Dissertations / Theses on the topic 'Handicraft Handicraft Handicraft Design Art and design'

Exegesis (MA--Art and Design) -- AUT University, 2008.
Includes bibliographical references. Also held in print (111 leaves : col. ill. ; 22 x 30 cm.) in the Archive at the City Campus (T 746.92 WAL)

Memento Mitten is a project about seeing human hair from the perspective of sustainability as a viable alternative material. The project also aims to question our reluctance in Western Europe to use it in projects and innovations. It explores the process of transforming hair from waste into a functional piece (a mitten) by using traditional handicraft (hand carding, hand spinning and nålbinding) as a change agent in order to alter our perception of hair. Relating anthropologist Mary Douglas’ theory on dirt to the Freudian definition of ‘Das Unheimliche’ (The Uncanny) the project further examines and dissects the emotional aspects of Uncanniness and the anxiety we perceive when in contact with disembodied hair.  Leaning on Douglas’ theory on dirt I developed a framework for action that could potentially have the transformative ability to, when applied to creative practices, recontextualize hair from uncanny waste into an emotionally safe material. Utilizing auto-ethnographic documentation, physical exploration and participatory elements (through design interventions), four phases were identified: rejection (identifying hair as waste), re-collection (collecting hair), dissolution (taking apart the hair through acts like hand carding) and assimilation (putting the hair into a new context). These phases, which I titled The Altered Phases of Dirt, showed that they had the potential to move our inner margins of comfort beyond Uncanniness through the physical engagement found in handicraft.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Essa pesquisa parte da premissa de que não é cabível questionar de se o designer deve ou não atuar junto ao segmento artesanal, mas sim, como deve se dar essa ação. A crescente participação do designer junto à cadeia produtiva do artesanato estabelece a presença deste profissional neste segmento e, configura um crescente campo para a atuação conjunta de designers e artesãos. Essa parceria busca através da comercialização dos produtos artesanais, a autosuficiência dos artesãos e das comunidades artesanais em nosso país. Nesta pesquisa é apontada a intermediação e a participação de designers no decorrer da trajetória de reconhecimento do artesanato na sociedade brasileira. O estudo apresenta as categorias artesanais, e suas particularidades, definindo parâmetros para a atuação dos designers neste segmento. A pesquisa apresenta diretrizes básicas para a atuação do designer, a partir do respeito e valorização das referências culturais de artesãos e comunidades. E determina que a atuação conjunta de designers e artesãos deve dispor como objetivo comum, agregar valor comercial aos produtos artesanais, otimizando seus processos de produção, comercialização, divulgação e manutenção, visando a auto-sustentabilidade do segmento artesanal.
This research departs from the assumption that is not appropriate to argue if the designer must or not to act attached to the handicraft segment but, indeed, how his action must take place. The increasing partnership of the designer attached to the productive chain of the handicraft establishes the presence of this professional in this segment and shapes a crescent field towards the joined operation of designers and craftsmen. This partnership aims, though the commercialization of the handicraft products, the self- sufficiency of the craftsmen and the handicraft communities in our country. In this research is pointed out the intermediation and the participation of designers in the process of recognition of the handicraft in the Brazilian society. The study presents the handicraft categories and their particularities, defining parameters for the performance of the designers in this segment. The research proposes basic directives for the performance of the designer, beginning with the respect and valorization of cultural references of craftsmen and communities. And, the research establishes that the joint performance of designers and craftsmen must envisage, as common objective, to aggregate commercial value to the handicraft products, maximizing their processes of production, commercialization, divulgation and maintenance, aiming to the self-sustaining handicraft segment.

This bachelor’s thesis traces the life and career of textile designer Wanja Djanaieff, in particu- lar the collections she designed for the Swedish Olympic team for the games in Munich 1972 and Innsbruck 1976, in order to investigate the hypothesis that the social and political climate in Sweden shaped and constrained the stylistic choices available to textile designers at the time. Through the use of a biographical method, including an interview with Wanja, her works are placed within a broader cultural and political context, and the ways in which her art was influenced by historical developments, such as the decline of the Swedish textile industry from the 50’s onwards, are highlighted. Additionally, it is investigated which constraints were imposed on her designs by her clients, and how Wanja faced these constraints. It is argued that presence of irony and androgynous designs in Wanja’s work mirrors contemporary social developments, lending support to the notion that art reflects broader societal trends.

