Embed Size (px)
Citation preview
Design Recherche Europe Art Métiers(research on design, crafts & applied arts in europe)
04
Published byFundación Española para la Innovación de la ArtesaníaC/ General Zabala 1228002 MadridTel. +34 915 610 262 - Fax +34 915 633 [email protected]
Editorial coordination and textsFundación Española para la Innovación de la ArtesaníaLaura Miguel
Institut National des Métiers d’ArtCatherine Virassamy
Osservatorio Mestieri d'ArteBenedetta Zini
Western Finland Design CentreTanja Oraviita
Publication designmarcosGpunto
Legal depositM-22500-2011
This work programme has been funded with support fromthe European Commission.This publication reflects the views only of the author, andthe Commission cannot be held responsible for any usewhich may be made of the information contained therein.
07
Preface_08Design Recherche Europe Art Métiers_10
Master Class on Textile Fibres - Florence (Italy)_14Master Class on Glass - Barcelona (Spain)_26
Master Class on Wood - Vaasa (Finland)_40Project partners_52
Contacts_58
PREFACE
Europe possesses a wealth of savoir-faire related toancestral practices in which aesthetics and the qualityof hand-crafted, limited edition or one-of-a-kind produc-tions were in line with local needs and culture.
While these traditional hand-crafted productions domeet certain demands of a specific public interested inheritage - the human and ecological dimensions, exce-llence and luxury - and represent a true “niche” market,they have not completely found their place in a globalisedeconomy.
Often perceived as the relics of bygone times, the publicat large and the young in particular view this knowledgeand skill as dated and hold it in low esteem.
Within this context, European crafts and applied artsneed to gain recognition by portraying an image repre-sentative of today’s cultural identity and demonstrativeof the potentials of artisanal crafts in terms of irrefutableresources in the economy, education and training andexploring current cultural trends.
In order to come out from the shadows, the sector’smain challenge is to produce or display quality worksthat inspire confidence and win over the general publicin the same way as industrial products do.
The DREAM “Design Recherche Europe Art Métiers”project, part of the European Commission’s cultureprogram, was implemented by the Institut National desMétiers d’Art (INMA), the Fundación Española para laInnovación de la Artesanía (Fundesarte) for Spain, theWestern Finland Design Centre for Finland, the Agencede Création Industrielle (APCI) for France, the Osserva-
torio Mestieri d'Arte (OMA) for Italy and the ComplexulNational Muzeal Astra (Astra Museum) for Romania. Theproject aims to restore the meaning crafts once had andrevive these professions by encouraging young peopleto equip themselves with a culture of knowledge andskill, while repositioning crafts and applied arts withinthe context of today’s society and economy.
The partner countries in this task present the studycarried out within the framework of three master classesthat took place in Italy, Spain and Finland and focusedon the emergence of a new generation of craftspeople& designers in Europe.
Marie-Hélène FrémontGeneral DirectorInstitut National des Métiers d’Art
Mercedes ValcárcelGeneral CoordinatorFundación Española para la Innovación de la Artesanía
Annika HissaWestern Finland Design Centre(Aalto University School of Art and Design- University of Vaasa)
Anne-Marie BoutinPrésidente - Agence pour la Promotion de la Création Industrielle
Professor Giampiero MaracchiPresident - Osservatorio Mestieri d'Arte
Valeriu Ion Olaru, General DirectorComplexul National Muzeal Astra
“Des
ign
Rec
her
che
Eu
rop
e A
rt M
étie
rs”
(res
earc
h on
des
ign,
cra
fts
& a
pplie
d ar
ts in
eur
ope)
DREAM
As part of the European Commission’s Cultureprogramme, the DREAM “Design RechercheEurope Art Métiers” project was coordinated bythe Institut National des Métiers d’Art (INMA -France) in association with the Fundación Es-pañola para la Innovación de la Artesanía (Fun-desarte - Spain), the Western Finland DesignCentre, the Osservatorio Mestieri d'Arte (OMA- Italy), the Complexul National Muzeal Astra(Astra Museum - Romania) and the Agence pourla Promotion de la Création Industrielle (APCI - France), with a view to:
• Defining and enhancing the image thatcrafts and applied arts have in today’sworld.
• Defining a training methodology that brings together heritage and creativity.
• Defining the notion of innovation inrelation to crafts and applied arts.
Three actions have been implemented in anattempt to meet these objectives.
11
1The creation of a European Gallery of craft and applied art productionswww.dreamcraftgallery.eu in order to equip young members of thegeneral public with a culture of the knowledge and skill of art profes-sions by giving these professions a new image.
The dreamcraft gallery www.dreamcraftgallery.eu is an online “textand image” database created to improve the visibility of craft andapplied art productions in Europe. A European showcase of crafts andapplied arts, it presents leading works representative of the culturalidentity of each country taking part, (in the categories of traditional,rare, contemporary, and innovative objects) and reviews the historyof this savoir-faire and the various techniques used in Europe.
The first productions included in this database relate to three sectors- wood, natural fibres and glass - and five countries - Spain, Finland,France, Italy, and Romania. The productions include traditional Roma-nian textiles, decorative Italian painting, glass works by Iitala in Finlandand Lalique in France and the linens and natural willow fibres usedin outdoor structures in Spain and the “Carré Hermès” in France.
The site’s architecture allows for its extension to other sectors andEuropean countries can easily be added.
12
2The organisation of the “Crafts and Applied Arts” Master Classes in threedifferent countries. This experimental intercultural training was organised witha view to promoting the emergence of a new generation of craftspeople anddesigners.
Training was carried out in the form of a “Crafts and Applied Arts” MasterClass in order to allow young craft and design professionals to consider a newapproach to their work, bringing together tradition and modernity, heritage andcreativity, art and economics, and suggest productions adapted to the economicmarket.
