FormAkademisk – forskningstidsskrift for design og designdidaktikk –er et fagfellevurdert forum åpent for publisering av forskning innen design og designdidaktikk, slik som industridesign, visuell kommunikasjon, interaksjonsdesign, arkitektur, landskapsarkitektur og urbanisme, og utdanning på alle nivå fra barnehage til doktorgrad. FormAkademisk har som mål å skape et forum for utveksling av forskningsresultater og konsepter på tvers av ulike designkulturer og designpraksiser, innen designteori og designhistorie, praksisbasert forskning og designdidaktikk.
OsloMet - Oslo Metropolitan University (prev. Oslo and Akershus University College of Applied Sciences)
Forfatteren(e) beholder sin opphavs- og kopieringsrett til eget manuskript, men gir tidsskriftet varig rett til 1) å fremføre manuskriptet for offentligheten i den opprinnelig publiserte digitale form, og 2) å registreres og siteres som første publisering av manuskriptet. Forfatteren må selv forvalte sine økonomiske kopieringsrettigheter overfor eventuell tredjepart. Tidsskriftet gir ingen økonomisk eller annen kompensasjon for innsendte bidrag, medmindre det er gjort særskilt avtale om dette med forfatteren(e). Tidsskriftet plikter å arkivere manuskriptet (inklusive metadata) i den opprinnelig publiserte digitale form, i minst ett dertil egnet åpent tilgjengelig langtidsarkiv for digitalt materiell, som for eksempel i de norske universitetenes institusjonsarkiv innen rammen av NORA-samarbeidet. Verket vil bli publisert OpenAccess med en Creative Commons 4.0-lisens som tillater alle å lese, dele og tilpasse innholdet, også kommersielt, under lisensvilkårene: Dette verket må tilskrives/ krediteres på riktig måte, en lenke må gis til CC-BY 4.0-lisensen, og endringer som er gjort må angis på en rimelig måte, men ikke på noen måte som antyder at lisensgiveren støtter deg eller din bruk.
Leder. Første ordinære nummer i den nye multimodale malen for FormAkademisk
Opphavsrett 2024 Janne Beate Reitan https://creativecommons.org/licenses/by/4.0
The designer collective as a social system of professional learning and development
This study examines designer collectives as social systems of professional learning and development. Based on a qualitative single case study of a contemporary Danish designer collective, the study analyses seven core members’ experiences of participation through the lens of Wenger’s framework of communities of practice. Eight distinct themes of participation are identified and described as accounts of Wenger’s modes of belonging as engagement, imagination, and alignment. These findings provide rich contextualized descriptions of experiences of participation, illustrating how designer collectives are conducive to both practice development and identity formation. Contributions to design practice and design education research are discussed concludingly, highlighting the role of designer collectives in fostering designers’ transformative learning beyond formal educational structures.
Opphavsrett 2025 Nicky Nedergaard https://creativecommons.org/licenses/by/4.0
Current Perspectives of Design Thinking and Design Literacy
Design thinking has become a cornerstone of 21st-century education and is emphasized across both design and non-design disciplines. Studies have long criticized design thinking as ambiguous because it has diverse definitions and employs a range of methodologies. Recently, the concept of design literacy has entered the literature. It is proposed that design literacy can foster the potential of design thinking to promote the development of the “new literacies” needed to drive change and transformation in an age facing global challenges such as climate change, technological transformations, and social inequality. This article highlights key themes from an international symposium exploring design’s foundational role in education, its connection to visual thinking and reasoning, the potential of interdisciplinary problem-solving, the human and social dimensions of design thinking, and the importance of design literacy for effective communication and collaboration among designers. This symposium is part of a broader research project based at Özyeğin University, Turkey, investigating how to cultivate design literacy knowledge and skills in early undergraduate curricula to foster an interdisciplinary and trans-professional learning environment before professional specialization.
Opphavsrett 2025 Derya Yorgancioglu, Esin Kömez Dağlıoğlu, Yeşim Çapa Aydın https://creativecommons.org/licenses/by/4.0
Artikkelen undersøker, med eit kunst og handverksfagleg (KOH) blikk, korleis skapande arbeid i norske grunnskular sine skaparverkstader artar seg. Gjennom observasjonar og intervju finn me at sentrale idear innanfor internasjonal skaparorientert pedagogikk blir praktisert, som problemløysing, samarbeid og utforskande arbeidsmåtar. Andre skaparverkstads-konsept som ikkje-lineære prosessar og oppgåver utan konkrete mål viser seg utfordrande å få til, særleg i dei lågare skuletrinna m.a. sidan elevane ikkje enda innehar grunnleggande ferdigheiter i handverk, verktøy og teknologi. Lærarane held fram at det er ei krevjande øving å manøvrere i den veksande mengda løysingar for skaparorientert læring som ulike aktørar innom rørsla tilbyr, frå ‘konkretar til å tenke med’ til byggesett med rettsvar-oppgåver. Artikkelen gjer synleg at KOH-faglege læreplanmål og innhald, knytt til material- og verktøyval, berekraft, kvalitet, kunne og ferdigheiter får uventa innhald i det skapande arbeidet i skaparverkstaden.
Opphavsrett 2025 Ingrid Holmboe Høibo, Lovise Søyland, Laila Belinda Fauske https://creativecommons.org/licenses/by/4.0
The Role of Design Education in Designers’ Pursuit of Entrepreneurial Opportunities
This article examines the relationship between design education and entrepreneurship by exploring the ways in which design education prepares, or falls short in preparing, students for entrepreneurship. Empirically, it draws on semi-structured interviews with 23 design entrepreneurs. Theoretically, it draws on the entrepreneurial opportunity literature, which highlights the significance of the knowledge, skills and abilities (KSAs) gained in higher education. Our findings propose five ways in which design education prepares students for entrepreneurship. Design education provides students with (1) a unique (“designerly”) way of seeing, reframing and handling problems, (2) a systematic approach to new challenges, (3) KSAs related to materials and production, (4) KSAs and experience related to oral and visual communication and (5) opportunities to discover students’ individual interest areas in design.
Opphavsrett 2025 Pınar Kaygan, İrem Dilek Alptekin , Nimet Başar Kesdi https://creativecommons.org/licenses/by/4.0
Materialbasert og kunstnerisk utforsking av form, vind, bevegelse og programmering i småskolens skaperverksted
Det etableres stadig nye skaperverksteder i norsk grunnskole. Skaperverkstedene bringer med seg en forventing om en skapende tverrfaglig praksis der elever får erfare autentiske, åpne og utforskende læringsprosesser med både nyere og tradisjonelle materialer, verktøy og teknologier. Det kunst- og håndverksfaglige perspektivet har i stor grad vært fraværende i norske skaperverksteder som har vært initiert og drevet av realfag- og spesielt naturfagslærere. Skapende aktiviteter og materialbasert utforsking av fenomener er tangerende felt der naturfag og kunst og håndverk møtes og med bakgrunn i det undersøkes: På hvilke måter kan materialbasert og kunstnerisk utforsking av form, vind, bevegelse og micro:bit invitere til tenkende og skapende prosesser i småskolen skaperverksted? Educational Design Research og a/r/tografi er tatt i bruk for å undersøke 2. klassingers skaper-orienterte læring og deres læreres praksiser og tilrettelegging av skaperverkstedsaktiviteter. I artikkelen drøftes følgende tematikker: 1) Å tenke i materialet, formgi og gjøre seg håndgripelige erfaringer, 2) Å skape utforskende handlingsrom i det material-digitale, 3) Nærvær og kunstnerisk utforsking i det material–digitale og 4) Om å gi muligheten til å ta eierskap og forme verden - skaperverkstedet som et kollektivt utforskende mulighetsrom.
Opphavsrett 2025 Lovise Søyland, Ingrid Holmboe Høibo, Peter Haakonsen https://creativecommons.org/licenses/by/4.0
Leder I. Ny multimodal mal for FormAkademisk
Leder II. EMAL-Digital – Multimodalt temanummer
Opphavsrett 2024 Lovise Søyland, Karete Roksvåg, Marte Sørebø Gulliksen https://creativecommons.org/licenses/by/4.0
Artikkelen utforsker hvordan ulike interaksjonsformer i iscenesatte rom kan ha betydning for barns deltakelse og uttrykk i barnehagen. Gjennom en a/r/tografisk tilnærming søker studien kunnskap om samskapende prosesser med barn, der objekter og materialer i iscenesatte rom spiller en betydelig rolle. Analyseprosessen kombinerer en utforskende analysetilnærming med en strammere tematisk analyse. To hovedkategorier identifiseres; regelstyrte interaksjonsformer og lekende interaksjonsformer. Utforsking og analyse av dette begrepsparet bidrar til å gi innsikt i eksisterende pedagogisk praksis, og øker den helhetlige forståelsen av barns varierte uttrykksmåter, både kroppslige og verbale. Studien understøtter viktigheten av å inkludere lekende interaksjonsformer for å støtte alle barns uttrykksformer, og synliggjør derfor at det er behov for en bredere diskusjon om barns muligheter til aktiv deltakelse i sin egen barnehagehverdag.
Opphavsrett 2024 Anette Sofie Bernsen https://creativecommons.org/licenses/by/4.0
This paper addresses one of the challenges presented in the call for the October 2022 symposium prior to this special issue: How would we expect design literacy (knowledge) to be demonstrated by non-designers? The study focuses on Norwegian pupils aged 15–16 years who were tasked with designing shared-living spaces for an ecovillage, aiming to encourage mixed use, inclusive social interaction, and a reduction in the carbon footprint. The study explores the level of critical design literacy demonstrated in 55 digital submissions from the pupils. The results indicate that the pupils are more proficient in expressing and discussing aspects of social sustainability than they are at addressing environmental sustainability. The paper concludes by discussing how teachers might structure projects to encourage pupils to engage more deeply in transformative design practices.
Opphavsrett 2024 Eva Lutnæs https://creativecommons.org/licenses/by-nd/4.0
Education for International Understanding
Education for international understanding is an educational concept put forward by the United Nations Educational, Scientific and Cultural Organization (UNESCO) with the goal of promoting cultural understanding and world peace, which is still of great practical significance in the current world of changing and complex conflicts and crises. Following a close look at the humanistic perspective of promoting exchanges, cooperation, prosperity and world peace in the Asia-Europe-Africa region and the rest of the world, China’s government developed the Belt and Road Initiative (BRI) to put into practice the concept of education for international understanding. This article presents the argument that as art and design education serves social development and promotes humanistic exchanges, the concept and values of education for international understanding should be integrated into university art and design education. This important literacy not only explores the design value of promoting cultural understanding in the face of the current complex global crisis and a challenging environment but also adds a new dimension to promoting exchanges and cooperation in the humanities along the BRI.
Opphavsrett 2024 Xiaoyu Li https://creativecommons.org/licenses/by-nd/4.0
Editorial I. Perspectives on Design Literacy
The Perspectives on Design Literacy special issue features selected peer reviewed articles discussing the Design Literacy concept in relation to a specific area of design education. Thus, the special issue provides the design research community with a useful reference point on which to further knowledge development related to Design Literacy and it update as a framework to examine for example what it means to be Design Literate. The Perspectives on Design Literacy special issue covers contributions exploring Design Literacy in diverse contexts including the educational level covering primary, secondary and Higher Education as well as different national educational context. The special issue provides a useful reminder that Design Literacy as with other types of literacies should gain a greater prominence withing the design research community to support development of general and professional education to prepare future citizens to navigate designed artificial world which is becoming increasing automated through the rapid deployment of the AI.