In recent years, craft fairs, shows and markets where crafters sell their handmade goods such as pottery, jewelry, handmade clothes and needlework have grown in popularity across the United States. A common intent among individuals in this community echo political statements made by the turn of the century Arts and Crafts movement, while there are political aspects of the community that can also be seen as an extension of the third wave feminist do-it-yourself (DIY) ethic of the late 1990s. This newly enlarged community of crafters that congregates in person also has a strong online presence. Etsy.com plays a large role in this community. The introduction of websites such as Etsy.com to the communities they serve has widespread impacts. The aim of this study is to analyze how Etsy.com impacts the lives of women who use the website to earn income. Following ethnographic traditions, the researcher interviewed five community members. The focus was on thick description of the DIY community and thematization of interview narratives. To meet participant observation criteria, the researcher also volunteered at the Independent Publishing Resource Center (IPRC) in Portland, Oregon for 4 months. Additionally, the researcher conducted a textual analysis of blogs, websites, artwork, and other sources of data collected from the online hand crafting community. The study presents and discusses the themes that emerged from the data, including women's work, feminism and technology, the crafters' political statements, the crafters as owners of legitimate businesses, and Etsy.com's impact on local economy. The results paint a picture of the community (both on and offline) and how Etsy.com helps to shape this. The researcher then discusses how to assess the impacts tools such as community websites will have on the communities they serve.

In this project a collection of clothing, based on the handicraft of knitting and crocheting, has been developed. Today most garments are produced on industrial machines, cheaply, fast and with a low quality. An alternative to this is slow fashion which aims for long-lasting, locally manufactured clothing, primarily made from sustainably sourced fair-trade fabrics. The aim of this project is to raise awareness of slow fashion by working with the handicraft of knitting and crochet. The work has a slow process of making, and the items are carefully made by hand which raises the value of the garments and is a more sustainable way of using the materials.  Traditional flat pattern construction is based on symmetrical squares and vertical and horizontal lines. This work's construction is based on diagonal lines around the women's body, as a suggestion that it fits the knitted fabric property and the women's body better. Design decisions were made by looking at renaissance fashion and paintings. To highlight an older way of making fashion and to push the expression in knitwear and show the potential in the craft.

O trabalho apresenta uma reflexão acerca da aproximação entre o design e o artesanato. Para abordar esse contato, a pesquisa tem como objeto de estudo o encontro das bordadeiras de Passira (PE) com a moda nacional. O estudo expõe como esses dois campos se relacionaram e as repercussões dessa interação no trabalho das artesãs. Desse modo, analisa como os processos criativos e produtivos dialogam, além de compreender o que é gerado por meio dessa ligação.
This work presents a reflection about the approach between design and handicraft. To broach this relation, the research aims to study the encounter of Passira (PE) embroiders with brazilian fashion. The study exposes how these two fields are related and the repercussions of this interaction in the artisans work. Thus, analyzes how the creative and productive processes dialogue, besides understanding what is generated through that connection.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta dissertação propõe uma metodologia de análise da imagem em parceria com as artesãs da Rede do Museu de Favela do Rio de Janeiro (MUF) do material produzido e comercializado pela Rede. A pesquisa realiza oficinas colaborativas de criação da Exposição Mulheres Guerreiras 2013 com as artesãs do MUF realizando um diálogo com os conceitos de Memória, Cultura Material e Linguagem Pedagógica das Coisas do autor Pier Paolo Pasolini em conjunção com a metodologia do Design Participativo. Todas as etapas do processo foram construídas pelos moradores e pesquisadores envolvidos através das aulas expositivas e das oficinas práticas, nas quais é problematizada a ideia de uma identidade visual local. Os dados revelaram que a participação ativa dos moradores para construção de uma linguagem própria os transforma em potenciais multiplicadores dos fazeres locais, ressaltando os seus saberes da cultura material da comunidade envolvida.
This paper proposes an aesthetic analysis methodology in partnership with artisans of the Network of Favela Museum of Rio de Janeiro (MUF) from the material produced and marketed by the Network. The research conducts collaborative workshops to create the Exhibition Women Warriors 2013 with the artisans of MUF. This establishes a dialog with the concepts of Memory, Material Culture and Educational Language of Things by Pier Paolo Pasolini in conjunction with the methodology of Participatory Design. All process steps have been built by residents and researchers involved through the lectures and hands-on workshop in which we question the idea of a local visual identity. The data have shown that the active participation of residents for construction of a proper language turns them into potential multipliers of local activities. This emphasizes their knowledge of the material culture of the community involved.

