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Craft remains an original form of design. 

As modern technology expands the horizon for design possibilities and moves design further into the an age of technology, techniques in many genres of design are adapting and accepting change, In spite of this, small handmade crafts remain a genuine traditional design form, “unchanged in centuries” (Quinn & Felix, 2011, p.21). This assignment will research conventional small handmade crafts, debating that the traditions of handmade crafts are consistent throughout the design forms history. This research will begin with the meaning of craft, traditionally and the changes the modern culture has had on what it means to craft, using Etymology and Collins dictionary definitions. Central to this research will be the crafter, and the differences between traditional and modern crafters, Faythe Levine & Cortney Haimerl’s documentary approach text Handmade Nation, will provide scope into the modern crafts in a large influential country, America. Leading in the concluding discussion; differences between developed and developing countries in the circumstances of meaning to craft and who crafts, which Poor Peoples Knowledge, By J. Michael Finger & Phillip Schuler will contribute towards in this final aspect to craft.

The meaning of craft has evolved with time and the extension of technology, however in this development the meaning of craft has held its values to the original meaning, as Jobs (1985) said, “the new technology will not necessarily replace the old technology, but it will date it.” Which is an immensely relevant statement in modern society, notably in design because technology can increase possibilities and production, therefore a well applied statement in terms of crafts definition. Historically craft meant to ‘to exercise a craft, build, to make skilfully’ (Online Etymology Dictionary, 1950), a definition which would be considered a vague term for modern society, but considering earlier times where manual skill was the only way of producing items, objects and materials, craft would have been an aspect of everyday life and a necessity rather the a choice, for example the preparation of a meal would be time consuming craft, beginning with the growth of vegetables and nourishment of a mammal to begin the meal, there would also the picking, cutting, and cooking of the meal, and preparation of the fire to cook over – a meal would involve much time and the hands of more then one person in the whole process. Therefore this imprecise meaning is fitting for its time. Fortunately that meaning still rings true in the modern adaptation where craft is ‘an activity involving skill in making things by hand’ (Collins English Dictionary), a narrower definition to craft, with specificity allowing modern culture to easily define between craft and other forms of design. In particular the involvement of technology could stray the meaning of craft if not for the ‘by hand’ part, as many object can be designed and tested without the rigors routine of modeling, making and remaking. Therefore adding small specificity to the definition through time has kept the meaning true. Despite both meanings being worded differently they both posses the same intention to have manual labor and handmade skill. Although the modern meaning of craft is manipulated to suit leisure (‘activity’) and an object (‘things’), its intentions remains the same, to “go against the grain of mass manufactured” designs where “each item is unique and handmade” (Syjuco, 2008, p.144), and produce individual work, as craft creates the desire and “challenge to produce something beautiful” (Rara, 2008, p.148). Which are all core aspects to the meaning of craft. The discussion of definition holds value in the argument of craft continuing to be a traditional form, because it shows that through time and change craft is still considered the same form it was when first becoming a form of design.

Central to crafting culture is the crafter, and the reason behind crafting, for this section of research, only the developed regions will be discussed. Historically (pre-1820) crafting was a means of leisure and income, it was a non-technological time, and before the industrial revolution. Craft was and everyday necessity to contribute to the larger task at hand, and was widely exercised by all members of a family or community to help with any provision and produce. For instance if an item, object or material was required, crafting ones self was the most common practice. Modern means of craft could be divided into a decisive three groups: Essential – consisting of of economic necessity for maintenance due to unavailability of professional labor.  Re/Pro active – involving a self directed hobby for handicrafts, and manipulation of raw materials for personal pleasure in spare time. Lifestyle – is the choice rather then the need for home improvement in a designed manor. (Atkinson, 2006, p.3) All of which are practiced within comminutes. However this knowledge isn’t necessary to survive on, in comparison to history’s reasoning and desires to craft, because of the introduction of tradesmen, designers and the industrial revolution. Which removed the need to know and continuously practice the historic reasons of practice, as they became knowledge to those who seek a “professional craft education.” (Elder, 2005, p.7), allowing other to acquire there help or product if need be. The diversity in craft is dramatic in terms of intention and reasoning; where it has changed “in ways and become more competitive” (Elder, 2005) despite this, historic practices still hold value in modern crafting culture with “the emotional rewards craftsmanship hold out for attaining skill are twofold” (Sennett, 2008). So despite the original premise of craft becoming less common, it can still be found throughout, and thriving. Crafters dominate the weight in the argument of craft being a continuing form of design, as crafters have the power to keep the style ‘alive’ and decided where and how it will be applied, and whether they hold onto the original values of craft.