Opphavsrett 2023 Erik Bohemia, Úrsula Bravo, Liv Merete Nielsen https://creativecommons.org/licenses/by-nd/4.0
The Chilean school curriculum shares with the design literacy approach the goal of forming responsible citizens committed to caring for the environment. Given that design is included as obligatory content of the visual arts and technology subjects in the first 10 years of compulsory education, we wonder if the learning objectives of visual arts and technology support the development of design literacy abilities, as outlined by Lutnæs and Cross. To address this question, we coded 119 learning objectives in alignment with Lutnæs’s and Cross’s design literacy abilities. Then, we generated heatmaps to undertake a visual analysis of the alignment between the learning objectives and design literacy categories. As a result, we found a strong convergence between the Cross and Lutnæs categories and technology learning objectives, especially in lower secondary level education. In the visual arts, design was focused on aesthetics, and connections with design literacy narratives were scarce. We propose that adopting the analytical instrument (coding table) as a standardised tool will encourage comparable studies of how well design literacy is incorporated into other national curricula.
Opphavsrett 2024 Úrsula Bravo, Erik Bohemia, Fernanda Saval https://creativecommons.org/licenses/by-nd/4.0
This editorial represents a brief overview of design education in China, and then it introduces Shandong University of Art & Design (SUAD). It contains three parts. The first section describes the development of design education in China and the current situation of College Entrance Examination for design students. The second section introduces SUAD from aspects of its location, the features of design teaching and learning, and design-related actives and achievements. The last part predicts the future of design education in China.
Opphavsrett 2023 Yang Zhang, Lusheng Pan https://creativecommons.org/licenses/by-nd/4.0
This research studies garment design and production as an integrated learning assignment. In this type of setting, students face – often implicit – design constraints arising from the production phase: time, cost and material resources, but also students' knowledge and skills related to processes, tools, technical structures and technologies. The qualitative data analysis revealed that skill level did not dictate the level of learning challenge undertaken, and that not all novices' work remained limited to simple designs and structures. We discuss tailoring pedagogical practices according to students' needs by balancing familiarity with the challenge and the possibilities of circumstance-based design. We also suggest that, together with students' beliefs about the learnability of design creativity, all constraints should be openly discussed.
Opphavsrett 2025 Tellervo Härkki, Johanna Oksanen, Ana Nuutinen, Karoliina Laxtström, Anu Kylmänen, Marja-Leena Rönkkö https://creativecommons.org/licenses/by/4.0
Exploring Design Literacy in Socially Responsible Design Education
Students majoring in design have the important responsibility of implementing the Chinese national rural revitalisation strategy in their future careers. The Rural Planning and Design course at Shandong University of Art & Design (SUAD) is a contributes to the cultivation of students' quality of responsibility. The design of this course adheres to the national strategy and closely focuses on the cultivation of these responsibilities, which are integrated into the course syllabus and activities. Students in this course are required to go into the countryside, conduct in-depth investigations to determine what social problems the people face and then think independently, cooperate with each other, create and propose innovative design strategies to solve the problems. Multidisciplinary theoretical knowledge is integrated into the course to promote students’ design literacy, including collaborative innovation, critical thinking, communication and research skills. This article introduces this course in detail and uses it as a practical case through which to explore what kind of design literacy is needed, how to cultivate design literacy and its impacts on various practical challenges.
Opphavsrett 2024 Yinglei Wen https://creativecommons.org/licenses/by-nd/4.0
The Malaysian design industry follows a market-need-driven approach, where marketing-oriented managers guide designers to address anticipated high-demand markets. However, challenges persist in understanding designers' problem-solving approaches due to implicit practices. This research emphasizes the hindrance caused by insufficient communication and collaboration among managers, designers, and researchers, impeding a comprehensive grasp of innovation processes in the manufacturing sector. The paper advocates a pragmatic examination of designers' experiences, highlighting sensemaking, speculative imagination, and improvisation as crucial design activities. Results show Malaysian industrial designers face consistent challenges with management, impacting the development process. The study contributes to formulating a practical solution for fostering creativity among managers, designers, and stakeholders in the design industry.
Opphavsrett 2024 Abu Bin Ali, Andre Liem, Siti Salwa Isa, Nor Lelawati Jamaludin https://creativecommons.org/licenses/by/4.0
Distilling design methodologies for additive manufacturing from case studies
Additive manufacturing (AM) is a palette of digital fabrication tools which has quickly established itself as one of the key prototyping methods used during design development processes. Nevertheless, end product applications of AM are rare and usually limited to high end customised niches, such as medical implants or one of a kind, expensive and high-performance objects (Attanasio, 2022). The lack of more daily examples of successful AM end products despite a matured technology raises the question whether there are no real niches for AM end products or if designers have not yet been able to identify and address them. We argue that a lack of suitable design methodologies (DM) integrating modern understanding of AM is at least partially responsible for the lack of progress. In this paper we analyse the current state of AM applications for end product manufacturing and propose a bottom-up approach for creating AM for DM from case studies to address the lack of available literature in the field.
Opphavsrett 2025 Ricardo Simian https://creativecommons.org/licenses/by/4.0
This article is based on the 3-day workshop, “Botanical Colour Laboratory”, which mapped the colours of the landscape of Osterøy, Norway, through land crafting with natural dyes. Land crafting builds an understanding of, and connection to, the land. This article discusses the multi-sensorial aspects and the relations between humans and non-humans in the process of collective plant dyeing. The terms: situated knowledge, orientations, the unruliness of things, production of locality and mujaawarah (neighbouring) are used to reflect on the workshop and its entangled relationships to matter, landscape, crafting and knowledge. These terms are woven together with the experiences of the “Botanical Colour Laboratory”. The research is conducted as a creative practice with an ethnographical approach. By combining written texts with video and drawings, I have made new multi-modal field notes. These field notes give a glimpse into the multifaceted processes of plant dyeing. The research shows that projects like “Botanical Colour Laboratory” are highly relevant and can influence orientations to our surroundings through collective land crafting processes with our living and non-living neighbours.
Opphavsrett 2024 Marie Skeie https://creativecommons.org/licenses/by/4.0
Digital kompetanse og interpikturalitet i kunst og håndverksfaget
Gjennom denne artikkelen søkes en bredere forståelse av hvordan digitale kompetanser, ferdigheter og forståelser kan utvikles i kunst og håndverksfaget. Lærerens profesjonsfaglige digitale kompetanse vil stadig være i utvikling. I utdanningen er det vesentlig at lærerstudenten møter ulike måter å utforske digitale medier på. Denne teksten belyser hvordan læreprosesser knyttet til digitale tegnemedier kan bidra til profesjonsfaglig digital kompetanse. Først argumenteres det for sentrale begreper som knytter profesjonsfaglig digital kompetanse til skapende prosesser i kunst og håndverk, deretter beskrives studiens case, et undervisningsopplegg i kunst og håndverk om interpikturalitet og skapende prosesser med nettbrett, og videre drøftes resultater fra analyse av dette materialet.
Opphavsrett 2024 Silje Bergman https://creativecommons.org/licenses/by/4.0
Artikkelen tar utgangspunkt i en a/r/tografisk undersøkelse om samtidstegning som handling gjennom et undervisningsprosjekt med en gruppe barnehagelærerstudenter. Vår erfaring er at tegning i barnehagen ofte gjennomføres som bordaktivitet med ark i formatet A4. Det begrenser barns muligheter til å tegne med hele kroppen og låser tegneuttrykket til et lite og avgrenset format. Vi undersøker derfor andre og mer eksperimenterende innganger til en utvidet forståelse av hva tegning kan være. Hva skjer når vi inviterer studenter til utforskende, materielle og kroppslige tegneprosesser? Og hvilke kunnskaper produseres om tegning, og om det å tegne? I artikkelen diskuteres dette i relasjon til: 1) Kropp og materialer 2) Nærvær, temporalitet og rytme 3) Risiko og tilfeldighet. Avslutningsvis diskuteres hvordan utforskende, kroppslige og materielle tegnepraksiser kan utformes i barnehage og barnehagelærerutdanning.
Opphavsrett 2024 Lovise Søyland, Ann Hege Lorvik Waterhouse https://creativecommons.org/licenses/by/4.0
Denne multimodale artikkelen bygger på et kunstnerisk utviklingsarbeid der forfatteren har arbeidet utforskende med abstrakt multiplananimasjon. Undersøkelsen plasseres metodologisk innenfor a/r/tografi, og teorier om kroppsliggjort kunnskap anvendes som læringsteoretisk rammeverk. Gjennom fotodokumentasjon, skriftlig tekst og animasjonsfilm synliggjøres kroppsliggjort kunnskap om multiplananimasjon som teknikk og kunstnerisk uttrykksform, og dens potensiale i en læringssammenheng med barn i barnehage og grunnskole. I en videre sammenheng undersøkes animasjonens mulighet til å utvikle ny og utvidet kunnskap om koblinger mellom materialer og teknologi, og utgjør et bidrag til en ny material-digital praksis som ivaretar et helhetlig læringssyn. Forskningsspørsmålet som stilles er; Hvilke kroppsliggjorte kunnskaper om multiplananimasjon kan utvikles gjennom kunstnerisk utforsking? Spørsmålet drøftes gjennom følgende tre kategorier: (1) Abstrakt multiplananimasjon som en poetisk bevegelse; (2) Multiplananimasjon som en romlig collage (3); Multiplananimasjon som langsom kunnskap og langsomt håndverk.
Opphavsrett 2024 Karete Roksvåg https://creativecommons.org/licenses/by/4.0
Artikkelen bygger på et utdanningsfaglig animasjonsprosjekt med studenter i barnehagelærerutdanninga. Gjennom en kunstbasert forskningsmetodologi undersøkes en utforskende og skapende digital praksis som involverer materialbasert stop-motion animasjon. Både Rammeplan for barnehagen fra 2017 og Kunnskapsløftet fra 2020 legger klare føringer for at barn og elever skal arbeide utforskende, kreativt og skapende med og gjennom digitale teknologier. Det er derfor behov for å utvikle og drøfte hvordan slike praksiser kan utformes og være. I artikkelen diskuteres koblinger mellom materialer og digitale teknologier i skapende arbeid med animasjon, og en utforskende praksis som er i tråd med barns og elevers kroppslige måter å lære på. Det teoretiske rammeverket knytter seg til embodiement-teorier som understreker hvordan vår kognisjon er dypt sammenvevd i omgivelsens materialiteter. Vi formes gjennom interaksjon med omgivelsene og gjennom å gripe og forme i et materiale med hendene.
Opphavsrett 2024 Karete Roksvåg, Lovise Søyland https://creativecommons.org/licenses/by/4.0
Fra feltnotater til etnografisk tegneserie
Denne artikkelen handler om hvordan man kan overkomme metodiske og metodologiske utfordringer gjennom å lage en tegneserie av etnografiske feltnotater som er samlet ved å gjøre antropologisk feltarbeid. Utgangspunktet for artikkelen er at noen ganger kommer feltnotater og ord til kort, når man skal reflektere og analysere datamaterialet som er samlet inn ved å gjøre disse observasjonene om til tekst. Artikkelen søker med andre ord å vise hvordan både det visuelle og det tekstlige som skapes, når man lager en tegneserie, bringer meg seg viktige perspektiver som man kan bruke i selve fortolkningen og analysen av ens datamateriale og virke som et supplement til feltdagboken. Det er tidligere skrevet artikler om å bruke tegninger i kvalitativ forskning, av forskere som kan tegne, det denne artikkelen derimot er et forsøk på; er å vise at selv vi, som ikke kan tegne, kan med stor nytte bytte ut det skriftlige med det visuelle å få ulike fruktbare resultater.