Three ten-day master classes were organized, each on a sector representativeof the host country: glass in Spain, wood in Finland, and natural fibres in Italy.Each country hosted two students from each of the other countries, bringingthe number of students per master class to ten. In order to encourage amultidisciplinary approach, these classes were composed of students of crafts,applied arts, and design, under the codirection of an accomplished craftspersonand a renowned designer in the given sector.
The approaches varied from one country to another, allowing the questions ofenhancing cultural identity, innovation in the transformation of materials andthe place of crafts and applied arts in a sector such as fashion to be addressed.
13
3The enhancement of the image of crafts and applied arts in today’ssociety and its promotion via a European-wide event.
The research was carried out with a view to sharing results withthose involved in the sector throughout Europe and providing theseEuropean professionals with better visibility. The first step was thedistribution of the project’s results among those involved in craftsand applied arts in collaboration with the Euroart network, whichbrings together European institutional craft and applied art stakehol-ders. This is the objective of the “Crafts, Applied Arts and Design”Exchanges organised within the framework of the DREAM project’sclosing seminar. The second step was to take advantage of this occasionto instigate the organisation of “European Craft and Applied ArtDays” such as those organised in France, by asking European profes-sionals to open up their workshops to the general public on a givenday of the year.
The study and concrete actions carried out among these five Europeancountries in partnership on the DREAM project were born of a commongoal: to promote crafts and applied arts in Europe. This work prefigureswhat we hope will be a renewed interest in crafts and applied arts inEurope and ensures developments in this sector.
MASTER CLASS ON TEXTILE FIBRES
14
Ten days, ten female students, five garmentsand five designs, an endless number of fittings,ideas, sketches and outl ines. The DREAMproject’s Master Class in natural fibres washeld in Florence from January 17 to 26, 2011.The work group, composed of ten students, twofrom each participating European country, ga-thered in the sartorial atelier of master tailorIrma Schwegler, who specialises in natural fibreclothing projects. Daniele Davitti, a young de-signer from the Polimoda, and Marie Astier, anexpert in vegetable dyes, as well as Irma’s as-sistant in the tailoring class, also participated.
The work environment was set up in an openspace in which two different work groups wereorganised: one for the dressmakers and onefor the designers. The two groups worked attwo different tables because of the need fordifferent tools (pencils, sheets of papers, geo-metrical drawing supports for the designers,
and scissors, needles, threads, sewing machinesand professional irons for the dressmakers).However, the open space was meant to en-courage the two work groups to have a naturaland continuous exchange of opinions.
First, the teachers worked together arrangingthe various details and helping to solve pro-blems and doubts. The to and fro from oneplace to another in the open space was thecourse’s main characteristic.
The girls were subdivided into pairs from di-fferent countries, so that the two members’cultural singularities could give each micro-group strength and support for its activity. Thewhole group used Casentino cloth, a typicaltextile from the Tuscan area of the same name,which on this occasion was made of local woolsand dyed only with vegetable colours. Casenti-no cloth is a very thick woollen fabric that is
15
hard to work with, which often leads to unpre-dictable results.
The students participating in the design groupwere asked to design a skirt that could lateractually be tailored. This is why the pairs nee-ded to work together right from the start. Thegirls were encouraged to find inspiration fortheir collections autonomously. They had aseries of volumes on the history of fashion andnotes on various types of modelling at theirdisposal. However, the most creative solutionssprang up during the last days when, aftertouring the city at the end of the work, visitingexhibitions and exchanging their opinions, theywere able to fully express their creativity.
Not all the girls who took part in the NaturalFibres Master Class had adequate technicalpreparation. Many of them had to be taughtthe basic elements of tailoring. The first two
days, they practised free-hand sewing andinserting zippers (one visible and one invisible)with the help of an electronic sewing machine.They also practiced pressing with a professio-nal iron and a suction ironing board was usefulfor showing the girls the real results that canbe achieved by using this extremely particularcloth.
During the first days, the designers, who didnot necessarily come from the fashion industry,toiled at their projects. In conclusion, however,the quality of the work achieved in those tendays was outstanding, for both the enormousprogress made by the students in just a fewdays of study and the atmosphere of opencollaboration and exchange that was createdright from the very first hours, as well as forthe potential and quality typical of their placesof birth that all the students were able to bringto the micro group.
16
Meeting Point
Work group: Verónica Villalón Gordón (Spain) and Luisa Maria Salvioli di Fossalunga (Italy).Material: Textile fibres. Natural white Casentino cloth/black tulle.
Project
Starting point
A geographical map. Black stitching and strips in black tulle on natural white Casentino cloth.The pattern chosen consists in a series of lines converging towards the same point, which symbolisesa meeting point among different ideas and nationalities. The stitching is reinforced by tulle stripsthat represent the meridians and parallels of this ideal geographical map.
Technique
Classic tailoring technique (paper pattern, cutting, tacking, fitting on the dressmaker’s dummy andfinal sewing) and freehand drawing.
Project development
Designer (Verónica Villalón Gordón) development of a mini-collection project to create a skirt.Dressmaker (Luisa Maria Salvioli di Fossalunga). Practice of basic tailoring techniques. Stitchingand freehand sewing, preparing a size-42 paper model, tacking technique and learning how to usean electronic sewing machine and a professional iron to better understand how the cloth reactsand thus, evaluate the feasibility of the design with one’s partner. Assembly of the skirt on thedressmaker’s dummy and final touches.
18
Work group: Anziza Mohamadi (France) and Aniela Hanciuc (Romania).Material: Textile fibres. Black Casentino cloth/ natural linen thread.
