Design and Craft Studies

Stories of Beeja-One Let's hear about the beginning of 'The Beginning'…. D: I have seen quite a few of Beeja's designs and I feel they have a rustic connect, not just in terms of the material used but the designs as well. Tell me what inspires Beeja's designs ?

Rattan and bamboo are important forest resources for the North Eastern Region (NER) of India. Naturally growing in abundance, they find use in a number of industries such as housing, construction, handicrafts, furniture and food industry. Of late, this industry has seen considerable growth outside the NER. But it has not been able to realize its full potential in NER due to significant lack in market orientation of the craftsmen who work from remote areas in NER and try to sell in urban markets. This paper looks into the urban markets, which holds the highest scope for revenue growth for this industry and investigates the gap in the customer preferences and current industry value proposition. The main gaps found are: lack of awareness, limited training focused only on techniques, lack of design awareness and sensitivity (ergonomics, attention to detail, finishing, presentation), lack of branding and marketing knowledge and limited outreach of self help groups (SHG) and clusters.

For a researcher, studying the dynamics of a traditional handcraft and indigenous knowledge becomes interesting during the research identification process, especially when a study turns into a comparative one between what actually s/he has personally witnessed in its applied area and its pre-existing insufficiently documented database. Sometimes, these documents are supportive but just bear few insufficient bullet points with some of those being contraindicating too. On the other hand, the existing status of a craft includes indigenous craft techniques, hereditary knowledge, work culture, materials, tools, line of end products, socio-cultural importance of craft, associated folklore roots and other ingredients, which represents an overall set of 'evidenced legacy' of any traditional heritage. The present documented status of flexible brass craft of Bellaguntha is also suffering from above mentioned situation. This paper covers some of the interesting cases found by this author, during his studies of pre-existing documents, concerned with this craft and presents the dynamics of product designing. The purpose of the study is to conduct a systematic documentation to enrich the database about this craft for its manifold benefit.

craft + design enquiry -www.craftaustralia.org.au/cde Murray, K., 2010, Outsourcing the hand: An analysis of craft-design collaborations across the global divide craft + design enquiry, vol. 2 Abstract This paper identifies a growing trend in contemporary craft practice which involves outsourcing handmade processes to artisans in poorer countries. To evaluate this process, it reviews three case studies: Sara Thorns Worldwide Weave in India, Polly&Me in Pakistan, and Martina Dempf in Rwanda. Each enables different levels of creative collaboration with traditional artisans. While a critical framework is able to be established, there is still a lack of information that comes directly from the artisans themselves. craft + design enquiry -www.craftaustralia.org.au/cde Murray, K., 2010, Outsourcing the hand: An analysis of craft-design collaborations across the global divide craft + design enquiry, vol. 2

This research paper examines traditional chok weaving in Northern Thailand to determine if and how design can contribute to its future viability. Research was conducted through extensive fieldwork. First, we describe traditional chok weaving and new developments in maintaining cultural significance. In addition, two distinct approaches to sustainability are identified: sustaining traditional practices of making textile products, and sustaining the social-cultural practices of product use. This paper also lays out potential areas for design contributions, and the framework of the four recommended design contributions is generated. These include design and production development, product design and development, design in relation to marketing and sales, and design to support the transfer of weaving expertise between generations. Project implementation with the weaving communities of the Long district is presented, producing tangible results, including a booklet and a card game of the traditional textile patterns for the weaving communities and interested people, and a repository of information, which the research group created for sharing information within the group.

