Craft Research Papers - Academia.edu (original) (raw)

Crafts such as jewelry and silver design have been drawn attention as the sectors that have been identified as precious and developing components of art and craft via combining creativity and manual labor. It has been seen that there are... more

Crafts such as jewelry and silver design have been drawn attention as the sectors that have been identified as precious and developing components of art and craft via combining creativity and manual labor. It has been seen that there are a limited number of studies examining the mediating role of job crafting between job performance and level of work engagement of crafters who shape the work's extent, content and structure by their own ways, and execute a job that requires handicraft and craftsmanship, based on skilled labor. The questionnaire has been applied to 129 crafters within the purpose of contributing practices for the sector and scientific studies in the related field. As a result of the analysis, it has been identified that the dimensions of work engagement and job crafting have a significant effect on job performance and job crafting has a mediating role between work engagement and job performance.

ORNAMENTATION AND THE CONSTRUCT OF ORNAMENTED WOMAN Supervisor: Associate Prof. Zuhal BAYSAR BOERESCU Author: Meral KELEŞOĞLU ABSTRACT The phenomenon of ornamentation, with its function serving impulsive and sensory area, is a crafting... more

ORNAMENTATION AND THE CONSTRUCT OF ORNAMENTED WOMAN
Supervisor: Associate Prof. Zuhal BAYSAR BOERESCU
Author: Meral KELEŞOĞLU
ABSTRACT
The phenomenon of ornamentation, with its function serving impulsive and sensory area,
is a crafting activity and the initial style quality of art intended to imitate the nature.
According to Worrinder, this style quality is an inorganic and geometric-linear of
abstraction mode. The early human has rendered all the objects of use, including his/her
own body and living area meaningful through the act of ornamenting to the extent s/he
felt/sensed it, and has created the foundations of art and religious beliefs through this
act. While the planar space perception in ornaments/ miniatures and icons in the Eastern
and Western schools having a course on the artistic and religious traditions in
representing the essence created themselves through a linear style, the arts of Antique
Greek and Renaissance represented the visible world in the light of reason and science
through the perspective of the Euclidian geometric expansion, discovered the threedimensional spatial perspective and formed the qualities of the Naturalist style it looked
with a pantheist candor and empathic impulse.
The reason for including works displaying both styles from the pre-historic era to our
times in our study is to emphasize the importance of ornamentation, which is the
originator of art. It is seen that ornamentation, which has been trivialized in the modernist
discourse claiming that it is a primitive, irrational and nonfunctional element, has
transformed in the contemporary art into a subjective, sensory dynamic, abstract way of
expression describing the essence, developing through the designing techniques of the
high technology at the same time.
An original style overlapping with the nature of ornamentation that had spontaneously
developed within three categoric stages has been achieved in application works, and the
horizon has been opened up for multiple experimental variations thanks to the
possibilities of the computer-supported technology.
Keywords: Ornamentation, art, craft, religion, ideology, technology, picture.

In this paper we examine the options open to organisational researchers who seek to apply social scientific methods to study the work practices of contemporary craft practitioners. We begin by considering two historical precursors to... more

In this paper we examine the options open to organisational researchers who seek to apply social scientific methods to study the work practices of contemporary craft practitioners. We begin by considering two historical precursors to contemporary research on craft practice, whose work serves to illustrate the range of approaches available, and some of the practical challenges that arise when researchers seek to engage closely with craft practitioners. The core of the paper comprises a comparative review of four distinct research strategies, which we label: ‘uncovering and observing’, where researchers explore craft work through the use of archival, ethnographic and visual methods; ‘engaging and taking part’, where they participate directly in craft activities; ‘sharing the experience’, where the reseach is concucted by a reflective practitioner; and ‘interacting across the divide’, where practioners and academics work together to co-produce the research. We consider a variety of emp...