Esta pesquisa teve como objetivo a análise de alterações na forma de objetos resultantes da produção artesanal têxtil no Brasil, a partir da década de 1970, em correlação a mudanças nos respectivos contextos socioculturais, como as que se referem ao campo do design. Os procedimentos metodológicos foram baseados em abordagem qualitativa com viés histórico, realizada por meio de coleta bibliográfica, iconográfica e de campo. Abordou-se o artesanato têxtil como bem cultural representativo da produção de artefatos na sociedade brasileira. A partir de meados do século XX, contextos socioculturais e objetos resultantes desse ofício passaram por transformações condizentes com os interesses de consumidores de centros urbanos relativos ao artesanato. Nesse cenário, instituições e profissionais apresentaram projetos cujas abordagens transitam entre a manutenção de aspectos que caracterizam a tradição artesanal e a mudança dos objetos artesanais, para maior aceitação mercadológica. Por fim, debateu-se a necessidade de designers que atuam no setor avaliarem esses objetos, não apenas por sua destinação comercial, mas também como manifestação da cultura, do meio e das relações estabelecidas por artesãs e artesãos com seu ofício
The purpose of this study was to analyse the changes in the form of objects resulting from the Brazilian textile production of arts and crafts, since the 1970s, in correlation with the changes in the respective sociocultural environments, such as the ones related to design. The methodological procedures were based on qualitative approach with a history bias, carried on by means of bibliographic, iconographic and field research. Textile handicraft was addressed as cultural property representative of the Brazilian production of arts and crafts. Sociocultural environments and objects resulting from craftsmanship underwent transformations, since the middle of the 20th century, in accordance with the interests of urban consumers of arts and crafts. In this scenario, organizations and professionals presented projects whose approaches move between the maintenance of the characteristic features of craft tradition and the change in handcrafted objects, to make them acceptable by the market. Finally, it was discussed the need of an evaluation of such objects by the designers who work in the sector, not only due to their commercial purpose, but also as an expression of the culture, the environment and the relationships established between the artisans and their craft

Tem como objetivo geral documentar, registrar e analisar o método de trabalho artesanal com o couro do artesão cearense Espedito Seleiro e suas relações com o design, além de analisar as técnicas artesanais do couro utilizadas pelo artesão e, respectivamente, neste contexto, a memória cultural, identidade e tradição no Sertão do Ceará. O estudo expressa relevância cultural e econômica, envolvendo a pesquisa do valor simbólico dos bens produzidos com base em metodologias tradicionais, como, também, é a investigação de aspectos econômicos por se tratar da colaboração entre a metodologia tradicional e o design para o desenvolvimento de novas propostas. Os procedimentos metodológicos seguidos foram: pesquisa qualitativa e exploratória com embasamento no método etnográfico, em que constam levantamentos bibliográficos dos eixos design, artesanato e identidade; entrevista de história de vida com o método biográfico e visita à cidade e oficina (Ateliê / loja) do artesão; análise das características dos desenhos no trabalho do artesão, fazendo uma ligação com os pontos da linguagem visual; elaboração teórica das relações do artesão com a moda e o design, além da abordagem também do método da pesquisa-ação, com projeto prático desenvolvido pela autora ou além das contribuições para a área de Design de Moda; este trabalho também poderá auxiliar na divulgação, para outros povos, da tradição cultural nordestina, no trato da superfície do couro dentro da confecção de acessórios em geral e nortear pesquisas arrimadas noutras experiências com artesãos que trabalham com outras metodologias. A pesquisa é um resgate, em vida, da memória das técnicas do ofício com o couro para o próprio artesão, que terá a oportunidade de presenciar seus saberes socializados
It has as main objective documenting, recording and analyzing the artisanal way of working with leather of Espedito Seleiro, a craftsman from Ceará, and his relations with design, besides analyzing the craft techniques used by the leather craftsman and respectively in this context, cultural memory, identity and tradition in the countryside of Ceará. The study presents cultural and economic relevance, involving research of the symbolic value of goods produced by \"traditional\" methods, but it is also the investigation of economical aspects because it is the collaboration between traditional methodology and design for the development of new proposals. The methodological procedures followed were: qualitative and exploratory research with grounding in the ethnographic method, in which is listed literature surveys of areas: design, craftsmanship and identity. Life history interview with the biographical method and a visit to the city and atelier (atelier / store) of the artisan; analysis of characteristics of the drawings in the artisan work, making a connection with the points of visual language; theoretical construction of the craftsman\'s relationship with fashion and design, as well as the approach of action research method, with practical project developed by author, or in addition to the contributions to the area of Fashion Design, this work may also aid in spreading the Northeastern cultural tradition to other people, concerning the tract of leather surface in the production of accessories in general and guide research from other experiences with craftsmen working with other methodologies. The research is a rescue alive, of the memory of craft techniques with leather for the craftsman himself who will have the opportunity to witness their socialized knowledge

