying out a solitary undertaking, however execution more terrible in a bigger gathering. On the off chance that the kid is exposed to feel awkward, forceful conduct can result. As of late, social loafing and social help were the equivalent (Arnett, 996, Para. 4). Deindividuation is a finding that a gathering of people creates progressively freak, forceful, or friendly unsuitable practices. These factors include kids in-bunch practices, when taken off alone. A kid will take a gander at a gathering of people that they need acknowledgment from; the youngster will search for an approach to be acknowledged. By demonstrating, this particular conduct inside a gathering is utilizing accessible references of the gathering, to recognize practices. Some conspicuous antecedents of hostility of kids are which the kid is being pestered or prodded. These things rought on will impact the kid to show brutal conduct, and be forceful towards others. The social impact that a kid gets influences conduct from multiple points of view. The kid might be discovering trouble in school, home, or with companions. The youngster will look for support, by hoping to fit in a positive social gathering. Hoping to assist a kid with conduct remedial intercession decides by how the parent feels if the childs conduct is typical and there is no indication of hostility. Social is the manner in which an individual acts, thinks, and feels. The underlying foundations of forceful conduct lie in social prizes, disciplines, and subjective procedures, for example, observational learning. The general model for hostility expresses that individuals connect with circumstances to decide the general yield. The limit with regards to animosity and brutality gives off an impression of being inborn, yet hostility and viciousness rely upon learning and culture (Kowalski westen, 2009). End Human conduct when talking about has factors that impact improvement of social conduct. Social conduct impact individuals, while organic characteristics help to the ehavioral designs.

ADHD Combined Type Symptoms and Diagnosis

ADHD Combined Type Symptoms and Diagnosis There are three forms of attention deficit hyperactivity disorder (ADHD). These are: Predominantly inattentive ADHD is characterized by problems regulating attention.Predominantly hyperactive/impulsive ADHD is characterized by impulsive and hyperactive behavior.Combined type ADHD is where both inattention and hyperactivity/impulsivity are present. These different forms of ADHD used to be called ADHD subtypes. Then, when the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) was published in 2013, the term subtype was changed to presentation.?? For example, a person could be diagnosed with attention deficit hyperactivity disorder, combined presentation. Even though the official term is now presented, many people still use the terms subtypes and types. Occasionally, combined ADHD might be referred to as ADHD-C. Diagnosing Combined Type ADHD All ADHD types are diagnosed in the same way. A detailed evaluation is carried out by an experienced healthcare professional. This clinician gathers information from a variety of sources including an interview with you (or your child), your medical history, family medical history, and your experiences in school. The assessment might also include intellectual screening, memory testing, attention and distraction tests, as well as an interview with your spouse. If it is a child being assessed, the child’s parent will most likely be interviewed. At the end of the evaluation, the clinician will determine if the criteria for ADHD outlined in the DSM-5 has been met. If it has, then a diagnosis of ADHD can be made. You or your child will be diagnosed with an ADHD presentation. This will be either inattentive, hyperactive-impulsive, or combined ADHD. The DSM-5 identifies 18 symptoms of ADHD: nine symptoms of inattention and nine symptoms of hyperactivity-impulsivity. To possibly warrant a diagnosis of combined ADHD, the following conditions must be met:Children up to age 16 must exhibit six or more symptoms of each type.People age 17 and older must exhibit five or more symptoms of each type.The  symptoms need to have been present for at least six months.Several inattentive or hyperactive/impulsive symptoms need to have been present before the age of 12 (although not necessarily diagnosed).The symptoms should be noticeable in more than one setting, such as at school/work and at home.The symptoms need to affect the person’s ability to perform to his or her potential.The symptoms should not be better explained by another mental disorder, such as a mood disorder or anxiety disorder. Following is an adapted version of the 18 symptoms listed in the DSM-5. Inattentive Symptoms Often makes mistakes that appear careless, either at school or work. These mistakes occur because of problems paying attention to details.Has difficulty maintaining attention on school, work, reading or fun activities.Does not appear to listen during conversations, even one on one. Seems internally distracted, for example thinking about other things.Following through on instructions is challenging. Finishing a task or homework from beginning to end is rare due to getting sidetracked or losing focus.Tasks are avoided that involve mental effort for long periods of time like schoolwork, work projects, or forms.Frequently loses items, for example, textbooks, wallet, keys, glasses, and cell phones.Can be easily distracted by external events.Is forgetful while doing everyday activities like chores and errands. Hyperactive-Impulsive Symptoms   Being physically still is challenging. Will move feet and hands, and squirm.Staying seated is hard. Will often get up and move around, even in situations where sitting down is socially expected, like a classroom or work environment.Will run or climb at unsuitable times. Teenagers and adults might look physically still but experience internal restlessness.Rarely participates in hobbies or play activities quietly.Has lots of energy and is frequently described as always on the go or driven by a motor.Talks continually and might be known as a chatterbox. This can result in problems at school and work.Will answer questions before they have been fully asked. Interrupt others while they are talking.Waiting for a turn is difficult, whether at play, in a line or during a conversation.Intrudes on other people’s activities and conversation. Why Is It Important to Know What Type of ADHD I Have? As with many topics, knowledge is power. The more you know about your condition and the type of ADHD you have, the more empowered you feel. This in turns means you can get the right treatment for your symptoms so they are well managed. Knowing what ADHD presentation you have means you can distinguish between what is an ADHD symptom and what is part of your unique personality. Sometimes people struggle for years with an aspect of ADHD they think is just part of who they are, only to later find that it was related to ADHD and that treatment is available to help. In addition to the practical benefits, there are psychological benefits to knowing how ADHD affects you. There is a lot of moral judgment around behaviors that result from having ADHD.  For example, not being able to sit still in a meeting might be called disrespectful. A person who makes what seems like careless mistakes at school may be labeled unmotivated. Adults and children with ADHD often call themselves lazy or stupid, when they are neither. Understanding the subtleties of your ADHD type helps you to separate yourself from these negative comments and the shame and guilt that comes with them. This frees you to find a proactive solution instead. Is It Worse to Have Combined Type Than Just One ADHD Type? Having combined type ADHD does not automatically mean your ADHD is more severe compared to someone who is diagnosed with the predominantly hyperactive type or predominantly inattentive type. For example, a person who has predominantly hyperactive-impulsive type might still experience some symptoms from the inattentive symptom list. However, he or she would not have the full five or six symptoms to be given a combined ADHD diagnosis. Being diagnosed with combined type ADHD means your symptoms are more likely to be evenly distributed between the two types. Anyone who is diagnosed with ADHD after May 2013 (when the DSM-5 was published) is told how severe his or her ADHD is. It could be mild (while still meeting the ADHD criteria), moderate, or severe. This rating is a more accurate way to know the severity of your condition, rather than judging it based on the type of ADHD you have. Will You Always Have Combined Type ADHD? When the DSM-5 was published, it replaced the term ADHD subtypes with ADHD presentations.  This change reflected the new understanding researchers have of ADHD. Rather than being a fixed and stagnant condition that could be neatly divided into subtypes, we now know that a person’s ADHD presentation and severity is more fluid and can change with age and the setting. In his book Taking Charge of Adult ADHD,  Dr. Russell Barkley writes that a predominantly hyperactive presentation could be an early developmental stage of combined ADHD.?? He states that the majority of people who are diagnosed with hyperactivity will develop sufficient symptoms related to attention regulation in three to five years. These new symptoms will be strong enough that these people will meet the requirements to be diagnosed with ADHD combined presentation. We also know that symptoms of hyperactivity and impulsivity tend to decline as a person ages.?? For example, a person who experienced hyperactivity as a child and found it hard to sit still might be able to sit still when required as an adult but will feel internal restlessness and discomfort. Treatments If you or your child have combined ADHD, it is important to address both the inattentive and the hyperactive and impulsive symptoms. While ADHD cannot be cured, it is possible to treat and manage symptoms successfully. As with all types of ADHD, the most effective treatment plan for combined ADHD is usually medication, plus behavioral treatments like therapy, accommodations, social skills, and lifestyle changes. The 9 Best Online Therapy Programs There are not specific ADHD medications that work best for certain types of ADHD. Instead, finding the right medication and dose is something that your doctor will be able to help with. You might try several different ADHD medications until you find one that helps your ADHD symptoms and has minimal side effects.