If we critically examine what our nostalgic responses to craft tell us about what we want from life, we can use this information as a catalyst for actions, practices that transform our present and start the process of preparing for a... more

If we critically examine what our nostalgic responses to craft tell us about what we want from life, we can use this information as a catalyst for actions, practices that transform our present and start the process of preparing for a climate changed and post peak oil future. This paper examines the role of craft in bridging gaps between ourselves and nature and between ourselves and each other, and in using nostalgia as a focus for these explorations. In looking towards the past, could craft engage with wider contemporary critical debates? In showing what we feel we are missing from the past in our present society, might we use nostalgia as a tool for envisioning how we would prefer a new society to be, post peak oil and in a time of climate change?

Glassmaking is considered part of the craft sector and represents an interesting cross-over between design and artistic research and industrial (material and technical) innovation and understanding. However, in the history of glassmaking... more

Glassmaking is considered part of the craft sector and represents an interesting cross-over between design and artistic research and industrial (material and technical) innovation and understanding.
However, in the history of glassmaking - which has for centuries concentrated in regions that could provide energy and primary materials - we can recognise the struggle for preserving and developing
glass making skills through processes of skill development and deskilling. The paper reflects on the emergence of new craft-based glassmaking in post-industrial contexts where glass was traditionally
produced industrially, giving us the opportunity to question processes of deskilling, re-skilling and upskilling in relation to industrial, post-industrial and creative making. Using in-depth qualitative interviews across two case studies of glassmaking clusters in the UK cities of Sunderland (North East) and Stourbridge (West Midlands) we consider the role of tradition and local knowledge as well as the importance of networks and infrastructure. We propose to investigate how the old industrial
past of these two locations, specifically how knowledge and skills are traditionally lost, is reinvented and re-used in the new glass making work taking place today. Finally, the paper reflects on how skills
and knowledge from traditional industrial clusters might connect to new models of flexible and specialised production in the creative and cultural industries through phases of deskilling, reskilling and upskilling.

A Socio-Cultural Approach to Growth-Mindset Pedagogy: Maker-Pedagogy as a Tool for Developing a Next-Generation Growth Mindset Laurell, J., Seitamaa, A., Sormunen, K., Seitamaa-Hakkarainen, P., Korhonen, T. & Hakkarainen, K., 8 Apr 2021,... more

A Socio-Cultural Approach to Growth-Mindset Pedagogy: Maker-Pedagogy as a Tool for Developing a Next-Generation Growth Mindset Laurell, J., Seitamaa, A., Sormunen, K., Seitamaa-Hakkarainen, P., Korhonen, T. & Hakkarainen, K., 8 Apr 2021, Good Teachers for Tomorrow's Schools: Purpose, Values, and Talents in Education. Kuusisto, E., Ubani, M., Nokelainen, P. & Toom, A. (eds.). 1 ed. Brill , p. 296-312 16 p.

Algorithmic Tectonics is a course on creative computing in architecture and design. By learning to create computational design artifacts (such as experimental software, responsive objects and robotic fabrication applications) participants... more

Algorithmic Tectonics is a course on creative computing in architecture and design. By learning to create computational design artifacts (such as experimental software, responsive objects and robotic fabrication applications) participants explore computation as a territory for speculative, critical and poetic thinking about design (rather than merely as an instrument of production or representation). Departing from the conventional approach of programming courses based on lectures and problem-sets, the course introduces each topic in a project-oriented fashion through design questions. Organized in three modules, design, visualize and make, the class prompts students to develop an appreciation for current developments in computational design, and to create their own projects with an incremental degree of sophistication: from simple interactive computer graphics to architectural robotics applications. This book reports on the course as taught for the first time at Penn State in the Spring of 2015. It is not a conclusive work but rather snapshots of an ongoing process. Together, the assignments, projects, and their descriptions, reflect a fledgling imaginary of design that continues to evolve around software and other technological infrastruc-tures. In combination with the online code repositories and blogs that accompanied the course, this book may be useful for others confronting questions about pedagogies of computing in design.