Opphavsrett 2024 Audhild Linsheim Kennedy https://creativecommons.org/licenses/by/4.0
Realisering av kjerneelementet handverksferdigheiter i kunst og handverk
Gjennom rammeverket konseptuell læreplanteori frå Goodlad ser denne artikkelen på korleis handverksferdigheiter vert framstilt i den formelle læreplanen. Artikkelen ser også på arbeidet med å støtte elevane si utvikling av handverksferdigheiter i operasjonaliseringa av grunnskulefaget kunst og handverk (KH) og kjerneelementet handverksferdigheiter (HF) på 5. trinn. Empiri frå ein oppgåveperiode med arbeid i tre gjev innblikk i verkstadpraksis, medan ei analyse av Læreplan i kunst og handverk gjev innblikk i skulepolitiske intensjonar. Analysen viser at læreplanen legg få føringar for det faglege innhaldet i kjerneelementet HF. Læraren sin making knowledge, i betydninga grad av handverkskompetanse og skjønnsutøving basert på denne, trer derfor fram som avgjerande for elevane si innlæring av grunnleggjande handverksferdigheiter. Praktisk skapande arbeid vert omdreiingspunkt for den operasjonaliserte verkstadpraksisen. Det betyr at rammer som fagkompetanse, tid og spesialrom spelar ei avgjerande rolle i undervisningspraksis, og må prioriterast i grunnopplæringa dersom arbeid med målsetting om elevane si handverksmessige læring og djupnelæring i KH skal kunne gjennomførast.
Opphavsrett 2024 Elin Austbø Simonsen, Ingvild Digranes https://creativecommons.org/licenses/by/4.0
Editorial. Conference proceedings of the 2nd Biennial International Conference for the Craft Sciences—BICCS 2023
The papers in this issue comprise the proceedings of the 2nd Biennial International Conference for the Craft Sciences, held 20–22 September 2023 in Mariestad at the Craft Laboratory, affiliated with the Department of Conservation, University of Gothenburg, Sweden. Craft is an integral aspect of daily life and work, activated in all the knowledgeable processes of making and transforming ideas into artefacts and services. Craft is commonly anticipated as a form of production, but it may also be practiced as a social and political activity and as a way of knowing and being in the world. Craft is omnipresent and multi-folded. Consequently, craft research is diverse, conducted across and within different disciplines and academic contexts, and operates with distinct perspectives and approaches.
Opphavsrett 2023 Gunnar Almevik, Géraldine Brun, Katarina Saltzman, Anneli Palmsköld https://creativecommons.org/licenses/by-nd/4.0
Materiella yttranden i återkoppling inom skolans praktisk-estetiska ämnen
Artikeln presenterar en del av en pilotstudie där återkoppling inom praktisk-estetiska ämnen i grund- och gymnasieskolan undersöks. Återkoppling inom skolans praktik förstås ofta som en muntlig eller skriftlig kommunikation mellan lärare och elever. De ämnen som benämns som praktisk-estetiska innehåller till stor del färdighetsträning i relation med material och artefakter av olika slag. I situerade aktiviteter där material, kropp och kulturella praktiker samverkar behöver återkopplingens innehåll och tillblivelse därför undersökas som en relationell process. Genom det posthumanistiska analysbegreppet ”materiella yttranden” syftar artikeln till att synliggöra och diskutera återkopplingsfenomen som blir till inom och genom situerade aktiviteter i tre praktisk-estetiska ämnen: slöjd, hem- och konsumentkunskap och bild. De fenomen som synliggörs inom/genom aktiviteterna är de inkluderingar och exkluderingar som kontinuerligt görs, vilka skapar föränderliga återkopplingshybrider. Det är inom dessa återkopplingshybrider av material, kropp och diskurs som förståelse och kunskap blir till och ständigt omformas.
Opphavsrett 2024 Jonas Asplund https://creativecommons.org/licenses/by/4.0
Students’ Public success and private breakdown?
Design literacy becomes more essential to creating a collaborative and inclusive society. Nonetheless, students were more anxious and exhibited lower performance when design studio tutors employed the conventional master-apprentice pedagogy. The cross-pollinative team learning (CTL) design studio pedagogy was operationalised in a year-long randomised controlled trial with first-year Generation-Z beginning design students to resolve the limitations in the existing pedagogy. The CTL students were significantly less anxious compared to master-apprentice students at the year end, although the impact of both pedagogies on anxiety was relatively modest. The hidden CTL curriculum and social support were also demonstrated to enable CTL students to outperform one-on-one master-apprentice learners academically. This study suggested that the power structures of design studios should be recalibrated to acquire CTL advantages, thereby leading to more effective learning outcomes.
Opphavsrett 2023 Zhengping Liow https://creativecommons.org/licenses/by-nd/4.0
Design for Sustainability has evolved rapidly over the last decades as a response to unprecedented global challenges. Several models have been developed to address the need to design more sustainable products, services, and policies. These strategies are oriented towards more sustainable ways of living. The Compass, developed by the Index Project in Denmark, is a method that offers a framework to structure the design process while considering social, environmental, and economic sustainability aspects. This article presents an exploratory case study to infuse sustainability in design education using this method in interdisciplinary teams. The context is a master’s degree offered by a design school in a Chilean university. The study's outcomes reveal that The Compass method is a dynamic and flexible structure for design in interdisciplinary teams. To strengthen its applicability, it could incorporate links to sustainability methods from various areas of knowledge that specifically address economic, environmental, or social aspects. Complementing The Compass with these sustainable approaches to confront the complexity of the challenges may facilitate the move from good ideas to feasible, sustainable design solutions in design and other fields.
Opphavsrett 2024 Catalina Cortes, Oscar Huerta https://creativecommons.org/licenses/by-nd/4.0
Digital teknologi i kunst og håndverksundervisning
I 2017 ble det utarbeidet et rammeverk for lærerens profesjonsfaglig digitale kompetanse (PfDK) for å skape en felles forståelse av hva som ble forventet av lærere i digitale omgivelser og for å øke lærerens digitale kompetanse. I rammeverket nevnes det fire roller som læreren skal kunne variere mellom; formidler, veileder, deltaker og retningsgiver. I denne artikkelen bruker jeg a/r/tografisk metode for å se nærmere på hva disse rollene innebærer for kunst og håndverkslæreren. Bakgrunnen for undersøkelsen er en forståelse av at det oppstår utfordringer for læreren i kunst og håndverk som ikke oppstår i samme grad i andre fag. Det skyldes både dualiteten ved det digitales materialitet, fagets egenart som kreativt og skapende fag og lærerens balanse mellom å være sammen med og å stå foran elevene. Jeg ville derfor bruke de fire rollene fra rammeverket som analyseverktøy til å undersøke hva de ulike rollene betydde for et prosjekt i en første klasse, hvor digital teknologi var omdreiningspunktet. Dette gjør jeg med blikk på hva de ulike rollene satte i gang, og hvilke utfordringer de synliggjorde for kunst og håndverkslærerens rolle i digitale omgivelser.
Opphavsrett 2024 Anne Elmies-Vestergren https://creativecommons.org/licenses/by/4.0
This research examines whether different disciplinary backgrounds influence the development of design students’ visual literacy. A compulsory first-year course in Chinese design degree programmes was selected for this research, as such a course is designed to develop students’ spatial literacy and visual expression during the discovery design process phase and to facilitate the development of students’ cognitive skills in defining and solving problems. An analysis of 16 students’ assignments from eight universities indicates that students’ disciplinary backgrounds play an important role in the development of their cognition performance related to visual literacy. The results indicate that the disciplinary subject background (i.e. arts or engineering) is an important factor affecting the development of students’ design literacy, specifically their spatial visual cognitive and problem-solving skills.
Opphavsrett 2023 Yun Fan, Xiang Xia https://creativecommons.org/licenses/by-nd/4.0
Traditional boatbuilding today is a fading craft, raising questions of not only how to preserve this craft and reconstruct and transmit the knowledge and skills related to it to future generations but also, considering new technologies and available materials, why its preservation and perpetuation are important. Answering these questions requires a valorisation framework for the traditional boatbuilding craft and its methods of construction, considering the fact that traditional boatbuilding is the essence of modern shipbuilding and inextricably linked to the development and transmission of knowledge in city making too. To help create this framework, this paper addresses two distinct ways of thinking involved in making boats: one tied to boats made from already existing models or designs and the other to boats created ex nihilo with the help of sesto and garbo tools. Through a historical and theoretical examination and by building on the empirical case study of traditional boatbuilding in wood in the Mediterranean, this paper explores the concept of constructing boats ex nihilo in the technical, socio-economic, and spatial sense, shedding the light on the creativity inherent in shipbuilding and its implications. This paper will contribute to understanding how knowledge transmission in traditional boatbuilding has progressed and the role this knowledge model can play in shipbuilding development, offering a valuable resource also for those interested in development and transmission of alternative models of knowledge production.
Opphavsrett 2023 Jasna Sersic https://creativecommons.org/licenses/by-nd/4.0
To safeguarding traditional basket making for the future
ABSTRACT Korgen lyfter [Raising Basket knowledge] is a Swedish national project started by handicraft consultants from three different regions in 2019. The project aims to promote basket making and knowledge by strengthening contemporary basket makers, make the diversity of domestic basket traditions visible and increase the interest of basket making. Through efforts in training, inventory work, seminars, lectures and networking, nationally and internationally, the project has made knowledge available and problem­atized the question of the fragile position of basket making. Among other things, the project has been in­volved in developing shorter courses in basket making and started a basket appeal related to the UNESCOs convention for the Safeguarding of the Intangible Cultural Heritage. Through a traveling ex­hi­bi­tion, different events as well as high digital presence, the project has reached many people.
Opphavsrett 2023 Helena Åberg, Sofia Månsson https://creativecommons.org/licenses/by-nd/4.0
This paper presents findings from a practice-informed, participatory textile craft research study focusing on the experiences of people learning to make clothes for themselves at home. Necessitated by the social distancing restrictions of the Covid-19 pandemic, the study used a combination of journaling and video elicitation methods rather than the in-person workshop-based methodology originally planned for it. While these remote methods limited the community aspect of learning, they also provided an authentic insight into practices undertaken within the home, where both on- and offline resources are used to support learning. The hybrid nature of the research, which involved embodied material craft practices being captured and relayed by participants through digital means, mirrored the way that much contemporary home sewing practice is conveyed. As for other crafts, the popularity of home sewing has been greatly amplified online over the last twenty years. The resurgence of interest in sewing has been associated with a new generation of sewing patterns and instructions as well as a vast array of amateur and professional online content from which sewing beginners glean inspiration, information and instruction. This paper elucidates what happens when sewing beginners encounter these resources and try to make sense of them in material form in relation to their own bodies, skills and material surroundings. The limitations of video in relaying craft practices and the challenges of conveying embodied and tacit knowledge between individuals are highlighted as a result.
