137,830 research outputs found
DÉTAILS D ́ARCHITECTURE, CRAFT-CERAMIC NETWORK, LIMOGES 2002.
No full textArchitetto Invitato (spazio Actar Arquitectura) alla Esposizione Colettiva DÉTAILS D ́ARCHITECTURE, CRAFT-CERAMIC NETWORK, LIMOGES 2002.
Spazio dedicato al lavoro di ricerca de Manuel Gausa e del Laboratorio Actar Arquitectura presentato alla mostra e esposizione internazionale (curatore Nestor Percal) intorno a lavori di creazione in ceramica e ricerca tecnologica avanzzata
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Reflections on a craft design protocol
No full textFor some years I have been working on a design protocol of craft, which aims to unearth the working principles of one cultural area (contemporary craft) of production for the benefit of another (interaction design). The methodology that led to its formulation comprised my research as a doctoral student in Interaction Design, and made up the bulk of my thesis [22]. The protocol has recently been more fully explored for the craft community, with each tenet explored in more depth [24]; however, several important publications and conferences in the field have emerged since its initial formulation and if it is to have any relevance, the protocol needs to be revisited in light of them. These include Sennett’s The Craftsman [36], Risatti’s Theory of Craft [34], and Adamson’s Thinking Through Craft [1]. In addition conferences such as Neocraft [3], and collections of writings such as Extra/Ordinary [5], which includes Mazanti’s SuperObjects model of craft [28], have developed the field immensely. This paper critically reflects on the protocol in this new expanded context
Dangerous Liaisons: Relationships between design, craft and art
Get PDFThe introductory essay [co-authored] examines the background and current interconnections between design, craft and the fine arts. This Special Issue was able to expand the debate by showing how attitudes to materials – from 19C sculpture to current fashion – appropriate craftsmanship to reinvigorate notions of handmaking
Craft in unexpected places
Get PDFWithin the shifting territories of craft practice, the handmade has become a relational form of contemporary activity that transforms our understanding of place through a hands-on, minds-on process of collective-making. The conceptual significance of craft is activated through a chance encounter with the handmade in daily life. During the article we aim to explore the confluence between crafting, social engagement, volunteering and the realms of education and creative practice that we have both experienced first hand. What will be revealed will be the voices of practitioners collectively exploring cloth’s potential as a metaphor for consciousness, carrier of narrative and catalyst for community empathy and cohesion. This will be informed by an enquiry into historical forms of communal crafting drawn from archival research at the Imperial War Museum London and Foundling Hospital Collection housed at the Foundling Museum in London and a primary case study of the workshop ‘Desconocida – Unknown – Ukjent’. We employ a method used in object-based research: a value system that can be applied to the consideration of cloth as an object of study – namely, the locational, iconographical, archival, aesthetic and transferral. Focusing particularly on the transferral and locational, we will examine the significance of the handmade gesture in particular artistic, political and social contexts. These visual and textual narratives will inform our perception of ‘Craft in unexpected places’ and bring visibility to a selection of craft interventions by making links between the wide-reaching possibilities for craft-based practices and their expressive potential within the social and political landscapes they inhabit
Can Niche Agriculturalists Take Notes from the Craft Beer Industry?
Get PDFThis industry-level case study focuses on the growth cycles of craft brewing, a niche industry. The research case is defined as the craft beer industry evolution including the surrounding institutional and consumer environments. The research goal is to provide insight for niche agriculturalists by examining the case of the successful niche craft beer industry. First, the environment surrounding craft beer reemergence is analyzed. We examine the current state of the craft beer industry with a focus on competitive and logistical forces. We then highlight critical success factors of the craft beer industry and suggests how these factors can be applied to niche agriculture. Conclusions regarding the craft beer industry are drawn from both published documents and craft beer industry discussions. The primary craft beer industry “success†factors deemed transferable to niche agriculture include: 1) indentifying a consumer-driven niche opportunity; 2) engaging in marketing strategies leveraging consumer “hobby consumption†within the niche; 3) leveraging established industry logistics; and 4) participating in unified advocacy regarding both marketing and regulatory lobbies.Agribusiness, Marketing,
A Conversation Harold D. Craft, Jr
No full textHal Craft reminisces about his Cornell and Arecibo Observatory connections; in particular, he discusses the event that occurred while he was serving as Director of the Observatory, including his oversight of a major facility upgrade.1_npm1f10
Editorial: Craft and the Handmade: Making the intangible visible
No full textIn November 2014, the Department of Fashion and Textiles at the University of Huddersfield hosted the conference Transition: Re-thinking Textiles and Surfaces. The conference sought to scrutinize current and future developments in textile research and its applications within the wider context of the creative industries. With keynote presentations from Professor Becky Earley, Professor Jane Harris, Dr Subramanian Senthilkannan Muthu, publisher David Shah and Trend Union forecaster Philip Fimmano, this two day event brought together a myriad of theoretical perspectives and material approaches through four distinct tracks: Science and Technology, Sustainable Futures, Craft and the Handmade and Enterprise/Industry/Business.
This guest edited issue of Craft Research focuses on Craft and the Handmade and features articles that were first delivered as papers within this track
Craft Céramique Network - Prototipo di pezzo ceramico industrializatto
No full textProgetto Craft Céramique Network - Prototipo di pezzo ceramico per facciata industrializatta. Design innovativo. Roferimenti:Mostre: 1."Détails d ́architecture", CRAFT-Ceramic Network, Limoges 2002 // Cataloghi:1. PERCAL, Nestor: Détails d ́architecture, ed. CRAFT-Ceramic Network, Limoges 2002 // Libri: 1. SARRABLO, Vicente: Moldear ensamblar proyectar la Cerámica en Arquitectura, ed. ASCER, Barcelona, pág 136 // Reviste: 1.Oris n. 42, Zagreb, 2006, pàgs. 82 a 97, 2. Costruire, Milano, Enero 2003, 3.Revista "VERB NATURES" Architectural Boogazine, Barcelona 2006
Making livelihoods within communities of practice: The place of guild organisations in the craft sector
Get PDFThis is the author accepted manuscript. The final version is available from Routledge via the ISBN in this recordThis chapter interrogates the place of professional networks as communities of practice for craft practitioners who live in remote, rural locations and make their livelihood from their creative practice. The South West region of Britain, has a significant population of craft makers working in a highly distributed manner. Some makers work in small clusters (Harvey et al. 2012) but many work in their own homes or individual workshops. Through in depth qualitative analysis, it locates the ways in which makers develop or join organisations to support their livelihoods, particularly those that distinguish the quality and value of the skilled labour that makes hand-crafted work. Specifically, it explores the role of regional craft guilds for their members, and what members value about these organisations.Arts and Humanities Research Council (AHRC
Reprogramming the hand: bridging the craft skills gap in 3D/digital fashion knitwear design
Get PDFDesigner-makers have integrated a wide range of digital media and tools into their practices, many taking ownership of a specific technology or application and learning how to use it for themselves, often drawing on their experiential knowledge of established practices to do so. To date, there has been little discussion on how digital knitting practice has evolved within this context, possibly due to the complexity of the software, limited access to industrial machinery and the fact that it seems divorced from the idea of 'craft'. Despite the machine manufacturers' efforts to make knitting technology and software more user-friendly, the digital interface remains a significant barrier to knitwear designer-makers, generally only accessed via experienced technicians
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