Project
Starting point
Creating a skirt that is a perfect mingling of the two cultures of this group’s members. The Frenchstructure is enriched by a series of weaves typical of Aniela Hanciuc’s Romanian tradition. Anielaworked hard to choose the most suitable weave pattern to be made using natural linen threads tocreate a decoration to be applied on the skirt.
Technique
Classic tailoring technique (paper pattern, cutting, tacking, fitting on the dressmaker’s dummy andfinal sewing) and freehand drawing and weaving.
Project development
Designer (Anziza Mohamadi): development of a mini-collection project to create a skirt. Afternumerous tests and fittings, the skirt has a transverse structure and is ankle length, unlike themodels chosen by the other students.Dressmaker (Aniela Anciuc) . Practice of basic tai loring techniques. Stitching and freehandsewing, preparing a size-42 paper model, tacking technique and learning how to use an electronicsewing machine and a professional iron to better understand how the cloth reacts and thus, evaluatethe feasibility of the design with one’s partner. Aniela worked hard (also in the evenings at thehotel) to create her weave. After many trials, a weave pattern typical of the Rumanian traditionwas chosen, which gave the girls’ final work a vivid personality due to its strongly ethnic character.
An Open Door
20
Never Ending Dream
Work group: Anamaria Silea Sut (Romania) and Emeline Raphanaud (France).Material: Textile fibres. Natural green Casentino cloth/green tulle.
Project
Starting point
The girls wanted to give a strongly original character to a basic mermaid-style skirt. They choseto apply the Casentino cloth to organza, which was extremely difficult but gave the skirt an elegantand very original look. A curious aspect was the name chosen for the project: The Never EndingDream. It refers to the construction of a model that seemed impossible to complete on time.
Technique
Classic tailoring technique (paper pattern, cutting, tacking, fitting on the dressmaker’s dummyand final sewing) and freehand drawing.
Project development
The Never Ending Dream, one of projects most appreciated by the public on presentation day,required very long, complex work that made extensive use of classic freehand sewing techniquesand great skilfulness and precision in cutting. On an organza base, the girls applied a series oftone-on-tone discs of various sizes, which give the work a dreamy, romantic appearance. The useof a sewing machine was limited to the basic structural seams, while the external appliqués weresewn entirely by hand. The two participants, Anamaria Silea Sut and Emeline Raphanaud, workedtogether on the project and the sartorial assembling.
Work group: Ester Cellucci (Italy) and María Arroyo Marín (Spain).Material: Textile fibres. Beige Casentino cloth dyed with natural madder.
Project
Starting point
Geometry. The project for this skirt was dominated right from the first day by the idea of creatingan item of clothing that respected the rigid rules of geometry. Hence, imagination, but firmly linkedto rationality.
Technique
Classic tailoring technique (paper pattern, cutting, tacking, fitting on the dressmaker’s dummy andfinal sewing) and geometric drawing.
Project development
Designer (Ester Cellucci): development of a mini-collection project to create a skirt. The initialidea was a series of vertical boxes along the length of the skirt with a herringbone pattern on theback that matched them. Precision was essential in transfering the drawing to both sides of theskirt, which is why this was the only project executed during the master class that was notcreated freehand, but used a square and ruler. The drawing of the skirt uses a 20 cm double squarerepeated four times on the front. The 20 cm are reproduced on the back to make up the herringbone.
22
The dream in the drawer
Work group: Sara Albertazzi (Italy) and Katja Virta (Finland).Material:Material: Textile fibres. Beige Casentino cloth dyed with natural walnut and cotton blend fabricfor the lining.
Project
Starting point
Overlays. The initial idea of this project was to create a double-faced, layered skirt, a complexproject because this idea requires a strong, solid structure and great skill in joining the two fabrics.
Technique
Classic tailoring technique (paper pattern, cutting, tacking, fitting on the dressmaker’s dummy andfinal sewing) and freehand drawing.
Project development
This is a very interesting project, especially because of the difference between the two groupmembers. Katja, a designer from the world of architecture, drew inspiration from RenaissanceFlorentine buildings (as can be seen in the final drawing where the skirt is in the Brunelleschiarcade of the Spedale degli Innocenti in Piazza Santissima Annunziata). There were long discussionsto decide which fabric to use for the skirt lining. Katja wanted a damask fabric to light up themonochromatic quality of the walnut-coloured Casentino cloth. The lining was made without cutting,placing the entire paper pattern on the lining itself. Despite its complexity, the work was madeeasier by the tailoring skills of Sara, who was the only participant in the master class with solidtechnical preparation.
24
The marble works of the Loggia
MASTER CLASS ON GLASS
26
The course was organised in order to facilitate contact between students and the manydifferent glass processing techniques.
Due to the students’ different backgrounds and the impossibility of their having auniform level, the proposal for each student to develop a project and for course workto consist in completing these projects during the course was ruled out.
The course was organised from the perspective of open research. The students hadwidely different levels of knowledge of the glass processing techniques proposed andtheir profiles did not fall clearly into either the designer or artisan category. This artisan-designer duality is typical of a field in which this difference is not well defined. Aproposal was made to investigate the relationships between design and craftsmanship(and art).
The plan was to analyse the ways in which artisans and designers can use their knowledgeto tackle the crisis in the markets, crisis of thought and crisis of processes, while tryingout artisan production systems for new designs.
27
The objective was to investigate freely the innovative possibilities and needs in the fieldof glass and combine knowledge and artisan skills with the processes and potential ofdesign.
Within this context, an experimental approach provides more everyone options, so thateach can find his or her own level and learn on that basis to discover new technicalaspects that enrich the work, the projects.
This course enabled students to share knowledge and teach their own colleagues, somestudents teaching certain areas, while others taught other areas.
The workshops encouraged the students to treat different techniques creative, especiallythose with which they were already familiar.
We hope that this experience will enrich the students' work processes and provide themwith new ideas for their future projects.
