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- Title of Abstract:
The Identity of craft: Craft is dead, long live craft. (Ref #130)
- Date:
- 28-09-2006 13:57:16
- Status:
-
Accepted
- Rating:
- 9
-
Details:
- Abstract
Arguments persist as to the relevance of craft. Most of these arguments come mainly from craft practitioners themselves, who emphasize the benefits of crafted objects, handmade goods, unique items, funtional art, anti-manufacturing, etc.
In most cases, outside of the field of fine craft, there is little to no recognition of the field, or a serious mis-interpretation of what it is. This paper aims to discuss how craft suffers from a crisis of identity rather than a dwindling reputation via comparisons with the field of product design, using case studies from the field of product design, primarily the past 15 years of Dutch design success.
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Craft has two distinct aspects that require definition in this paper, and will be the basis of the discussion and case study involving an identity crisis within the field of fine craft:
1) Craft as practice. Craft as a business, as a livelihood, whereby a maker undertakes to create an economic foundation of livelihood based on the designing, making and distribution of their own goods and services which are under their direct control.
2) Craft as process. The manipulation of raw materials into form and substance using traditional making techniques.
Craft in the 2nd instance is not dead, because it is a universal human activity. The act of making is uniquely engrained in the human condition. Our ability to make tools separates us from all other species of life on the planet, and our ability to make, shape and form in the 21st century is also unprecedented in human history. Craft in this sense can extend to work done by chefs, filmakers, engineers, musicians, writers, gardeners, etc.
Craft in the first instance, however, is almost dead. As a practitioner, it is difficult to explain to anyone outside the field of craft what it is that we do. It is often mis-represented as being a hobby, simple childrens activities, or primitive and traditional and is often illustrated by bad examples of what some also refer to as "handicrafts".
But the ideas that embodied the development of craft from historical contexts, particularly the writings of Morris and Ruskin have given rise to a new kind of craft that is thriving: design.
In the past 15 years, dutch design has rocketed to international attention, creating a vast array of superstars for a country that has a relatively small population. What is alluring about these designers is that they are developing interesting products that have a wide appeal, and most of them are developing their designs on craft based principals, often assuming the manufacturing and distribution of their products themselves.
The question remains then, why is this segment of design so successful, and why is craft not?
Insights into branding, personal identity, and lifestyle trends are all relevant in this discussion. Case studies in this paper will include historical overview of both craft and design, a review of the past 15 years of dutch design, and individual case studies of work and studio practices of established and rising Dutch designers including Jurgen Bey, Gijs Bakker, Hella Jongerius, Maarten Baas, Wieke Somers, Joris Laarman and others and comparing them with contemporary craftspeople including John Makepeace, Tommy Simpson, Kai Chan and others. An investigation into how these designers work in an almost identical manner to finecrafts people, yet have selected to brand their identities differently will give rise to a discussion on the future perceptions of craft and how it may be useful to reconsider the identity of organizations that market the works of fine craftspeople.
- Arno Verhoeven is a designer/maker, who established his furniture studio in Toronto, Canada in 1997. In 2004, he returned to the Netherlands to investigate the potential of expanding design within craft. In 2006, he graduated with a Masters degree from the Design Academy Eindhoven, and recently moved his studio to Rotterdam, where he designs, makes and collects ideas.
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