Available online
PDF: http://www.ijdesign.org/index.php/IJDesign/article/viewFile/3128/883
HTML: http://www.ijdesign.org/index.php/IJDesign/article/view/3128/895

This research investigates the potential of design for sustainability in the handicrafts of northern Thailand. It provides an in-depth understanding of the relationship between craft and design for sustainability, and examples of handicrafts and their potential links to design for sustainability, focusing especially on handwoven textiles. Research strategies include a literature review, semi-structured interviews and case studies. Seven main research findings are identified. 1. Handicraft production (including the weaving of the Tai Yuan ethnic group in northern Thailand) is compatible with all the elements in Walker's Quadruple Bottom Line of Sustainability (personal meaning, social responsibility, environmental care and economic viability). 2. Three handicrafts were found to have strong potential for design for sustainability, including textiles, furniture and jewellery. This is based on four critical factors affecting the long-term viability of handicraft enterprises, namely: production capacity, product viability, market feasibility and legislation. 3. There are four areas of design for sustainability that can ensure the long-term viability of handicraft communities and enterprises: (i) product design and development, (ii) design for marketing and sales, (iii) production development and (iv) knowledge transfer and knowledge development. 4. Weaving courses and training are key mechanisms for transferring textile knowledge. Yet these are not sufficiently available, especially to the younger generation. 5. Developments in the handicraft communities lead in one main direction, namely towards the revitalization, preservation and commercialization of handicrafts. It is crucial to explore directions that can better connect handicrafts with the younger generation and enable producers to adopt a more entrepreneurial approach. 6. Chok textiles are available at varying prices and quality in the market. Yet information about the product quality is understated and undifferentiated. More adequate information about the product quality (i. e. production techniques and processes) as well as about the unique identity and cultural heritage, ethical production and fair trade, is required to stimulate purchasing decisions. 7. The supply chain of handwoven textiles in this region falls into three main categories: stakeholders, producers' service areas and trade channels.

Available online
https://eprints.lancs.ac.uk/id/eprint/133494/1/11003586.pdf

in: Jochen Gros, Dagmar Steffen, Willy Bierter, Christine Ax. Art-Customization, NewArts-n-Crafts mit computergesteuerten Werkzeugen, S. 74-143,  Machbarkeitsstudie der Hochschule für Gestaltung Offenbach, im Auftrag des Bundesministeriums für Bildung und Forschung, Offenbach am Main 2001.

This article considers the Aran jumper as a cultural artefact from an anthropological perspective. As an internationally recognized symbol of Irishness that comes with its own myth of origin, the Aran jumper carries emotionally charged ideas about kinship and nativeness. Whether read as an ID document, family tree, representation of the landscape or reference to Christian or pre-Christian spirituality, the Aran jumper’s stitch patterns seem to invite interpretation. Emerging at a particular period in the relationship between Ireland and America, this garment and the story that accompanies it have been shaped by migration and tourism, but may be understood very differently on either side of the Atlantic. The resilience of the myth of a fisherman lost at sea, whose corpse is identifiable only by designs his relatives have stitched into his clothing, is explained in light of its resonance with diasporic narratives and transnational longings.

In 1925, responding to a call for "modern" arts and products from the colonies, the French Protectorate of Morocco participated in the International Exposition of Modern Decorative and Industrial Arts in Paris. The Art Deco Exposition is best remembered for its promotion of a new French "style moderne" in architecture and applied and decorative arts.1 The Exposition was pivotal to international conceptualizations of modern design in the first half of the twentieth century. Less well recollected is that the Exposition took place at the height of the French colonial empire's global expansion following World War I. The colonial world permeated it. Raw materials extracted from colonized landscapes were ever present. Hardwoods from West Africa, Madagascar, French Guiana, and Asia displaced European pine and poplar in carpentry throughout the Exposition.2 European artists and designers experimented with motifs and forms referencing recently excavated ancient Egyptian and classical artworks and found inspiration in the aesthetics of cultural works from East Asia, Central America, and West and North Africa with the heightened access to these regions made possible by colonial expansion. The impact of the colonial world was not simply in the source of visual inspiration and raw materials it provided. Rarely addressed in contemporary scholarship,3 the Art Deco Exposition also presented an important opportunity for artists, designers, and government agencies based in the French colonies to articulate their relationship to the transforming international arts landscape. Taking the Moroccan Section at the 1925 Art Deco Exposition as a case study, I explore the interrelated histories of colonialism and modern design, examining how art makers and patrons based in colonial societies responded to the demands of the globalizing art market. At the same time, I demonstrate how the innovative works fostered by the economic and social conditions of colonialism influenced broader

Throughout the thesis I take symbolic communication and visual metaphors as starting points for developing a contemporary picture of diverse Craft practices in a small corner of Scotland. As a result, this thesis is both an ethnography of Craft and a craft object, explicitly made to be a theory-laden object of material culture.