Architecture and textiles - Free Essay Example

Sample details Pages: 31 Words: 9357 Downloads: 4 Date added: 2017/06/26 Category Statistics Essay Did you like this example? The Reconciliation of Craft in Architecture as Facilitated by Textiles Abstract This dissertation analyses the enduring relationship between architecture and textiles. Using textiles as a facilitator, the wider relationship between craft and architecture will be explored. The link between architecture and textiles harkens back to an age when woven fibers provided the primitive dwelling of man, developed in various forms throughout history. The significance of this relationship will be examined in particular through the views of nineteenth century architect Gottfried Semper and twentieth century textile artist Anni Albers. With technological advancement in the age of industrialisation, the apparent discourse and perceptions of textile use within the realm of architecture is explored. The distinction between textile use in art and architecture leads to the discussion of surface and structure within the built environment. The question as to what extent tactile and textile based materials allow us to humanise our built environment will be examined. Don’t waste time! Our writers will create an original "Architecture and textiles" essay for you Create order It could be argued that the development of indigenous design has now caught up with the pace of the twenty-first centurys needs and desire for communication and manufacturing. Architecture has reached a point where the contradiction between structure and ornament is no longer apparent. Ornamentation has now become an option, not just an unnecessary expense. A critical re-examination in attitude to that of the twentieth century ornament is a crime, aided by digitalisation is reviving textiles from its confines in the interior to a more multifunctional and overall structural state. It is arguable that this re-examination in attitude can lead to a reconciliation of craft within architecture. In examining the definition of craft within architecture, this dissertation will explore historical and contemporary aspects of designing and making in the process of creating buildings. The future of textiles in architecture is being pioneered in contemporary design. Particular focus is given to the concepts, forms, patterns, materials, processes, technologies and practices that are being produced with the collaboration of textile architecture. While there is wide recognition for the visual aspect of textile in architecture, new aspects of tactile tectonics, sensuous and soft constructivism are growing acclaim. There is much evidence to suggest that the preoccupation of textile in contemporary design challenges traditional perception and the very structure of architecture itself. The conclusion will argue that by applying the traditional idea of craftsmanship in the knowledge of designing and making as one holistic activity to new developments within textile inspired procedures, craft can be reconciled within architecture, as Seamus Heaney speaks of, two orders of knowledge, the practical and the poetic.[1] This can in turn transform contemporary building processes at a level suitable for todays challenges in society and culture. This raises possibilities of how the concepts of the avant-garde designs of many of todays more innovative architecture can be used and realised in the present state and future of architecture and the city. Key words: textiles, humanise, visual, tactile, conceptual, hybrid, digital augmented-processes, making, craftsmanship History, origin and relationship between textiles and architecture The relationship between textiles and architecture starts with corresponding beginning. Their vast history starts from the role of providing shelter, shade and protection in the building envelope, the skin, originating from crudely stitched animal skins. The history, form and expression of physical woven construction and the use of membranes exist from the light tent structures of human habitation. The significance of the connection between the two disciplines allows and carries complex imprints of geographical, cultural, social and personal influences.'[2] Textiles are a powerful medium, rich with symbolic meaning and aesthetic significance. They remain sources of communication and manifestations of power, fibrous forms consisting in present day fashions, vehicles, interior textiles, communication technologies and cutting-edge architecture'[3]. As people became more settled, and with the erection of more solid dwellings, textile use in architecture became somewhat neglected and confined to the interiors. There is the question of the practicality as to what extent textiles could continue to be used for weather and visual protection after the development of mechanisms and insulation within the built environment. Some traditional textile materials and structure have continued to be used to present day in some parts of the world; examples including coverings over markets and stalls and basic protection such as an umbrella in Nepal as shown below: A review of the work of the nineteenth century German architect and theoretician Gottfried Semper (1803-1879) points to the significance of textiles and architecture. Semper remains certain that the beginning of buildings coincides with the beginning of textiles.[4] Throughout his work, Semper gave emphasis to textiles, offering a western perspective on his interpretations of the origin of architecture. He maintained that textile processes were the principal element, from which the earliest basic structural artefact was that of the knot'[5]. Semper goes as far as to state that architecture originated from the primordial need to distinguish interior and exterior spaces with dividers, fencing made of branches, for example, or hanging tapestries of woven grasses.'[6] Semper showed a high level of understanding of textile arts, its adaptability, transformable state and functional elements, seeking to: Transform raw materials with the appropriate properties into products, whose common features are great pliancy and considerable absolute strength, sometimes serving in threaded and banded forms as bindings and fastenings, sometimes used as pliant surfaces to cover, to hold, to dress, to enclose, and so forth[7] There is much evidence to suggest that textiles share an indissoluble links with architecture, dress and the fabric of society.'[8] Sempers theorys on fabric encompasses his principle of bekelidungsprinzip (dressing), that rather than an abstract skin, the fabric and faade of an architectural space is a functional part of the structure, a tectonic figuration conceived according to the purpose and convenience of the use expected from a building.'[9] His ideas of the relationship between the architectural faade as a dressing and skin refer to how cloth could be used to transform the human figure. However, Semper understood a buildings aesthetic, symbolic and even spiritual significance to reside in its decorative surface.'[10] He believed that over time, memory informed building types, retaining the symbolic forms of their earliest architectural predecessors. He believed the geometric patterns of brick and stone walls were an active memory of the ancient weavings from which they were d erived. [11] This leads us to the perception of tactile and textile qualities within the built environment. Attitudes and perceptions towards tactile and textile use in the built environment The previous chapter emphasises the importance of textile as a structure, distinguisher between the interior and exterior and establishing a sense of place. While he is adamant about the relevance of textiles within architecture, it is arguable that for centuries the value of textiles as a material was reduced to little significance. Furthermore, textiles can be seen to have been largely excluded from use in a majority of architecture theory and production. It could be argued that one aspect of textiles being somewhat dismissed within the realm of architecture is a result of architecture being portrayed as exclusive and elitist. The separation between textiles and architecture can be seen as dating form the Renaissance. There existed prejudicial distinctions between the importance of minor arts such as craft and textiles, and the major arts of architecture. Distinctions as the art critic Barbara Rose states in New York Magazine, 1972, imposed at the end of the Middle Ages when the gu ilds disappeared to be replaced by the Renaissance academies.'[12] While movements such as Art Nouveau and the Arts and Crafts pointed towards architecture that had a direct relationship with arts, the discourse between crafts could be seen to be at its highest point during the nineteenth and twentieth centuries with the event of industrialisation and modernism. The modernist purist concept lay in the emphasis on purism and functionalism of the architecture itself. It can be argued that the architectural focus on rationalism began to isolate and neglect the spiritual and humanising qualities of a building. The conflicting aspects between the modern movement and a lack of humanistic architecture can be seen through various sources. Adolf Loos twentieth century manifesto stating the removal of ornamentation is synonymous with the evolution of culture'[13], had a large impact on the development of our built environment. Some feel that this restricted us from: A language in which visual thoughts, worldly ideas, communal ethos, and memories may be directly deposited and communicated within the substance of material objects.[14] While architects such as Le Corbusier clearly expressed their rejection of ornament, believing in that form follows function, contradictions can be clearly seen with his passion and participation in the tapestry revival. Tapestries have proved an impacting force in the discussion of textiles and architecture. While it is arguable that the high period of tapestry of art can be acknowledged to be the medieval era, new developments in the late 1920s, instead of a woven picture on a wall, tapestry became a wall'[15]. He considered them a mural-nomad a portable mural. The addition of hanging woven reliefs after the modernist era can be seen as an attempt to humanise the brutalist architecture of the 70s. [16] A leading figure in avant-garde tapestry is maker Tadek Beutlich, originally from Poland. His work below, Archangel is eight-foot wide, feathers made out of sisal and other fibres, portraying his mastered technique of weaving, braiding, wrapping, plaiting, ravelling and unravelling. His display of enormous weavings and fiber based installations of such scale and tactile nature, bringing into question the industry versus the hand. Some textile arts can be seen as architectural by encompassing the surface they are attached to with such scale and magnitude. Sheila Hicks wall hanging shows how thread begins to take form of a structure, manipulated and composed like a single brick transformed through structural multiplication into a wall'[17]. The French philosopher Claude Levi Strauss goes as far as to comment on Hicks work that: Nothing better than this art could provide altogether the adornment and the antidote for the functional, utilitarian architecture in which we are sentenced to dwell. The Bauhaus school, renowned for its promotion of a new architectural style, was actually founded for the arts and crafts. However emphasis passed to materials and construction in order to meet the social and technological requirements of the twentieth-century architecture and industrial design. Anni Albers is an example of a weaver at the Bauhaus whose tapestries reflect the chance and spirit of the time. It is arguable that as the ethical and intellectual commitments were made and new materials and processes embraced, visceral and emotional aspects diminished. However the Bauhaus remains an important influence in the expression