Submitted by Maicon Juliano Schmidt (maicons) on 2015-06-11T19:11:32Z No. of bitstreams: 1 Fernanda Seidl Ferretti.pdf: 1748375 bytes, checksum: 3a14da8caf8aaa4278c345ca3c0a62ed (MD5)
Made available in DSpace on 2015-06-11T19:11:32Z (GMT). No. of bitstreams: 1 Fernanda Seidl Ferretti.pdf: 1748375 bytes, checksum: 3a14da8caf8aaa4278c345ca3c0a62ed (MD5) Previous issue date: 2015-03-25
Nenhuma
As intervenções de designers que, como consultores, interagem com comunidades de artesãos, para qualificar a produção artesanal e reposicioná-la no mercado consumidor, são populares no Brasil - devido ao seu potencial de gerar desenvolvimento econômico e social para tais comunidades. Investiga-se tais interações a partir da perspectiva do design estratégico, visando a geração de valor através de processos que envolvem múltiplos atores na elaboração de soluções. Objetiva-se a proposição de caminhos estratégicos para a qualificação das consultorias de designers nas comunidades artesanais, visando à promoção de processos de co-design que contribuam para a maior autonomia das comunidades em relação às instituições que fomentam tais intervenções. A partir de uma investigação exploratória, são realizados estudos de caso com três grupos produtores de artesanato que contaram com a presença de designers para o desenvolvimento de seus produtos. Analisa-se a trajetória e processos de criação de artefatos destes grupos, e descreve-se um ambiente projetual em que a estrutura organizacional e as relações interpessoais influenciam a atuação dos designers e a continuidade do projeto, e a introjeção das competências dos consultores, e o fortalecimento da rede de valor dos grupos favorecem a autonomia dos artesãos. Sintetizam-se quatro proposições centrais: 1) a atuação do designer como um agente de capacitação do grupo na cultura do design; 2) a criação de um espaço de co-design condutivo a uma experiência imersiva, favorecendo simultaneamente as relações interpessoais e a projetação colaborativa; 3) a facilitação do processo de co-design e da capacitação dos artesãos, a partir de instrumentos que combinam pesquisas metaprojetuais e o desenvolvimento das relações entre os participantes; 4) o fortalecimento da rede de valor dos grupos através de colaborações horizontais intergrupais.
The interventions of designers who, as consultants, interact with communities of artisans to qualify handicraft production and reposition it in the consumer market, are popular in Brazil - because of their potential to generate economic and social development for such communities. These interactions are investigated here through a strategic design's perspective, aiming at value creation through processes that involve multiple actors in the development of solutions. The objective of this research is to propose strategic paths for the qualification of design consultancies for handicraft communities, aiming to promote co-design processes that contribute to the community's greater autonomy in relation to the institutions that promote these interventions. As part of an exploratory investigation, three case studies are conducted, involving communities of artisans where designers helped to develop artifacts. The development paths and the artifact creation process of these groups are analyzed, leading to the description of a designing environment where the organizational structure and the relationships between participants have an influence on the designers work and the continuity of the project; and the introjection of the consultant's skills, and the strengthening of the community's value network contribute towards the artisan's autonomy. Four central propositions are therefore defined: 1) the role of the designer as a qualification agent in design culture; 2) the creation of a co-design space which conducts to an immersive experience while promoting interpersonal relationships and collaborative design; 3) the facilitation of the co-creation process and qualification of artisans through instruments that combine research on a metadesign level and the development of interpersonal relations; 4) the strengthening of the groups value network through horizontal intergroup collaborations.

"Handicraft" means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever-growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance.

Orientador: Paula da Cruz Landim
Resumo: Esta é uma pesquisa de tipo experimental e projetivo que buscou trabalhar as relações entre design e artesanato a partir de uma aproximação essencialista e eco tecnológica, visando responder as seguintes questões: como as técnicas tradicionais dos indígenas Zenú da Colômbia podem contribuir para o desenvolvimento de métodos para o processamento de Gynerium Sagittatum que empreguem conceitos do design sustentável? Como esses métodos podem contribuir na geração de materiais a serem aplicados no design de mobiliário empregando conceitos de sustentabilidade? O objetivo principal foi desenvolver métodos com foco na produção de objetos de design sustentável a partir da reinterpretação das técnicas tradicionais dos indígenas Zenú da Colômbia. A metodologia experimental tomou como referência os trabalhos desenvolvidos sobre elementos estruturais tipo parallam e painéis de partículas feitos com Gynerium sagittatum, também os métodos de produção de painéis de bambu laminado e colado. Foram investigados métodos artesanais de produção e as possibilidades técnicas a partir dos conhecimentos dos artesãos indígenas Zenú em três linhas de trabalho: beneficiamento, trançado e tingimento natural. Neste estudo foram produzidos dois tipos de painéis a partir da reinterpretação de técnicas tradicionais indígenas Zenú, painéis de camadas de partículas de Gynerium sagittatum utilizando como adesivo a resina poliuretana bi - componente a base de óleo de mamona 15% com prensagem manual. Também painéi... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This is an experimental and projective research that works on the relationship between design and handicrafts from the culturalist and eco-technological approaching, aiming to answer the following questions: how can the traditional techniques of the Colombia´s indigenous Zenú contribute to the development of methods for Gynerium Sagittatum processing that employs sustainable design concepts? How can these methods contribute to the generation of materials to be applied in furniture design employing sustainability concepts? The main objective was to develop methods focused on the production of sustainable design objects from the reinterpretation of traditional Zenú indigenous techniques from Colombia. The experimental methodology took as reference the works developed on parallam structural elements and particle board made with Gynerium sagittatum, as well as the production methods of laminated and glued bamboo panels. Artisanal production methods and technical possibilities were investigated based on the knowledge of Zenú indigenous artisans in three lines of work: processing, weaving and natural dyeing. In this study, two types of panels were produced from the reinterpretation of traditional Zenú indigenous techniques, Gynerium sagittatum layer particle boards using 15% castor oil based bi - component polyurethane resin as an adhesive. Also Gynerium sagittatum thin strips plywood panels and PVA adhesive pressing on hydraulic press. The physical properties of the panel types we... (Complete abstract click electronic access below)
Doutor