Both in its analysis and its subject matter, this thesis aims to question a variety of epistemological regimes found not only in anthropology, but also in the North-East of Scotland. The main argument of this thesis is that in order to understand something about Craft and the experiences of its makers it is important to have an understanding of the ways in which they create that world as meaningful: that is, an understanding of the thirdness (or symbolism) that is an active, generative force in that world. In the following chapters I argue two interwoven points: one, that a stash (collection) is a collection of stash (craft materials) and is also a site of thirdness in which symbolic thought and action are vital. And two: that, as such, stash and the craft world in which it is embedded are well served by an approach to visual anthropology that takes seriously a study of semiotics in which poetics become more than a subject of analysis; poetics are also allowed to develop into a method(ology) of engaging both informants and audience in a meaningful dialogue of knowledge production.

By using images to contextualize ethnographic evidence and by making these previous points not only with words, but also through imagery, I aim to convince the reader of the integrity of my ethnographic analyses as well as that theories of visual anthropology are as useful for analysing anthropological subjects as for communicating ourselves.

This paper seeks to reveal the transformative power of stitchery by examining textile practices in Japan and articulating how a threaded needle can be viewed as the co-agent of stitchers, infusing their materials with properties in a ‘processual’ and relational manner that reflects the currents of the lifeworld. I will contrast and compare two practices, one ancient and one modern, one responding to life’s necessities and the other simply to the act of stitching. In the ancient world, stitchery was essential for human survival, and later in rural Japan, sashiko stitchery was a medium that connected textiles with daily life, providing for functional and decorative needs. In modern Japan, the stitchery of members of the Nui Project sustains their sense of well-being (Figure One). In both cases, the materials that result from the act of stitching are carried out by the movement of hands, eyes, and a threaded needle on cloth. The expressions of stitchers in the two groups are very different though equally powerful in transforming their lives along with the materials they stitch, in the process recording stories of their experiences.

Bu bildiri kapsamında, İstanbul Bilgi Üniversitesi Mimarlık Fakültesi Endüstri Ürünleri Tasarımı Bölümü 2. Sınıf ID 202 Tasarım Stüdyosu dersi kapsamında 2013 yılından beri devam etmekte olan bir eğitim yaklaşımı ve bu model üzerinden tasarım eğitiminin dönüşümü ve yeni
yöntemlerin olasılıkları tartışılmaktadır. İstanbul kent içi küçük üretim bölgeleri, malzeme ve üretim tekniklerinin anlaşılması ve pratik edilmesi için önemli fırsatlar sunmaktadır. Bugüne kadar tasarım lisans eğitiminde sanayi ile olan ortak çalışmalar öncelikli olmuş ve bu tür kent
içi küçük üretim bölgelerinin, zanaat atölyelerinin eğitime katkısı yeterince ve etkin bir şekilde değerlendirilmemiştir. Bu model ile kentteki zanaat atölyelerinin ve sahip oldukları yerel malzeme, üretim tekniklerinin daha aktif bir şekilde tasarım eğitimine eklemlenmesine çalışılarak stüdyo dersi kampüsten kente, zanaat atölyelerine taşınmıştır. Böylece ikinci sınıf tasarım öğrencileri hem çırak olarak zanaat atölyelerinde aktif üretime katılmakta, yaparken öğrenmekte hem de süreçleri içeriden deneyimleme şansı elde ederek geniş bir zaman diliminde gözlem yapabilmektedirler.
Bu modelde ardışık tasarım ve üretim süreçleri yerine ikisinin birlikte olduğu, etkileşimli bir tasarım, üretim ve eğitim süreci gerçekleştirilmekte; malzeme, üretim teknikleri, zanaatkarın bilgisi ve atölye ortamı tasarıma doğrudan girdi oluşturmakta; yaparken düşünme ve tasarlama devreye sokulmaktadır. Stüdyo süresince öğrenciler Şişhane ve Galata bölgesindeki zanaat ağında yer alan metal, ahşap, abajur, avize, tel, pantograf, akrilik, saz atölyeleri
gibi farklı malzeme ve üretim tekniklerinde uzmanlaşmış atölyelerle eşleştirildi. Öğrenciler ikili gruplar halinde seçtikleri atölyelerde ustaların yanında çırak olarak çalıştı ve üretim sürecinin bir parçası oldular. Böylelikle malzeme ve üretim tekniklerini sürecin içerisinden anlama, araştırma ve deneme şansına sahip oldular; bir yandan da işbirliği yaptıkları aktörleri tanırken toplumsal ve kentsel kesitte yeni deneyimler ve farkındalık kazandılar. İstanbul Bilgi Üniversitesi, Endüstri Ürünleri Tasarımı Bölümü’nün tasarım eğitiminde izlediği çoğulcu bakış açısıyla uygulamaya giren ve sahada çalışmalar yapmakta olan Made in Şişhane projesi ile işbirliğinde önerilen bu model, alandaki deneyimler, öğretim kadrosunun katkısı, öğrenciler ve atölyelerden gelen geri bildirimlerle geliştirilmeye, yapılandırılmaya devam etmektedir.
Anahtar Kelimeler: Tasarım Eğitimi, zanaat, atölye, ustalık, çıraklık, malzeme, kentiçi üretim, okuldışı eğitim, İstanbul, Şişhane, Galata