of materials and structure, rediscovering the importance of expressing texture, structure, and broken colour and in finding new aspects of pattern with the vertical-horizontal format of woven cloth'[18]. Through an investigation between the similarities that exist between the art of weaving and the realisation of architecture, it is clear that the concepts overlap. Both of the nineteenth and twentieth century theorists Semper and Anni Albers, expressed how the similarities between architects and weavers go beyond surface appearance. Textiles within a space can affect the atmosphere, light, climate, acoustics and spatial arrangements. It is recognised that quality can be achieved by relating the physical properties of their work with aesthetic implications and the inherent and underlying aspect of structure. Anni Albers reinforces the architects and weavers common interests: Surface quality of material, that is matire, being mainly a quality of appearance, is an aesthetic quality and therefore a medium of the artist; while quality of inner structure is, above all, a matter of function and therefore the concern of the scientist and engineer. Sometimes material surface together with material structure are the main components of a work; in textile works for instance, specifically in weavings or, on another scale, in works of architecture[19] (really interesting but itsnt is also an indictment that we dont accept that surface also requires inherent structure) Albers reinforces the importance of textiles within the future of architecture, stating that similarities between structural principles of weaving and those of architecture textiles, so often no more than an after thought in planning, might take a place again as a contributing thought [20]. Textile revival For the last several decades, expanded by recent technological advances in textiles, the craft of using textiles conceptually and visually has been gaining recognition, reframing its domestic connotations and the confines of the interior. The next generation of textiles is heralded by technological interfaces, programmable surfaces and architectonic capabilities.'[21] A rejection of European modernism and ideas of universality, textiles as a craft is covering new conceptual ground. Textiles is forging an ever closer relationship with architecture, the two disciplines merging with surface and structure. New sources of sustainable materials are providing another aspect into how the human body is experiences and the urban environment built. Computer technology is inviting new relationships between craft and architecture: By exploiting the singular meanings of textile forms, structure, and processes, these textile artists are sometimes placed outside the general art discourse.[22] Textiles can be described as a medium without clear, self-defining boundaries or limitations.[23] Architects and artists from the 1990s have shown increased vigour in unravelling the essential nature of textiles. Having recaptured with the historical importance of textiles, their attention turned to infusing the same level of emphasis into textiles within the built environment. Some have commented on the flexibility and adaptability of the medium, acting as a vacuum sucking up new materials, techniques, and modes of expression. It has changed its form, size, psychology, and philosophical stance.[24] What unifies designers and artists as a driving force in the creative field of surface design is their enthusiasm for the dimensional possibilities inherent in cloth. There is a fascination by some about the idea of cloth holding the memory of action performed on it; It is for each generation to expand the vocabulary of approaches to cloth.[25] This aspect of working with fabric is directed towards the history and memory of fabric, focusing on expressionism; an emotional connection to objects and a tactile spatial awareness. It is arguable that the uniqueness of the craft of textiles in relation to design and architecture lays in the personal input from the individual maker. Critics and scholars have long recognised that the quality of art lies in concept and quality of insight, not in materials and tools. (state diff textile design +art, textile designers that design +someone else manufactures-how fit into argument ? ) Matthew Koumis highlights how the establishment of textiles applied in a space can differ according to Western and Japanese environments. Koumis points out that in the West a basic element in the hanging of tapestries was to decorate walls of brick or stone, modifying and softening the space. However, These walls didnt exist in traditional Japanese homes where structures were supported by wooden beams. Some argue that the fasuma and shoj (made from wood and paper) exhibit textile characteristics and they can take on textile functions, representing a further development of traditional textile membrane materials.[26] While Japanese houses do not have designated purposes, textiles or tactile surfaces can be used to designate the function of the space: Their contents, and especially their design elements, vary according to the use of the room at any one time. Cloth is often involved in bringing about such changes. [27] Ornamentation Decoration has been used throughout time to apply meaning and a sense of belonging in shelters. It could be argued that textiles as a form of decoration plays a vital role in establishing a buildings identity. It can describe the function, visually define the spaces and offer up claims as to a sense of the owner or users personality. While cost factor and lack of funding in public arts can be seen as one element, artistic adornment has now reached a stage, aided by digitalisation, that can now be seen as a viable option and not just an unnecessary expense. There is a hope that this can again restore peoples pride in their environment and a representation of their culture. There is much argument to suggest that the diminished financial support for public art and corporate collections has led to: the convergence of industrial and digital production techniques in textiles capture the essence of labor-intensive hand-craft that is lost or cannot be achieved due to economic conditions and symbolize a contemporary design spirit. [28] A reversal in attitude towards Adolf Loos Ornament is a Crime is taking place. As such, the work of artists, designers and architects are using technological advances that revive ornament and placing them at the forefront of design. Can you give evidence? And refs on this Designers such as Tord Boontje are reviving a new style of ornament taking the intention of pre-modern design and making it new. His investigation into the relationship between materials, structures, and surfaces, fleshing out the relationship between craft, design and technology.[29] Boontje sees design as a way of shaping the future of our world,[30] combining nature and culture, the oldest and latest materials and technologies, forms, functions and colour combinations, and the (most importantly) Be clear about why you are using him as a ref aesthetic of ornament. The computer programmer Andrew Allenson who has collaborated with Boontje, sees a relationship between craft and technology, Architects and designers can get bogged down in professional management and policy. Tord shows you can be more concerned with process and integrity and self-belief. Ive always thought there is a similarity between craft and software. [31] Again be sure what is improatnt about quote and why you need to use it this starts on one track and only comes to the track you want at the end Boontje has taken a new manifestation of function, understanding elements of design from a new point of view and rejoicing in the freedom it has engendered him. Engendered him to what? Like the architect and philospher.Morris (William?), Boontje looks at history and acknowledges a wish for social engagement and the beauty of use based on a response to nature, but Boontje has, as says (date) extended Morriss legacy by achieving globalised industrial production and embracing the latest technology. [32] Fabric is used throughout Boontjes work with technical innovation, laser-cutting and digital printing. Due to the unpredictable nature of fabric with its elasticity and deformational properties, Boontje realises the difficulty in working with fabric. This unpredictability can also be turned to advantage, collaborating with Swiss and Japanese manufacturers to create a clear expression. Textile and paper are filtered throughout his work, multiple layers being manipulated to create soft definitions of space with nature acting as a dominant influence. Boontje emphasises the importance of textiles and its relationship to ourselves and the wider society; For cloth, like the body, is a mediating surface through which we encounter the world. [33] Boontje is also crossing the discipline between textiles into architecture, experimenting in fabric room, as shown below. He states his fascination by the way a draped fabric folds itself in very organic shapes, and realises the insulating properties of the cloth, providing warmth in the winter and coolness in the summer. [34] Explain the relevance of this draw out the argument and does this sit under title digital ornamentation The possibility of craft within textile architecture Link textile + craft. Say textiles craft wider issues of how craft enhance environment. Applicable to textiles craftsmanship. End pt clear argument This dissertation will begin to examine the possibility of craft within textile architecture, first beginning with the definition of craftsmanship within architecture, to theories in relation to making with the hand and how the issue of craft resides with new technological advancement. Finally, I will come to a conclusion as to how the craft of textiles raises new possibilities towards a reconciliation of the traditional meaning of craftsmanship, combined with new methods and material matter through use of digital visualisation and technological manufacturing process. Henry van de Velde, the Belgian architect insisted that crafts were the great creative reservoir for the future. [35] The definition and theories of craftsmanship Historically in the creation of architecture, each form of knowledge was in the making and designing as one holistic activity. The definition of an architect stems from its origins as a chief builder: Etymologically derived from the Latin architectus, itself derived from the Greek arkhitekton (arkhi-, chief + tekton, builder)[36] The skilled craftsmanship of the builder came from the stonemason craft, an imaginative and creative designer on one hand, who was comprehensively and intimately familiar, at the same time, with the means by which his design could be brought to realisation in actual stone and morter.[37] Using tools as extensions of the hand, the chief builder with a high degree of knowledge and skill ensured a synthesis between tool, material, structure and form. Malcolm McCullough (who is he?) defines a tool (When?) as a moving entity whose use is initiated and actively guided by a human being, for whom it acts as an extension, towards a specific purpose. However, he clarifies what influences perceptions of craft in work as the degree of personal participation, more than any degree of independence from machine technology.