Making Futures Journal 3
Welcome to the Making Futures on line Journal Volume 3.
‘Making Futures: Interfaces between craft knowledge and design: new opportunities for social innovation and sustainable practice. Vol 3. ISSN 2042-1664’
To ensure the widest possible dissemination Making Futures is published as a free, open-access academic resource for all not-for-profit users interested in its themes.
Malcolm Ferris - Making Futures Curator
Director of Research and Academic Development
Plymouth College of Art
Key Note Speakers & Workshop Leaders
Brazilian writer, curator and lecturer.
Tomas Díez Ladera
The Institute for Advanced Architecture of Catalonia (IAAC) and Director of Fab Lab Barcelona.
Executive Director of the Crafts Council, London, UK.
Prof Jaideep Prabhu
Professor of Marketing, Jawaharlal Nehru; Professor of Indian Business and Enterprise, and Director of the Centre for India & Global Business at Judge Business School, University of Cambridge.
Prof Trevor H.J. Marchand
Professor of Social Anthropology, The School of Oriental & African Studies, The University of London.
Dr Peter Oakley
Research Leader, The School of Material, The Royal College of Art.
Craftwork as Problem-Solving
Convened by Trevor H J Marchand, Professor of Social Anthropology, School of Oriental & African Studies, University of London, with support from the British Academy.
This workshop aimed to enumerate the diversity and complexity of problem-solving strategies employed by craftspeople in order to better understand how these are perceived and evaluated by makers themselves and by the societies in which they operate. It invited contributors to explore the multiple kinds of intelligence involved in design and making, and to consider the roles that culture and the environment play in forming and transforming the tactics that makers engage in. In so doing, the workshop also sought to reflect upon the lingering (or perhaps newly-emerging) social stigmas associated with ‘hand work’ and vocational training as well as the changing status, value and purpose of craftwork in the 21st century.
- + Dr Stephanie Bunn > Interweaving answers and questions in Scottish vernacular basketry
- + David Gates > Stories from the Workshop: Communicative practices amongst crafts practitioners
- + Ian Hankey > Transferring skill over 2000 years: A study of two disciplines
- + David Jones > Grenzerfahrung: Embodied narrative – a critical tool to develop a sustainable ethical practice
- + Dr Faith Kane & Dr Rachel Philpott > Textile Thinking for Sustainable Materials
- + Sheron King > Life of Things
- + Sylvia Llecha > Language as a Way to Express Craft Practice
- + Malcolm Martin > On Not Knowing the Unknown Craftsman
Crafting with Digital Technologies
Convened by Peter Oakley, Research Leader, the School of Material, Royal College of Art.
In recent years digital deposition technologies have begun to colonise manufacturing accompanied by reports on how they will disrupt long-established methods of making: moreover, that these technologies could soon be present in every home enabling ‘prosumers’ to create bespoke objects on a whim. While it remains unclear whether digital manufacturing will lead to a utopia of instant making for all, or a further concentration of production in the hands of specialists, new communities of digital makers are assembling around the sharing of software and equipment. This workshop was convened to explore the phenomenon of digital manufacturing from a crafting perspective and to consider its impact today and for the future.
- + Roderick Bamford > Crafting the Void: Trans-Dimensionality in digital and analogue craft practice
- + Camille Bosqué > Fab Labs, hackerspaces, makerspaces: Between social invention and industrial redefinition
- + Steve Brown > The Meissen Fountain Project: Restoration in the age of digital reproduction
- + James Charlton > Acts of Materiality
- + Dr Lionel Dean & Dr Kristina Niedderer > Flex-it: Exploring emotional expression and experiences through elasticity in digital manufacturing
- + Gayle Matthias & Tavs Jorgensen > Reflections on a Collaborative Research Project in Digital Moulding for Glass Casting and Artistic Interpretations
- + Esteban Schunemann > Paste Deposition Modelling (PDM): A hybrid ALM/craft process
- + Amanda Smith > Past, Present and Future: A Haptic Approach to mass-production seamless knitwear technologies
- + Prof James Stevens & Ralph Nelson > Digital Vernacular: Democratising architectural making
- + Rosemary Wallin & Florian Stephens > Maintaining Authenticity: Transferring patina from the real world to the digital to retain narrative value
Transformative Practices in and through Textiles
In association with the Crysalis textiles network, funded under the EC INTERREG IV A 2 Seas Programme.