This paper reflects on the role of computation in speculative design. It suggests that found, unexpected traces of computational processes can amplify designers’ imagination. This theme is considered through a reflection on a practical... more

This paper reflects on the role of computation in speculative design. It suggests that found, unexpected traces of computational processes can amplify designers’ imagination. This theme is considered through a reflection on a practical workflow that pays close attention to the artifacts of algorithmically generated mesh geometries. The resulting interpretation of found artifacts as active participants in design processes is innovative in the field where computational objects (such as meshes) are typically thought of as neutral tools. Reconsideration of meshes as objects with agency can be extended to other computational entities, resulting in significant implications for design thinking and design craftsmanship.

Contribution to the Anthology: MAKERS, CRAFTERS, EDUCATORS Working for Cultural Change

In early 2017, I began a series of collaborative projects that investigated the material nature of the bacterial cellulose that is produced when fermenting tea in a symbiotic culture of bacteria and yeast (SCOBY). I wasn’t interested in... more

In early 2017, I began a series of collaborative projects that investigated the material nature of the bacterial cellulose that is produced when fermenting tea in a symbiotic culture of bacteria and yeast (SCOBY). I wasn’t interested in the popular SCOBY byproduct of the kombucha beverage itself, and its ‘probiotic’ effects. Rather, as a biotextile artist-scientist, my interest is mainly in the applications of that cellulosic mat, and how it can be explored as a biomaterial.
My first wearable bioplastic project, entitled Bucci, with biodesigner, Théo Chauvirey, involved the production of a hybrid cellulose material. The next collaborative project, entitled, Plump and Pliant (short title), was with art conservator, Courtney Books. Courtney was interested in experimenting to discover if it is possible to extend the life of kombucha cellulose works like Bucci, and more generally, ephemeral biomaterials that artists work with. Our invention led to the next project, with artist, Tagny Duff. I agreed to work with Tagny, to co-design and solely construct two new bags that would encase some of the vessels she had produced for her project. As a collaborator, I creatively interpreted two images of (pre)historic carrying containers, materializing her idea to make the vessels wearable by future humans.
This progression of ever-more successful collaborative projects also formed a net meshwork amongst a number of human actors who amplified each other: artists, designers, conservators, curators, gallerists, fashionistas, students, but also, of course, some nonhuman actors: microbes. I am, however, highly resistant to referring to the microbes we work with as, “collaborators” despite my desire to acknowledge their role in the process and meshwork.
(Images and text)

This paper investigates the silver craft object "Feast Bracelet," made in 1974 by Richard Mawdsley, arguing that it is a postmodern production. Postmodernism emerged in the 1960s and 1970s in fields including craft, art, architecture, and... more

This paper investigates the silver craft object "Feast Bracelet," made in 1974 by Richard Mawdsley, arguing that it is a postmodern production. Postmodernism emerged in the 1960s and 1970s in fields including craft, art, architecture, and writing, reacting against the modernism of the previous generation. Such postmodern creations like the bracelet communicated ideas, redefined the relationship of art to the human body, played with perception and reality, returned to using historical content, and embraced complexity and ornamentation. Using the postmodern "Feast Bracelet" as a guide, the paper explores each of these ideas while relating them to other productions at the time.