 The Concluding discussion is the contrasts between modern developed and developing countries, looking at materials being used to craft and reasons for craft. Seeing if a grey area arrives where craft between ‘classes’ are similar in the same way time has developed craft but hasn’t changed the core of craft. Craft in developed countries consists of essential, re/pro active and lifestyle all of which were explained previously and we can see are still practiced. However developing countries subsist of two interceding groups of craft - survival and income. Firstly materials used in developed countries consist “primarily things […] I find around me” (Bliss, 2008, p.128) but with aesthetic being a flourishing contributing factor to modern craft, brought materials are being used more and more, where “materials allows them to be instantly identifiable” (Lieble & Roy, 2004, p.55) and “identity in his protection against copies.” (Jiménze, 2004, p.18). Which doesn’t stray from the meaning of craft, but raises the level and standard of craft. However developing countries are crafting the majority from “natural materials” (Kate & Laird, 2004, p.19) found around them, to save on cost that cannot be spared, as the item, object or material being produced will entirely be used for income and in turn, survival. Secondly looking at reasons to craft developed countries are divided between crafting for essential (whether in the home or not) and crafting for recreational purposes. It would appear fewer people require craft to survive as craft now has “value beyond capacity to generate income” (Finger, 2004, p.2), however there is still the trend of crafting or survival and income but not to the extent of those in developing countries. Where contrastingly craft is there to “provide viable income and lifestyle” (Lieble & Roy, 2004, p.59) to help the majority survive, which essentially is the only human trait we all have in common – survival. The grey areas which arrived from these two areas of comparisons, is the use of found objects, whether they become dominate in the outcome of the product or play a small part in the process - sharing the mentality that found objects can be as useful if not more then those brought. Also showing that although some must purely craft for survival, and individuals in developed countries share the method of survival by craft because it is where the “heart is, but not where the money is.” (Miller, 2008, p.140). The discussion of developed and developing countries was relevant to craft being a continued design form to show that although class may separate us, we are mentally in synchronization when it some to crafting.

Despite the inevitability of technological advancement and change, craft has so far managed to stay an original form of design. Through definition we see that only the adaptation to modern society has altered the wording but not it’s meaning – for anything to be considered craft it must be, pure handmade which is the core unchanged factor about craft. Also by looking at the crafters the very vessel that defines craft and allows it to continuously grow and thrive – and to see that crafters have decided to keep the original form and values shows that craft is an unchanged form. Finally by looking at the developing countries and seeing that although the main reason behind crafting isn’t the same - as our circumstances are very different much like the reasons to craft through change in time. However we share the ways to craft. So through these aspects of craft, you see that time has changed the design world rapidly but craft has remained the same, and that though class may separate the world, craft is still the same form. So you can see that craft is an unchanged form of design and still holds it traditional values.

References:

Quotes (in order of mention):

Quinn, T, & Felix, P. (2011). Book of Forgotten Crafts. David & Charles Publishers.

Jobs, S. (1985). Playboy Magazine. ?

craft. (n.d.). Online Etymology Dictionary. Retrieved May 11, 2014, from Dictionary.com website: http://www.etymonline.com/index.php?allowed_in_frame=0&search=craft&searchmode=none

craft. (n.d.). Collins English Dictionary - Complete & Unabridged 10th Edition. Retrieved May 11, 2014, from Dictionary.com website:http://dictionary.reference.com/browse/craft

Syjuco, S. (2008). Handmade Nation. Princeton Architectural Press.

Rara, S. (2008). Handmade Nation. Princeton Architectural Press.

Atkinson, P. (2006). Journal of Design History: Vol.19, No.1. Oxford University Press.

Elder, A.C. (2004). Made in Canada. McGill- Queens Press.

Sennett.R. (2008), The Craftsman. Yale University Press; 1 edition

Bliss, J. (2008). Handmade Nation. Princeton Architectural Press.

Lieble, M, & Roy, T. (2004). Poor Peoples Knowledge. World Bank Publications.