Opphavsrett 2024 Sally Cooke https://creativecommons.org/licenses/by/4.0
Interpreting archaeological boat material, the G1 boat of the Gokstad find
We will discuss the limitation of cardboard as a material for reconstruction models, and whether an alter­­native material could be helpful to overcome these limitations. We have experimented with 3D-print­ed plastic and ways to reduce the longitudinal high edge stiffness, to get around what we think is the main weakness using cardboard. The goal has been to open the possibilities of interpretation. The end result of the tests has been used to build a 1:5 reconstruction model, for our interpretation of the 10m boat from the Gokstad find (G1) from late 800’s. We found that the use of 3D-printed plastic, with a designed internal weakness, gives us more longitudinal flexibility in the model. This flexibility opens up for interpretations that are less feasible when using cardboard.
Opphavsrett 2023 Svein Erik Øya, Lars Stålegård https://creativecommons.org/licenses/by-nd/4.0
From an Embodied Understanding to Ethical Considerations during Creative Practice
This paper discusses material-based creative processes in the context of higher education. The focus is on the ethical aspects related to material considerations during the iterative phases of personal projects. We explore how personal feelings and an embodied understanding of the material world influence decisions on how and why we engage with different materials during creative processes. Recent trends in material-based research aim to explore the relationships between humans and materials, examining them as equal members in research and thus challenging the top-down perception of materials as mere resources for human needs. However, this kind of approach to research and material-based creative practices requires ethical considerations that reach not only the human but also the non-human world. In this paper, we open this discussion by examining design students’ creative processes, which unfold an understanding of ethics in relation to non-humans. We build on data consisting of documentation, reflections and outcomes derived from the creative processes of four MA-level students and discuss a number of complementing ethical guidelines for art, culture and earth systems. The paper uses ‘ethically disturbing moments’ as an analytical tool for looking into students’ material choices in their creative processes. The four selected processes open up a personal connection to materials that results in ethical considerations during the creative practice and thus reveal the need for discussing material-focused ethics in the context of craft, design and art education. Personal aspects related to materials are discussed as embodied understanding and are seen to affect the ethics of engaging with materials.
Opphavsrett 2023 Priska Falin , Petra Falin, Maarit Mäkelä https://creativecommons.org/licenses/by-nd/4.0
Glassblowing is a craft in which both human and material movement are essential. However, what kind of movement is required in glassblowing, and why does that movement happen? This article presents a practice-led case study conducted in a glassblowing studio. During a glassblowing session, clear drinking glass blanks are blown in a wooden turn mould. The process of glassblowing is documented on video and analysed using the visual data. Additionally, diary notes and participant observation are used to understand and contextualise video data more profoundly. The analysis focuses on the movement of the two main actants of the process: the human movement of the glassblower and the non-human movement of the hot glass. Altogether, six categories were identified to represent the human and material activity. This article concludes that the movement under investigation is relational between the glassblower and the hot glass, and it happens as a consequence of the glassblowers’ situated embodied knowledge. Furthermore, we discovered that research in the processes of glassblowing offers a rich ground for practice-led research that adopts relational ontology and sociomateriality as its theoretical perspectives. The purpose of this study is to fortify the craft of glassblowing as a vital practice in the fields of art, design, and craft.
Opphavsrett 2023 Sara Hulkkonen, Miia Lötjönen, Maarit Mäkelä https://creativecommons.org/licenses/by-nd/4.0
Historical gardens and green cultural environments maintain and transmit parts of our biocultural heritage. The gardener's maintenance and cultivation work affects both the content and our experience of these environments. While modern management methods in many cases are necessary to fulfil requirements for the work environment and efficiency, we want to investigate the extent to which alternative/traditional working methods can contribute with other qualities and with solutions for more sustainable management. Garden and Landscape Crafts bachelor's programme students at the Department of Conservation are practicing a lost craft skill by participating in a comparative cultivation experiment to gain an understanding of historical methods and their relation to the present, as well as the future development and revitalisation of sustainable historical environments.
Opphavsrett 2023 Catarina Sjöberg, Maria Löfgren https://creativecommons.org/licenses/by-nd/4.0
In this paper, we discuss the potential of using traditional knowledge of natural dyes for more sustainable development processes in textile design. Our aim is to help foster a green transition through responsible consumption and production. We investigate the potential for implementing natural dye processes from craft to industrial processes to replace synthetic dyes. We adopt a systematic approach to dyeing and printing with food waste, including walnut shells, avocado skins and onion skins, specifically exploring colourfastness. We have observed that craft methods tend to be ‘forgotten’ due to the zeal for industry­alization and the standardizing of products to ensure quality requirements. From students and business partners, we experience requests for natural dyes; however, we are challenged to document colour­fastness. Knowledge and documentation are of high importance when we intend to convince industry to learn from traditional crafts. Through a systematic investigation testing traditional recipes and variations in dyed textiles, we experience how textiles perform. Through iterations based on the results, we continue with further experiments and simultaneously discuss whether both the consumer and the industry have to look at quality requirements from a conventional perspective. We argue that current expectations regarding colours and standards must change. Facing radical changes to the way we live, produce and use products, it is important to critically examine our approach to conventional industrial production. In our research, we built knowledge generation on cultural heritage and traditional craft. We argue how this becomes a societal asset influencing users’ behaviour and creates awareness towards sustainable changes in the design and use of textiles.
Opphavsrett 2023 Inger Marie Ladekarl, Malene Harsaae, Anne Louise Bang, Lena Kramer Pedersen, Tina Cecilie Bull Nielsen, Amalie Ege https://creativecommons.org/licenses/by-nd/4.0
This paper aims to discuss methods for reviving a craft – horsehair weaving – inspired by the concept of a moving searchlight approach and a forensic perspective. Isolated artefacts, tools, tools with ongoing processes and photographs, together with preserved documentation, have been analysed. Ongoing documentation on social media and a webpage were used during this process. Social media aimed to get people interested in the subject, test thoughts and maintain a dialogue. The webpage aimed to gather documentation demonstrating the horsehair weaving process and how the sievewright was made. The public documentation also aimed to inspire and engage other crafters. The public display of the ongoing project has been a positive learning experience. Different methods of documentation have different advantages.
Opphavsrett 2023 Marie Ekstedt Bjersing https://creativecommons.org/licenses/by-nd/4.0
In this paper, we explore the possible roles of craftwork at the origins of geometry. Since shapes are the characters of geometry, our focus is on crafting shapes. We review two approaches to the nature of making: hylomorphism and hylonoesis. Related to these, we distinguish between ‘shape’ and ‘shaping’. From studies on prehistoric pottery, we explore a conception of ‘shaping’ as thoroughly implicated by the manifold social, biological, and material life of a community. Then we explore the significance of ’shaping’, which animate shapes, immerse them in the vagaries of materiality, and fill them with secrets longing for their open realization; a realization that is at once — inseparably — material and imaginary. We make shapes as they shape our bodies, and then we become capable of imagining and gesturing them.
Opphavsrett 2023 Ricardo Nemirovsky, Stephanie Bunn, Francesca Silverton https://creativecommons.org/licenses/by-nd/4.0
Exploring the Sustainability of Huizhou Bamboo Carving in the Perspective of Heritage Craft
Huizhou bamboo carving was produced in the Huizhou region of China and is one of the representative carvings of the Huizhou region. As an essential local intangible cultural heritage, the carving tech­niques, cultural connotations, and historical and artistic values of Huizhou bamboo carving have contributed to its own high craft research value. However, this local heritage craft is facing many problems, such as the difficulty of spreading skills, selling craft products, and separating products from market demand. Therefore, how help Huizhou bamboo carving to get out of these difficulties and develop sustainability is a problem that needs to be solved urgently. Based on the perspective of her­itage craft, this study proposes ways of digital multi-dimensional transformation of Huizhou bam­boo carving products, collaborative and cooperative training of bamboo carving skills, and market inno­vation of bamboo carving products. Thus, this paper proposed some practical approaches for the su­stain­ability of Huizhou bamboo carving research.
Opphavsrett 2023 Maggie Zhang, Cees de Bont https://creativecommons.org/licenses/by-nd/4.0
Estonian and Norwegian Sheep Wool as a Textile Material
In Estonia, up to 90% of local wool is not adequately valued, while in Norway, due to the well-functioning wool-buying and -sorting system, a large part of local wool is used purposefully. However, both countries have room for improvement in terms of the better usage of local wool. This article provides an overview of the Estonian-Norwegian wool research conducted in from 2020 to 2023 and its main results. During the study, wool was collected from three Estonian and three Norwegian sheep breeds, semi-worsted yarn was made from it, and knitted and woven fabrics were produced. Wool, yarn, and fabrics were tested in numerous ways. The paper presents the main test results and suggests how wools with a wide range of qualities can be used in innovative ways to create textiles. The smart use of materials is based on the possibilities offered by medium-sized production and knowledge about local wool.
Opphavsrett 2023 Ave Matsin, Merje Beilmann, Marte Espelien Blomli, Astri Kaljus, Liina Lehis, Ingvild Svorkmo Espelien, Diana Tuulik https://creativecommons.org/licenses/by-nd/4.0
From October 2021 to July 2022 the author, Wuon-Gean Ho, was invited to work with a printmaking collect­ive called Pine Feroda. Based in the UK, Pine Feroda create impressive large-scale woodblock prints of nature. Using a practice-led approach, the author developed an entirely novel printmaking technique which she named Hartland Hanga. Making audio-visual recordings of the artists working together captured the transmission of tacit knowledge as it emerged in real time. Using elements of conversation analysis from ethnography revealed how this group spoke to each other. The artists used creative strategies such as new phrases, verbal metaphors and gestural analogies to communicate elements of tacit knowledge. It is postulated that humour and creative communication might help the transmission and embedding of tacit knowledge between artists.
Opphavsrett 2023 Wuon-Gean Ho https://creativecommons.org/licenses/by-nd/4.0
Change and Transformation of Functions in Turkey’s Felt Objects
This study analyses felt and the practice of felting from the geography of Turkey, as a way to explore felt’s function in material culture. Felting is a method of craft making that consists of compressing fibres (wool or other). Felt, (in Turkish “keçe”) can be defined as the outcome product of felting process. However, keçe represents more than just a cloth or a textile. It was an important part of daily life in the geography of Turkey, for instance among nomads who produced their daily necessities from felt. For the study, first, I introduce some felt products from Turkey. Afterwards, I share the processes and results of a field study, through observations and interviews conducted with feltmakers in Tire region in Turkey. Then I share an analysis and results from the product research and field study. Nowadays felt is found through another range of accessories and artistic works, such as decorational products, hair bands, slippers, vase, tumbler, hats. While felt was commonly used for important functions such as carrying, moving; today, other materials are used for these functions. Therefore, felt objects can be perceived and bought as accessories rather than necessities in modern culture. Nevertheless, felt is still used for the representation of identities. Although felt is considered to have lost its value, for the context of Turkey, I argue that the functions have shifted to new contexts. Through different functionalities such as being tools for self-expressions/communication, felt has a similar value in the current culture.