28
Stained glass is a technique that involves ass-embling different pieces of glass together. Nor-mally, the pieces of glass are in different coloursor textures and create a picture.
The definition of the pictures can be toppedoff through enamels and vitifiable glass paintfired in a kiln, which transforms the glasspieces’ colour and shape.
Glass has been welded in many different waysthroughout history. One of the best knowntechniques is leaded glass. The windows areheld together by an h-shaped lead profile, whichis then welded with tin. Profiles from othermetals have also been used.
Stained glass can also be made by joining pieceswith cement. This stained glass uses thickerpieces of glass and a sort of wall with colourtransparencies that generate the picture iscreated.
Techniques based on new adhesives withoutlead or cement have recently been developed.These new adhesives eliminate the need forthe dark line. Silicone is one of the adhesivesused, but other plastic adhesives catalysedwith ultraviolet rays can also be used.
The workshop, held at the Massana School,developed techniques for lead-free stainedglass assembled with silicone.
The workshops were taught by Pere Vallde-pérez, a glass craftsman, artist and teacher atthe Escola Massana.
Each student developed a composition basedon one of his or her own ideas. They executedthe project and pattern and learned about cu-tting glass with a diamond-bladed roulette topractice the technique. The results were flat,stained glass pieces on topics freely determinedby each participant.
Stained Glass
30
Fusing consists in firing different pieces offlat, coloured glass in the kiln until they takeon a soft flat consistency and meld into a singlesheet of coloured glass.
Normally, the glass is not worked with mouldsand fusing the different pieces of glass takesplace on a flat, non-stick surface. Granulatedglass, glass threads, etc., can also be added.
The different pieces of glass and elements areoften arranged on transparent glass that actsas the basis for the fusion.
The final glass plate will be 6 mm thick, withfree edges. The size of the piece will be largeror smaller according to the initial thickness ofthe glass. To obtain thicker pieces, the pieces’edges must be delimited.
If a piece is to have a certain final shape, itcan be determined by delimiting the base with
nonstick material or by cutting it.
A new piece of glass is born by the end of theprocess. In other words, it will not be like amosaic in which the pieces are joined by amedium, but rather a new and unique glassplate is created.
The picture is obtained from pieces of glass,granulated glass or glass threads that are pre-pared for fusion.
Each student developed his or her own projectand accordingly made a composition and firedit at 800-850° C in a glass kiln. The ten resul-ting glass compositions were the outcomes ofeach student’s experimentation.
The workshop was taught by Daniel Orquin,glass artist and technician at the FundacióCentre del Vidre in Barcelona, where the work-shop took place.
Fusing
32
The thermoforming process involves creasingglass in a hot kiln in order to give it volumefor folding or bending.
The glass can be bent or folded into thedesired shape on an open mould or a matrixin nonstick, refractory material.
Softened by the heat, the glass adapts to fitthe shape of the base in which it is fired.
The glass can also be allowed to flow freelythrough a hole or from one end of the mould,controlling it as it falls to decide whether tolet the mass of glass touch the floor of thekiln or other surface or stop it at some pointin the air.
The temperature, heat rate and time to stopthe heat must be very carefully controlledto obtain the desired shapes.
The glass also needs to be cooled to developa certain rhythm to prevent internal tensions
and ruptures.
The moulds for thermoforming glass are ma-de of refractory blanket or refractory cera-mic material. They can also be constructedof plaster and silica, giving them a shapemodelled previously in any kind of plasticmaterial.
The students were able to experiment freelyand try out the technique; afterwards eachstudent made his or her own project. Basedon this design, the corresponding mould wasmade and a piece of thermoformed glassfashioned by placing it in the kiln and con-trolling the temperature curve.
The results were several pieces of volumi-nous glass.
The workshop was taught by Daniel Orquin,glass artist and technician at the FundacióCentre del Vidre in Barcelona, where theworkshop took place.
Thermoforming
34
Blown glass technique consists in blowing amass of molten glass in a crucible at 1200° Cthrough a tube by blowing inside it , whichgenerates volume.
The mass of glass is plastic and expands accor-ding to the force of the air introduced.
It forms a bubble of glass and different shapescan be achieved.
When blowing air, the technician or artisanworks the glass globe by spinning a rod anduses tongs to extract the glass paste onto woodor marble surfaces to shape the hot mass.
When the piece is achieved, it is separatedfrom the rod with a blade.
Glass can be blown in the air or inside a mould.
Solid glass forms can also be made by removingthem from the kiln with another rod or tubeand modelling them with tongs.
A kiln for casting glass was set up at the EscolaMassana.
The students experimented with glass blowingto build empty volumes of air without moulds.
In this workshop, the project was intuitive andstudents worked sensitively, finding shapesand developing ideas creatively.
Given the students’ different levels, there wasa good deal of collaboration among them tocreate a very active and dynamic working en-vironment and sense of group.
The workshop’s output was very large; eachstudent made many pieces, some of which werevery interesting from an experimental and crea-tive standpoint.
The workshop was taught by Ferran Collado,an expert in many processing techniques, artistand artisan glassblower.
Blown glass
36
Engraving through sandblasting consists ineroding a glass surface with the help of blastedpressure.
A compressor and tool in the shape of a thintube can be used to sandblast the glass surface.
By eliminating the transparency of the glass,its surface is modified, obtaining effects ofopacity and transparency, such as matt tonesor different tones or shades, so that drawingsbased on these transparent and translucenteffects and textures can be created.
With the help of a self-adhesive plastic sheetor elastic paints, reserves can be made and the
shapes uncovered, generating a specific patternthat is etched on the glass.
After engraving, it is revealed by eliminatingthe adhesive or paint.
The students experimented with this techniqueand made freehand designs, according to theirdesigns on the flat, transparent glass.