Jiméze, N.A. (2004). Poor Peoples Knowledge. World Bank Publications.

Kate, K, & Laird, S.A. (2004). Poor Peoples Knowledge. World Bank Publications.

Jiméze, N.A. (2004). Poor Peoples Knowledge. World Bank Publications.

Miller, C. (2008). Handmade Nation. Princeton Architectural Press.

Books:

Levine.F, & Heimerl.C. (2008). Handmade Nation: The Rise of DIY, Art, Craft and Design. Princeton Architectural Press.

Elder.A.C. (2005). Made in Canada: Craft and Design in the Sixties. McGill- Queens Press.

Finger.J,M, & Schuler.P. (2004). Poor People’s Knowledge: Promoting Intellectual Property in Developing Countries. World Bank Publications.

Quinn, T, & Felix, P. (2011). Book of Forgotten Crafts. David & Charles Publishers.      

ABSTRACT:

As modern technology expands the horizon for design possibilities, many forms of deign are adapting to new techniques, as Jobs (1985) said, “the new technology will not necessarily replace the old technology, but it will date it.” In spite of this, small handmade crafts remain a traditional design form, “unchanged in centuries” (Quinn & Felix, 2011, p.21). This assignment will research the conventional small handmade crafts, debating that traditional handmade craft objects are consistent throughout the history of the design form. Beginning with Alan Elder’s 2005 text, Made in Canada, this text provides a historical look at craft in Canada where craft was applied across multiple design genres to form the identity of the country. Following with Handmade Nation, By Faythe Levine & Cortney Haimerl’s, a documentary text that provides scope into the modern crafting culture in a large influential country, America. Finally Poor Peoples Knowledge, By J. Michael Finger & Phillip Schuler will contribute to the reasons and forms of craft in developing countries that are currently being applied.

APPROACH:

The meaning of craft? (History/ Modern)

Who crafts? (History/ Modern) Why?

Differences between craft in developed/developing countries? 

PARAGRAPHS:

MEANING OF CRAFT IN THE DEVELOPED WORLD:

The historic meaning of craft is to ‘require manual skill’ (Online Etymology Dictionary).

The modern meaning of craft is ‘an activity involving skill in making things by hand’ (Collins English Dictionary). 

Despite both meanings being worded differently they both posses the same intention to have manual labor and handmade. Although the modern meaning of craft is manipulated to suit an object, its intentions remain the same, to “go against the grain of mass manufactured” designs where “each item is unique and handmade” (Syjuco, 2008, p.144).

(Main theme – craft meaning is unchanged)

PEOPLE WHO CRAFTED THEN & NOW:

Historically crafting was a means of income, craft was widely practiced by members of the family to help produce income and provide leisure.

Modern means of craft in developed countries could be divided into three groups: Income, lifestyle and active craft. All of which are practiced by wider comminutes if need be­, but aren’t essential for people to know. However there is still the desire to and “challenge to produce something beautiful” (Rara, 2008, p.148). 

The change in craft is dramatic in terms of intention and reasoning; “to change in ways and become more competitive” (Elder, 2005) despite this historic practices still hold value in modern crafting culture with “the emotional rewards craftsmanship hold out for attaining skill are twofold” (Sennett, 2008).

(Main theme – practice of craft has changed for reasons but the type is the same.)

DIFFERENANCES BETWEEN DEVELOPED & DEVELOPING COUNTRIES IN MODREN SOCIETY:

Modern craft in developed countries consists of lifestyle, essential and active craft, all of which are practiced widely. However modern developing countries are crafting to provide a means of income for survival.

Materials used in developed countries “primarily things […] I find around me” (Bliss, 2008, p.128) but with aesthetic being a major contributing factor to modern craft, brought materials are being used more and more. However developing countries are crafting the majority from “natural materials” (Kate & Laird, 2004, p.19) found around them, to save on cost that can’t be spared. 

Developed countries are divided between crafting for survival and crafting for recreational purposes; it would appear fewer people need craft to survive because craft now has “value beyond capacity to generate income” (Finger, 2004, p.2). In contrast to the developing countries which craft the majority to “provide viable income and lifestyle” (Lieble & Roy, 2004, p.59) to help them survive.

