This chapter explores the ways in which adapted built spaces in sixteenth- and early seventeenth-century London shaped the experiences, identities, and behaviours of artisans and broader groups of urban inhabitants. It also considers how the performance of particular artisanal and civic activities impacted upon the meanings and significance of certain spaces. The previous discussion of artisanal company buildings established patterns of adaptation, growth, and material enhancement. Further, we observed how material sponsorship of artisanal built environments could
This chapter explores the interrelationship between knowledge, text, and artisanal identity in early modern London. The focus here, unusually, is not on literary representations of craftsmen, or the archives produced by craft companies, but on materials that were independently authored by artisans. This examination of early seventeenth-century artisanal writings includes a variety of sources: a master mason's account book and notebook composed for his immediate workshop and household; a manuscript treatise on metallurgy written by goldsmiths
Corporations, Celebrities and the Construction of the Entrepreneurial
Annika Bergman Rosamond
). Conjoining recent debates
in feminist political economy and humanitarian governance in this paper we examine
how prominent humanitarian actors such as corporations and celebrity activists
construct gender-based problems and knowledge as part of entrepreneurial artisanal
projects, aiming to empower women in the global South. Corporations have a long
history of sponsoring and championing humanitarian as well as gender and development
work to enhance the value of their brands and
Cecil Court and the Emergence of the British Film Industry
Cecil Court is a small pedestrian passageway in the London Borough of Westminster.
Under its more famous name of Flicker Alley, it is also the mythic birthplace and
romantic heart of the early British film industry. This essay sets aside romantic
myths and adopts the economic theory,of agglomeration, using the film businesses
moving in and out of Cecil Court as a case study to demonstrate the changing patterns
within the industry. In doing so it charts the growth patterns and expansion of the
British film industry from 1897 to 1911. It shows its development from its origins,in
equipment manufacture, through to production and finally to rental and cinema
building and outfitting, marking the transition from its small-scale artisan-led
beginnings into a large and complex network of distinct but interlocking film
traditional aim of development policy was to regularise informality. That is, to graduate
the millions of workers, artisans, traders and enterprises that constitutes the informal sector
into a rule-based economy. Such graduation, however, is no longer the aim ; even
though – through data informatics – the informal sector is mapped as never before.
In a post-social world, late-capitalism has no intention of again assuming responsibility for
social reproduction. To the contrary, the logic of the downturn is to externalise and preserve
Atmeh – A Change of Direction
In 2013, camps were set up in Atmeh and all along the border with Turkey to
provide shelter for thousands of displaced people fleeing the bombing. MSF set
up mobile teams tasked with health and vaccine education not only in the camps,
but also in the surrounding villages. The hospital focused on treating burns
victims because of a growing number of injuries of this nature caused by bombs,
artisanal refining processes and
How Can Humanitarian Analysis, Early Warning and Response Be
Benjamin J. Spatz
Alex de Waal
violent techniques of peripheral
governance can serve multiple purposes – they can (a) facilitate resource
extraction where those resources can contribute to political finance (e.g.
artisanal minerals or timber, part of whose proceeds are channelled to the
centre), (b) keep provincial leaders either loyal or preoccupied with local
affairs, (c) lower administrative costs and (d) help mobilise cheap male labour
to serve in militias and armed groups. This
This book advances an innovative look at a well-known, if arguably often misunderstood, historic building typology: the eighteenth-century brick terraced (or row) house. Created for the upper tier of the social spectrum, these houses were largely designed and built by what is customarily regarded as the lower tier of the architectural hierarchy; that is, by artisan communities of bricklayers, carpenters, plasterers and related tradesmen. From London and Dublin to Boston and Philadelphia, these houses collectively formed the streets and squares that became the links and pivots of ‘enlightened’ city plans, and remain central to their respective historic and cultural identities. But while the scenographic quality of Bath and the stuccoed interiors of Dublin have long enjoyed critical approbation, the ‘typical’ house is understood less in terms of design and more in terms of production: consequently, historians have emphasized the commercial motivations of this artisan class at the expense of how they satisfied the demands of an elite, and taste-conscious, real estate market. Drawing on extensive primary source material, from property deeds and architectural drawings to trade cards and newspaper advertising, this book rehabilitates the status of the house builder by examining his negotiation of both the manual and intellectual dimensions of the building process. For the first time, Building reputations considers the artisan as both a figure of building production and an agent of architectural taste.
This book explores artisanal identity and culture in early modern London. It demonstrates that the social, intellectual, and political status of London’s crafts and craftsmen was embedded in particular material and spatial contexts. Through examination of a wide range of manuscript, visual, and material culture sources, the book investigates for the first time how London’s artisans physically shaped the built environment of the city, and how the experience of negotiating urban spaces impacted directly upon their own distinctive individual and collective identities. The book identifies and examines a significant cultural development hitherto overlooked by social and architectural historians: a movement to enlarge, beautify, and rebuild livery company halls in the City of London from the mid-sixteenth century to the start of the English civil wars. By exploring these re-building projects in depth, the book throws new light on artisanal cultural production and self-presentation in England’s most diverse and challenging urban environment. Craft company halls became multifunctional sites for knowledge production, social and economic organisation, political exchange, and collective memorialisation. The forms, uses, and perceptions of company halls worked to define relationships and hierarchies within the guild, and shaped its external civic and political relations. Applying an innovative and interdisciplinary methodology to the examination of artisanal cultures, the book engages with the fields of social and cultural history and the histories of art, design, and architecture. It will appeal to scholars of early modern social, cultural, and urban history, and those interested in design and architectural history.
Goldsmiths’ autonomy was a matter which preoccupied the guild for the remainder of the 1630s.
This book explores artisanal identity and culture in early modern London. Craftsmen were integral to the social, political, and economic organisation of the city, and thus played an essential role in the meteoric rise of London's status in Europe and the wider world. Yet there is a surprising absence of literature on artisanal cultural practices. This book argues that the social and intellectual status of London's crafts and craftsmen was embedded in particular