This paper concerns the analysis of transformative repair in ceramics using concepts of affect. The traditional Japanese craft of kintsugi, the repair of ceramics using urushi lacquer and gold or silver, is described and its techniques... more

This paper concerns the analysis of transformative repair in ceramics using concepts of affect. The traditional Japanese craft of kintsugi, the repair of ceramics using urushi lacquer and gold or silver, is described and its techniques and historical relation to the Japanese tea ceremony discussed. Kintsugi is shown to demonstrate the propensity of repaired objects to embody dual perceptions of catastrophe and amelioration. Concepts of affect from the philosophers Giles Deleuze and Félix Guattari are used to illuminate these relationships and show how material capacities facilitate the movement of affects as forces that move through domestic objects and into sensation. Their concept of affect working in speeds and durations is discussed in regard to the sensory characteristics of cracks and their repair. The perception of kintsugi is explored using the concept of micro- and macropolitical expression, which broadens the analysis towards an understanding of traditional Japanese cultural sensitivities as a response to the breaking forces of geological phenomena, such as earthquakes, of which kintsugi ceramics, within the framework of this paper, are considered a material expression.
I conclude the paper by contextualizing the craft of kintsugi to the broader field of transformative repair, and discuss contemporary works and modes of transformative repair in relation to kintsugi. This includes a discussion of my own ceramic works Archaeologic (2011–2015) that deploy kintsugi techniques with the use of photoluminescent pigment in order to potentialize an awareness of contemporary ecological issues. I make a few comments concerning the significance of kintsugi, as a culturally and ecologically embedded practice, to contemporary practitioners of transformative repair.

The term 'Digital Craft' is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in... more

The term 'Digital Craft' is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in Computer Numeric Control (CNC) making? This article takes the position that craft practice is rooted in the relationship between materials, tools and techniques as an intricate workflow. We suggest that the workflow can be considered as autopoietic in nature, in that it is both self-referential and self-making, at the same time as continuously designing. Through this, digital fabrication can be seen as a practice that

This project focuses on exploring the intersections between traditional craftsmanship, technology, cultural identity and creativity. Through a series of interviews of different artists and designers and studio visits, this on going study... more

This project focuses on exploring the intersections between traditional craftsmanship, technology, cultural identity and creativity. Through a series of interviews of different artists and designers and studio visits, this on going study explores the ways craftsmanship brings new modes of thinking and engaging within the New York City community. It considers the importance of collaboration by witnessing how traditional craftsmanship interlaced with technology can benefit humanity, society, and the environment, when tools and savoir-faire are exchanged. For the first phase of this research, I have interviewed ten New York based artists, designers, artisans and students.

In Nancy E. Green and Christopher Reed, eds., JapanAmerica: Points of Contact, 1876-1976 (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 2016), 66-87.

The rise of Dutch Fashion Design can be compared to the maturation of Dutch Design. Both have a conceptual approach and are closely related to art. Just as how the Dutch government wanted to promote national unity through the means of... more

The rise of Dutch Fashion Design can be compared to the maturation of Dutch Design. Both have a conceptual approach and are closely related to art. Just as how the Dutch government wanted to promote national unity through the means of regional costumes in the 19th century, in the 1990s the Dutch government promoted the country as having a united design identity by increasing the international visibility of Dutch (Fashion) Design. Dutch Fashion Design developed a performative quality, which can be used to make an artwork of oneself, although these creations are seldomly seen on the streets, as most of the work of the progressive Dutch designers is immediately bought by museums after the fashion shows. More recently, Dutch Streetwear is actively being used to display a traceable identity, showing off different cultural backgrounds. The intent of this paper is to show how the incorporation of craft, new technologies, as well as a shift to more sustainable ways of production have defined Dutch Fashion Design.

The trend towards a more secular culture in Western society means that there can be greater flexibility in a wedding ceremony, but couples are often faced with the challenge of preparing a meaningful celebration outside the traditional... more

This research concerns neglected affective, relational, material, and processual dimensions of amateur crafts practice in an arts-for-health context. Existing studies on the social impacts of the participatory arts are prone to blur the... more