Opphavsrett 2023 Berilsu Tarcan https://creativecommons.org/licenses/by-nd/4.0
United Nations Educational, Scientific and Cultural Organization (UNESCO) has identified craft as an intangible cultural heritage in the Convention for the Safeguarding of the Intangible Cultural Heritage. The nature of this cultural heritage is that it must be practiced by living craftspeople to endure, and when it is performed by very few, it can be seen as endangered. This research, funded by the Carl-Göran Adelswärds Foundation, is a documentation of such a craft: cutting a box hedge with a sickle. At the same time, in this study, a master–apprentice situation was staged in order to safeguard this traditional craft and pass it on to new craftspeople. The core elements of this learning procedure are imitation and feedback. This specific craft is an ancient tradition with very few living practitioners. The garden in which this endangered craft is still practiced is Castello Ruspoli, created in 1611, when sickles where still used for cutting box hedge hedges. Thanks to the restoration and preservation by the current owners, it is one of the most well-preserved gardens from that time. One of the reasons this garden is so special is the way it is cared for by the gardener, Santino Garbuglia, using traditional craft methods that this film article will investigate and show. The author argues that some traditional gardening methods should be considered intangible cultural heritages and safeguarded as such.
Opphavsrett 2023 Joakim Seiler https://creativecommons.org/licenses/by-nd/4.0
Human–Material Dialogues Through the Use of Robotics
This research investigates and discusses an embodied craft learning situation in an educational context that aims to support students within architecture by applying human–material dialogues when using robotics. Initially, the students were introduced to traditional craftsmanship based on materials and tools in ceramics. Based on the gained experiential knowledge, the same tools and materials were applied and explored on a UR 5 robot. A sensor provided the students with the opportunity to interact with the mate­rial through the robot while it was operating. The learning situation showed the potential to teach the students about robotics based on human–material dialogues and embodiment through making. The sensor enabled the students to use their experiential knowledge to improvise and work intuitively and spontaneously while they were exploring patterning based on the tools attached to the robot and the responsive material.
Opphavsrett 2023 Flemming Tvede Hansen https://creativecommons.org/licenses/by-nd/4.0
Field Method for Characterization of Deciduous Wooden Shingles
In the Nordic countries, a major part of the built heritage is constructed of wood and on churches it is still common for the roofing to consist of shingles. In the 20th century, there was a paradigm shift when the heritage authorities made new standards where, for example, the variety of species used throughout history was replaced by pine with sapwood. Today, it is evident that the broken traditions have resulted in roofings with shorter life spans (Göllas & Lindblad, 2021). Further, changes in forestry during the last century made old mature pines, appropriate for shingles, a scarcity. Until last year, it was common that wood for shingles was imported from Russia and northern Finland, which is questionable from more than one perspective. In a project by the Craft Laboratory, the aim is to reclaim traditional know-how through craft research. Old built-in shingle roofs are examined, old forestry and building literature is inventoried and tradition bearers are interviewed. Several of these sources put forward oak and aspen as species well suited for long-lasting shingle roofing. The focus of the exhibition is the development of a field method in which we present features to define wood species on the weathered surfaces of shingles using sight and touch characterization. A built-in roof with both aspen and oak shingles in Tönnersjö church in Halland will serve as an example.
Opphavsrett 2023 Linda Lindblad, Karl-Magnus Melin https://creativecommons.org/licenses/by-nd/4.0
ABSTRACT To sustain the idea of the design of a garden it is essential to look at the plant materials that they are constructed with. We as gardeners, do not use solid materials as our building blocks, we rely on malleable plant materials to build our design. The materials vary over the season, which makes them complex to define. The impressions of a garden is experienced through the expressions of its aesthetics, and without solid documentation of the form, structure, colour schemes and more, it is difficult to form an understanding of the garden as a whole. The essence of a design lies in the plant materials that the gardener crafts and arranges in a specific way to create an aesthetic expression. In my work I have developed a method for the craftsman (or –woman) where the intangible plant materials and the subtle/distinct effects of colour and form and their aesthetic values can be measured utilising the system of a plant catalogue. How will we understand what makes a good and sustainable design if we don’t find methods to document and assess the aesthetics and the craftsmanship behind it?
Opphavsrett 2023 Teresia Millberg https://creativecommons.org/licenses/by-nd/4.0
This paper contributes to the understanding of how critical reflection can be applied to sustainability. This was accomplished by tracing the progression of a tiny-house project over time and the associated activities, which involved sourcing secondhand and discarded materials. We are a group of researchers and practitioners who worked together to explore and challenge the established norms of sustainability in housing practices: who is building, what is being built, with what materials, and through which processes. The use of discarded materials as resources for building a tiny house came to be decisive in shaping a platform for inclusion and sustainable practices. While the most common practice of building involves buying the materials needed at a lumber yard, working with discarded and secondhand materials requires time and flexibility. Tools play a central role in adapting random waste to specific purposes, a process that also demands skills in handling tools creatively. Additionally, gathering, organizing, and cleaning are activities that should be given special attention when working with these types of materials. In this paper, we explain how we reinjected waste materials into the production chain and how our work contributes to sustainable development from environmental and social perspectives. The argument for sustainability in our research revolves around exploring processes that include more groups in society and alternative ways of organizing the resources available.
Opphavsrett 2023 Ksenija Komazec, Elsa Vaara, Geraldine Brun, Stig Larsson, Helena Tobiasson https://creativecommons.org/licenses/by-nd/4.0
Mapping presentations of crafts in the Danish heritage industry
In this paper, I present the methodological and theoretical deliberations behind a mapping of how crafts are presented in the Danish cultural heritage industry. I trace the historical background of crafts in the Danish heritage industry and present definitions of key concepts such as ‘craft’ and ‘the Danish heritage industry’. I then develop a research design consisting of a questionnaire and ethnographic fieldwork. I consider how research questions about scope and variation can be operationalized in the questionnaire and how theoretical perspectives from critical heritage studies (Smith, 2006) and vital materialism (Bennett, 2010; 2012) can inform the questionnaire and fieldwork. Finally, some preliminary findings are presented along with some comments on the use of questionnaires in heritage research.
Opphavsrett 2023 Josefine Bill https://creativecommons.org/licenses/by-nd/4.0
To slip out of the geometric straitjacket
The tunnel method is a technique employed in the design of wallpaper patterns to facilitate the hanging process while maintaining the integrity of the pattern. It can be utilised in both the reconstruction of historical patterns and the creation of new ones. I have explored the potential of this method since 2006, and in my latest project, I had the opportunity to document its application in Swedish wallpaper studios and endeavour to understand its historical background regarding cultural and printing conditions. By testing the effect of applying the method to wallpaper patterns, I explored its possibility of generating distinctive effects within the pattern when the wallpaper is installed. In this way, the user can actively participate in determining the degree of variation in the pattern during the installation process, either by embracing serendipity or by making deliberate choices. The purpose is to promote wallpaper patterns with greater variation and wallpapers made from sustainable materials. Although this investigation led to several different ways of utilising the tunnel method, there is still much to be explored in this field. By sharing my work, I aim to motivate more people to explore the potential of the tunnel method. Notably, the communication of its functionality to customers and its integration within the cultural context remain limited.
Opphavsrett 2023 Mirjam Korn https://creativecommons.org/licenses/by-nd/4.0
This paper details practice-based research exploring new creative possibilities involving the ceramic extru­sion process. The paper begins by providing a short overview of the extrusion technique, its cha­rac­teristics and some contextual coverage of the process. The paper then describes how both tacit know­ledge and theoretical material understanding have been used to overcome technical challenges through ite­ra­tive research cycles and how, ultimately, the aesthetic qualities of the extrusion process have been used to develop a body of creative work. A key theme of the research is how digital fabrication tech­no­log­ies can be used in toolmaking scenarios to deliver innovation with a process that has long been used in craft ceramics but has remained somewhat underutilised.
Opphavsrett 2023 Tavs Jorgensen, Sonny Lee Lightfoot https://creativecommons.org/licenses/by-nd/4.0
Negotiating Authenticity and Climate Change in Heritage Gardens
With this paper we explore and discuss the priorities of and possible goal conflicts between authenticity and climate change in heritage gardens. How can climate change mitigation, adaptation, resilience, and cultural heritage conservation be combined in heritage gardens? Our study was guided by the following research question: How do gardeners negotiate climate change and authenticity in heritage gardens? From Rachel Carson's Silent Spring in the 1960s through to the 2002 report Gardening in the Global Greenhouse and the recent Gardening in a Changing World in 2022 mankind's impact on the environ­ment and the emerging climate change has been the focus of increasing attention. By invest­i­gat­ing and interviewing multiple gardeners our objective was to pinpoint common challenges, as well as what can be learned from one another within the field of gardening and heritage conservation. The case study method was adopted for this study, involving three head gardeners in the United Kingdom. Interviews were conducted with Joseph Atkin at Aberglasney Gardens, Claire Greenslade at Hestercombe Gardens, and Steve Lannin at Iford Manor about their expertise and knowledge. The gardeners expressed concern re­garding climate change and the challenges it poses. The interviewees shared their experience with drought, reduced use of pesticides and herbicides, and the peat legislation in relation to their role as head gardeners. We argue that authenticity and the traditional gardening practised before the advent of power tools, plastic, peat issues, and uninformed transportation can be part of the solution to loss of bio­diversity and climate change. This paper identifies some of the obstacles encountered in relation to negotiating questions of authenticity and climate change in heritage gardens.
Opphavsrett 2023 Emma Grönlund, Joakim Seiler https://creativecommons.org/licenses/by-nd/4.0
With this article, I want to raise questions about the gardener’s practical knowledge in order to create greater awareness in educational contexts and working life of the importance and application of what it means to be and work as a gardener. Practical knowledge takes time to develop and requires experience and conscious reflection. It also requires knowledge of the particular site you are working with, which in principle is always complex, as it involves everything from natural habitats to human expressions, such as history. To understand what practical knowledge is, I drew on situations from my working life and discuss these with references that highlight the importance of involving different forms of knowledge, phenomenology and hermeneutics. I used the concept of genius loci to formulate the meaning of places and posthumanist thoughts on the relationship between humans and nature. My conclusion is that experience, reflection and knowledge of a place are central to building sites, a task in which the gardener is highly involved. I conclude with a number of questions about how to work with these aspects of the profession in education and working life.
Opphavsrett 2023 Paula Pihlgren https://creativecommons.org/licenses/by-nd/4.0
Innovation in Estonian heritage-based knitting
Innovation is an intentionally introduced significant and positive change to an existent practice. In crafts, innovation is challenging because, by nature, crafts are based on traditions and collective knowledge; they involve practising something the way it has always been practiced. If anything changes, it is copied rapidly by other craftspeople. In this article, I explain innovation in traditional glove-knitting through the concept of transformation of the tradition, and I analyse the case using a method called technique-concept-utility-structure-material (TCUSM), which was introduced by Adhi Nugraha in 2010. According to this method, one must know the tradition thoroughly in order to make conscious and justifiable changes to it. One must compare and explain what is traditional and what is new in one’s products. I combine this method with an artistic autoethnographic approach. Within my personal practice, the most significant change to the original involves combining and borrowing aesthetic elements from other traditional textiles or developing my own combinations of patterns and colours. First, I give a short over­view of the history of embroidered gloves in Estonia, then demonstrate, with the help of explanations and photographs, contemporary gloves, made by me.
