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