Previous research has thoroughly investigated knowledge creation from various perspectives and fields of expertise, although only a few studies have presented integrated discussions on the topic. This thesis situates knowledge creation at the intersection of two domains: organizational studies and craft and design research. While theories in organizational studies outline how tacit knowledge can be explicitly articulated through structured social practices, craft and design research inquires into knowledge creation through the process of materializing artifacts. In arguing for the integration of both perspectives, the present research examines collaborative craft as an organized activity and highlights the agency of objects in social practices where knowledge is articulated. Conceptually, this thesis draws on poststructuralist thinking and materialist approaches to organization in order to propose a material-discursive practice theory. Methodologically, it employs a multiple case study conducted in three distinct geographies and cultural contexts, which allowed the designer-researcher to collaborate with craftspeople, collect rich empirical data, and confirm that social practices can yield knowledge via the production of artifacts. The research findings reveal the type of knowledge that can be articulated when craftspeople and designers collaborate, drawing attention to the relationship between the knowledge created and the artifacts produced. The study also emphasizes the significance of materiality in generating meaning and enacting discourse, especially in work settings where communication is hindered by sociocultural phenomena.

Documentation of a traditional craft is important for preserving its identity and to communicate its details to the audience. So, this was important to document different aspects of the flexible brass craft of Bellaguntha. This paper is based over a set of field visits to these craft clusters, located in and around Bellaguntha block area in Ganjam district of Odisha state in India, by this researcher. The purpose of this paper is to prepare a literature database about the flexible brass craft of Bellaguntha, which may help for further research activities by encouraging researchers, who are willing to contribute in the areas of craft studies, traditional knowledge, conservation and preservation of indigenous technologies, design research etc. not only in India, but also in other developing and underdeveloped nations of our beautiful world; where a number of countless traditional crafts and indigenous knowledges are still under waiting and attracting researchers to explore further studies, documentation and publication, so that their glorified existence can be recognized by the world community.

How do online networking sites for craft define themselves, and how do they compare to physical communities of contemporary craft? This chapter examines the construction of subversive speech and counter-discourses within digital forums for ceramics, fiber art, and other studio crafts. Communities of people working within traditional craft media might seem unlikely netizens; however, Internet forums for craftspeople have become particularly robust and global communities. Web forums such as message boards and tutorials offer alternative social and teaching spaces. These online dialogues and collaborations offer opportunities to reclaim and/ or revise artistic identities and conceptions of past and present craft communities.