Submitted by Maicon Juliano Schmidt (maicons) on 2015-06-11T16:38:57Z No. of bitstreams: 1 Luciane Aparecida Cândido.pdf: 2281399 bytes, checksum: 56b3b472f5c208903d83cb380d5bceff (MD5)
Made available in DSpace on 2015-06-11T16:38:57Z (GMT). No. of bitstreams: 1 Luciane Aparecida Cândido.pdf: 2281399 bytes, checksum: 56b3b472f5c208903d83cb380d5bceff (MD5) Previous issue date: 2015-03-31
Nenhuma
Essa pesquisa tem como tema a produção artesanal e o design. Para tanto, tem como objeto de estudo a atuação da loja Histórias na Garagem quanto à valorização cultural/identitária e produção artesanal orientada pelo design a partir de sua aproximação com artesãos. Como problemática de pesquisa tem-se a questão: Como a Histórias na Garagem contribui para a valorização cultural/identitária e reformulação da cadeia de valor da produção artesanal orientada pelo design? Para responder ao problema de pesquisa, indica-se como objetivo geral analisar a aproximação da empresa junto aos grupos Bichos do Mar de Dentro, Canoa, Redeiras e Ladrilã, para a identificação da contribuição na valorização cultural/identitária e reformulação da cadeia de valor da produção artesanal. Quanto aos procedimentos metodológicos, essa pesquisa é exploratória, com abordagem de caráter qualitativo; os procedimentos técnicos adotados foram revisão bibliográfica e pesquisa de campo a partir de entrevistas semiestruturadas. A pesquisa de campo foi realizada com dois grupos distintos: o primeiro trata das proprietárias e responsáveis pela loja investigada; e o segundo dos grupos de artesãos parceiros selecionados. Como resultado indica-se que a atuação da loja junto aos grupos de artesãos contribui para a valorização cultural/identitária a partir da produção de artefatos que resgatam técnicas de produção artesanal orientados pelo design.
This research has as its theme the craftsmanship and design. The study object intends to show the performance of the company “Stories in Garage” on the cultural / identity and handicraft production value-driven design from his approach with artisans. As a research problem is the question: How Stories in Garage contributes to the cultural recovery / identity and reformulation of the value chain of craft production oriented by design? To answer to this research, it is stated as a general objective is to analyze the approach of the company with the groups “Bichos do Mar de Dentro, Canoa, Redeiras and Ladrilã” to the contribution of cultural identification in recovery / identity and reformulation of the value chain artisanal production. In the methodological procedures this research is exploratory, with qualitative approach; the technical procedures adopted were literature review, field research from semi-structured interviews. The field research was carried out with two distinct groups: First proprietary and responsible for the investigated store; and second with the selected partners’ artisans groups. As a result it is stated that the store's performance with the artisan groups contributes to the cultural / identity recovery from the production of artifacts that rescue craft production techniques guided by design.