(Main theme – contrast from developed countries and developing. but socially makes us equal/anyone can craft for any reason)

REFERANCES:

QUOTES:

Quinn, T, & Felix, P. (2011). Book of Forgotten Crafts. David & Charles Publishers.

craft. (n.d.). Online Etymology Dictionary. Retrieved May 11, 2014, from Dictionary.com website: http://dictionary.reference.com/browse/craft

craft. (n.d.). Collins English Dictionary - Complete & Unabridged 10th Edition. Retrieved May 11, 2014, from Dictionary.com website:http://dictionary.reference.com/browse/craft

Syjuco, S. (2008). Handmade Nation. Princeton Architectural Press.

Rara, S. (2008). Handmade Nation. Princeton Architectural Press.

Elder, A.C. (2004). Made in Canada. McGill- Queens Press.

Sennett.R. (2008), The Craftsman. Yale University Press; 1 edition

Finger, J.M. Poor Peoples Knowledge. World Bank Publications.

Kate, K, & Laird, S.A. (2004). Poor Peoples Knowledge. World Bank Publications.

Lieble, M, & Roy, T. (2004). Poor Peoples Knowledge. World Bank Publications.

BOOKS:

Levine.F, & Heimerl.C. (2008). Handmade Nation: The Rise of DIY, Art, Craft and Design. Princeton Architectural Press. 

Elder.A.C. (2005). Made in Canada: Craft and Design in the Sixties. McGill- Queens Press.

Finger.J,M, & Schuler.P. (2004). Poor People’s Knowledge: Promoting Intellectual Property in Developing Countries. World Bank Publications.

Quinn, T, & Felix, P. (2011). Book of Forgotten Crafts. David & Charles Publishers.          

As modern technology expands the horizon for design possibilities, many forms of deign are adapting to new techniques, as Jobs (1985) said, “the new technology will not necessarily replace the old technology, but it will date it.” In spite of this, small handmade crafts remain an uninterrupted design form, yet to take any major technique change. With this assignment, I will research conventional small handmade crafts as design in our every day lives. I will debate that traditional techniques of modern handmade crafts are consistent throughout the design form. This allows craft to seamlessly encompass the everyday life. Beginning with Faythe Levine & Cortney Haimerl’s 2008 text, Handmade Nation, this documentary approach book provides scope into the modern handmade craft culture and techniques, in a large influential country, America. Following this will be Alan Elder’s 2005 text, Made in Canada; this book will provide an insight into an early era of craft, where the adaptation of craft techniques to multiple genres of design, begun to form the identity of the county. Both texts provide large scope into the history and modern handmade crafts, with contrasting themes, which will presents a grey area providing insight into the continuation of crafting techniques. I nominate design for the other 90% - the adaptation of conventional handmade techniques into the everyday lives of the other 90% which they use to adapt and survive, is in sync with the 10%. The initial text I will use is Poor People’s Knowledge by J Finger and Phillip Schuler.

Output: I will use a photo essay to illustrate and demonstrate my argument, because the effectiveness of photographs alone will portray techniques accurately, providing readers with immediate knowledge on the essay. Photographs provided through the essay will clearly communicate the commonalities I hope to find through the continuation of traditional handmade crafts. Which explaining otherwise may give readers a misrepresentation. However not all images speak for themselves hence the essay, which will further analyze and explain the relevance behind each photograph.

Handmade craft, the constant in the ever expanding designed world. A form where “each item is unique and handmade.” (Syjuco, 2008, p.144) Craft has gradually transposed into an acceptable design form and now provides “professional craft education.” (Elder, 2005, p.7)) However in doing so, has transformed the definition of handmade craft. This assignment is looking at the amateur handcrafter where the “heart is, but not where the money is” (Miller, 2008, p.140), to explore their application, and follow the continuation of basic handmade techniques into everyday modern craft. Handmade crafts have developed into being a part of modern culture, and is a healthy design form practiced universally. However there was the suspicion of younger generations showing “indifference to learning the ways of the old and skepticism about the value of traditional knowledge” (Jiménze, 2004, p.43) which hasn’t become reality as craft continues to use the basic techniques that “are unchanged in centuries.” (Quinn & Felix, 2011, p.21) A flourishing technique of craft is using “primarily things I find around me.” (Bliss, 2008, p.128) This maintained aspect to craft is essential to keeping the handmade craft traditional. Along with the use of readily available “materials allows them to be instantly identifiable” (Lieble & Roy, 2004, p.55) because of technical quality provides “identity in his protection against copies.” (Jiménze, 2004, p.18) This leads to another technique at the heart of handmade craft that continues to thrive is the desire to “go against the grain of mass manufactured products.” (Syjuco, 2008, p.144) To produce individual designs with “a challenge, to produce something beautiful that can be worn by men, women, and children. No gender or age constraints.” (Rara, 2008, p.148) This aspect to handmade crafts is highly valued as it allows crafters to design universally and to reach a larger portion of people. The preservation of these approaches also applies to the other 90% whose handicraft “has value beyond its capacity to generate income.” (Finger, 2004, p.2) Although the majority of the other 90% use handmade craft as a form of income for survival, where the “preservation of the traditional skills” “provide a viable income and lifestyle,” (Lieble & Roy, 2004, p.59) there are still armatures amongst the other 90% enjoying the true meaning of handmade crafting.