This paper aims to present a design course conducted for craftspeople at İSMEK, an adult education organisation in İstanbul, Turkey. The aim of the twelve week long program was to introduce novel perspectives in design by instructing fundamental issues about design methods, providing critical inputs and mentorships through the design processes. The participants did not have a background in design education, were holding a mastery on a particular area in crafts and were already tutors in their own field. Thus, the aim of the design course was to enhance a broader look on the existing processes in craft making by supporting the participants to experiment and create novel interpretations of traditional crafts. As a unique example of designer-craftsmen collaboration, this design course is introduced in this paper with its background, context, structure and outputs in order to discuss its possible contributions to prospective studies.

A study of the aspect of identity in the aesthetic domain of Priangan
Batik, from the old Priangan Batik to the present day Priangan Batik, in relation
to the constellation change of its aesthetic elements. It considers various impacts
of modernity, enriching batik through its ornaments, themes, colors,
composition, techniques, and naming to the characteristics of each of the
Priangan Batik production areas. Priangan Batik has also been influenced by
other cultures. When its local know-how and spirit are traced back in its various
forms and dimensions, we can find a reflection of the aesthetic cultural identity
of the Priangan community. It has experienced cultural transformation
diachronically as well as synchronically, and at the same time adopted elements
from various new cultures, including the modern paradigm as well as
commercial culture. In the 20th century, batik activity developed in the following
Priangan areas: Ciamis, Tasik, and Garut. The development of batik in these
areas has expanded it to incorporate a number of values within the dimensions of
meaning, principles, and goals. Also, it has been influenced by the heterogeneity
Indonesian culture within the constellation of modern aesthetics.
Keywords: constellation; modern aesthetics; Priangan Batik.

Based on ethnographic work with several women's textile making collectives in Colombia, this article approaches their crafting practices as everyday doings of socio-ecological reparation, in the midst of social and environmental devastation caused by the armed conflict. Rather than focusing on the relevance of their activities for political activism and historical memory, an ecological perspective allows us to emphasise their work as a mundane, more than social process of communal regeneration. We discuss how women in these collectives, after painful and violent displacements, craft new ecologies of existence: relations and interdependencies within more than human worlds that cultivate new modes of care and attention, values and sensibilities in precarious living spaces. Ecological reparation is an everyday, vital, ongoing practice essential for community resurgence and for re-establishing collectivities that sustain liveable worlds.

O vidro é um material absolutamente singular. As suas qualidades físicas, químicas -e mesmo alquímicas -fazem dele um caso excecional na história da cultura material. Ele atravessa distintas épocas e culturas, testemunhando nessa continuidade uma invulgar resiliência às alterações técnicas e às mudanças de paradigma. O vidro convoca uma grande multiplicidade de pontos de vista sobre o fazer: o saber prático do artesão, o conhecimento tecnológico do engenheiro, a perspetiva integradora do designer ou a perceção subjetiva do artista. Mas, nesse processo de trabalho e reinvenção do vidro (e sobre o vidro), será que todos eles vêm realmente o mesmo? Qual a representação -ou representações -que dele fazem e qual o acesso que cada um deles tem ao vidro? Esta comunicação pretendeu explorar o lugar que neste processo ocupa a questão da intencionalidade (na configuração desse acesso), bem como o papel do desenho na fixação dessas representações -tal como são concebidas e desenvolvidas no interior das áreas profissionais que dependem diretamente dos materiais e, em particular, o caso do vidro.

The art of Divine Writing-Calligraphy has exceptional features that truly revolve around the Islamic ideology. It is represented in diverse visionary, imaginative and creative ways. In many parts of the world the importance of hand writing or calligraphy is waned due to the modern approach in the fields of technology, science as art as well. Present day, calligraphers and artists producing such art works that are the combination of traditional scribal writing and transformed it into stylized form of calligraphic art. By utilizing assorted methods and techniques they are contributing to flourish and strengthen this art form. Therefore, in Islamic culture it is regarded as the major art form and has as a central position. By the time it is not diminished but still alive, significant and vibrant as it was from the advent of Islam.