Dissertação de Mestrado em Design, com a especialização em Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
Esta dissertação tem como titulo “Alta-Costura e o Objeto de Luxo, Estágio no Ateliê Storytailors”, pretendendo identificar e analisar a adaptação de conceitos de Alta-Costura à realidade de um ateliê português. O trabalho desenvolvido neste estágio levou a uma profunda aprendizagem e colaboração em vários projetos, quer em coleções, quer em encomendas de ateliê, como vestidos de noiva e de cerimonia, desde o seu início colaborando nas diversas fases dos respetivos projetos, onde foram acompanhadas todas as fases da criação e da construção das peças, desde a tirada de medidas do cliente até à criação de moldes, corte, montagem, provas (fitting) e acabamentos finais. Participou-se ainda no desenvolvimento das coleções na área de design, na criação de peças para desfile, sob o conceito de desperdício zero, aplicado no decorrer do estágio. As metodologias utilizadas neste estágio foram tanto de carater intervencionista, tendo a aluna participado nas áreas de design e de produção da empresa Storytailors, como não-intervencionista, no sentido da observação e do registo do trabalho desenvolvido pelos colaboradores da empresa. A aluna pretende demonstrar no exemplo do ateliê Storytailors, como elementos da Alta-Costura podem ser introduzidos no trabalho de um ateliê português. Além disto a aluna pôde verificar a importância da vertente prática desenvolvida no estágio, aplicando conhecimentos teóricos anteriormente adquiridos, em contexto profissional.
ABSTRACT: This dissertation has as title "Haute Couture and the Luxury Object, Internship at Atelier Storytailors", intending to identify and analyze the adaption of concepts of Haute Couture to the reality of a Portuguese atelier. The work developed in this internship led to a profound learning and collaboration in various projects in both collections and atelier orders such as wedding gowns and ceremonial garments, collaborating in several stages of the respective projects, accompanying all stages of the creation and construction of garments, from taking the client measures until pattern making, cutting, assembling, fitting and finishings. The intern participated in the development of collections in the design area, creating garments for fashion shows under the concept of zero waste, applied in the course of the internship. The methodologies used in this stage were both of interventionist character, the student participating in the areas of design and production of the company Storytailors, as non-interventionist, in the sense of the observation and registration of the work developed by the staff of the company. The student intends to demonstrate at the example of the atelier Storytailors, how elements of haute-couture can be introduced into the work of a Portuguese atelier. Also, the student could verify the importance of practice, applying during the internship, the previously acquired theoretical knowledge in a professional context.
N/A

På vilka sätt kan kartor hjälpa oss i dagens samhälle? De flesta av oss har tillgång till en karta med GPS när som helst, i våra telefoner. Behöver vi kartan i vårt dagliga liv på andra sätt än genom denna (ganska) exakta positionering? Det är några av frågorna som ställs i detta examensarbete, där kartan undersöks som metod och byggare av kunskap. I detta arbete har mitt intresse för kartor slagits samman med ett hantverksnära arbetssätt. Undersökningarna präglas också av nyfikenhet och formexperimenten genomförs i material som textil, sand och papper. Genom dessa experiment försöker jag vidga vår bild av hur en karta ska se ut. Kartornas språk och teorier undersöks för att kunna befästa kartan som en relevant metod. Under processen ligger själva byggandet av kunskap i fokus, så väl som att visa på att vi alla kan göra våra egna kartor. Undersökningen avslutas med en gestaltning där jag ger mottagaren en chans att ta del i och medverka i arbetet i form av en kartografisk verkstad. Genom kartor kan vi skaffa oss en ökad kunskap och förståelse om vår omvärld och oss själva, som kan leda till ett mer hållbart samhälle.
In this project my interest in maps has merged with a craftsmanlike approach. I try to broaden our view of what a map should look like and to confirm the methodological relevance of maps. The study includes form experiments in materials like textiles, sand and paper. Knowledge building is in focus during the process, as well as demonstrating that we can all make our own maps. The project concludes with a visualization where the recipient is given the chance of contributing to the work in the form of a cartography workshop. It is my belief that maps can increase our knowledge and understanding of the surrounding world as well as of ourselves, which may lead towards a more sustainable society.

