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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
Correspondence from Patricia Marshall Craft to J. Keith Price
No full textInternal correspondence sent on August 30, 1994 from Patricia Marshall Craft to J. Keith Price, Warden at the Terrell Unit, expressing her appreciation for the opportunity to work with him as she moves on to a new position
Sarah Turner - eco-artist and designer through craft-based upcycling
No full textSarah Turner is an eco-artist and designer who practices craft-based upcycling with waste plastic bottles and cans to create lighting, sculpture and decorative home interior products. Since 1998, her enthusiasm, creativity and good will have allowed her to gain several high-profile client commissions and to win awards from design, innovation and business competitions. The aim of this portrait is to introduce Sarah’s work and shed light on the resources, knowledge and skills involved in her practice and on the barriers to and drivers for her craft-based upcycling. We consider that Sarah’s work could be one of the stepping stones for a shift towards more sustainable craft practice, both in the United Kingdom and beyond. By exploring the right ingredients for craft-based upcycling, barriers liable to be faced and key drivers that stimulate motivation, we hope that this portrait will inspire and attract more designers and makers to embed upcycling in their future practice
Dangerous Liaisons: Relationships between design, craft and art
No full textThe 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
Can Niche Agriculturalists Take Notes from the Craft Beer Industry?
No full textThis 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,
William J. Craft, approximately 1962-1963
No full textPortrait of William J. Craft, Norwich University class of 1963, as a cadet.Photograph most likely by Roger Conant based on his dates of employment
Reprogramming the hand: bridging the craft skills gap in 3D/digital fashion knitwear design
No full textDesigner-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
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
Stress-induced changes to the triple-point phase boundary of the niobium-deuterium system
No full textThe effects of mechanical stress, due to cold rolling, on the triple-point phase equilibrium in the niobium-deuterium system have been investigated using differential scanning calorimetry. Both unstressed and stressed foil samples of niobium-deuterium were analyzed over the temperature range 323 to 398 K. Over this temperature range, niobium-deuterium undergoes several phase changes (depending on the composition of the niobium-deuterium specimen). Differential scanning calorimetry allowed determination of temperature, energy, and compositional characteristics of these phase changes. It has been found that mechanical deformation has a significant effect on all of these characteristics. © 2007 ASM International.Askeland D.R., 1989, SCI ENG MAT; BULAK J, 2007, UBPUB; CRAFT A, 1988, J PHYS F MET PHYS, V18, P1149, DOI 10.1088-0305-4608-18-6-019; FLANAGAN T, 1988, HYDROGEN STORAGE MAT; FUJITA K, 1979, J JPN I MET, V43, P601; Hauer B, 1998, PHYS REV B, V57, P11115, DOI 10.1103-PhysRevB.57.11115; LUO W, 1991, J CHEM PHYS, V94, P6179, DOI 10.1063-1.460404; Manchester F.D., 2000, PHASE DIAGRAMS BINAR; ORIANI RA, 1970, ACTA METALL MATER, V18, P147, DOI 10.1016-0001-6160(70)90078-7; PLACKOWSKI T, 1995, PHYSICA B, V212, P119, DOI 10.1016-0921-4526(95)00015-2; ZABEL H, 1979, J PHYS F MET PHYS, V9, P1461, DOI 10.1088-0305-4608-9-7-0250
Craft in unexpected places
No full textWithin 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
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