Opphavsrett 2023 Kristi Jõeste https://creativecommons.org/licenses/by-nd/4.0
A Multidisciplinary Approach to the Development of Thermal Clay Modules
This study focuses on the idea that industrial production methods, combined with a craft-based approach, enable the production of distinctive expressive thermal functionalities. We developed extruded modules based on a hands-on explorative craft approach in parallel with virtual simulations to explore how heat and cold are transported dynamically through building modules. This paper discusses the developed method and process used in a multidisciplinary approach that combines the quality of craft-based practice with architecture, engineering and programming, focusing on how craft practitioners experiment with material, technique and aesthetics in such a multidisciplinary approach. In this study, immediate concrete design proposals demonstrated a helpful way of establishing common ground for multidisciplinary collaboration. Concrete design proposals are pivotal in addressing the suggested design’s advantages and disadvantages and clarifying the differences and potentials between the specialisations in question. Based on the initial design proposals, it was clear how the craftsperson’s previous experiences within crafts practice quickly led to the identification of realisable solutions based on experimental setups and aesthetic solutions and, at the same time, was able to foresee possible complications.
Opphavsrett 2023 Flemming Tvede Hansen , Isak Worre Foged, Vasiliki Fragkia https://creativecommons.org/licenses/by-nd/4.0
In Latvia, the aim, content, and name of the subject of craft education have changed several times. The most recent transformation to “craft education” has been made following the general education reform, which has been gradually implemented since 2020. This study aims to investigate how the purpose and content of craft learning in Latvian comprehensive schools have changed as a result of this reform in comparison to the previous period. A qualitative study was carried out by analysing normative documents and interviewing design and technology teachers (N = 9) with at least 10 years of experience. The document analysis shows that the goal of teaching craft education has shifted from using craft as an opportunity to improve the quality of the living environment through creative involvement in techniques to producing valuable objects for oneself and society through the design process. The most significant change in the content is that craft is taught through the design process. Moreover, every pupil learns all the techniques; previously, students chose textile or woodwork and metalwork techniques from grade 5. According to the interviews, the skills acquired in each technique are at a lower level compared to the previous period, as the number of hours allocated to each technique does not allow pupils to pay in-depth attention to the tasks. The products made by the students have also become more straightforward. Finally, more time is spent on idea generation, planning, and evaluation.
Opphavsrett 2023 Māra Urdziņa-Deruma https://creativecommons.org/licenses/by-nd/4.0
Material-economic aspects of wooden pole fence-buildings
This paper examines different aspects of wooden pole fence-buildings through two different perspectives. In the first part of the article, the material-economic conditions and the nature of the crafts involved in the building technique is examined through a sloyd-theoretical perspective. By comparing approaches and methods of the wooden pole fence building-technique with those of domestic sloyd rather than architecture, an attempt is made at understanding the techniques epistemological nature. The versatile nature of the building technique is emphasized, and its regenerative qualities highlighted. The second part takes a closer look at the craft procedures involved in the making of a wooden pole fence-building through a processual reconstruction of a small barn based on a filmed documentation of the building process from the 1930s. Through practical experiments, attempts are made to understand and recreate the craft procedures documented in the film. Questions about the selection of wood for the barn and how material conditions affect the craft procedures are discussed. A filmed documentation of three of the procedures of the reconstruction gives an insight into the process.
Opphavsrett 2023 Björn Svantesson https://creativecommons.org/licenses/by-nd/4.0
Nålbinding is the collective name for several thousands of stitches formed using yarn and a needle to create a fabric. A nålbound fabric consists of a stitch or a row of loops that is connected to or sewn in the previous row. Only a handful of connections have been documented and described. This paper analyses around 150 swatches made by the author with the purpose of exploring how many types of connections there are and the how different connections change the texture of the fabric using the same basic nålbound stitch. As the number of possibilities identified was greater than expected, this paper also describes a notation system that will make it possible to analyse and compare the different connections. The notation is designed from a crafter’s point of view, describing how the connections are made. This will make it possible both to better describe existing connections and to create new nålbound stitches and textures.
Opphavsrett 2023 Ingela Andersson Lindberg https://creativecommons.org/licenses/by-nd/4.0
This paper presents a hybrid model of teaching and learning that proposes new possibilities for exchang­ing tangible and intangible cross-cultural knowledge in textile craft education. The paper aims to demonstrate how online platforms can be used creatively to disseminate traditional craft knowledge and skills in new ways. The discussion centres on a unique virtual global studio between fashion and textile undergraduate students at the University of Technology Sydney and on an artisanal woodblock print studio, Tharangini, based in Bengaluru (Bangalore), India. The hybrid workshop was an adaptation of the studio in response to travel restrictions caused by the pandemic. The author argues that while the internet cannot replace the immersive cultural experience of studying in another country, digital platforms have a place alongside teaching to offer otherwise impossible opportunities. This paper explores a methodology for disseminating craft knowledge and skills across cultures through a combination of online and in-house practicum. Classes were structured around weekly Zoom sessions with Director Padmini Govind, where sustainable approaches to print production were disseminated through a suite of commissioned films and hand-carved woodblocks to explore on campus. The results show how this unique adaptation allowed students to interact with the artisan craft of woodblock printing in rich and varied ways, and it proposes that this novel hybrid model can be creatively adapted to future craft education in the 2020s.
Opphavsrett 2023 Cecilia Heffer https://creativecommons.org/licenses/by-nd/4.0
Skill, craft, and poiesis-intensive innovation
What is craft practice? The purpose of this paper is to contrast the categorization of craft practice with that of skill and innovation. I argue for the relevance of innovative skilled practice to future-making. Both skill and craft play an important part in collective engagements with futuring. With an ethnographic methodology, typical of anthropological fieldwork, I have explored skill in dairy farming, cheese making, and currently food gardening. In all these three realms, the results of ethnographic observation are that ideational processes immediately connect to intimate acquaintance with materials and ecosystems (including flora and fauna, soil, climate, landscape and humans). My conclusion is that craft practice and its outcomes imply a highly localized cosmology of evaluation. I show how comparative ethnography allows the mapping of these relations between people and places, and their more-than-local connections.
Opphavsrett 2023 Cristina Grasseni https://creativecommons.org/licenses/by-nd/4.0
Exploring Open-Source 3D Printing as a Transformative Design Tool
My practice explores how to transfer my design knowledge of embroidery and print into 3D printing technologies and software. My Doctoral practice-based research explores the rationale behind using open-source, low-cost 3D printing technologies and software, which enabled me to change, remix and use the 3D printer as a flexible design tool like a sewing machine. The research aims to investigate the digitalisation of traditional textile craft techniques to produce a new taxonomy of design applications. I have produced a collection of 3D-printed embellished textiles demonstrating my practice-based re­search's ongoing outcomes. By engaging with online communities and Open-Source Technologies, I have de­vel­oped the skills to apply my specialist knowledge to this alternative technology to translate and interpret traditional textile and manipulation techniques. The exhibition will showcase these outcomes and demonstrate the opportunities within the fashion, textiles and costume industries. The post-production processes engage with my specialist background knowledge of print and dye techniques.
Opphavsrett 2023 Katrina McLaughlin https://creativecommons.org/licenses/by-nd/4.0
Lilli Zickerman (1858–1949) was an entrepreneur who took part in organising the Swedish handicraft associations in the late 19th century. She was also a pioneer in the archives and active in the feminine sphere of textile handicraft. From 1914–1931 she conducted a huge inventory called Swedish Folk Textile Art that consists of more than 24,000 photographs and descriptions of vernacular textiles and manuscripts for a planned series of books and films. By mapping textile handicrafts, she aimed to preserve traditional textile craft techniques to inspire their continued production. Her intention was to create an archive for the inspiration and education of future textile artists. The inventory has had effects that are still apparent today; this paper illuminates the ways in which Zickerman’s ideas about textile handicrafts have contributed to the continuation of Swedish cultural heritage and how it has become an authorised heritage discourse that continues to guide the scholars and practitioners involved in the history of textiles and their production. Here, we will present the first article within an ongoing project on Swedish Folk Textile Art and how it was conducted. We will contextualise the ideas and knowledge that it contains by focusing on Zickerman’s intention to preserve the past to serve the future. From a critical craft perspective, we will discuss geographical mapping as a method for investigating the invent­tory; the inclusion and exclusion of geographical areas, textile techniques, materials and people; the ideas and the knowledge that are expressed in the inventory; and the networks that it created. By doing so, we aim to highlight the connections between people, between people and materials, and between history and the current day.
Opphavsrett 2023 Anneli Palmsköld, Karin Gustavsson, Johanna Rosenqvist https://creativecommons.org/licenses/by-nd/4.0
Negotiation of Forces in Performative Weaving
I am a textile artist that builds performative weaving constructions emphasizing the tensions in the reciprocal dialogue that occurs between body, tools and materials. This strategy has emerged from an intention to approach an embodied and immersive relationship with a weaving practice. How does a body adapt to a craft, and how does the craft change in response? All making, especially weaving, can be considered a modality of growth, and the body and any work produced in a craft relationship become a symbiotic, adaptive being. The textile is a life-sustaining extension and evolution of the human body. Our mutual dependence is the ground out of which I develop my projects. My research has settled into a generative weaving installation, designed to encourage the blurring of boundaries between body, loom and dyebath, fibers and pigments (the body becomes the tool, the material is the body, the material is the tool). The installation itself is woven as it is activated, made up of an unbroken silk band. The weaver is integrated through a modified backstrap loom, ancient technology that relies on muscular resistance for tension. To this end, the woven band loops around the waist, and around the weaving heddles, connecting the feet to them. The dyepot anchors the system to the room and to the body. If an element is out of balance, it will collapse. One can continually graft new threads onto this band, so in theory it could go on growing indefinitely. This ecosystem is perfectly calibrated to fit the weaver's body and circ­um­stance, an enhanced, collaborative being, like a stone-age cyborg.
Opphavsrett 2023 Rosanna Vibe https://creativecommons.org/licenses/by-nd/4.0
Reconstructing the use of plumb level from a 19th century clinker boat tradition
Traditionally, vernacular Nordic clinker boats are built without plans or templates. The local boat tradi­tions all have a system of design that was handed over from master to apprentice. In some local traditions, a simple plumb level was used to guide the boatbuilder. The plumb level was placed on the planks of the hull during the build to give them the right angles of inclination in certain parts of the hull. Knowledge of how to use this plumb level is still considered part of living, unbroken traditions in some areas. In some local traditions, however, there are no longer any living tradition bearers that have the knowledge of how this tool was used in the local context. In this contribution, I will discuss how this lost knowledge can be reconstructed using old artefacts as a source material. I am investigating the tradition of building vernacular, clinker-built boats called ‘öka’ for sailing and rowing. This specific boat building tradition was located in the 19th century Stockholm archipelago. The artefacts in this case are preserved boats built in the old tradition and preserved plumb levels from closely related traditions. A central question in this context is to locate the exact positions in the boat that were measured by the plumb level. Working with reverse engineering, the measuring can be performed on preserved boats, but the right places for measuring still must be located to reconstruct the knowledge of how and where to use the tool. Some preserved plumb levels have markings that can be used in this investigation to match the locations and angles in the preserved boats. In this contribution, I will also discuss the possibility of applying the traditional measuring methods used by the old boatbuilders in today´s surveys and reconstructions, not translating the craft object into a digital 3D model or a lines plan.