Mauritia flexuosa Mart. (buriti) é uma espécie de palmeira que se encontra amplamente distribuída na América do Sul e Central. Com importância histórica no desenvolvimento do país, essa palmeira tem desempenhado relevante papel ambiental, econômico e sociocultural. O buriti fornece matéria-prima para múltiplas aplicações tais como alimentos, bebidas, cosméticos, mobiliário, artesanato, entre outros. As fibras retiradas das folhas jovens da palmeira, conhecidas popularmente como linho e borra de buriti, são muito empregadas em produtos de artesanato, os quais incorporam a memória cultural e artística das comunidades que os produzem. Os objetivos deste estudo foram: registrar o processo de extração, beneficiamento e produção artesanal com as fibras de buriti (linho e borra), junto à comunidade local (Barreirinhas-MA, Brasil) e em visitas técnicas a associações (São Luís-MA, Brasil); efetuar a caracterização físico-química têxtil dessas fibras e esteiras em estado natural e realizar a impregnação com resinas para verificar se ocorre melhoria nas propriedades desses materiais. Foi acompanhada e registrada a cadeia produtiva do artesanato com buriti e, com as gravações, fotografias e filmagens, foi realizado o vídeo intitulado Fibra de Buriti: da Folha ao Produto - Artesanato e Design. Os principais resultados dos testes tênseis, para o linho e borra de buriti, foram respectivamente: tenacidade na ruptura (cN/tex): 28,4±5,5 (CV=19,6%) e 18,0±6,3 (CV=34,9%); percentual de alongamento na ruptura (%): 8,3±0,5 (CV = 6,8%) e 5,0±0,8 (CV=15,5%); Módulo de Young (N/tex): 6,1±0,8 (CV=13,1%) e 6,0±1,6 (CV=25,9%). Esses valores para a fibra de linho sugerem potencial para processos de fiação, tecelagem e produção de compósitos, assim como em fibras de espécies de reconhecida empregabilidade têxtil. Os valores tênseis para a borra são inferiores aos relacionados aos da fibra de linho de buriti in natura. Os valores obtidos de regain das fibras de linho e borra de buriti in natura foram respectivamente 8,5% e 9%. Na microscopia de corte transversal, para a fibra de linho foi determinado diâmetro celular de 8,5 µm e, para a fibra de borra, diâmetro celular de 7,2 µm. Os testes de FTIR indicam uma grande semelhança de características químicas entre o linho e a borra de buriti. Assim, as principais diferenças notadas são devidas a diferenças de suas características físicas. Há indicação que os produtos feitos com o linho de buriti possam ser limpos através de processos brandos de lavagem doméstica sem danos significativos à sua estrutura. Por outro lado, a imersão em álcool provocou alterações aos materiais, contraindicando seu uso. De modo geral, a aplicação de resinas sobre os produtos feitos de fibras de buriti não implicou em melhorias consideráveis nas propriedades desses materiais, sendo seu uso recomendável somente em casos específicos. Assim, o presente estudo pretende ampliar o respeito com os saberes das comunidades locais que extraem e empregam essa fibra; aumentar as informações sobre a potencialidade da biodiversidade brasileira e a possibilidade de emprego da fibra de buriti na elaboração de soluções e novos produtos para aplicação em engenharia e design
Mauritia flexuosa Mart. (buriti) is a palm tree species which is widely distributed in South and Central America. Presenting historical importance in the development of the country, this palm has played a significant environmental, economic and socio-cultural role. Buriti provides raw material for multiple applications such as food, beverages, cosmetics, furniture, handicrafts, among others. The fibers removed from the young leaves of the palm tree, popularly known as buriti linen and draff, are very much employed in handicraft products, which incorporate the cultural and artistic memory of the communities that produce them. The objectives of this study were: to record the process of extraction, processing and handicraft production with buriti fibers (\'linen\' and draff), together to local community (Barreirinhas-MA, Brazil) and technical associations visits (São Luís-MA, Brazil); to perform the textile physicochemical characterization of these fibers and mats in natural state and carry out the impregnation with resins in order to investigate the possibility of improvement in the properties of these materials. The handicraft production chain with buriti was monitored and recorded and with the recordings, photos and films, was made the video entitled \"Buriti fiber: from leaf to product Handicraft and Design\". The main results of tensile tests for \'linen\' and \'draff\' of buriti, were respectively: tenacity at break (cN/tex): 28.4±5.5 (CV=19.6%) and 18.0±6.3 (CV=34.9%); percentage elongation at break (%): 8.3±0.5 (CV=6.8%) and 5.0±0.8 (CV=15.5%); Young\'s Modulus (N/tex): 6.1±0.8 (CV=13.1%) and 6.0±1.6 (CV=25.9%). These values for linen fiber suggest the potential for spinning, weaving and production of composites processes, as well as fiber species of recognized textile employment. The tensile values for draff fiber are lower than related to the \'linen\' buriti fiber in natura. The values obtained from regain of the \'linen\' and \'draff\' fibers of buriti in natura were respectively 8.5% and 9%. In the cross microscopy for linen fiber \'flax\' was determined the cell diameter of 8.5 µm and for the draff fiber, cell diameter of 7.2 µm. FTIR tests indicate a strong similarity between the chemical characteristics of linen and draff of buriti. Thus, the main noticeable differences are due to differences in their physical characteristics. There is indication that the products made with the buriti linen could be cleaned by gentle home laundering processes without significant damage to its structure. Moreover, the immersion in alcohol caused changes to the materials, contraindicating their use. Generally, the application of resins on products made of buriti fibers did not result in significant improvements in the properties of these materials, and its employment is recommended only in specific cases. Therefore, this study intends to increase the compliance with the knowledge of local communities that draw and employ this fiber; to increase information about the potential of Brazilian biodiversity and the possibility of buriti fiber use in the elaboration of solutions and new products for application in engineering and design

Digital fabrication technologies such as 3D printers entail a radical change to the traditional consumer-producer paradigm. Combined with other recent developments, self-styled Makers design and fabricate sophisticated devices and interactive technologies that would otherwise never have existed. However, stopping the uninitiated novice from making use of this potential is complex CAD software, and a high barrier to entry. In this study a series of workshops explore the potential of combining traditional handicraft materials – such as clay, paper and fabric – with 3D scanning to enable novices to work with 3D printers. Based on the results a set of instruction were created detailing the process of making three types of practical objects, covering the entire process from the making and subsequent 3D scanning of a physical object, to the software clean-up and final 3D printing. The results suggest that whilst the explored method can enable novices to create 3D printable models, a certain mindset is required for the novice to do so effectively.
Innovation +