The results were prints. The workshop wassupervised by Professor Jordi Vidal, engraver,stained glassmaker and expert in various tech-nical glass processing processes, artisanglass-blower, artist and owner of the Vidalglass com-pany where the engraving workshop was held.
Engraving sandblasting
38
Lectures
A series of lectures on the different applications of glass was also offered.
• Architecture. Glass facades. The role of glass as a structural element.This lecture was given by Xavier Ferrer, architect, construction glass expertand professor at the Escola Massana.
• Art, design and crafts. The lecturer was Jesús Ángel Prieto, bachelor ofart history and specialist in the study of craft and its relationship to artand design.
• Glass design. Sandra Moneny, bachelor of fine arts and an expert in glass.She works on her own creations and industrial processes.
• Glass and jewellery. Nutopia is a company devoted to creating with glass.Nuria Torrente, David Hierro and Esther Hierro work in various fields ofcreative, artistic objects, especially jewellery.
• Vidrioh! Presentation and communication. Alessandro Rancati, architectand founder of the Dirección creativa company in Barcelona, creator anddirector of the virtual magazine Vidrioh! explains the particular featuresof communication in art, design and glass crafts.
• The creative process. Tom Carr holds a bachelor’s degree and doctoratein fine arts and is a sculptor and artist. He works on public spaces andexplores the concept of time and space. His lecture delves into the creativeprocess. He also analyses the use of light as a material in artistic creation.
MASTER CLASS ON WOOD
40
The Wood Master Class was organised in Finland, in the region of Ostrobothnia, whichhas historically been known for its wood sector, especially shipbuilding and furniture.
The Wood Master Class was inspired by the Finnish woodworking and design traditionmotivated by nature. The students visited museums and spent time outdoors observingnature (e.g., a winter walk from the workshop space to the museum).
The students were also introduced to Finnish design and consumer behaviour andorientation in order to provide them with a more realistic viewpoint of market situationsand thus, better preconditions for creating lucrative products. This created a uniquespace and starting point for the design and artisan students’ work. After the in-depthintroduction, each team of artisan/designers headed to work.
41
The work process revealed the two professions’ diverse natures, which made theexperiment successful. The differences could be seen e.g., in the two groups’ work stylesand thought patterns. The design students were more abstract, descriptive and comfortablewith more time spent on discussions; the artisan students had a hands-on approach topractices: they wanted to dive into action. However, this difference did not seem to createany problems and the students learnt from each other. It was not the outcome of thefinal product, but the development and the learning process that was important. It alsobetter prepared students for professional situations and challenges. Indeed, we foundthat these kinds of learning-by-doing experiments are of great interest in educatingfuture professionals. Although the workshops can only take place on a yearly basis, theywill be first time experiences for the students. This is just the start and it will be curiousto see further adaptations and developments in Wood Master Classes.
42
Beehive light
Work group: Alan Zinchi (Italy, craft) and SujeongHan (Finland, design).
Material: Wood. A reinterpretation of the beehi-ve, a structure made of wooden, honeycomb-shaped battens.
Hypothesis
Beekeepers draw honey from honeycombs thatare taken from hives. Likewise, people can drawinspiration from beekeepers and generate lightusing honeycomb products.
The target is the international market that needsmore sensitive lighting.
Project
Beehive light provides two kinds of lighting me-thods: one is a more traditional way with thehoneycomb as a candleholder as if wax werebeing extracted for candles, and the other is amore contemporary manner with bulbs. Eachbulb generates a light spot from each honeycomb,projecting a honeycomb-shaped beam.
Each way of lighting can have a remote controlto switch the LED light on and off or dim it, that
is connected to the candle holder. This provesto be more sensitive by connecting differentlighting methods.
Process / concept
Analysis of light development: candle, bulb andlead. Sketches and drawings. Carving, Cuttingwood battens, fitting the lights, burning andpainting wood, monitoring the small lights andcandles.
Skills / techniques
Wooden honeycomb-shaped battens form astructure to reinterpret the hive. Moreover,carving, pyrography and painting are used forthe wood finish and LED lamps are used as aneffective light source.
Results in products / Results in process
Beehive products for lighting: a light from thebeehive.
Why would I buy it?- Simple design, matches any style of home- Functional on both sides, up and down thewooden honeycomb- Lightweight and shape- Sensitive light
Conclusion
The spirit of this project is very Finnish, so itcame quite as a surprise to see that the authoris from South Korea. This is definitive proof ofthe relevance of such professional, cross-culturalprojects.
44
Fruitful Experiencein Design
Work group: Radu Nechifor (Romania, craft) andPaolo Rovere (Italy, design).
Material: Wood. Local wood and wenge.
Hypothesis
Starting idea - “sedonars” - cutlery trays.After brainstorming kitchen utensils, the teamdecided to change the utility of the main objectof inspiration (from cutlery, trays to fruit basket),but stick to the original design.
Project
The designing process was lengthy, but we even-tually obtained the basic shape that would leadthe team to the final object: the leaf.
Process / concept
The object was composed of 3 main elements:leaves, the central section and the supporting stem.
We designed the most secure box for transport,since we care about our precious work.
Skills / techniques
The leaves were made out of wenge wood thatbenefit from the strong effect of the pattern.We also came up with a multi-plan shape to geta more realistic shape.
The central part was made out of teak and hasnotches that enable the stems to support theleaves properly.
The stems were designed to balance the generallycurved lines with straight ones, but also to beable to bear the weight of the whole object.
Results in products / Results in process
Final concept: a fruit bowl.The handmaking process is time intensive.
Conclusion
Exchanging experiences about different traditio-nal objects from the participating countries -learning from others about special craft techni-ques and use of materials.