Recognising the scale and diversity of the textiles sector, this workshop invited contributors from across the field to explore multiple viewpoints, from traditional artisanal practices to high-end design, and from the global value chains of high-volume fast-fashion retail to the activism associated with DIY ‘craftivism’ and ‘slow’ thinking. In doing so the workshop sought to uncover the points of convergent thinking around textiles related economic, social and sustainability issues from multiple overlapping perspectives. These included whether traditional textile methods necessarily provide for more ecologically sustainable practices than modern industrial systems, and where textile crafts sit in relation to new emerging materials and innovative production techniques and technologies.
- + Ruth Brewerton > Artisan Textile Traditions as Luxury and Livelihood in East Asia
- + Dawn Ellams, Sara Robertson & Robert Christie > Better than Beige: Sustainable colour for Lyocell
- + Dr Kate Goldsworthy > Designing Cyclability: Pro-active approaches for maximising material recovery
- + Jyoti Kalyanji & Dr Frances Joseph > Machine-Crafted: Investigating form and aesthetics in the seamless knit environment as a sustainable textile design practice
- + Clio Padovani & Dr Paul Whittaker > Fragile Communities and Craft Practices: A European Perspective
- + Dr Kirsten Scott > Craft as Cross-Cultural Communication and Exchange
- + Nanci Takeyama > Designing for and with communities
- + Amy Twigger Holroyd > Not the End of the Journey: Exploring re-knitting as a ‘craft of use’
- + Stephanie Wooster > Why Do We Still Knit?
Sustainability and Social Innovation and Activism
This session aimed to investigate art, craft and design-to-make as facilitators of change in relation to environmental awareness, community building, and ethical processes of making and selling. It invited participants to present and discuss practical examples of the ways in which creative practitioners are responding to dialogues around sustainability issues, for example, by extending product lifecycles through make and mend, re-cycling, up-cycling, renovation and reframing; or through ‘cradle-to-cradle’ life-cycle design strategies. The session aligned these environmentally-conscious approaches with practices that dignify and empower self and others, encouraging positive social change through socially-innovative projects that enable participants to gain critical awareness of their habitat.
- + Carla Binotto & Carla van Lunn > Silk Purse, Sow’s Ear: Transforming Second Hand Clothing into Luxury Fashion through Craft Practice
- + Kim Charnley > Contemporary Art, Craft and the Politics of Silence
- + Dr Alison Gwilt > What Prevents People Repairing Clothes? An investigation into community-based approaches to sustainable product service systems for clothing repair
- + Dr Fiona Hackney > Taking CARE: Building Community Assets though Collaborative Creative Making
- + Alison Harper > Sustainability, Innovation and Activism
- + Rachel Johnston > Making Stories
- + Ethan Pennell > The Doors of Perception: An enquiry into the spirit of place
- + Jan Truman > Dancing with Shadows - Searching for Light
Post-Fordist Perspectives on Consumerism
This session sought to disentangle and explore some of the cultural and economic perspectives that help define the position of the contemporary crafts in relation to the political economies of industrialisation in its Fordist and post-Fordist phases. Fundamentally, it invited participants to explore whether, and how, the modern subject of liberal individualism could be reconfigured around a new ‘post-consumer’, ‘prosumer’, or, (following Soper), ‘hedonistic consumer’, whose desire is orientated towards a more socially-equitable and environmentally-sustainable mode of being. In doing so the session reflected upon the relationships between craft practices and new emerging materials and media, and whether a post-Fordist sustainably aware future necessarily implied a return to some pre-industrial form of craft-based past?
- + Dr Suzie Attiwill > Urban. Interior. Craft. A World in Making
- + Fiona Curran > Ecologies of the Object
- + Elaine Dye > Selling the Forever: The use of display in contemporary craft exhibitions
- + Sandra Fagbohoun > The Makers: An Anthropological Study
- + Wendy Fountain > Resurgent Homecraft, Design for Resilience, and the Everyday Practices of Sustainable Living
- + Maria Hanson > What’s in My Stuff? How sustainable is the mobile phone?
- + Samuel Javelle & Jean-Patrick Péché > Makers: Hobbyists or new economic driving force?