REFERENCES:

 Quotes (in order of mention):

- Jobs, S. (1985). Playboy Magazine. ?

- Syjuco, S. (2008). Handmade Nation. Princeton Architectural Press.

- Elder, A.C. (2004). Made in Canada. McGill- Queens Press.

- Miller, C. (2008). Handmade Nation. Princeton Architectural Press.

- Jiméze, N.A. (2004). Poor Peoples Knowledge. World Bank Publications.

- Quinn, T, & Felix, P. (2011). Book of Forgotten Crafts. David & Charles Publishers.

- Bliss, J. (2008). Handmade Nation. Princeton Architectural Press.

- Lieble, M, & Roy, T. (2004). Poor Peoples Knowledge. World Bank Publications.

- Jiméze, N.A. (2004). Poor Peoples Knowledge. World Bank Publications.

- Syjuco, S. (2008). Handmade Nation. Princeton Architectural Press.

- Rara, S. (2008). Handmade Nation. Princeton Architectural Press.

- Finger, J.M. Poor Peoples Knowledge. World Bank Publications.

- Lieble, M, & Roy, T. (2004). Poor Peoples Knowledge. World Bank Publications.

Books: 

- Levine.F, & Heimerl.C. (2008). Handmade Nation: The Rise of DIY, Art, Craft and Design. Princeton Architectural Press.

- Elder.A.C. (2005). Made in Canada: Craft and Design in the Sixties. McGill- Queens Press.

- Finger.J,M, & Schuler.P. (2004). Poor People’s Knowledge: Promoting Intellectual Property in Developing Countries. World Bank Publications.

    As modern technology expands the horizon for design possibilities, many forms of design are adapting to using new techniques. However handmade crafts remain an uninterrupted design form, which is yet to take any technological influence. With this assignment I will research conventional handmade craft as a design in out everyday lives. I will debate that modern handmade crafts are a non-technological encompassing design form, which intercede seamlessly with daily life. Beginning with Faythe Levine & Cortney Haimerl’s 2008 text, Handmade Nation, this documentary approach book provides scope into the modern handmade craft culture and techniques, in a large influential country. Following this will be Alan Elder’s 2005 text, Made in Canada; this book will provide an insight into an early era of craft, where the adaptation of craft to multiple genres of design begun to form the identity of the county. Both texts provide contrasting ideas, and through this a grey area should arrive, that will provide insight into the continuation of non-technological crafts. I nominate design for the other 90% - The adaptation of the other 90% in conventional handmade crafts is in sync with the other 10% of people who already use handmade craft techniques in there everyday live to adapt and survive. The initial text I will use is Poor People’s Knowledge by J Finger and Phillip Schuler.

Output: I will use a photos, accompanied by 1000 word essay to illustrate and demonstrate my argument, because the effectiveness of photographs alone portray work accurately, providing readers with immediate knowledge on the essay. Photographs provided through the essay will clearly communicate the commonalities I hope to find through the non-technological handmade crafts. Which explaining otherwise could give readers a misrepresentation of the crafts design. However not all photograph speak for themselves hence the 1000 word essay, which will further examine and explain the ideas entailed behind each photograph. With an in depth analysis, on the style, culture and techniques used to create the craft. Consequently the essay with photo element will be an appropriate output of communication in this intent-argument.