Collecting opinions and suggestions about theway designers can manipulate the utility or visualelements of traditional objects.
46
Kaiku
Work group: Julien Descherre (France, craft)and Maite Fuentes Liberal (Spain, design) .
Material: Wood. A local wood: birch. A localtechnique: steam-bent wood.
HypothesisKaiku is the Basque name of the product selec-ted, a recipient make of birch wood measuring15.5 cm x 26.5 cm. It is part of the traditionalculture of the Basque-Navarre zone in NorthernSpain. This tradition displays find a clear voca-tion for livestock activities. These objects wereused by shepherds for milking and at the sametime for making cottage cheese and cheese. Theshepherds used to handle dairy products withdifferent recipients (kaikus) that have beenhandmade ever since the Bronze Age.
The kaiku is by far the most complex, distinctiverecipient in Europe because of its typology.Kaikus are made in one piece, with an inclinableaxle that makes milking easier because of itsflexibility. They can hold between 3 and 12 litres.That milk is used for making curd. This cottage
cheese is prepared with an interesting systemmade of hot stones inserted inside the kaiku.The shepherd dips these stones into the milkto make it boil and lend it the occasional burntflavour.
Project
The project aim to publicise the kaiku bowl soas to make it known to a larger public for mo-dern use.
Culture worth/cultural value, simplicity, doublefunction, made in one piece, ergonomic, resis-tant, region, north of Spain, Basque Navarre,work technique, birch wood. The outside isworked with an axe and the wood is bent tocreate the handle. The inside is emptied outwith a special knife. The people who makekaikus, formerly shepherds and today artisans,addressed the main functional issue: no onemilks by hand today, because the material isnot hygienic.
Market problemsPeople only buy it as an ornamental object.You can buy it only in the rural zones of BasqueNavarre.Size (very big).The object is carefully designed, which is whyit is difficult to make variations.It is not stackable.
Sketches / drawingsMock-up & cutting of veneer leafs (1.2 - 3 mm)with a band saw and plane.Bending birch veneer in a warm water bath,
finding rough solutions in order to settle pro-blems (salvaged materials).Do-it-yourself process (material required: ashower, a kettle, and some clamps, etc...).Fixing forms with straps and waiting for themto dry.
Skills / techniquesPreparing the wood for work and using machinesCarving...Difficulties in carving and turning: hardness ofbirch wood, lack of appropriate tools to speedup the carving process, designer’s lack of car-ving skills.
Results in products / Results in processFinal concept: a set of stackable bowls.
Why would I buy it?
- Simple design, matches any house style- Functional on both sides- Lightweight and easy to clean
ConclusionIt would be better to know the materials andtechniques that will be used before designing.Designers have a broader capacity to conceivesmall changes that can improve a product in manyaspects: aesthetically, conceptually, practicalityand functionally etc. Artisans have a better un-derstanding of the piece. When a modification issuggested, they immediately know how to pro-ceed, which tools to use and which design propo-sals are impossible to realise by hand.
48
The “Comtoise”(or clock from Franche Comté)
Work group: Reinhold Lutz (Finland, craft) andJulie Duverne (France, design).
Material: Wood. 1 local wood (spruce). 2 localwood (birch).
Hypothesis“La Comtoise”, date: 17th century, region: Fran-che Comté - France.
Description: clock with a solid wooden box (firis the most traditional material). Pendulum anddial in metal.
Use: it was the only clock in 17th century farm-houses, so it needed to be loud, which is whythey used to be made of solid, carved wood. Itis not just a clock, but a large piece of furnitureset in the dining room.
Project
- To keep the shape of the clock, which is itskey feature- To revive the Comtoise clock- To use local wood (spruce)
- To select the wood- To conceive the use- The French should be able to distinguish theoriginal shape in the final product
Process / conceptAnalysis: head = dial, body = pendulum, andsound box, feet = storage spaceFeatures: solid - stable - marked identityShape: big size - colossal - loud noise - seemsunshakable - local woodWood working: graphism & wood. Use the endgrain of pine to take advantage the pattern.Find a different way of setting out the wood.
Skills / techniquesStep 1: Draw the product scale 1:1.
Step 2: Cut and get pieces ready for gluing.
Step 3: Glue the pieces.
Step 4: Glue with the hydraulic press.
Step 5: Cut the pieces.
Step 6: Clean the piece before assembling.
Step 7: Assemble with glue and biscuits.
Step 8: Round of the side.
Step 9: Finish with wax.
Results in products / Results in processFinal concept: to create a portable clock.
Main features:- Shape: universal and feminine- Thinness of the wall clock- Relief created by the grooves- A clock and a pendulum- The pendulum generates noise by rubbing
against the groove
Why would I buy this piece of furniture?
- Suited to modern interiors- Multi-purpose pieces of furniture- Cultural value due to the silhouette and use.
Why would I buy it this piece of furniture?
- Suited to modern interiors- Universal, timeless shape- Cultural value due to the woods- Noise generated by rubbing
Good points- Different points of views which make theproject more interesting- Two different backgrounds- Craftsman meets design- The designer learns the craft process- Different cultures
Issues encountered during this weekWho decides what between the craftsman anddesigner?
How can good and useful collaboration be achie-ved? Who is whoWho is who?
- Too bigToo big of a project for a week- Several optionsSeveral options were left out during the weekUse of burned woodUse of a painting colourUse of veneer
50
Tapas board
Work group: Emil Roata (Romania, design) andAna Schleicher (Spain, craft).
Material: Wood. Birch and teak wood.
HypothesisTraditional tapas board. Strong social value:the time we spend with friends and family sha-ring food.
ProjectChanges were introduced by agreement betweenthe artisan and the designer: The pieces rangedfrom an uneven tray with food holders to a setof stacking bowls.
