This thesis provides a more accurate narrative of the origin and development of the Shetland vernacular boat in all its forms. Shetland, being treeless, imported boats from Norway, described as 'kits,' implying that they were quick and easy to assemble. New evidence suggests that this is incorrect; instead, boats-in-boards were rough-cut smuggled components that took longer and required a higher degree of boatbuilding skill to construct than previously acknowledged. This new evidence also establishes that boatbuilding began in Shetland c.1780, some 27 years earlier than formerly thought. Scholars espouse that Shetland boats were of lineal Norse descent. Analysis of late nineteenth century indigenous boats found some Norse features, but, when hull-forms, and methods of construction were compared with similar craft from Faroe and Norway it was discovered that Shetland boats diverged from the west Norwegian Oselvar (that retained a hull-form, and many construction features found in the Norse period) proving that indigenous boats were not of direct Norse descent; instead they were a unique Shetland product. Subsistence, ferrying, and recreational boat use had been neglected by previous researchers. This thesis corrects this imbalance, discovering that boat ownership was ubiquitous across all strata of society with subsistence and ferrying use remaining unaltered for several centuries. By c.1880 competitive boating had become popular. Although vernacular in origin, these new racing boats were influenced by construction methods from elsewhere. The new evidence suggests xiii that the continual development of the Maid Class made what was once an egalitarian sport into an elitist one, and, ironically, this contributed to the disappearance of the vernacular boat. Road transport superseded vernacular craft, exemplified by the introduction of the roll-on-roll-off ferries during the mid 1970s, and it was a combination of these factors that caused Shetlanders to drift away from their vernacular boat heritage.

Havet och skärgården är viktiga för Nynäshamn kommuns attraktivitet och identitet. Enligt översiktsplan är det även viktigt för kommunen att fortsätta förstärka kopplingen till vattnet genom att utveckla dom olika hamnar till livliga knutpunkter. Detta tillsammans med kommuns brist på högutbildad arbetskraft och betydande hälsoproblem skapar grunden till det här projektet.  I Gröndalsviken finns en småbåtshamn som kommunen har planer på att expandera. Platsen kan även uppfattas som en knutpunkt för tre olika områden där tydliga skillnader i inkomst och utbildning finns. Den närliggande tågstationen gör också platsen lätt tillgänglig för resten av kommunen. Allt detta gör att Gröndalsviken har en stor potential för en offentlig byggnad där även utbildning inom båtbyggeri erbjuds.  Gröndalsviken är också ett område där vatteninivån kommer höjas inom snar framtid. Denna förändring ville jag ta hänsyn till i projektet genom att placera byggnaden lite högre upp på en betongplatta som då också blir ett stort offentligt rum för hela kommunen. I projektet har jag fokuserat på att behålla siktlinjer och skapa flöde genom byggnaden för att betona utrymmets offentliga karaktär. Som ett resultat består byggnaden av flera volymer som öppnar sig både åt vattnet och inlandet. / The sea and the archipelago are important for Nynäshamn municipality's attractiveness and identity. According to the city plan, it is also important for the municipality to continue to strengthen the connection to the water by developing the various harbors into lively hubs. This together with the municipality's lack of highly trained workforce and significant health problems create the basis for this project. In Gröndalsviken there is a marina that the municipality plans to expand in the near future. The place can also be perceived as a meeting point for three different areas where clear differences in income and education can be seen. The nearby train station also makes the place easily accessible for the rest of the municipality. As a result, Gröndalsviken has great potential for a public building where training in boat building is also offered. However, Gröndalsviken is also an area where the water level will rise in the near future due to climate change. I wanted to take this change into account in the project by placing the building a little higher up on a concrete slab, which then also becomes a large public space for the entire municipality. In the project, it was important to me to maintain sight lines and create movement through the building to emphasize the public nature of the space. As a result, the building consists of several volumes that open both to the water and inland.

Thesis (M.A.), Memorial University of Newfoundland, 2000. / Bibliography: leaves 210-214. Also available online.

It is estimated ten thousand hours of experience are required to master any given process (Sennett 20). Whether it is wood joinery, music, culinary arts or weaving, it is about making something that can be seen, heard, touched, and/or used. Society seems to be losing an appreciation for craft as an idea. Especially in the US, materialism has reduced quality and craftsmanship to merely a luxury to those that can afford a $10,000 Maloof chair or an $8000 Amish table. Developers build for maximum profit while buyers seek maximum square footage. Yet it seems while mainstream society continues to "progress", the craftsmen see their clients loss comprehension and appreciation of true quality in their workmanship. While many schools and guilds around the country aim to keep "the crafts", i.e. material-based mediums alive, each craft brings potential processes and applications to the architectural realm. While the architect's general role is to be the conductor of these mediums, he should also study them as a source for potential material and building processes. The art of boatbuilding, glassblowing, ceramics and others each hold something unique to be implemented into architecture. While it is not yet clear what this thesis will turn out to be, as far as program or building type, the goal is the study of craftsmanship of all the different arts and how it can be translated into an architect's design process as well as his product.

Thesis (Master)--İzmir Institute of Technology,İzmir, 2005 / Keywords: Recreational boat design, boat construction materials, FRP boat production methods. Includes bibliographical references (leaves. 77).

Thesis (M.A.) -- Memorial University of Newfoundland. / Bibliography : leaves 400-416. Also available online.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING / Bibliography: leaf 51. / by Kim Arthur Mosley. / M.S.

This thesis explores animic and perspectivist notions in the context of Nordic Seamanship with a biocultural framework. It examines the history, cosmologies, terminology, practices, physiology and phenomenology of Nordic crafts and arts of boat building, rope-making, seafaring and fishing. Rope-making, its molecular basis and the social organization in a boat reveal the way in which physical and social bodies coalesce in the harmonies of the differing intentionalities of their constituents, forming symmetric hierarchical structures, which are at the basis of Nordic egalitarian and individualistic society. Through the enskillment in seafaring and fishing, we explore the perspectival transformations involved in nausea; the development of sea-legs (the attunement to the rhythms of the sea), fishiness (empathy with the fish) and the meiths (a system navigation, perception and theorization of the coastal environment), showing the role of normal microbial biota in the perception and interactions with the environment. Based on the experience at sea, it is suggested that the ontologies developed through the interactions of seamanship constituted a cosmology that influenced the development of the Medieval Perspectivist theories in Natural Philosophy, Norse poetry and hermeneutics, which were means of secularization of pagan knowledge in the Nordic conversion to Christianity. Elaborating on some aspects of medieval perspectivist theory through their comparison with Amerindian animic theories and the biology of the eye it is suggested that its morphology entails an entoptic (inner-vision) microscopy, affording a means of visual perception and interaction with microbial entities. Finally, with the aid of a Treponema pallidum, a transatlantic traveller with a copious Amerindian mythology, it is shown that animic notions about spirits, dwarves and gods are coherent with an ecological physiology that takes into account microbial sociality and their role, both in health and in disease, in our metabolism, perception and relations with the environment in particular ecological communities. In so doing, it demonstrates that animic perspectivist ontologies are compatible with a naturalism that takes into account intentionality as a generalized physical property constituent of beings and things, and therefore sociality as generalized characteristic of the interactions between beings/things in the environment.

Thesis (M.A.)--Memorial University of Newfoundland, 1980. / Prefatory material in English and French. "A Diamond Jenness memorial volume." Bibliography: p. 258-262.

Thesis (M.A.)--Memorial University of Newfoundland, 1980. / Prefatory material in English and French. "A Diamond Jenness memorial volume." Bibliography: p. 258-262.