- + Yuri Na & Michel Lamblin > Sustainable Luxury: Sustainable crafts in a redefined concept of luxury from contextual approach to case study
- + Dr Isabelle Risner, Dr Katie Bunnell & Jason Cleverly > Crafting Audience Encounters
- + Dr D Wood > Futuring the C Word
Translations Across Local-Global Divides
While craft has long been thought of as a placeholder for cultural identity and communal belonging, the relevance of this view has been fundamentally challenged through mass production and, more recently, economic globalisation, leading to the disappearance of many traditional crafts. However, this disappearance of traditional making under modern globalisation has itself led to a revived search for craft’s relevance to identity, heritage and ‘place-making’ across many cultures. This session sought to explore craft as it is defined by the tensions and flows between traditional cultures and modernity, between rural and urban cultures, between local, regional, national and global levels of interaction and translation - between notions of authenticity, cultural heritage and identity derived under the influence of indigenous and global markets, aesthetics and agencies.
- + Ana Afonso > The Contribution of Anonymous Artefacts for the Development of Portuguese Design
- + Gemma Amat & Gloria Bonet > Craft and Design in Local Development in Catalonia
- + Ann Brown > Neocolonialism in Design for Development
- + Christine Gent > Who Turns the Toys of Channapatna? Indian turned wooden lac ware and the role of Fair Trade in the design and commercialisation of the craft
- + Dr Andrew Hennlich > Crafting Experience in the Work of Daniel Halter
- + Asli Kiyak Ingin > Made in Sishane Project as an Alternative Design Practice for Safeguarding the Craft Neighbourhoods in Istanbul
- + Koumudi Patil > Language and the Shape of the Worldview
- + Andrea Peach > Contemporary Craft and Cultural Sustainability: A case study of the Scottish Craft
- + Prof Qassim Saad & Caroline Shoushanian> Exploring Models of Design Thinking in Egypt
Re-thinking Craft Knowledge and Education
This session invited participants across all levels of pedagogy - from early years through to post-graduate levels, and on through continuing education - to consider the relevance of craft to the curriculum. Starting from the position that a better future is dependent on whether we can successfully educate our young to adapt and innovate within a context of finite energy and material resources, and to appreciate the importance of natural systems and how we depend upon them, it asked what might a crafts-based education focused upon ethical and environmental stewardship might actually consist of, and how and what issues might it need to address in terms of curriculum design and student engagement.
- + Matthew Bisco > Knowledge Making at Plymouth School for the Creative Arts
- + Greru Chamithri & Dr Britta Kalkreuter > Makers in the Classroom: Knowledge exchange through practice
- + Stephen Felmingham > Putting It into Practice: Bridging the gap between learning and doing
- + Nicholas Houghton > Making a Difference: Sustainability in the arts curriculum
- + Mary Loveday Edwards > The academic dimension in craft education: Anomaly or opportunity
- + Khrystyna McPeake > Building Crafts in the Built Environment
- + Asst Prof Susan Melsop > Craft and Affective Domains of Meaning Making: Engaging Hand, Head and Heart for Transformative Sustainability Learning
- + Frances Stevenson > A Craft State of Mind
The Gallery at Plymouth College of Art
Crysalis, an EU project funded under the INTERREG IV A 2 Seas Programme, is a collaboration between:
The University for the Creative Arts, Rochester, leading the way in digital textile development as well as engaging young entrepreneurs
Plymouth College of Art, with its extensive experience in education and crafts
The city of Calais, represented by The International City of Lace and Fashion
TIO3 Textiles Open Innovation Centre, representing the city of Ronse, Belgium, both of which have a rich heritage of textile tradition and a strong focus on public engagement and entrepreneurialism.
Crysalis offers you an opportunity to engage with new technologies, explore traditional craft techniques, to work and exhibit internationally, to connect with textile business in the UK, France and Belgium, and to develop your practice to new levels or in new directions.
Rights and Permissions
Copyright of the papers belongs to the Making Futures conference organiser, Plymouth College of Art. Authors retain proprietary rights to their manuscript and veto over third party publication. Authors wishing to publish elsewhere must first seek permission from Plymouth College of Art and will be required to credit them as the original publishers of the paper.
To ensure the widest possible dissemination Making Futures is published as open-access academic resource and the full articles are all available for free download to not-for-profit users for reading.
Not-for-profit users wishing to quote or reuse any part or section of an article in print or electronic media must ensure the used portion is accompanied by a credit acknowledging the original author and Plymouth College of Art as the original publishers of the paper.
For-profit users should contact the Making Futures Team at Plymouth College of Art for permissions. Please email email@example.com
Making Futures Archive
Making Futures aims to bring together an international cast of practitioners, academics, curators, campaigners, activists, and representatives from associated organisations and agencies, to investigate contemporary craft as a ‘change agent’ within 21st century society - particularly in relation to global environmental and sustainability issues, socially embedded practices and social innovation.