[38] Craft involves a union of the hand, tool and mind; craftsmanship arising from manual skill, training and experience. Juhani Pallasmaa argues that the skilled practice of a craft involves imagination of the hand. This skilled practice is at its highest art when it is working from existing knowledge, a continuous meeting and joining of the hands of successive generations. This generational knowledge, of knowing how to apply craft, has came from relaying on the traditional cultures daily spheres of work and life were an endless passing of the hand skills and their product on to others. [39] key point here is also succession at its highest art when it is working from existing knowledge generational knowledge/ experience /- better still know how but is that applicable to new craft? ummmmm interesting Show acknowledge pt new craft doesnt have same involvement, good desiner still basic knowledge cloth. May lose out, stil managing There are various viewpoints about the interaction of the bodily action of the hand and the imagination. Pallasmaa argues that: The craftsman needs to develop specific relationships between thought and making, idea and execution, action and matter, learning and performance, self-identity and work, pride and humility. The craftsman need to embody the tool or instrument, internalize the nature of the material and eventually turn him/herself into his/her own product, either material or immaterial. [40] In examining the value of craft inherent in artisanal work and design, it is arguable that a joint effort of manual work and technology can produce a high standard of results. From my travels in India and Nepal it wasnt uncommon to find manual work that is not merely artisanal but in fact comes very close to industrial work. Eg?- Tadao Ando reflects on how the digital age has modified his design process, feeling the brain and hands work together, the hand an extension of the thinking process, however you cannot ignore the creativity that computer technology can bring. While acknowledging the new kind of creativity, he realises the important in being able to move between those different worlds.[41] Issey Miyake is under the opinion that the joint power of technology and manual work enables us to revive the warmth of the human hand. While never forgetting the importance of tradition, Miyakes concept of Making Things involves creating things that make life more agreeable in todays v interestingsociety and less burdensome in tomorrows. He concludes that technology is not the most important thing: it is always our brains, our thoughts, out hands, our bodies which express the most essential things, the foundation of all expression and the emotion they can provide.[42] Indent left 1.27cm It is arguable that a discourse in craft and design can only lead to ultimate failure within architecture and its wider implications. !! in architecture or where? Richard Sennetts the Craftsman shows how historical divisions between craftsman and artist, maker and user, technique and expression, practice and theory leads to a disadvantage for the individual and society as a whole. Sennett realises that a consideration of the past lives of crafts and craftsmen show us ways of working, using tools, acquiring skills and thinking about materials. However he argues for more value to craftsmanship than a mere technical ability, raising ethical questions about the craftsmans stance. This raises the question Does the designing and making in the spirit of the craftsman entail the skilled application of contemporary as well as functional tools? Is this your question or his? Not clear here While Ando uses architecture to reconcile the logic and spirit of new technologies, he realises that peop le always relate to the spirit of the place, or the spirit of the time. We are reminded that our cities themselves are more important than individual reputations and accomplishments. This is emphasized with Aldo Rossis claim that places are stronger than people.[43] legends, rituals and and genetics outlive any building silly Rossi but of course when you are a fascist power/ful structures are naturally more important than human life.- what do you believe in this- will see in conclusion Some have set forward the argument that is the architects role to unite construction, purpose and place. John Tuomey sets a clear demonstration of his desire for: getting feeling that drifting into PLACE may be dissipating argument of dissertation this section is called The possibility of craft within textile architecture- need to stay focused think comment about strategy in Tuomeys quote is useful since its a shift from craft as manual grafting to craft as strategic thinking- very interesting the crafting occurs then within both the process and the product think I might bring this into my next paper- will reference you ORLA for inspiration ! a way of thinking which would provide an integration between construction and the site, a re-casting of the redundant craft condition which by tradition would exploit local materials and harness indigenous skillsembedding an initial sense of strategy which could remain evident in the eventual experience of an actual building.[44] Architecture needs mechanisms that allow it to become connected to culture. Tuomeys greatest insight is to declare we are agents in the continuity of architectural culture. He uses professional knowledge and experience to realise the choices architects face are not the reaction of an individual moment, but the exercise of an established craft in the continuity of time. I agree only 50% with this since I think Architecture has been exclusive and elitist and needs to deconstruct its genealogy at times- again very interesting Architecture can be viewed rationally and historically, its composite nature in structure, function and physical state combined with cultural, political and temporal aspects. Is this a sentence Architecture develops through new innovations connecting these forces, manifesting itself in new aesthetic compositions and affects. The most successful of which provide expressions that are contemporary, yet whose effects are resilient in time. Well said The question remains, will new effects of innovative detailing, experimental use of materials overcome the modernist failure to visually soften or improve with age.[45] As remarked by Alvar Aalto; it is not what a building looks like on the day it is opened but what it is like thirty years later that matters.[46] It is clear that craftsmanship is viewed in its preoccupation of the present, yet depends, as commented by Tony Fretton, on relations between innovation and past events, between individual and collective activity. [47] Architecture has had to adapt to the change caused by the industry and manufacturing, the individual genius, politics and the rhetoric at some level. It could be said in every historical age it is the people who aid change; they develop the analysis and ideal to what architecture should be. This can result in a tyranny as stated by William Curtis(date); Detractors resorted to monolithic caricatures, blaming the mythical modernism for everything from mindless materialism, to the destruction of national identity, to the construction of unbelievable housing schemes.[48] This view is enforced by Alvar Aalto; The architecture revolution, like all revolutions, begins with enthusiasm and ends in some form of Dictatorship.[49] However it is individuals who can also move us on to create statements about the way the world should be, through forms, light, space and material. Think you need to rehease whay you were saying in this section and why as a reader I can get each statement but not the overall argument perhaps some mini conclusion at end of sections or re-statement of argument This again points out, emphasises Review of the development of Contemporary Textile Designs through Architecture Case Studies By the mid-twentieth century, largely influenced by the work of Frei Otto, a pioneer in the creation of tensile fabric structures, new developments began in the area of self-supporting membrane structures. Textile construction began taking on a permanence, as an alternative to classical architecture, which it had never seen before.[50] His design for the Munich Olympic Stadium, set new standards of material performance and aesthetic in textile architecture with tent, net, pneumatic and suspended constructions.[51] Through the use of technological advancement, pneumatic structures, innovative and fluid forms are being developed like never before. In its modern form, architecture shares a common origin with textiles. Intense research and experimentation into material matter has resurrected the importance and relevance of the visual and tactile nature of textiles within architecture. There is much evidence to suggest that after the myriad of developments in digitalisation and fabrication over the last decade we are forced to reconsider the very structure of architecture itself. The most visible form of woven material exists today in tensile membrane structure. Think its more the most commonly used most visible doesnt not necessarily relate to frequent usage. One could say Christoss wrapping of the Reichstag a good reference for you- was highly visible but not common/ frequent The increasing prominence of textiles in architecture can be seen as the result of innovations in materials science and technology. The cutting edge designers of today are engaging with textiles, new techniques, materials and matter. Their work is of such significant and dynamic contribution to the history, theory and practice of architecture that ensures they will be of continuing value in the future. Innovative, contemporary expression of lightweight textile construction as a divider, enclosure and shade provider in a domestic context is Shigeru Bans Curtain-wall house. Uses large curtain as one layer of the exterior building envelope, either inside or outside of a sliding wall. By this strategy, he creates an ephemeral architectural wall-like presence with paradoxical qualities of enclosure and permeability, separation and openness, opacity and movement that connects the interior of the house with the urban exterior through complex, changing experiences of form and space. Design credibility as a construction material to considered a decorative interior element.[52] (can you build in dates into your text ie when was the curtain wall house built?) Not a sentence unquote these ideas The return to craft, `soft forms, feel, showing rather than hiding the human hand is intended to humanise the architecture and imbue it with spiritual quality (E Bruwer, personal communication). Blaisse Amsterdam based designer studio Inside Outside, p268 materials added to architecture imbue the built environment with softness, a sense of movement, colour and tactility. Inside, Outdides implementations have been described as warm, elegant, sensual and female, a direct contrast to descriptions such as static, male and even cold that oftern characterizes contemporary architecture. Introduction into soft forms harmonise architecture ambition to make buildings more fluid, labile and interactive. P269 cloth common denominator for the world. textiles have connected all forms of human experience throughout mankinds shared history, and therefore they have cultural and emotional significance for almost everyone today. Environments create experience, textiles memory and emotion, hand-knotted filtering curtain no woven. Loosely knitted float within warp, breaking idea textiles must be tightly woven. Advances in manufacturing processes of fabrics and the development of new fibers has led to the growth of textiles applied and used within architecture. Along with the existing positive qualities (lightness, low mass, replaceability, aesthetic qualities) these new improvements allow the integration of new features that bring a high potential for sustainable architecture with them. Ref ideas- think this is interesting also how it maps against ideas of temporary or impermanence see Blaisse interview at start of textile and arch book Textiles are transformed into the tectonic through conventional textiles techniques weaving, bundling, interlacing, braiding and knotting this references Sempers discussion about the knot very interesting effectively building structure through softness and flexibility. Fabric-formed environments are fashioning tensile buildings and inflatable pavilions, while the tailoring techniques of braiding, weaving and pleating are building supple skyscrapers and bioclimatic enclosures. [53] Are these all words and are there examples- images? New materials technologies, driven by advances in biotechnology, nanotechnology, electronics, 3-D weaving, biomimetics and shape memory alloys, offer extraordinary properties, enabling faster, lighter, safer, stronger and smarter high-performance technical textiles that are increasingly finding new applications in sectors such as medicine, sports, agriculture, transportation, defence, aerospace and leisure.