Opphavsrett 2023 Fredrik Leijonhufvud https://creativecommons.org/licenses/by-nd/4.0
Using a 360° Camera to Record Natural Dyeing Craft Practice
In recent years, 360° video cameras have become increasingly accessible and are now being used as valuable research tools across a range of disciplines. Their wide and flexible field of vision can provide immersive and/or alternative perspectives compared to standard video. This paper will present emerging findings from using a 360° video camera to capture natural dye craft practice from an auto-ethnographic perspective and as an observer of other dyers’ practice during fieldwork visits. The 360° video data forms part of my doctoral study, in which I explore the embodied interactions between people, plants and materials that connect practitioners to their surroundings, linking them to other species and ecologies. The varied nature of the actions and processes that form the craft practice (e.g. foraging, tending, harvesting, mordanting, dyeing), and the different places and spaces in which these actions occur, presented a practical and observational challenge when trying to record the practice in a video format. Using a 360° camera proved to be a flexible, data-rich and engaging method for recording the craft. The ability to ‘move’ around and explore different perspectives from within the video after it was recorded was especially valuable, allowing a shift in the focus of the recording and presenting the opportunity to actively centre or decentre plants, people and materials. In this paper, I will reflect on my experiences recording and working with 360° video data and discuss some of the limitations and possible benefits of using this equipment in a craft research setting.
Opphavsrett 2023 Beth Pagett https://creativecommons.org/licenses/by-nd/4.0
Sweden's fauna and flora are constantly changing. Humans have not only deliberately promoted and introduced new species in horticulture, agriculture and forestry, they have also acted as a vector for the introduction of alien species through, for example, transportation and food. When these species spread rapidly and affect biodiversity, they are deemed ‘invasive alien species’. This artistic research project explores and articulates how humans, as part of a system where nature and culture meet, affect complex functioning ecosystems through the movement of species. The starting point is the iconic elm tree and how its cultural and natural ecosystems have been wiped out in large parts of Europe by the invasive fungus Ophistoma novo ulmi. With the extinction of the elm come ecological and cultural losses. Those losses are examined and interpreted in this work, in a dialogue with nature and with people. At the same time, another species is explored, the Canadian goldenrod, which, unlike the elm, is expanding rapidly. With these explorations, life stories about the elm will be created not only for our collective memory, but also for speculation about what happens when a new and invasive alien species, such as the Canadian goldenrod, spreads. The form of my narrative is based in materials, crafts and objects. It is primarily the objects and the process that are the carriers of the stories. As a ceramicist, I use clay as a sketching material, binder and a tool for documentation. These species, the elm and the goldenrod, constitute the materiality that are part of the exploration and creation.
Opphavsrett 2023 Anna-Karin Arvidsson https://creativecommons.org/licenses/by-nd/4.0
This paper focuses on the doing of gardens and explores how amateur gardeners relate to gardening craft in their everyday garden practices. Based on qualitative empirical work, this paper discusses how different craft methods and caring practices are employed as memory work and as a means to connect to, and create, the garden as a socio-ecological place. Based on the gardeners’ narratives, the garden is discussed as a web of self and a place where the meeting between the gardener and the more-than-human are central incentives to gardening. Gardening is an active place-making that goes beyond modifying the materiality of place. Rather, garden craft is narrated as reflecting the gardeners’ underlying relationship to and understanding of plants, soil and animals. It is the means through which gardeners connect in an embodied way to ‘the nature’ of the garden. Garden craft is proposed as an art that is passed on between generations. Gardening craft can be improved by an increased understanding of the temporality of the garden and by developing a sensitivity towards the complex socio-ecological relationships that shape a place. It is concluded that garden craft is understood as central not only to how the garden is constructed as a place but also to how the gardener relates to the garden as affecting, and being affected by, the current environmental crisis.
Opphavsrett 2023 Sofia Cele https://creativecommons.org/licenses/by-nd/4.0
Craft teaching and learning are evolving today at an unprecedent pace, driving the need for skills that increasingly fuse tradition with innovation. However, mapping craft skills is complex, due to both the multiplicity of factors determining skill development and the uncertainty surrounding future developments. In this paper, we present the methodological approach designed for the MOSAIC project, an ambitious Erasmus+ that addresses the need for skills in arts and crafts through research, creation of innovative craft training, and the establishment of a craft observatory. Firmly grounded within the field of craft science research, the methodology is rooted in the theory of practice and deploys a participatory process to further explore crafts skill needs. However, to the purpose of this article, we focus on a particular methodological aspect, that is, how we use cultural mapping to explore the complex craft skill ecosystem and analyse the rich data sets collected through a mixed set of instruments. Cultural mapping involves the systematic collection, documentation, and analysis of information about cultural assets – here: craft skills – within specific geographic areas or communities. In MOSAIC, we use cultural mapping as an approach to establishing an analytical continuum between top-down (e.g. legislation) and bottom-up (e.g. industry) approaches to the analysis of skill needs in MOSAIC partner countries. This approach is a good example of a context-appropriate research strategy that reaches beyond the borders of disciplines. As such, it fosters a holistic approach to craft science research that speaks to craft researchers, educators, and policymakers.
Opphavsrett 2023 Ruxandra Lupu, Bardin Christophe https://creativecommons.org/licenses/by-nd/4.0
The prerequisites for formal training in Swedish educational Crafts have changed over time under the influence of two long-lasting societal processes: academisation and digitalisation. In different, yet interconnected ways, these processes of change are challenging the materiality, the making and the action-based knowledge that characterise educational Crafts. The paper presents how primary school teachers’ view the influence of academisation and digitalisation in their work and explores the consequences that change processes hold for the teaching practice in Crafts. The study is based on qualitative interviews with Craft teachers whose graduation year was between 1983 and 2021. Theoretically, Craft is considered to be a living ecology in an educational system. In the analysis, academic drift on various levels is combined with media-ecology concepts to clarify the diffusion of academisation and digitalisation in both time and space. The findings show academic drift leading to increased text-based knowledge production on several levels, yet also an unexpected weakening of action-based knowledge in Crafts. Balancing student and staff drift is further shown to result in the avoidance of written text in favour of digital visual, oral and bodily mediations in the production of knowledge. The study’s overall results question an ongoing ‘reverse’ academic drift and what is at stake in the Crafts ecology’s efforts to achieve balance.
Opphavsrett 2023 Stina Westerlund https://creativecommons.org/licenses/by-nd/4.0
Although digitalisation has had an impact on the business of fairs, especially during the years of the pandemic, the Covid-19 crisis has clearly shown that social interaction is vital for small businesses, such as craft enterprises. The physical co-presence of craft objects, makers and users as well as the immediateness of personal contact play a major role at craft fairs. Fairs revolve around trade, which is furthered by the many cultural and social aspects that constitute them. We argue that social interaction in marketplaces goes beyond economic transactions and show that face-to-face interactions are essential for building trust and social order. We identify different types of social interaction at craft fairs, all of which are collaborative ‒ fostering a sense of community, developing products and increasing their visibility ‒ in addition to being an economic transaction. This study is based on ethnographic research on craft fairs and craft producers in the field of furniture and garment making. We conclude by arguing that the findings on craft fairs can also be generalised to other cases.
Opphavsrett 2023 Judith Nyfeler, Patrik Aspers https://creativecommons.org/licenses/by-nd/4.0
For several decades, the mechanisms of deterioration of wood exposed outdoors have been scrutinized to ameliorate the performance of this versatile material when used for purposes such as house cladding. The performance of cladding seems to depend highly on the durability of wood, in turn connected to water uptake, which can vary greatly. How long a cladding can function is particularly complicated to define because of its paradoxical role as a sacrificial and aesthetic layer. However, thanks to reparations and maintenance, many traditional claddings are still preserved. They have been produced and main­tained with local resources and show that low-processed wood can be durable in outdoor conditions. The contrast with modern approaches, such as wood modification or importation of durable species, raises the question: what durability of wood is concretely required for cladding purposes? The exhibition shows characteristics of wood weathered for up to hundreds of years, facilitating an under­standing of the impact damage can have on the performance of cladding. The samples, issued from traditional French and Scandinavian facades, illustrate how exposure level influences degradation, confirming the role of rot and revealing the ones of erosion and abrasion in the degeneration of wood cladding. Both Alder and Pine seem to have the potential to perform naturally well as cladding for longer than it takes for the trees to regenerate. Traditions might teach us how to use local wood in a durable way if we consider biodegradation as an opportunity to build without creating waste, rather than as a threat.
Opphavsrett 2023 Géraldine Brun https://creativecommons.org/licenses/by-nd/4.0
Digital imaging to unveil traditional craft methods
To understand the creation and the function of a Flemish oil on panel, non-invasive technical investigations including UV, IRR, X-ray and µ-XRF have been used as a method to unveil its specific material features. The undated and unsigned panel has been attributed to The Master of the Female Half-Lengths possibly active during the early 16th Century, due to its stereotype motif, materials and dimensions. The analysis reveals that the panel has several damages due to natural and forced interventions. The painting process shows various inconsistencies, interpreted with the aid of literary sources as a product of a workshop adapted to producing art as a response to the great demand of Flemish panels from the blooming Early Dutch art market.
Opphavsrett 2023 Teresia Stroemgren https://creativecommons.org/licenses/by-nd/4.0
This performance study focuses on sommeliers, delving into what constitutes their work and the process of achieving this title. Sommeliers are wine specialists tasked with the responsibility of ensuring that beverages are served properly in combination with food. Similar to other craft persons, the sommelier’s craft is connected to their knowledge of the products, primarily wine and other beverages, and the products’ relation to different foods. The art of tasting is an acquired knowledge, an embodied craft, a central professional competence to determine the quality of beverages. Other elements of sommelier knowledge are communication with guests, a social craft, and how to move in relation to the room, a spatial craft, both of which are based on the influence of different contexts. This study highlights the complexity of aesthetic judgements that sommeliers make through their embodied, social and spatial craft practices while decanting wine and serving it to a guest. It uses a video-reflexive ethnography to emphasise the aesthetics of the sommelier craft. The decanting is carried out in line with the guidelines of the International Sommelier Association. Simultaneously, some judgements in the performance must be articulated verbally to emphasise the complexity of the different crafts in relation to the importance of understanding the complexity in adopting the service to the situation. Social, embodied and spatial craft practices, in relation to the sommelier, show how aesthetic judgements are developed into a willingness to understand people and satisfy guests. This is achieved by 'cognitive planning’, which entails working diligently and preparing to enhance the efficiency of the craft, and by ‘situational adjustments’ that occur in real time to improve and optimise the guest's experience.
Opphavsrett 2023 Henrik Scander https://creativecommons.org/licenses/by-nd/4.0
From not yet knowing to achieving directionality
This paper investigates the active role of materials in shaping ideation processes during interdisciplinary studio-based collaborations. Using ethnographic data collected from a graduate-level course conducted across multiple studio settings, we analysed how materiality facilitates interactions between students and studio instructors meeting for the first time when creative ideas are not yet fully formed and knowledge of unfamiliar materials is not yet embodied. The findings elucidate how certain materials are central to (1) demonstrating, (2) understanding, (3) sharing, (4) explaining, (5) generating and (6) challenging aspects related to ideation processes within such interactions. We conclude this work by emphasising the need for further research that focuses on material mediation in the context of student–instructor relationships.