This research concerns neglected affective, relational, material, and processual dimensions of amateur crafts practice in an arts-for-health context. Existing studies on the social impacts of the participatory arts are prone to blur the borders between advocacy and research, and are vulnerable to accusations of ‘policy-based evidence making’ (Belfiore and Bennett, 2007, p.138). Researchers have relied predominantly on interview material and surveys, and there is a lack of fine- grained, long-term, ethnographic work based on participant observation. The distinctive potentials of making in this context, furthermore, have barely been investigated. This thesis addresses these deficits through a sustained ethnographic study of two wellbeing-oriented crafts groups supported by Arts for Health Cornwall (AFHC). One group was based in the community, the other in primary care. The partnership with AFHC was enabled by a Collaborative Doctoral Award (CDA) funded by the Arts and Humanities Research Council (AHRC).
Observation produces novel understandings of the potential benefits of crafting for health as emergent properties of particular locations, relationships, and practices organized in distinctive ways around creative making. Firstly, as a counterweight to normative views of amateur crafts creativity as soothing and distracting, this study highlights a range of transformative affects including frustration, creative ambition, and enchantment. Secondly, countering an atomistic, stable depiction of such affects, this study describes them as fluid aspects of making processes. Thirdly, these unfolding processes are seen to be inseparable from the intersubjective (peer-to-peer and participant-facilitator) dimensions of creative groups. Lastly, this in vivo perspective problematizes a view of materials as an inert substratum upon which makers exercise their creative powers, and highlights the relevance of a ‘vital materialism’ (Bennett, 2010) for understanding the potential benefits of manual creativity.
Sustained observation also produces a situated, spatial account of the extended networks of community belonging produced by the activities of such groups. Fieldwork is contextualized within a wider field using interviews with nine UK arts for health organizations. Consideration is also given to the influence of contemporary discourses of wellbeing, agency, and creativity on policy making in the area of arts for health. Findings have implications for good practice in the field, and for further research to inform political leadership concerning the role of the arts in health. These implications are drawn out in relation to the potential future contribution of the arts within a UK health economy undergoing rapid, crisis- driven transformation.

Abstrakt Technologie výroby keramických nádob je náročný proces, který zahrnuje specifické postupy od těžby a přípravy surovin, přes výrobu až k sušení a výpalu. Příspěvek je věnován bližšímu poznání primárních výrobních technik a stop,... more

Abstrakt Technologie výroby keramických nádob je náročný proces, který zahrnuje specifické postupy od těžby a přípravy surovin, přes výrobu až k sušení a výpalu. Příspěvek je věnován bližšímu poznání primárních výrobních technik a stop, které za sebou zanechávají na keramických nádobách. Větší pozornost je věnována zejména technikám, o jejichž používání lze uvažovat v různých historických obdobích od pravěku po vrcholný středověk. Jsou zde shrnuty poznatky nejen z archeologie, ale také z etnologie, experimentální archeologie a současného hrnčířství. Jedním z řešených témat je také otázka nejednotné terminologie a nesprávného užívání některých odborných termínů. Klíčová slova keramika, technologie výroby, identifikace výrobních technik, pravěk a středověk Abstract The production technology of ceramic vessels is a demanding procedure which includes specific phases and methods, from acquisition and preparation of raw materials, over production through to drying and firing. The paper is dealing in more detail with basic production techniques and specific traces which they leave on ceramic vessels. Special attention is mainly paid to techniques typical of various historical periods, from Prehistory to High Middle Ages. The text summarizes the knowledge not only of archaeology but also of ethnology, experimental archaeology and contemporary pottery making. Among the topics addressed also are the non-uniform terminology and incorrect use of several specialised terms.

To what extent can we identify sites where metallurgy has been conducted by studying the ceramic residue found at the site? Ceramic tools used for metal casting, such as crucibles, clay moulds and tuyères—so called 'technical... more

To what extent can we identify sites where metallurgy has been conducted by studying the ceramic residue found at the site? Ceramic tools used for metal casting, such as crucibles, clay moulds and tuyères—so called 'technical ceramics'—are often used as indicators of metalcrafts. Their often vitrifi ed and sintered appearance is, on many occasions, used as traits of identifi cation. This article discusses a crucible and a tuyère that show no clear traces of vitrifi cation, and whether or not the objects should be disregarded as technical ceramics. By building reconstructions of these two objects and testing them in an archaeological experiment, we have been able to study the traces of use on the reconstruction and compare them to the two artefacts. In this article we argue that signs of use, such as vitrifi cation and sintering, are not always present on used tuyères and crucibles and that we should also try to look for other signs of use when classifying archaeological materials as technical ceramics.