[54] Are these all words and are there examples- images? The question of craftsmanship with technological advancement In the investigation of the reconciliation of craft within digital design, I started out with philosophical theories. I am now going to examine how previous aspects in architecture are being brought into question in light of new technological developments in the twenty-first century. Ruskins theory was that the hand making of things being of infinite and better quality than the machine: To those that love architecture, the life and the accent of the hand are everything.[55] He felt to the extent that the use of the machine was an architectural deceit. Following a century and a half of industrial modernisation, infrastructure, machines and media that now pervade our world, should the idea of craftsmanship be reviewed and extended in terms of context? Mies Van Der Rohe view is perhaps of more relevance in terms of context. Architecture depends upon its time. It is the crystallization of its inner structure, the slow unfolding of its form. That is the reason why technology and architecture are so closely related. Our real hope is that they will grow together, that some day the one will be the expression of the other. Only then will we have an architecture worthy of its name: architecture as a true symbol of our time.[56] It is arguable that craft within architecture has always developed with technological advances. The industrial revolution extended tools of craft with a mechanised extrusion of mass-produced repetitive units, encouraging efficiency through standardization and repetition. Some felt (can you name them?) these mechanisms were non-expressive and lacked emotion and spirituality. With a high manufacture content, it is arguable a sense of quality had been lost. This quality came from, as stated by Peter Davey: the congruity of scale, texture, proportion and form of most buildings in traditional European villages being derived from native sources.[57] Can temporary development of digitally augmented design transform the modernist mechanised view of architecture? Has the tradition of craftsmanship been replaced in the reality of todays technical world and mechanical production? The perception of craft is being brought into question in todays industry. Can the growing correspondence between digital work and traditional craft be seen through the mergence of computation as a medium, rather than a set of tools? Has the development of indigenous design with the pace of the twenty-first century mean that this is the only way to reinstate it? Your questions are very good but Think we have to find a way to deal conceptually/ structurally with the list of questions making judgments on how they can be introduced as a tool in the dissertation, the numbers acceptable, how they are framed intellectually and presented visually Given this possibility of craft in the digital realm, how do we uphold subjectivity and skill? Has the value and appreciation of craftsmanship been transferred? In regards to the creative process, what mandate do we use to understand skill, talent and insight? Can the intimacy, sensual and tactile connection between the imagination and the object of the design be stimulated through computer-aided design and virtual modeling? How is the close connection between the making of architecture and the close engagement with materiality been challenged? Does digitalisation lead to a detachment and disconnection from the mind and body or become integral in the design process? Through a re-evaluation of the idea of craftsmanship, would the current discourse between the activities of designing and making in the process of creating buildings be improved? Would the application of digitally-augmented processes from conception to realisation in building benefit contemporary and future architectural design and construction industries? Has the intelligence and complexity of a high order of programming able to guide machines in subtle unexpected ways, diminished the crude and mechanical view of repetition of the machine of modernism? Tools and the latest production methods of digital manufacture are beginning to be of interest in the construction industry, generating and re-defining the idea of craftsmanship in contemporary architecture. These intentions for fabrication are allowing for innovative and expressive forms that portray contemporary attitudes to the context. New technology, design and fabrication tools are reaching a critical level of sophistication giving unprecedented spatial freedom and creativity, making production economically viable. We can look to Frank Lloyd Wrights hypothesise that: In the years which have been devoted in my own life to working out in stubborn materials a feeling for the beautiful () a hope has grown stronger with the experience of each year, amounting now to a gradual deepening conviction that in the machine lies the only future of art and craft as I believe a glorious future.[58] Parallel development in design and fabrication technologies are now re-connecting contemporary designers ideas with a closer connection in an ever closer rel than ever before with their material production, prototyping and manufacture. With developments in digital visualization software, it is now possible to develop architecture entirely on the basis of its surface. explain This type of expressive skin form can be generated between the designer and visualisation software. Three-dimensional computer modeling can now steer mass customization processes from CNC milling to laser cutting. However, questions about tradition and craft remain. Is the reclaim of materiality the way to make more humane spaces away from the modernist view? In what way can architects ensure responsibility for the output of what is essentially an industrial design process to ensure a social responsibility towards society? Contemporary digitally augmented design, by example of case study The Swiss firm Gamazio Kohler (do they desribe themselves as architects?) are a contemporary example of digitally augmented design transforming their work. They are exploring the convergence of digital data and physical materiality through the adaptation of mass-customisation technology to the building construction processes. Through this investigation of the interface between architecture, design and construction through digital control and fabrication, they explore how can the physical structure of architecture be transformed? Will the reorganization of digitalisation and material lead to a shift in the expression of architecture? Would not have questions here The firm uses a robotic arm (is that all?) to articulate(comment? the common masonry units that redefine the relationship of space and decoration to modern architecture. (be careful of what your saying, do not make it obscure Digitally rendered image projections (3d deisgns? were translated into the language of digital scripts that would allow the robot to lay each brick within the wall at a unique angle. Their design of Gantenbein Winery has an ambiguity, bearing a structural idiom and ornamental symbolism that gives the apparently simple brick wall unexpected depth. The desired three-dimensional graphic effect on the planar surface of the entire faade created a numbered of layered effects. Perhaps something about length of time in production? It has an obvious association with weaving patterns, having a textile like quality that appears woven or soft while clearly stating their structural function and machined precision. Gramazio Kohler declare the fundamentals of their work as: The physicality of architecture is a prerequisite of architecture and digital design tools are a given of architectural design. The challenge must hence be to develop new methods of working as an architect.[59] They portray a synthesis of design conception and realisation by having a role in the form generation and direct translation to fabrication techniques with creative, aesthetic and formal aims. This ability of exerting a higher level of control over the design opens up new possibilities for highly complex creativity and allowing architects to re-establish a relevant position in the building process. It could be argued that architecture as a genre has alienated itself form the other arts to such an extent that it has forgotten how much humanizing elements can affect the user. Tactility in the built environment In attempting to establish the identity of contemporary textile craft and its relation to the built environment, it is interesting to look at the thirteenth Lausanne Biennale (date) , when the theme was Textiles Return to the Wall. Rather than making tapestries in the form of wall hangings, some of the artists actually built walls by piling up layers of cloth, highlighting the Japanese textile artists relationship with the space, place and environment in which their fibreforms are created.[60] See also use of carpet tiles in rural studio very tactile Curator Lesley Millar explains a variety of venues are host to a remarkable traveling exhibition, her task was to find: Spaces which could exploit the architectonic nature of the exhibition and if possible create a symbiosis between distinctive architecture and the three dimensional qualities of this work thus creating an exciting and demanding interaction of texture and space. The link between art, design and architecture is apparent in the ambition of the artists to create an understanding of space, light, texture and materials. We can look (again) to Japanese traditional buildings, of paper and wood sliding screens, the tatami mats and structure of the building to see where their interest in textile arts within architecture originates. Their innovative approach arises from a rigorous understanding of process and material, their mastery of skills coming from a lifetime of developing knowledge. The image below by Shigeo Kubota (date) uses basic materials and techniques of sisal and weft to create complex three-dimensional structure. Fabric techniques, of course, are usually slow in execution .not always non wovens or sheet / extruded fabrics are fast in fabrication- think you may be talking about wovens or constructed but think this para is more about skill development and that is associated with crafting / focusing on a limited range of techniques (unlike architects who often play around with any range of materials ) Skill and development of form are perfected in the process; so it is the perception of the maker. The writer and curator Ann Bathelder states how: East European weavers I knew in the 60s were willing to spend 20 years developing a technique, then a year on a single piece. This gave their work great quality.[61] Innovative experimentation challenging the perceived perception of traditional materials concrete and textiles has accumulated in a collaboration between a textile artist Trish Belford and an architect Ruth Morrow. Girli Concrete is the product of a conceptually utopian challenge of bringing together hard and soft materials; and the technologies of two diverse but traditional Northern Irish industries: construction and textiles.[62] Girli Concrete is more than just decoration and aesthetics, drawing on the experience of the textile artist and the academia of the architect; on local tradition of material and contemporary technologies, with a firm aim to mainstream tactility in the built environment.