Reconfigurable manufacturing systems (RMS), which have emerged with mass customization in the industry, allow the tool or system parameters to be adjusted in a controlled manner to produce customized products. Although the reconfigurable manufacturing systems have been applied in building and construction for waste, time, and cost reduction in producing specific mold forms at a prototype level, their utilization in additive manufacturing (extrusion) has not been explored. This paper presents, initial steps of ongoing research on the development of reconfigurable tools and workflow by transforming the tool's rigid parts with controlled parametric movable parts. The clay extruder tool used in crafts is transformed into a reconfigurable extruder tool that allows making customized forms. In the experimental setup, die combinations and tool head rotations are examined with the proposed Extrusion-based Making Grammar (EbMG). Produced forms illustrate the variations of the design space in relation to the rule sets. Here, a rule-based approach is found to be efficient for controlling the making parameters. This study explored the potentials of transforming a rigid craft tool into a customizable tool that allow the generation of product variation. It presents the preliminary stage of transforming craft tools into further digital craft tools.

Catalogul Colecției Golescu documentează un proiect-experiment de design și meșteșug în dialog cu patrimoniul de arhitectură, parte din strategia Fundației Pro Patrimonio de concepere a unui brand durabil de patrimoniu. Colecția de obiecte de uz zilnic, legată de patrimoniul de arhitectură, este rezultatul unui proces de lucru având ca punct de iradiere Vila Golescu și meșteșugurile din Muscel, pornind de la noțiunea de peisaj cultural. Design: Andreea Machidon, Veronica Olariu, Ruxi Sacaliș.

The Golescu Collection Catalogue (for the London Design Festival 2016) documents a practical project pioneering object design and craft by daily objects that solve needs generally valid - lighting, utensils, fabrics and accessories for cooking and dining - and are into heritage architectural and cultural landscape Golescu. It is realized in the exploratory spirit of the Pro Patrimonio Foundation: useful and honest in relation to the history and the cultural landscape from around the Golescu Villa from Câmpulung Muscel. Designers: Andreea Machidon, Veronica Olariu, Ruxi Sacaliș.

In his book Last Landscapes (2003), Ken Warpole notes that, for a number of reasons, cemetery architecture is the most conservative aspect of the institutions and practices surrounding death and memorialisation in the West. This is starting to change, with designers and architects responding to the groundswell of sentiment demanding that we moderns modernise our ceremonies and associated institutions. In the following essay, I look at the different demands and opportunities in urban and rural cemetery design, and focus on the multifunctional roles that cemeteries have played in the past and might yet play again.

This essay is the meeting place of previous work on paddock architecture in the Australian landscape and a recent project looking at death and the landscape. I am interested in the ways that design might respond to the nexus identified by the German philosopher Peter Sloterdijk as ‘reactionary religion and progressive technological medicine’ (2013: 421), which can bar the possibility of a dignified death and a dignifying place for the dead among the living. This doesn’t mean a return to the ostentation of Victorian mourning rituals or adopting the ‘death as party’ practices of Ghana or Mexico—which isn’t to say we can’t learn anything from these. Instead, the task seems to be finding a way to give meaning to the values of specific lives and the contexts in which they are embedded, and to provide better support structures (both material, atmospheric and symbolic) for those who gather around the absence created by the departed.

Craft and design practice has emerged as a tool to improve the economic and social conditions in various countries. Many approaches have been formulated, particularly participatory design (PD) method to bring a democratic design process. However, the narrow focus of PD on micro activities tends to neglect wider contextual factors, such as formal and informal types of institutions. Based on the study of the development of craft products organized by the design center in Indonesia, this paper attempts to identify the diverse interests of the actors, including the objectives of the design center, the target market set by the designers, and the needs of the craftswomen in the craft villages. Subsequently, we illustrated the role of socio-technical instruments as sets of technical apparatus and organizational tools to reconcile the diversity, which can adopt the informal characteristics of small enterprises in regional areas.