Process / conceptFeatures: two bowls with a double function.They can be used separately for tapas or anyother type of food. The handle is inspired byFinnish sauna buckets. Birch wood for the bowlsand teak wood for the handle.
Skills / techniquesPrepare the wood to work and use the machines.Carving...Difficulties with carving and turning: hardnessof birch wood, lack of appropriate tools to speedup the carving process and the designer’s lackof carving experience.
Results in products / Results in processFinal concept: a set of stackable bowls.
Why would I buy it?
- Simple design, matches any house style- Functional on both sides- Lightweight and easy to clean
ProposalsIt would be better to know the materials andtechniques that will be used before designingbegins. Designers have a broader capacity toconceive of small changes that can improvemany aspects of a product: aesthetically, con-ceptually, commodity of use and function, etc.Artisans have a better understanding of thepiece. When a modification is suggested, theyimmediately know how to proceed, which toolsto use and which design proposals are impossi-ble to realise by hand.
52
PARTNERS OF THE PROJECT
The Institut National des Métiers d’Art (NationalInstitute of Art Trades - INMA) is under thedouble guardianship of the Secretary of State incharge of commerce and the craft industry, SME,tourism, free professions and consumer affairs,and the Minister of Culture and Communication.This unique interdepartmental structure forreferral for métiers of art has 4 principle mis-sions:
• to develop an expertise on craftsmen and theirsavoir-faire (know-how).• to lead the networks of craftsmen together
with all the institutional actors and professionals.• to develop the promotion of craftsmen natio-nally and internationally.• to explore new realms of cultural developmentand interactions in the domains of fine art, de-sign and fashion.
The INMA played the role of coordinator for theproject DREAM and participated in the realiza-tion of the actions as the research on naturalfibers, glass and wood, and in the creation ofthe online virtual gallery.
Institut National des Métiers d’Art
53
The Fundación Española para la Innovación dela Artesanía (Spanish Foundation for Innovationin Crafts) - Fundesarte - is a national publicfoundation that was created in 1981. It is a non-profit organisation attached to the DirectorateGeneral for SME Policy of the Spanish Ministryfor Industry, Tourism and Trade. Fundesarte’smission is to work together with administrationsand artisans for the promotion, professionaliza-tion and success of small crafts enterpriseswithin the framework of State public policiesfor SMEs. I ts programmes are innovat ion-oriented so as to help tackle the new situationsthe market now requires.
Its values are:
• To seek and promote QUALITY, persona-lisation and exclusivity in crafts products.• To focus the value of CRAFTS on their
DIFFERENCES: their origins lie in traditionand their future in innovation. Crafts areculture, knowledge, singularity, image andsustainability; they are communication;they are identity.• To demonstrate that crafts are synony-mous with identity and SUSTAINABILITY.• To seek out CLOSE COLLABORATIONwith cultural identities and innovation. Thefoundations of tradition as roots for thefuture.
In this project, Fundesarte plays a role in resear-ch and experimentation by organizing a MasterClass on the glass sector (in collaboration withthe Escola Massana) and the iconographic andhistorical research on the wood, natural fibreand glass sectors aimed at the online virtualgallery.
Fundación Española para la Innovación de la Artesanía
54
The Osservatorio dei Mestieri d'Arte (Observa-tory of Craftsmen - OMA) was born in 2006 uponthe initiative of the Savings Bank of Florence.
The Osservatorio Mestieri d'Arte is an ensemblemade up of projects developed in the initiativessector of the Savings Bank of Florence, orientedtowards the safeguarding and tutelage of historicand artistic heritage and savoir-faire.
A series of cultural and promotional activitiesis registered at the Observatory that aim atawareness, information, research, discussion ofterritorial identity and promoting the sector of
métiers of art, the creation of a capable nationaland European network of institutions to encoura-ge the comprehension of diverse cultural identi-ties, as well as the in-depth examinations ofthemes such as the quality productions, theeconomy and training.
In this project, the Fondazione per il clima e lasostenibilità per OmA plays a research and ex-perimentation role by organizing a Master Classon the natural fibre sector and historical, icono-graphic research on the wood, natural fibre andglass sectors in order to create the online virtualgallery.
Osservatorio dei Mestieri d'Arte
55
Muova is a research and development centre ofthe University of Art and Design Helsinki andthe University of Vaasa. MUOVA is a governmen-tal, non-profit organization, funded in 1988.
- Muova offers design, research and trainingservices.- Muova specializes in increasing competiti-veness including that of the companies.- Muova combines multidisciplinary appliedresearch, innovative methods and a consumeroriented approach.
- Muova has developed expertise in brand anddesign management, creat iv ity , usercen-teredness and design.- Muova has executed more than 200 projectswith different companies.
In this project, MUOVA plays a research andexperimentation role of by organising a MasterClass in the wood sector and historical, icono-graphic research on the wood, natural fibre andglass sectors in order to create the online virtualgallery.
Western Finland Design Centre - MUOVA
56
ASTRA is a group of museums created in 2001,having as core one of the largest open air mu-seums in Europe (about 96 ha and 335 monu-ments and preindustrial installations) that tracesits origin back in 1963.
The nowadays Complex of Museums from Sibiuis made up of 4 units, of different profiles: ASTRAMuseum of Traditional Folk Civil ization- theopen-air museum, the Museum of TransylvanianCivilization, Franz Binder Museum of UniversalEthnography and Emil Sigerus Museum of SaxonEthnography and Folk Art.
Important supporting departments include: Con-servation and Restoration Centre (Astra Centrefor heritage), ASTRA Museum Publishing House,Marketing and Public Relation Office and ASTRAFilm, an important centre for documentary film
and visual anthropology.
ASTRA gathers about 185.825 cultural goods(heritage objects) divided in specific collections,according to region or ethnical groups.