The paper presents an ongoing collaborative project between a textile practitioner-researcher and a textile practitioner-mathematician that investigates the relationship between mathematical knot theory and knotted textiles. It examines... more

This article will identify what kind of potential aspects of Indonesian contemporary craft to compete in global market. Indonesia has well heritage of distinctive craftsmanship. Modern intervention had evolved the traditional craft into... more

This article will identify what kind of potential aspects of Indonesian contemporary craft to compete in global market. Indonesia has well heritage of distinctive craftsmanship. Modern intervention had evolved the traditional craft into new face. They have changed toward contemporary style, but still employ the craftsmanship technique. This uniqueness of the new face should be exhibited in global market through several prominent international events in order to be more recognized and accepted in global market to boost national economy. The big important event such as Salone del Mobile in Milan, Ambiente in Frankfurt and NYNow in New York City were selected to attempt the competitiveness of new design. Those events represent specific regional market share and orientation. The Indonesian Agency of Creative Economy (BEKRAF) had facilitated the participation of these events. This paper would also like to present what kind of products characteristic that likely have potentials according to potentials buyers' response during the show in correlation with certain issues. The issues related to following aspects such as; product quality, craftsmanship, material, aesthetic look/styling, standardization and business strategy. The result of the exhibition was quite promising for new Indonesian craft and design in the future. However, there are still some issues concerning on those aspects to be done to make it better competitive product and business to grow. This paper will focus on home decoration and furniture related product. The result of the study hopefully could be useful as necessary direction in order to give more useful information to designer and artisans in order to have better competitive product in global market.

In an age in which millennials are desperately searching for “mindfulness” to counterthe relentless, bleak news cycle, downloading breathing apps to their phones, and seeking peace in coloring books and knitting, Albers’s celebration of... more

In an age in which millennials are desperately searching for “mindfulness” to counterthe relentless, bleak news cycle, downloading
breathing apps to their phones, and seeking peace in coloring books and knitting, Albers’s celebration of weaving, which forces the weaver to practice a patient and rhythmic meditation, sings to a new generation.

Já o texto Que diferença faz um designer no artesanato brasileiro?, é uma versão completa e original do artigo What difference does a designer make in Brazilian craftsmanship?. Este foi baseado em uma pesquisa desenvolvida em conjunto com... more

Já o texto Que diferença faz um designer no artesanato brasileiro?, é uma versão completa e original do artigo What difference does a designer make in Brazilian craftsmanship?. Este foi baseado em uma pesquisa desenvolvida em conjunto com a aluna Márcia Eringe do Curso de Arquitetura e Urbanismo do Centro Unversitário do Leste de Minas Gerais. Ele foi apresentado oralmente e publicado nos anais da 8th International Conference Senses and Sensibility 2015, em Outubro de 2015.
Trata-se de uma apresentação do artesanato de referência cultural como aquele que sofreu a intervenção de designers, arquitetos ou artistas. Sua produção é predominantemente manual e ele contém uma identidade cultural e local forte. Ele revela histórias de uma região, de uma comunidade, e, normalmente se pauta na vida cotidiana. Seus produtos são diversificados, de alto valor agregado e adaptados às exigências do mercado.
Este artigo discute a diferença que um designer faz neste artesanato feito no Brasil. Métodos e possíveis interações são apresentadas, discute-se também os processos de apropriação de símbolos típicos ou de técnicas e materiais locais. Ao final, enfatiza-se a importância da cooperação mútua entre esses profissionais.