[63]. While it has taken four years to master their technique of embedding, building, stitching and weaving textiles into concrete mould, their practice-led research will continue to develop and refine their process, recognising it as a larger and systematic interaction between textiles and construction. [64] Future possibilities of Textiles in Architecture This dissertation has outlined the potential of the development of architecture through the use of textile qualities. However the full potential of this combination has yet to be reached as a lack of research and interdisciplinary teaching is evident although it is encouraged in other academic fields. Architects pre-occupation of treating aspects of their design in their own field and in isolation without regard for other disciplines will undoubtedly prove a disadvantage at present and in years to come. If humanity is to benefit from their built environment, surely this can only be done with an integration of all aspects of design to further enhance a sense of place. The visual environment has as much to offer socially to a society as aesthetically. It is arguable that the integration of textiles in the built environment can help guide urban environment perception back from an alienating, hostile and dehumanising image. Further research into the field exploring the two disciplines of architecture and textiles might investigate some further issues that need resolved. Certain questions are raised as to the extent the performance of a composite material system consisting of new types of fabric can be transformed into an urban scale. The issue of pattern through hybrid materials, different textile techniques and maintaining the high tactile nature of textiles are there to be developed. Other questions remain such as the permanence and extent of textile use in exterior, decay, elasticity, membrane structure, protective and outer layers. It is hoped that the resultant material might meet sustainability demands, using traditional or regional materials. Todays society is faced with the unique opportunity to investigate and develop these issues further. There are further possibilities that innovative use of textiles will grow far beyond decorative application to space to an integrated part of the construction process. There is evidence to suggest that the use of malleable materials can be exploited to produce new forms of design adaptability to different and changing functions, complexity and responsiveness.'[65] In order to achieve affordable and attainable shelter, mass production is suggested by the economic conditions and reduction of error. However we must take advantage of the same technology that is offering a reconciliation of the hand made craft with the factory made approach. [66] Textiles has much to offer by: allowing the poetic and the meangingful mark of the self, can bring back tactile sensation that seems to be missing in our physical environments, expressing the recent resurgence of a new sense of ornament in built spaces. [67] Changes in economics, society and culture have contributed to the demand for digitally augmented design. New conditions in architecture with faster design cycles imposes the need and desire for a faster, lighter, smarter, more transportable, easily de/reconstructed and technologically facilitated architecture'[68]. These allow architecture to move on to: more effectively express and assimilate the celebrating changes in lifestyle, identity and economics that the contemporary globalised world demands, faster.[69] To summarise, with the pace of technological innovation tools have now developed, from the first traces of dwelling made from the hand and sharpened rocks, into mechanisms allowing designers to create impossibly complex three-dimensional forms and spaces. After an age of mass-production we are now entering early stages of mass-customisation. Previously used for product manufacture, processes such as CNC milling, waterjet and laser cutting are now entering the realm of architecture. These processes are making significant impact within the construction process and allowing for the return of ornament within our built environment. Levels of precision and intricacy can now be reached within architecture, translating textile tectonics and techniques into built form and fuelling utopian and futuristic representations of architecture. [70] As Mark Garcia comments this is of interest to the designers and researchers today, and those of the future, raising: Aesthetic, social and cultural issues that provoke more complex, sophisticated critiques and discourses within architecture, unencumbered by the problematic need of the clients and material and financial restraint. [71] Conclusion The intersection emerging throughout history between textiles and architecture is now coming together with the avant-garde designs of todays more innovative architecture. New developments are of such significant and original contributions to the theory, history and practice of textile use in architecture that they will be of continuing value in the future. Design projects and research demonstrate the technical depth of todays exploration into the complex, machine-based condition of architectural design as well as fabrication. Industrialisation of not only standardised building components, materials and elements, but the design tools and technologies architects are now used in customising these materials. They provide a new aspect into how craftsmanship is understood, experienced and integrated into working methods of the architect. This dissertation makes the case that the two previous separate realms of design and production are now connected in entirely new and innovative ways, leading to a transformation in the current model that we accept as the traditional craftsman. By a re-engagement with the idea of craftsmanship, architects are in a position to yet again re-affirm themselves at the center of the construction industry. This re-engagement involves an awareness of traditional methods, while using newly developed skills in the manufacture process. Given the innovative, sensuous and tactile examples produced by new digitalisation and manufacturing technologies, facilitated by a craftsmans tactic knowledge of making, former historical distinctions between the machine and hand-produced stages in architectural are beginning to dissolve. Seamus Heaney makes the point that a reconciliation of two orders of knowledge, the practical and the poetic, can resolve conflict within our individual selves. It is evident that by reaffirming the importance of textiles within architecture, both conceptually and visually, that implications for innovative new possibilities beneficial to architecture and the city are endless. The use of textiles in the built environment will continue to redefine the physical and emotional boundaries of the spaces we inhabit, providing the connection towards humanising architecture and a fundamental role in mediating a relationship between body, mind, space and matter. [1] Seamus Heaney, Frontiers of Writing, 1993, Oxford Lectures collected in the Redress of Poetry (Faber Faber, London, 1996) p203 [2] Shaping Space: Textiles and Architecture, Janis Jefferies and Diana Wood Conroy p259 [3] Bradley Quinn, Textile Designers at the Cutting Edge, Laurence King 2009, p6 [4] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p235 [5] Studies in tectonic culture, Kenneth Frampton, MIT Press 1996 p86 [6] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p295 [7] Gottfried Semper, Four elements of architecture and other writings. Cambridge New York: Cambridge University Press, 1989, p 215 [8] Bradley Quinn, Textile Designers at the Cutting Edge, Laurnence King 2009 [9] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p272 [10] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p295 [11] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p295 [12] Mildred Constantine/Jack Lenor Larsen, Beyond Craft: the art fabric, Van Nostrand Reinhold Company,1972, p7 [13] Adolf Loos, Ornament and Crime, selected essays, Adriadne Press 1998, p167 [14] Re-Sampling Ornament, p6 [15] Mildred Constantine/Jack Lenor Larsen, Beyond Craft: the art fabric, Van Nostrand Reinhold Company,1972, p44 [16] Matthew Koumis, Art textiles of the world, USA Volume 1, Telos Art Publishing 2000, p12 [17] Mildred Constantine/Jack Lenor Larsen, Beyond Craft: the art fabric, Van Nostrand Reinhold Company,1972, p178 [18] Mildred Constantine/Jack Lenor Larsen, Beyond Craft: the art fabric, Van Nostrand Reinhold Company,1972, p20 [19] https://faculty.philau.edu/griffenc/weaving_analogy.htm [20] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p235 [21] Bradley Quinn, Textile Designers at the Cutting Edge, Laurence King, 2009, p6 [22] Matthew Koumis, Art textiles of the world, USA Volume 1, Telos Art Publishing 2000, p12 [23] Ann Batchelder and Nancy Orban, Fiberarts Design Book Five, Lark Books, 1995, Pg16 [24] Ann Batchelder and Nancy Orban, Fiberarts Design Book Five, Lark Books, 1995, Pg16 [25] Yoshiko Iwamoto Wada, Memory on cloth, Shibori Now, 2002 p11 [26] Slyvie Kruger, Textile Architecture, Jovis Verlag GmbH, 2009, p6 [27] Matthew Koumis, Art textiles of the world, Japan, Telos, 1997 [28] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p265 [29] https://www.dezeen.com/2009/06/19/tord-boontje-appointed-professor-and-head-of-design-products-at-the-royal-college-of-art/ [30] Tord Boontje, Martina Margetts, Rizzoli New York, Year? [31] Tord Boontje, Martina Margetts, Rizzoli New York, p129 [32] Tord Boontje, Martina Margetts, Rizzoli New York, p189 [33] Tord Boontje, Martina Margetts, Rizzoli New York, p195 [34] www.tordboontje.com [35] Mildred Constantine/Jack Lenor Larsen, Beyond Craft: the art fabric, Van Nostrand Reinhold Company,1972, p17 [36] https://en.wikipedia.org/wiki/Architecture [37] John Fitchen, The Construction of Gothic Cathedrals, 1961 Clarendon Press, Oxford. [38] Malcolm McCullough, Abstracting Craft: the Practiced Digital Hand, MIT Press, 1998, p 68, 69 [39] Juhani Pallasmaa, Architecture of the Hand, p51 [40] Juhani Pallasmaa, Architecture of the Hand, p51 [41] Tadao Ando Interview, The Spirit of Modernism, with Robert Ivy, Architectural Record [42] Issey Miyake, Making Things, 1999, Foundation Cartier pour lart contemporain, Scalo, p55, 104, [43] Colin St John Wilson, The Other Tradition of Modern Architecture, Black dog Publishing [44] John Tuomey, Architecture, Craft Culture, Reflections on the work of ODonnell Tuomey, Gandon Editions, 2004 [45] Geoff Rich, Modern Matters, Architectural Review, Feb 2006, p 41 [46] Colin St John Wilson, The Other Tradition of Modern Architecture, Black dog Publishing [47] Tony Fretton, The History of the New, Building Material, issue 12 Morality and Architecture, 2004, p 8-11 [48] William J. R. Curtis, Transformation and invention: on re-reading modern architecture, Architectural Review, March 2007, p 36 [49] [50] Slyvie Kruger, Textile Architecture, Jovis Verlag GmbH, 2009, p6 [51] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p261 [52] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p261 [53] Architextiles, Mark Garcia, John Wiley Sons 2008, p8 [54] Architextiles, Mark Garcia, John Wiley Sons 2008, p8 [55] John Ruskin, The Lamp of Life, 1849, p35, 170 [56] Ulrich Conrads, Programs and manifestoes on 20th-century architecture, MIT press, 1971, p154 [57] Peter Davey, Material Assets, ArchitectureRreview, Aug 2004, p 39 [58] Frank Lloyd Wright, The Art and Craft of the Machine, 1901 [59] Christoph Merian Verlag, Re-Sampling Ornament, S AM No. 5, p15 [60] https://www.fourthdoor.org/pdfs/5.13.pdf [61] Ann Batchelder and Nancy Orban, Fiberarts Design Book Five, Lark Books, 1995, Pg10 [62] The Oxford Conference: A Re-Evaluation of Education in Architecture, p358 [63] The Oxford Conference: A Re-Evaluation of Education in Architecture, p360 [64] The Oxford Conference: A Re-Evaluation of Education in Architecture, p360 [65] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p266 [66] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p265 [67] Textile: the Journal of Cloth and Culture; special Issue Shaping Sace: textiles and Architecture Vol 4, Issue 3 Fall 06 p265 [68] Mark Garcia, Architextiles, Architecture Design Nov/Dec 2006, Wiley, p10 [69] Mark Garcia, Architextiles, Architecture Design Nov/Dec 2006, Wiley, p10 [70] Mark Garcia, Architextiles, Architecture Design Nov/Dec 2006, Wiley, p18 [71] Mark Garcia, Architextiles, Architecture Design Nov/Dec 2006, Wiley, p18