Besides its impressive collections that illustratethe tangible cultural heritage ASTRA Museumundertakes a broad Program- “Living HumanTreasures” whose main goal is to hand down toyoung generations the authentic cultural tradi-tions.
As a partner in the DREAM project ASTRA Mu-seum brings its expertise on traditional arts andcrafts, having an important input in the researchfield as well as in the emergence of a new gene-ration of artists that will blend tradition andinnovation.
Complexul National Muzeal Astra
57
The Agence pour la promotion de la créationindustrielle (APCI) promotes design and a user-centred approach as key factors in the technical,economical and social innovation processes,oriented towards the quality of life and respectfor sustainable development.
It works with companies, groups and NGOs ofall sizes to:
• Increase their awareness of design andaccompany them in their design strategy.• Promote their design items through the“Observeur du Design” award, exhibited ina science and industry museum in Paris.• Inform them through its website and thePanorama/Guide to design in Europe.
• Offer to help them participate in Frenchpavilions and delegations abroad duringtargeted events.
APCI develops projects to help craftspeople in-novate through collaborating with designers inFrance and participates in the development andimplementation of global design policies in seve-ral countries.
APCI is a nonprofit organization that acts syner-gistically with the networks of design and inno-vation stakeholders.
In this program, APCI plays a role by contributingits expertise and participating in reflection ondesign and industrial creation.
Agence pour la promotion de la création industrielle
57
Agence pour la promotion de la création industrielle
58
CONTACTSPROJECT LEADER
Institut National des Métiers d’Art (INMA)23, avenue Daumesnil - 75012 Paris (France)Phone: +331 55 78 85 89Fax: +331 55 78 86 17www.institut-metiersdart.org
PARTNERS
Fundación Española para la Innovaciónde la Artesanía (Fundesarte)C/ General Zabala 12 - 28002 Madrid (Spain)Phone: +34 91 561 02 62Fax: +34 91 563 37 88www.fundesarte.org
Osservatorio Mestieri d'Arte (OMA)Ente Cassa di Risparmio di FirenzeVia Bufalini, 6 - 50122 Firenze (Italia)Phone: + 39 055 5384966Fax: +39 338 5317014www.osservatoriomestieridarte.it
Aalto University School of Art and DesignUniversity of VaasaWestern Finland Design Centre MUOVAWolffintie 36 F 11 - 65200 Vaasa (Finland)Phone: +358 6†357 6330Fax: +358 6†312 8664www.muova.fi
Complexul National Muzeal Astra11 Piata Mica - 550182 Sibiu (Romania)Phone: +40 269 218195Fax: +40 269 218060www.muzeulastra.ro
Agence pour la promotion de lacréation industrielle (APCI)24 rue du charolais - 75012 Paris (France)Phone : +33 (0)1 43 45 04 50www.apci.asso.fr
MASTER CLASS ON NATURAL FIBRES - FLORENCE
Tutors
Irma SchweglerArtisan /Dressmaker and Taylorwww.oldfashionsartoria.com
Daniele DavittiDesigner / Performerwww.danieledavitti.it
Marie AstierOld Fashion Sartoriawww.la-tana-artigiana.com
Costanza MenchiItalian Fashion Research Consultantwww.costanzamenchi.it
59
Laura BacciCnr Istituto Ibimetwww.ibimet.cnr.it
Participants
Katja Virta - [email protected]
Anziza Mohamadi - [email protected]
Emeline Raphanaud - [email protected]
Sara Albertazzi - [email protected]
Ester Cellucci- [email protected]
Luisa Salvioli - [email protected]
Aniela Hanciuc - [email protected]
Anamaria Silea Sut [email protected]
María Arroyo Marín - Spain
Verónica Villalón Gordón - [email protected]
MASTER CLASS ON GLASS - BARCELONA
Tutors
Xema VidalDirector of the Master ClassEscola Massanawww.escolamassana.es
Xavier FerrésEscola Massanawww.escolamassana.es
Jesús Angel PrietoEscola Massanawww.escolamassana.es
Daniel OrquinFundació Centre del Vidre Barcelonawww.fcv-bcn.org
Sandra MonenyArtist / researcherwww.sandramoneny.com
60
Pere ValldepérezEscola Massanawww.escolamassana.es
Jordi VidalVidalglasswww.vidalglass.com
Nuria Torrente and David HierroNutopiawww.nutopia.es
Philippa Beveridgewww.philippa-beveridge.com
Ferran ColladoVidres Colladowww.vidrescollado.com
Alessandro Rancatividrioh!www.vidrioh.com
Participants
Tommi Moilanen - [email protected]
Erno Takala - [email protected]
Sandrine Isambert - [email protected]
Simon Muller - [email protected]
Sofía Villamarín - [email protected]
Ileana Simona Mircea - [email protected]
Olivia Smadu - [email protected]
Tess Hill Orero - [email protected]
Andrea Pizarro Vilchez - [email protected]
María Castro Zuzuárregui - [email protected]
MASTER CLASS ON WOOD - VAASA
Tutors
Paola Cabrera VianchaConsultant: Strategic design
61
or the craft sectorhttp://paolacabreraviancha.com
Teres Paronen - Craft Tutorwww.yrkesakademin.fi
Sofia Dahl - Craft Tutorwww.yrkesakademin.fi
Participants
Reinhold Lutz - [email protected]
Sujeong Han - [email protected]
Julien Descherre - [email protected]
Julie Duverne - [email protected]
Alan Zinchi - [email protected]
Paolo Rovere - [email protected]
Radu Nechifor - [email protected]
Emil Roata - [email protected]
Maite Fuentes Liberal - [email protected]
Ana Schleicher Puiggròs - [email protected]
Design Recherche Europe Art Métiers(research on design, crafts & applied arts in europe)