_____________________________________________________

Levine.F, & Heimerl.C. (2008). Handmade Nation: The Rise of DIY, Art, Craft and Design. Princeton Architectural Press. 

Elder.A.C. (2005). Made in Canada: Craft and Design in the Sixties. McGill- Queens Press.

Historical Influence on Contemporary Design   History of modern design talks about the minimal amount of change in industrial design from 19th century Britain. However the 19th century itself was the spark of new design endeavors in new processes and use of new materials, which where readily available after the war. Many entrepreneurial individuals helped build the expanding worlds industrial design, leaving no stone unturned, that leaves little room for ingenuity in the 20th and 21st century. However these ventures into new design in 19th century created building blocks where contemporary design could come to life. In the terms of being able to adapt pre-existing designs and use modern technologies to improve production and function of these designs. So despite the lack of change from the 19th century, it was an era that supplied the contemporary industrial design with valid design content.   Raizman.D. (2004). History of Modern Design: Graphics and Products Since the Industrial Revolution. Laurence King Publishing.     The Everyday / Critical Design   The design of everyday life discusses the connection of objects within the everyday life that redefine the ‘everyday’ routine. One of the examples exami­ned was digital photography, and how its existence in everyday design only continues if it is preformed. Therefore the cameras relevance in everyday design is present by making it an available object to each individual, and allowing individuals to add a piece of design into everyday. The critical piece of design when taken to a further extent is 21st century cellphones allowing cameras to be in everyone’s back pocket therefore a complex design becomes a basic everyday design tool. Always conveniently available and constantly in use.   Shove.E, Watson.M, Hand.M, & Ingram.J. (2007) The Design of Everyday. Berg   DIY / Craft   Handmade nation describes the vision of modern day Americans in handmade crafts. This book represents the ability to create new art from pre-existing designs and how to utilize the readily available materials, to make every piece of handcraft a piece of art.  Handmade nation also shows the development of craft, from cross-stitching to historical techniques in modern punk cultured craft. Showing you can harness your gift of design, craft, innovation and creation, and build a living from it. The idea is to showcase that the everyday individual is capable of producing craft, to a level of design. Handmade crafts continue to surround us whether you personally involve yourself in the process or unintentionally contribute by being part of the outcome. Showing us that craft always has been and will continue to be present in design.   Levine.F, & Heimerl.C. (2008). Handmade Nation: The Rise of DIY, Art, Craft and Design. Princeton Architectural Press.

Visitors to Mexico City are often struck by the prevalent use of concrete in houses of all sizes, and representative of all social classes. Indeed, cement is a central component of domestic construction in Mexico City. The state of the cement market in Mexico notes that among the constructors of low-income informal housing (who account for between 60 and 70 percent of all housing built in capital city), “more than 60 percent use concrete block construction in the walls and 90 percent of those interview will make floors and roofs out of cement”. An examination of typical middle- and high-income houses built since the 1920s demonstrates that the basic structure of the house is the same as the low-income houses. The decorative elements are superimposed on this structure. This generalised, and well established, use of cement as a basic ingredient of domestic construction contrast with the more limited  use the materials has enjoyed in the other industrial countries.

The unfortunate social and economic conditions of Third World societies have instigated designers and design scholars to pay attention to the needs of this two-thirds of the world population. The “ideology” of design as problem solving drives designers and design scholars to think about how design can contribute to helping Third World societies. The International Council of Societies of Industrial Design (ICSID) organised the “Design for Need” conference in April 1976.

The idea of design for the Third World advocated but either Papanek or Bonsiepe did not really work because they lacked political dimensions in their implementation. Therefore, this article seeks to offer a new perspective to implement the idea of design as a solution for Third World societies by looking at the interweaving of design and politics. 

The theme of special issue arose from a perceived need to generate a disclosure around the interface between “design” taken as a function of the activity of the “professional” designers and being part of an established cycle of the design, production and consumption of goods; and “Do It Yourself” taken as its antithesis-a more democratic design process on self-driven, self-directed amateur design and production activity carried out more closely to the end user of the goods created.

An important quality that distinguishes DIY from “design” is discussed in a manner that separates “amateurs” (DIY) from designers. It’s possible that the reason DIY has not been examined in published studies as much as might have been is a function of the uncertainty as to where exactly it fits in the discourses of art, design or craft.