Essay on Organizational Conflict - 775 Words

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Investigating the Effect of Ph on the Activity of the Enzyme Catalase Free Essays

string(110) " will be concentrating on changing just 1 factor \(pH\) to show that this is the one than can change results\." Investigating the effect of pH on the activity of the enzyme catalase. Introduction Hydrogen peroxide (H2O2) is a very pale blue liquid which appears colourless in a dilute solution, slightly more viscous than water. It is a weak acid. We will write a custom essay sample on Investigating the Effect of Ph on the Activity of the Enzyme Catalase or any similar topic only for you Order Now It has strong oxidizing properties and is therefore a powerful bleaching agent that is mostly used for bleaching paper. Catalase is a common enzyme found in all living organisms. Its functions include the conversion of Hydrogen Peroxide, a powerful and potentially harmful oxidizing agent, to water and oxygen. One molecule of catalase can convert millions of molecules of hydrogen peroxide to water and oxygen per second. Liver and other living tissues contain the enzyme catalase. Hydrogen peroxide, which is a harmful by-product of the process of cellular respiration is broken down if it builds up in concentration in the cells. If we use potato or other tissue containing this enzyme, we can use this to measure the relative influence of varying different factors on the activity of enzymes in living tissue, the factor I will be investigating in my coursework is the activity of pH. AimThe aim of my investigation is to find out how different pH’s will affect the enzyme activity and how this will affect the rate of reaction. Extremely high or low pH values generally result in complete loss of activity for most enzymes. pH is also a factor in the stability of enzymes. As with activity, for each enzyme there is also a region of pH optimal stability. I will also be measuring the rate at which oxygen is evolved and how it reflects the activity of the enzyme catalase. Enzymes are generally globular proteins that have primary, secondary, tertiary and maybe quaternary structures.They are biological catalysts that can speed up a reaction rapidly. Enzymes are usually very specific as to which reactions they catalyse and the substrates that are involved in these reactions. Complimentary shape, charge and hydrophilic/hydrophobic characteristics of enzymes and substrates are responsible for this specificity therefore only one substrate will fit into the active site of the 1 enzyme. Two theories on Enzyme function: Lock and Key hypothesis – where you have 1 enzyme, 1 substrate and there is a complimentary shape and charge. Induced Fit Hypothesis – The substrate and enzyme are not complimentary.During a collision the substrate induces a change in the active site shape and so it becomes complimentary. E. g. Hand in Glove. Some enzymes are produced in an inactive form therefore need to be switched on by the addition of a non-protein group, this sometimes causes a permanent change. Limiting factors- Few factors that affect enzyme activity * Temperature Each enzyme has an optimum temperature at which it works best. A higher temperature generally results in an increase in enzyme activity. As the temperature increases, molecular motion increases resulting in more molecular collisions.If, however, the temperature rises above a certain point, the heat will denature the enzyme, causing it to lose its three-dimensional functional shape by denaturing its hydrogen bonds. Cold temperature, on the other hand, slows down enzyme activity by decreasing molecular motion. 1. Rate of reaction is slow due to insufficient energy (kinetic), this means there are very few collisions between substrate and enzymes. 2. Rate of reaction increases due to more kinetic energy and more collisions. More enzyme-substrate complex’s are formed. 3. It has now reached optimum temperature where there’s optimum energy.There are many successful collisions therefore more product has been formed. 4. Rate of reaction starts to decrease, The increase in kinetic energy now causes molecules within the enzyme to vibrate. This may result in the hydrogen bonds breaking therefore enzyme structure may change,. All the enzymes have still not been affected at this point and there has not been a permanent change, 5. Increase in energy causes molecules to vibrate. 4 bonds (S-S, ionic bonds) begin to break. Tertiary structure is now permanently altered and therefore the active site and substrate are no longer complimentary so no products can now be made. PH Each enzyme has an optimal pH that helps maintain its three-dimensional shape. Changes in pH may denature enzymes by altering the enzyme’s charge. This alters the ionic bonds of the enzyme that contribute to its functional shape. Most human enzymes work at an optimum pH of around 7. 3 or 7. 4. The majority of these are intra-cellular enzymes. Extra-cellular enzymes e. g. digestive enzymes work at more extreme pH’s e. g. protease at pH2 and arginase at pH 11. Rate of reaction is affected by changes in pH. The charges on R groups maintaining a structure of the active site are essential for the formation of E-S complex.If the properties of the active site change, the substrate can no longer combine (I. e. increase in protons of hydroxyl ions will repel the substrate) pH can also effect individual amino acids as formation of zwitter ions are common. * Enzyme Concentration Assuming a sufficient concentration of substrate is available, increasing enzyme concentration will increase the enzyme reaction rate. If you increase the enzyme concentration there is more chance of a collision and an increase in the rate of reaction. When there’s more substrate than enzymes (substrate becomes the limiting factor) it will stay at one level. Substrate Concentration Rate of reaction will increase proportional to the sub concentration until V-max. V-max is where all the enzymes are occupied in E-S complexes. This is where the reaction will stay at one level. At a constant enzyme concentration and at lower concentrations of substrates, the substrate concentration is the limiting factor. As the substrate concentration increases, the enzyme reaction rate increases. However, at very high substrate concentrations, the enzymes become saturated with substrate and a higher concentration of substrate does not increase the reaction rate.Validity and Reliability As I’ve just discussed, various factors affect enzyme activity. For this piece of coursework I will be concentrating on changing just 1 factor (pH) to show that this is the one than can change results. You read "Investigating the Effect of Ph on the Activity of the Enzyme Catalase" in category "Papers" This will help me work out close trends and get me a good range of results. I am going to show this by doing an experiment with potato disks. * I will be using different pH buffers in my experiment; from pH3 to pH9, and will have a range of variables; dependant and independent. My dependant variable will be the time it takes for the red dye to move across the monometer. I will be keeping the temperature the same as it is difficult to control and is a limiting factor, and so to record results and minimise fluctuations I will do the experiment at the same time of day. I will measure temperature as I know it will affect enzymes and the rate of reaction. * I will be using the same concentration and volume of hydrogen peroxide (substrate) because if I change too many variables it will make it difficult to know which affected the results. * I will also be using the same number of potatoes, same variety of potatoes, same mass of potatoes, to indicate I am using the same enzyme concentration.All these points will make my results valid but to increase reliability I will also do the experiment 3 times to eliminate anomalous results . Also as I am using pH 3 to pH 9 I am going from acid to alkali giving me a wide range of results. I will wash my equipment each time to increase reliability and I will also use the exact same equipment to make my results constant. Safety Hydrogen peroxide is an irritant and highly corrosive, therefore * I will have to wear safety goggles to protect my eyes. * I must wash it off my skin. * It will bleach clothes. * It is kept in a brown bottle as it decomposes in light. ApparatusApparatus| Quantity/Detail| Reason| Potato (source of catalase)| 1 potato cut into Potato disks| Most common and reliable source of catalase. It is cut into equal disks because if you homogenize it you will not get equal amounts and you will lose a lot of water making it unreliable. | Hydrogen Peroxide (substrate)| 10cm as this will give the highest rate of reaction as I figured from doing practice trials. | Substrate of the experiment. Reacts with the catalase to be broken down| PH buffer| VolumePh3-ph9| Independent variable-always use the same volume 10cm3. | Monometer| 1| Measures volume of oxygen. Red dye will be put in this. Red dye| | Injected into the monometer so results can be recorded by measuring the distance travelled from starting point in 1min. | Syringe| 1| Used to inject the dye. | Boiling tube| 1| Reaction will take place in this. It will have the buffer, hydrogen peroxide and potato discs in. | Bung| 1| This will be placed on top of the test tube. It will be used to stop the gases escaping. It will have two delivery tubes on it, one will be closed by a clip and the other one will be connected to the monometer so gases can go into it. | Delivery tube| 1| | Clip| 1| This will be used to clip and block one of the delivery tubes from the bung. Stop clock accurate to m/s| Digital| To time how long the red dye takes to move in 1min. | Measuring Cylinders| 1| Accurately measures the hydrogen peroxide and pH buffers. | Scalpel| 1| Sharp knife used to cut the potatoes| Cork borer| 1| To maintain a constant surface area in the potato and cut same size disks. | Ruler| 1| To measure size | Safety goggles| 1| Safety| Thermometer| 1 exact to 1’C| To measure temperature| Dish| 1| | White tile| 1| Surface used o cut potato tubes into discs. | Scale| 1| To weigh| Method 1. I will collect all the equipment as shown in the apparatus list and then set them up. . I will then take a reading from the thermometer of the water. This will be my accountable variable. 3. Then, I will cut out a potato cylinder by using a cork borer. I will push the cylinder of potato out by the small cork borer. 4. On the white tile, I will place the potato cylinders. Then by using a scalpel I will cut out the potato pieces into small disks, all equal sizes, and then I will measure the mass of them by using a balance and I will average it out to 1g. 5. Then I will inject the red dye into the monometer by using a clean syringe and make sure there are no bubbles in the monometer.I will take the reading of where the red dye is. 6. I will then clamp the monometer onto the stand so it is upright and stable. 7. Then, by using a pipette, I will pour 10cm? of hydrogen peroxide into one of the measuring cylinders. Then, by using another pipette, I will pour 10cm? of pH buffer solution and pour it into the other measuring cylinder. I will keep this volume the same for each of my tests to make it fair. 8. I will then pour the potato disks and the buffer into the test tube. I will place this into the conical flask and will record the point at which the red dye is at on the monometer. . Then, I will connect the test tube to the monometer by the delivery tube. 10. I will then place the hydrogen peroxide and straight away after this, I will place the bung on top of the test tube straight away to stop oxygen from escaping. I will clip on the clip to one of the delivery tubes and close it. We put the products in this order because the reaction starts as soon as the hydrogen peroxide goes in and we want the reaction to start just before we put the bung on so none of the oxygen escapes. 