The text is a lightly edited version of an essay written for Sloppy Craft: Postdisciplinarity and the Crafts, edited by Elaine Cheasley Paterson and Susan Surette. Written in Autumn 2014 while I was writing up my PhD, it was structured,... more

The text is a lightly edited version of an essay written for Sloppy Craft: Postdisciplinarity and the Crafts, edited by Elaine Cheasley Paterson and Susan Surette. Written in Autumn 2014 while I was writing up my PhD, it was structured, uncreatively, as a response to a series of questions posed by the editors, with an ironic nod to Sôetsu Yanagi’s The Way of Craftsmanship. The writing process allowed me to identify some thoughts and feelings generated by a practice-based research project and to build on ideas explored in a paper for the conference Ceramics and Sculpture: Different Disciplines and Shared Concerns, National Museum of Wales, 2012. Key terms are concept, skill, craft, fine art and pedagogy, in the context of disciplinarity, interdisciplinarity and postdisciplinarity.

If perhaps somewhat surprisingly, throughout history craft has played a significant role in imagining numerous alternatives to the existing social order. Indeed, the reasons for the emphasis on craftwork, as well as the approaches to the... more

The book "Crafts in Interior Architecture: India, 1990 onwards” by Rishav Jain critically examines the manifestation of crafts in the domain of interior architecture in India today. It attempts to understand the position of craft in... more

The book "Crafts in Interior Architecture: India, 1990 onwards” by Rishav Jain critically examines the manifestation of crafts in the domain of interior architecture in India today. It attempts to understand the position of craft in interior architecture and design in contemporary India. The book establishes five emerging models of practice that prevail when crafts and interior architecture come together. The book is divided into two major sections, one looks at theoretical understanding of the subject and the second evaluates the recent practice of interior architecture later leading to the emerging modes of practice.

Dieser Beitrag (chapter in English) untersucht die Beziehung zwischen Handwerk und Design als Prozess der Rollenfindung des Gestalters. Handwerk wird nicht primär als Beherrschung bestimmter Herstellungsprozesse und Materialien... more

Dieser Beitrag (chapter in English) untersucht die Beziehung zwischen Handwerk und Design als Prozess der Rollenfindung des Gestalters. Handwerk wird nicht primär als Beherrschung bestimmter Herstellungsprozesse und Materialien verstanden, sondern es dient Designern als rhetorisches Werkzeug der Aneignung, mit dessen Hilfe sie individuelle und kollektive Handlungen ausloten. Anhand der Analyse ausgewählter internationalen Design Ausstellungen der letzten Jahre und einer re-Definition des Begriffes des ‘Angewandten’ werden verschiedene Aspekte dieser Strategie beschrieben. Der Trend bei Gestaltern sich kritisch mit dem Kontext zeitgenössischer Herstellungsprozesse auseinanderzusetzen geht eine generelle Skepsis gegenüber der Produktgestaltung voraus. Der Beitrag thematisiert post-industrielle Szenarien und den komplexen, emotionalen und oft widersprüchlichen Umgang mit der materiellen Welt durch das Handwerk als Perspektive, oder metaphorisch gesagt, durch das Handwerk in seinem allgegenwärtigen ‘gasförmigen Zustand’.

The purpose of this paper is to measure if Design intervention helps in the revival of dying crafts and illustrate how interesting ideas and new intervention models can be developed for several purposes, whether for revitalizing... more

The purpose of this paper is to measure if Design
intervention helps in the revival of dying crafts and illustrate
how interesting ideas and new intervention models can be
developed for several purposes, whether for revitalizing a
languishing craft or for developing new products to create
livelihoods

The latest issue of Textile: The Journal of Cloth & Culture includes “Knitting and Well-being” co-authored by the speakers from the Well-being panel I chaired at the In the Loop 3 conference held in 2012 in Winchester, England. Well-being... more