Digital Craft is a project that explores the interface between three-dimensional (3-D) computer technology and costume technology. I combine seasoned millinery techniques with modern methods of object construction and design to diversify the costume artisan’s toolbox and encourage practical and useful ways of moving between the virtual and physical world. Through a series of theoretical projects the dichotomy of modern artistic process is explored. The task of this thesis project is to explore the impact of 3-D imaging software on design and construction methods by applying them to the sculptural process of hat making. I collaborate with designers and technicians to develop methods of hat making for performance culminating in an exhibition presented at the University Co-op Cohen New Works Festival, April 2011. This research is applied to cultivate new methods of hat making, by exploring new media and expanding creative possibilities. Craft objects are created directly through the hand of the maker; it is thorough technique that the hand informs the craft object (Risatti, 108). Furthermore, the traditional notion of tools and craft objects is that they are conditioned, controlled and limited by the hands. In order to update and improve methods of object construction, this project will expand the traditional concept of craft, combining hands-on methods with machining. I hope to improve efficiency and decrease the cost of realizing authentic and original hat designs by exploring alternative digital spaces that can be used to communicate, develop and actualize ideas.
text

碩士
實踐大學
工業產品設計學系碩士班
100
Taiwan has a wealth of bamboo material and bamboo craft talents. In recent years, bamboo design furniture from Taiwan received favorable reviews from all over the world. These bamboo furniture employed challenging bamboo craft techniques and explored the possibilities of bamboo as a material. Those designs showcased the flexibility of bamboo, without sacrificing the stability of the furniture, and were therefore more difficult in both development and production. Besides, bamboo furniture in Taiwan is mostly designed as one-off, experimental products, and still has a long way to go when it comes to mass production and serial development.In the field of architecture, designers found optimal proposals in mechanics and aesthetics by consulting structure system. Modern architecture solves mechanical problems with analysis by computer software. Furniture design can also be compared to micro-architecture. Therefore, this design attempts to apply structure system and structure analysis on the design and development of bamboo furniture, in order to achieve stability and flexibility in seating and to show the structural aesthetics of the bamboo craft. To make mass production more possible, an easier bamboo craft technique was employed. A Mechanical testing and design implementation was conducted to verify the theory.This design combines the linearity and diversity of architecture vector structure with the heat-bending bamboo tube craft, resulting in a bamboo craft structural unit, developing from the unit into series furniture, and highlighting the features and structural analysis of bamboo craft. With Chinese National Standards and the software Generative Structure Analysis, a structure analysis was conducted. Furthermore, Taguchi Design Method was employed for expanding and optimizing the structure. Mechanical testing showed that the structure was able to take 200(kg) of weight, and had a 10(mm) pre-elasticity.This way enhancing efficiency in the developing process and cutting costs. By design implementation, the designer gained a better understanding of bamboo craft and material, and proposed bamboo furniture designs that are more unique and easier to produce. Compared to traditional production methods that heavily relied on personal experiences, the data in the analysis process were all explicit knowledge, and can serve as references for future designers who attempt to adopt this development mode.

碩士
南開科技大學
福祉科技與服務管理所
105
The aim of this research is to understand the relationship between older adults who participated in handmade art courses and their social networks, respect for autonomy, and self-fulfillment. Data was collected from those aged 65 and over who participated in handicraft curriculum in Nantou county. Satisfaction survey was used to evaluate the quality of handicraft curriculum design. A total 220 questionnaires were distributed, 206 valid questionnaires were retrieved, the valid response rate was 94%. The questionnaire data was analyzed by descriptive statistics, t-test, correlation, one-way ANOVA analysis of the SPSS 22. The results revealed that most aged who participated in handicraft curriculum are female, aged 70-75 years old, illiteracy, elementary degree, housewife, married (lived with their families. Three personal needs: social networks-lifelong multiple learning (mean=4.66), respect for autonomy-the concept of independent learning (mean=4.55), self-realization-lifelong learning promote healthy and active (mean=4.88) have the positive correlation in participation in handicraft curriculum. The conclusion showed that aged who participated in the handicraft curriculum are fulfilling and getting more self-confidence. The curriculum is highly positive correlation with personal needs of social networks, respect for autonomy and self-realization by using Pearson’s analysis. The top three favorite courses of handicraft curriculum are shown as follows: vegetable dye, environmental creativity and festival handicraft. To promote the effect of happy learing handicrafts courses and the degree of participation do help older adults to build their social network, respect for autonomy, self-realization from their learning. Keywords: Handicraft, Aged happy learning, Learning promotion