11. I will start the stopwatch after this. 12. I will measure how much the dye moves in 1 minute. 3. I will measure the distance moved and will take an average for the pH. 14. I will repeat the experiment form step 2 for each pH 3 times to make it reliable. Results Table pH| Time (mins)| Temperature (? C)| Distance moved by red dye in one min (mm)| Average distance moved by red ink in one min (mm)| Rate of reaction (mm/mins)| 3| | | | | | 3| | | | | | 3| | | | | | 4| | | | | | 4| | | | | | 4| | | | | | 5| | | | | | 5| | | | | | 5| | | | | | 6| | | | | | 6| | | | | | 6| | | | | | 7| | | | | | 7| | | | | | 7| | | | | | 8| | | | | | 8| | | | | | 8| | | | | | 9| | | | | | 9| | | | | | 9| | | | | |Rate of reaction Distance Rate of reaction = Time taken Average distance This will be calculated by adding the 3 figures for each pH and then dividing them by 3. pH| Time (mins)| Temperature (? C)| Distance moved by red dye in one min (cm)| Average distance moved by red dye in one min (cm)| Rate of reaction (cm/mins)| 3| 1| 25| 0. 2| 0. 17| 0. 17| 3| 1| 25| 0. 2| | | 3| 1| 25| 0. 1| | | 4| 1| 25| 0. 4| 0. 47| 0. 47| 4| 1| 25| 0. 5| | | 4| 1| 25| 0. 5| | | 5| 1| 26| 0. 5| 0. 57| 0. 57| 5| 1| 26| 0. 6| | | 5| 1| 26| 0. 6| | | 6| 1| 26| 0. 7| 0. 80| 0. 80| 6| 1| 26| 0. 9| | | 6| 1| 26| 0. 8| | | | 1| 25| 1. 3| 1. 17| 1. 17| 7| 1| 25| 1. 2| | | 7| 1| 25| 1. 0| | | 8| 1| 26| 0. 9| 0. 93| 0. 93| 8| 1| 26| 1. 2| | | 8| 1| 26| 0. 7| | | 9| 1| 25| 0. 4| 0. 53| 0. 53| 9| 1| 25| 0. 6| | | 9| 1| 25| 0. 6| | | Results Table Conclusion After analyzing the results and putting them in a graph, I can clearly identify and explain the trends. There are relationships between the amount of oxygen produced and the pH used. Also, between the pH and the rate of reaction. The starting parts of both graphs, shows a positive gradient, this reflects the general affect of increasing pH on the rate of reaction.It shows that there is a positive relationship between increasing the pH from 3 to 6 and the rate of reaction and the amount of oxygen produced. There is a steady increase from pH 3 to pH 6 and it increases, there is more distance that the dye has moved and therefore this shows an increase in the rate of reaction. At pH3, it moves 1. 7mm in one minute. But as the pH number was increased to pH4, it had increased to 4. 7mm. This is an increase of 3. 0mm. But, then there was only a small steady increase at Ph5 to 5. 7mm, only an increase of 1mm. Then at pH6, there was another increase to 8mm which is an increase of 2. mm. This shows that the biggest increase was from pH 3 to 4. It can be seen from the graph that at pH 5 and pH 6, the dot was not on the curve of best fit proving it to be an anomalous result. But overall this proves that there is a positive correlation between the increase in pH and the rate of reaction. After pH 6, it was increased to pH 7, where there was the greatest rate of reaction. It can be seen from the graph that at pH 7, it was the highest point proving it to be the optimum pH. It moved the red dye 11. 7mm in one minute which was the highest amount that it had move out of all the PHs.It had increased 2. 7mm. The peak on the graph provides evidence that the rate of reaction is at its maximum and the enzyme catalase works best at pH 7. Then after pH 7, the descending part of the graph shows that there is a loss of catalase activity taking place at pH 8 and 9. There is a slow decrease after pH 7 and it is a negative correlation. The gradient is similar to the positive gradient of Ph 5 and 6. From pH 7 to 8, there is a decrease of 2. 4mm, from 11. 7mm to 9. 3mm. From pH 8 to 9, there was a steady decrease of 4. 0mm, from 9. 3mm to 5. 3mm.This in turn shows that there is a negative correlation and therefore showing that the rate of reaction is decreasing. The curve of best fit shows that there are two anomalous results at pH 5 and pH 6 therefore all the other points are correct. There is a positive gradient until pH 7 which is the optimum pH and then after this there is a negative gradient. This means that there is a relationship between the pH and the rate of reaction. The PH’s before the optimum are all acids and it shows the rate of reaction for them to be increasing. This shows that the more acidic it is, the lower the rate of reaction.After the optimum ph, there is a decreasing gradient showing the more alkaline the solution is, the lower the rate of reaction. In conclusion I can say that as the pH increases, so does the rate of reaction meaning that the enzyme activity increases. Then at pH7 the enzyme activity is at its maximum and so is the rate of reaction. After Ph 7, as the pH increased, the rate of reaction decreased. I have made this conclusion by the results that were collected, my graph and my scientific knowledge shown below. As the pH became more alkaline the rate of reaction decreased. Also, as the pH decreased to pH 3 and 4 (acid), the rate of reaction was slow. This occurred as the charges holding the tertiary structure together would have been affected. Also the charges in the active site would be damaged. As there is an increase in H+ they bind with the negative charges in the active site, stopping the substrate binding with the enzyme. When the charges change, the enzyme is permanently destroyed and cannot work, meaning it is denatured. This means less enzyme-substrate complexes form when pH is acidic, leading to fewer products being formed. PH 3 moved the red dye 1. mm; PH4 moved it 4. 7mm in one minute. At pH 5 the rate of reaction increases to 5. 7mm. After this point, there is only a slight increase (at pH 6). The rate of reaction is lower than that of pH 7 as they are more acidic but do not contain as many H+ ions as pH3 and pH4. However, the active site of the enzyme is still affected and causes the charges to become damaged leading to denatured enzymes. Although not as many enzymes become denatured leading to a slightly higher number of product being formed (not as great as pH7). PH 5 moved the dye 5. 7mm whereas pH6 moved it 8. 0mm in one minute.The rate of reaction at pH 7 is the greatest as there are a great number of enzyme-substrate complexes being formed. This is the best pH for the enzyme to collide with the substrate and successfully bind. The charges holding the tertiary structure and the enzyme and substrate together are unaffected leading to a higher amount of product being formed. It moved the red dye 11. 7mm in one minute. As the pH became more alkaline the rate of reaction decreased. At pH8 the rate of reaction decreased and at pH 9 it decreased even more. This is due to an increased number of OH- ions. These have the same effect as H+ ions and damage the active site.The OH- ions bind with the positive charges in the enzyme and active site. Without the charges present the substrate no longer fits, resulting in the enzyme being denatured. This leads to less enzyme-substrate complexes, and lower amount of product being formed. Therefore the results from the investigation and the graphs show that the optimum pH is pH7. This is due to the fact that this pH does not affect the active site. The catalase and hydrogen peroxide bond form water and oxygen successfully. PH 7 allows the reaction to take place faster as enzyme-substrate complexes can be formed to produce product.Also, the more acidic or alkaline the pH became, the more the rate of reaction decreased. This occurred as it affects the bonds in the active site of catalase. The catalase is no longer able to function as it is denatured. Fewer enzyme-substrate complexes are formed and the blue dye only moves a small distance. EVALUATION During my investigation, I recognized that there were limitations of both the apparatus and techniques used. Even though I tried my best to keep all variables constant and made an effort to reduce problems, not all could be kept constant.Firstly, there were difficulties with handling various apparatus which restricted the reliability of my experiment. The manometer was used to find how much oxygen was produced. This was the better device to use rather than the gas syringe as it contained the best way of getting measurements. This made my results more accurate. However, this device also contains a couple of limitations. The monometer appeared quite simple to use and I thought that it would be easy But it turned out this was the hardest piece of equipment instead and caused me the most problems. When the red dye was inserted it into the onometer, air bubbles were frequently produced and this would have affected my results if I didn’t correct it. This was a continuous problem that caused many difficulties. Another problem was bungs. This was used to keep the test tubes blocked to stop the oxygen escaping. One of the tubes had to be completely blocked using a clamp so no oxygen could escape; this had to be done a couple of seconds after the catalase was added. This was difficult to do and was not done as soon as the reaction began. This would have resulted in some oxygen escaping giving me a slightly lower number of oxygen produced than was actually produced.The bung also had to be placed seconds after the catalase were added, this could have also resulted in some oxygen escaping. There could have been problems also because of my technique. This is because I used potatoes as the form of my catalase. But, there could have been different concentrations of catalase present in the different discs. Temperature was kept constant using a water bath, the temperature of this was 25? C (room temperature). However there is one limitation as the investigation was carried out over a period of a couple of days. The room temperature may have had an effect, as the temperature is not constant over a long period.An increase in temperature would give the particles higher energy and so there would be an increase in collisions. The affect of sunlight on hydrogen peroxide might have had a problem on the stability of it as it was left out of the brown bottle that would normally protect the chemical. However, the limitations mentioned above did not greatly affect the reliability of my results. It had minimal effect as the results are reliable and also the curve of best fit is reliable. Everything in my experiment happened the way it should have happened but there were two anomalous results at pH 5 and pH6.But, this wasn’t that unreliable because I think that this happened because of the change in my temperature. At this pH the temperatures changed from 25? C to 26? C. There was a slightly higher rate of reaction than what it should have been according to the curve of best fit but it still follows the pattern that there is a positive gradient for the acids and a negative gradient for the alkalis. My conclusion that I came up with was that as pH increased, the rate of reaction of the enzyme increased and then at pH 7 it reached its maximum and as the pH’s increased after, the rate of reaction decreased.I think that this conclusion is fairly accurate. This is because my graph showed exactly this because there was a positive gradient for the acids and at pH7 it reached its maximum, and then there was a negative gradient for the alkalis. But, there were the two anomalies but this was because of a variable. . In conclusion, I believe that my conclusion is fairly reliable even though there were a few limitations and problems. This is because the problems that have existed have not had a significant effect on my results and my conclusions prove the aim. How to cite Investigating the Effect of Ph on the Activity of the Enzyme Catalase, Papers