SK: ABSTRAKT
Otázka trvalej udržateľnosti textilnej výroby a módneho priemyslu v súčasnosti rezonuje už nielen medzi odborníkmi z praxe, ale aj medzi bežnými spotrebiteľmi. Najmä v kontexte fenoménu tzv. rýchlej módy (fast fashion) je všeobecne známy devastačný dopad textilnej výroby na životné prostredie. Masová výroba v kombinácii s čoraz kratším cyklom módnych trendov ničí naše ekosystémy a komunity. Ako celkom legitímna alternatíva v tomto kontexte zaznieva požiadavka návratu k tradičným hodnotám, prírodným materiálom, a najmä kvalite, respektíve trvácnosti, odevu a textilu samotného. Podmienkou je nadčasovosť dizajnu (silueta, funkcia, strihové riešenie, vzorovanie a voľba materiálu), kvalita vstupných surovín ako aj spracovania. Fenomén tzv. pomalej módy (slow fashion) popri ekologickej a trvalo udržateľnej produkcii kladie dôraz aj na sociálne aspekty výroby a distribúcie odevu/textilu a jasne preferuje lokálnu produkciu.
Pre morálnu dlhovekosť produktu je nevyhnutné, aby sa s ním užívateľ identifikoval. Tento proces môže prebiehať na rôznych úrovniach. Jednou z nich je i (spolu)vytváranie regionálnej identity pomocou inšpirácie ľudovým odevom a úžitkovým textilom. Tu možno rozlíšiť takpovediac priamu inšpiráciu, ktorá je vizuálne rozpoznateľná. Produkt prevažne preberá a upravuje motívy vzorov výšiviek, potlačí, čipiek či tkaných vzorov textílií. Prvotne menej viditeľnou je inšpirácia tradičnými remeselnými technikami, materiálmi, ich spracovaním, strihovými riešeniami a funkciami. Výsledný produkt technologicky, materiálovo, strihovo či spracovaním zachováva tradíciu, avšak kreatívne kombinuje potenciál nových, prevažne digitálnych, výrobných technológií či nových materiálov.
Pre tradičný ľudový odev a textil je charakteristická priama alebo potenciálna multifunkčnosť jednotlivých jeho častí, spracovanie rešpektujúce a zdôrazňujúce špecifiká materiálu, jednoduchosť s dôrazom na detail (funkčný/dekoratívny). Práve zachovanie a reinterpretácia týchto charakteristík predstavuje potenciál generovať inovatívne a udržateľné
riešenia a produkty vytvárajúce (resp. rozvíjajúce) regionálnu identitu.

EN: ABSTRACT
The question of textile production and fashion industry sustainability resonates nowadays not only among professionals but also among common users. Especially in the context of so called „fast fashion“ the devastating impacts of textiles production on the environment is widely known. Mass production combined with still shorter lifespan of fashion trends ruins our ecosystems and communities. As a legitimate alternative there is the demand of return to traditional values, natural materials and mainly to the quality or rather durability of the clothings and textiles. Required is timelessness of design (the silhouette, function, sewing pattern, patterning and material choices), quality of used materials and of execution. The phenomenon of so called „slow fashion“ stresses not only ecological and sustainable production but also social aspects of production and distribution of clothing/textile and clearly preferres local production.
To achieve a long lifespan of product user identification with it is necessary. This process may happen on two levels. One consists of creating a regional identity by inspiration from folk costumes and utility textiles. Direct inspiration which is visually explicit can fall in this category. The product mostly follows and adapts motifs from embroidery, print, laces or woven patterns of textiles. On the first sight less recognizable is the inspiration by traditional craft techniques, materials, their processing, sewing patterns and functions. The product respects the tradition in the aspect of technology, material, pattern or execution, but it creatively combines the potential of new, mostly digital, manufacture technologies or new materials.
In the traditional folk costume and textile direct or potential multipurposness of individual parts is characteristic, execution respecting and putting emphasis on the specifics of material, simplicity with accent on detail (functional/decorative). It is the continuity and reinterpretation of these features that constitutes the potential to generate inovative and sustainable solutions and products creating (developing) the regional identity.

What would it mean to take seriously Donald Schon's idea of 'back-talk' in designing? Is it merely ventriloquism when the brick responds, as Kahn suggests, to the designer's question, 'What does the brick want?' This paper attempts an account of how that mimetic or animistic gesture could explain how designers manage to create truly new things-in-the-world. To do so, the paper draws on the kind of a-subjectivity that Mikkel Borch-Jacobsen draws from Freudian psychoanalysis; and pairs this with the conversance-with-material-forbearance that Martin Heidegger describes when explaining Aristotle's debate with the Megarians.

Early glue laminated timber in Switzerland was used for many functions: industrial but also regular buildings such as sport halls, cultural buildings and housing. Integration of the new practice was only achieved by involving existing traditional players. Contractors had to bring together a long-standing knowledge of local timber craftsmanship and the patented glulam technology. The paper traces the early onsite construction practice of glulam by looking at the handling of the contractor for both fields, the use of glulam for industrial oneroom structures and for the use of large glulam elements in roofs of ordinary buildings. The licensed contractors developed methods for fast and flexible erection of the glulam parts. Key was the development of a constructional unit, the two girder halves with post and tie beams, that was fully joined flat on the ground and then, as an entity, lifted into place, using tripods or other movable lifting devices.

In this paper, a different approach to run second year product design studio that incorporates contemporary design education with local craft knowledge will be explored. Being practiced in İstanbul Bilgi University, Faculty of Architecture, Industrial Design since 2013, this paper focuses on the approaches taken and outcomes of the last semester of the studio which took place in the Grand Bazaar. Similar to "open studios", craft neighbourhoods in İstanbul such as Şişhane and Grand Bazaar districts bear great potential for understanding the practice of craft, its materials, diverse techniques and networks involved in this small scale production. Originating from this idea, a new design studio was formulated to bring together design education with craft and micro-scale production in the city. The studio aims to fill the gap between the domains of local craft workshops and academy in order to provide a new opportunity for design students and craftsmen to work together. As a result of integrating a new generation of designers to the craft practice within the framework of academy, and enhancing craft knowledge by combining it with contemporary design approach; studio also aims to support sustainability of craft neighbourhoods. In order to explore possibilities of craft production-design education cooperation , the declining tradition of "apprenticeship" was remodeled to form foundation of the studio; integrating master-apprenticeship's own training approach to design education. As ''apprentices", students are paired with craftsmen to observe, take part and get closely accustomed to the everyday working environment of the workshops and its network. Thinking-through-making is practiced instead of ''sequential'' design process, supported by feedbacks from not only tutors but also from masters. By expanding the borders of product design studio and relocating it from university campus and into the city, and Büyük Yeni Han, a traditional production cluster close to the Grand Bazaar is recreated as a design studio.Throughout their apprenticeship, students not only experience a different mode of manufacturing and design process first-hand, but also participate in a production-design practice they will employ after they graduate. The background of the studio is based on the know-how of social design project Made In Şişhane's 10-year long work with craft neighbourhoods in istanbul. At the same time, the studio is constantly developed with the input of tutors, students and masters who took part in the project since 2013. Through additional participation of NGO's and municipalities to project, the studio expanded its impact to an urban scale. The reciprocal mode of knowledge transfer between students and masters are shared with public through exhibitions, talks and publications.

The central idea of the present paper is to explore pedagogical practices and methods that allow one to acknowledge the role of material culture in human learning and activity. The designing cannot be reduced to mere play with ideas; in order to understand and improve the ideas in question, those have to be given a material form by means of practical exploration, prototyping, and manufacturing. Virtual Design Studio practices highlights how individuals shared and constructed design knowledge within these distributed design processes and how virtual environments can support these design processes.  The paper describes two different design experiments which where carried out in real-life and distinct environments. These cases will be used to illustrate some key ideas of Virtual Design Studios (VDS): 1) the elementary level students’ architectural design case highlight the conceptual and material  aspect of design and 2) the university students’ “Conference Bag Designing” emphasize the participatory and user-centred design.