Opphavsrett 2023 Anniliina Omwami, Luis Vega, Varpu Mehto, Priska Falin, Pirita Seitamaa-Hakkarainen https://creativecommons.org/licenses/by-nd/4.0
In my paper, I describe my insights as manager of the textile workshop at the Department of Design at Linnaeus University, as well as how we teach material-based work. Part of my work as a workshop manager is to conduct a major clean-up at the end of every year. Last year, when I was standing in front of a pile of waste textiles, I began to reflect on how this pile of textile had been transformed from well-working material into waste. In a previous project with the research group Praktikforum, together with my colleagues, I explored what kinds of waste we produced when we made material-based artistic work. Thus, it was no surprise that practice-based work produced waste. The surprise was what I could understand from it. Looking closer into the waste, I obtained a deeper understanding of what had happened in the workshop during the year; how the students had used the material, what they had learned and what sometimes went wrong became obvious. I gained a deeper understanding of how we use, understand and teach/learn about materials and how we can develop the workshop by learning from the waste. At the same time, I learned the technique of ‘inbraiding’. For me, this was a new craft technique, in which waste textiles can be used when making rugs. I saw the opportunity to use the waste and upcycle it. By exhibiting the rug, I want to discuss the possibility of working more sustainably with crafts.
Opphavsrett 2023 Lena Håkanson https://creativecommons.org/licenses/by-nd/4.0
Reconstruction is an essential tool for gaining knowledge of shipwrecks in maritime archaeology. This paper examines some theoretical and practical consequences of viewing vessels not as finished objects but as things that are continuously being made during their lifetime. This is done by proposing perspectives on things that uphold their biography as an essential characteristic. To illustrate this, the 16th-century shipwreck Bispevika 16 (Oslo harbour) will be an example of a vessel showing minor and significant technical changes throughout its life. Its most manifest change is the addition of an outer layer of carvel planks on the lapstrake-built hull. This makes this vessel one of a growing number of archaeologically known converted lapstrake-built vessels in Northern Europe.
Opphavsrett 2023 Tori Falck https://creativecommons.org/licenses/by-nd/4.0
Valuation Mechanisms of Fine European Tapestries in the International Auction Market
Using textile arts (fine European tapestries) as a case study, we demonstrate the potential of hedonic regression to better understand buyers’ willingness to pay for these works at auction. Once highly valued, this medium offers unique characteristics that differ in part from paintings and affect buyers’ purchasing behaviors differently. Based on a dataset of 602 wall-hangings sold at Christie’s and Sotheby’s over the last decade, our empirical findings suggest that local place branding, aesthetics (antiqueness, ornamental effects), and material quality are crucial price determinants of textile arts.
Opphavsrett 2023 Anne-Sophie Radermecker https://creativecommons.org/licenses/by-nd/4.0
The type of intensive training previously needed for crafts in the printing trade is now redundant, but as craft practices are added biannually to Heritage Craft’s UK Red List of Endangered Crafts, there is a pressing need to preserve skills whilst also creating and developing new methodologies for practice in the UK to ensure these crafts survive as part of a thriving cultural heritage.The Dissecting Crafts project was centred around supporting book craft practitioners (typesetters and manufacturers, a letterpress printer and a book binder) to gain insight and extend their practice. Using qualitative research methods, an embodied knowledge methodology was developed as a system of self-evaluation. A freely available online tool kit was developed from project findings to enable other practitioners at all skill levels access to the programme. Sharing the research stages sensitively with case study practitioners evidenced their connectedness with their tools and with what they make, through a process of validation that was not anticipated in the project. Unintrusive methods of documenting in-progress activities, the practitioner-researchers’ recordings of the craft participants’ experiential dialogue proved valuable for them to be able to harness and transfer their knowledge. The methodology and tool kit were extended to other maker practices with feedback types ranging from practice development, reflection skills, and arti­cul­at­ion to validation.
Opphavsrett 2023 Angie Butler, Sofie Boons https://creativecommons.org/licenses/by-nd/4.0
Flax is a traditional plant used to make textiles. Flax, like all natural fibres, is a material with variations. Knowledge of a crafting process can be obtained by studying artefacts and all available documentation and by being present in a craft tradition and society of spinning. A craftsperson will make many small decisions during their work. How do we gain knowledge about handling materials, and how do we preserve the intangible skills relevant to a craft? This performance article aims to make visible specific knowledge of material, tools and working methods for re-hackling flax. The text and performance illustrate the perspective of a reflecting craftsperson. By asking questions about the work process, critical decisions regarding crafts will be highlighted. This approach will help preserve and transmit craft skills within flax processing.
Embodied learning made visible through line drawing
Visual material in the form of video, still images or drawings can show parts of embodied learning that text cannot. Research ethics requirements pose a challenge in terms of making younger students’ multimodal learning visible, as the informants need to be anonymized, and this raises the challenge of how important information, such as gaze and facial expressions, can be shown. The ethical requirements exist to protect underage students, and to contribute with a scientific basis for teaching, practical and feasible methods are needed in which the students’ communication can be illustrated while ensuring their protection. This paper explores how empirical data from studies involving younger students can be presented so that learning can be visualized while respecting ethical guidelines. The reasoning regarding the methods presented in the paper can also be useful overall for the anonymization of visual ethnography studies, in which the interest is to present empirical data from video recordings so that embodied learning can be made visible.
Opphavsrett 2023 Elisabet Jagell https://creativecommons.org/licenses/by-nd/4.0
Stitching Together (in) Anthropology Class
As an anthropologist teaching at a German-speaking Cultural Anthropology and European Ethnology Department (pertaining to a Humanities Faculty), it always struck me how much we know about the role embodiment plays in and for culture and how little we make use of this in teaching. For this reason, I decided to expand established Higher Education pedagogy by putting craft (as a) practice at the centre of my newly developed course entitled DIY in Times of Crisis and Beyond. As a result, my students and I developed our thinking through and while practising embroidery in class, weaving in the mandatory readings and narrations of (pandemic) crafting experiences along the way. Borrowing from the low-threshold approach to stitching in community-based creativity projects, our shared and mostly novice stitching facilitated the articulation of thoughts-in-progress, thus creating a space in which dominant views regarding social (craft) norms, quantifiable productivity as well as academic logocentrism could be temporarily suspended, giving way to embodied wisdom.
Opphavsrett 2023 Lydia Maria Arantes https://creativecommons.org/licenses/by-nd/4.0
Advanced student motivation in craft teacher education
This study investigates student craft teachers’ motivational issues within the course frameworks covering yarn crafts. The data consist of materials gathered from two bachelor-level university courses, which both utilized flipped learning as their pedagogy framework for learning and teaching crafts. Advanced-level student craft teachers participating in the courses (N=15+4) set their own learning objectives to reflect the general course targets defined by the course curriculum. The objectives, self-assessments, course work and course-end surveys were acquired as research data and analysed by thematical qualitative analysis, to obtain knowledge of extrinsic and intrinsic motivations. In line with Self-Determination Theory used as a theoretical framework of the study, the results suggest that possibilities to finetune course objectives to meet students' personal skills and resources were considered crucial for study motivation. Craft learning embraced realization of one’s effort, inner potential and values, resulting in student satisfaction about receiving personalized attention and instructions for their own study projects. Hence, the results enhance a more detailed understanding of student diversity and related motivational issues that can promote the equity of education.
Opphavsrett 2023 Anna Kouhia, Tellervo Härkki https://creativecommons.org/licenses/by-nd/4.0
FormAkademisk – forskningstidsskrift for design og designdidaktikk – har nå publisert artikler i 15 år! Redaksjonen startet opp arbeidet i januar 2008 og publiserte det første nummeret i oktober samme år. Fordi FormAkademisk publiserer artikler fra forskning innen et bredt felt, både design, slik som industri­design, visuell kommunikasjon, interaksjonsdesign, tjenestedesign, arkitektur, landskaps­arki­tektur og urban­isme, og designdidaktikk på alle utdanningsnivå fra barnehage til doktorgrad, har vi behov for en stor redaksjon
Opphavsrett 2023 Janne Beate Reitan https://creativecommons.org/licenses/by-nd/4.0
As an artist-anthropologist who studies “making” through apprenticeship, I have discovered that craft production in the Mexican copper-smithing community of Santa Clara del Cobre is a practice of care, a kind of love. This inversion of careful and caring labor, required to create the well-made copper piece, also encompasses qualities and skills that queer societal stereotypes of binary gender-lines. Artisans generate bodies of knowledge through representative and reproductive performance, i.e. productive labor anchored in the forge through care, perspicacity and attention. Like all nurturing activities given freely, artisanal reproductivity cannot be adequately measured as wage labor. This is not to say that this generous work should be unpaid. But rather to suggest that what is desired of craft is precisely this non-enumerative quotient of care. My research is based upon an apprenticeship to Maestro Jesús Pérez Ornelas, an independent coppersmith artisan, successful enough to be free to follow his vision and imagination, to create things with care. Maestro Jesús would say: “If I counted all the blows of my hammer, I would go crazy! And besides, no client would be able to afford to buy my work!” It is this boundless giftedness that makes up the imaginary of craft, its tropes and aura: its generosity. Like women’s “reproductive” work of family, the work of the artisan is also “reproductive.” Both demand a “maternal” nurturance, unquantifiable attention and care. This quotient of care is pure gift without reciprocity. This non-enumerative labor… a kind of love.
Opphavsrett 2023 Michele Feder-Nadoff https://creativecommons.org/licenses/by-nd/4.0
The focus of Finnish craft teacher education is on educating craft teachers in formal basic education. In this study, the aim was to research craft student teachers’ experiences of teaching practices that were arranged in out-of-school contexts. The data comprised craft student teachers’ (n = 18) written reflections included in their course portfolios. Their teaching practice took place in adult education centres, basic education in arts, older peoples' care homes, youth work centres, centres for people with disabilities, social work centres, museums, craft cafés and clubs and a vocational training institution. The written reflections concerned the students’ expectations at the beginning and those at the end of the teaching practice and were analysed according to the principles of qualitative data analysis. The students found both similarities and differences in craft pedagogy in different contexts. The out-of-school teaching practice broadened their future career perspectives and equipped them with new pedagogical skills.
Opphavsrett 2023 Professor Sirpa Kokko, Dr. Niina Väänänen https://creativecommons.org/licenses/by-nd/4.0
Over the past decade, rapid technological advancements and budget constraints have increased the de­mand for online education (Martin et al., 2020). Furthermore, the COVID-19 pandemic has vastly ac­cele­ra­ted this trend, compelling almost all education providers to migrate their courses to online learning platforms (Theelen & Van Breukelen, 2022). In view of other profound crises that affect mobility, such as climate change, political instabilities and future pandemics, it is safe to assume that online learning will remain in demand, even in a post-pandemic world ) (Bayne et al., 2020). In this context, while educational research has made significant progress in establishing design principles that ensure effective online teaching and learning, the main focus of this scholarly work is on the acquisition of declarative knowledge and cognitive skills. Moreover, since very little is known about the online teaching and distance learning of psychomotor skills (Kouhia et al., 2021; Lehtiniemi et al., 2023), this paper and exhibition explore how eye-tracking technology (ETT) creates unique opportunities to improve craft education in hybrid and distant learning settings.
Opphavsrett 2023 Barak Pelman, Shirly Bar-Amotz, Christa Asterhan, Janan Saba https://creativecommons.org/licenses/by-nd/4.0
What I learned by doing craft when I got terminal cancer
In this paper I use theory on craft and psychophysical wellbeing to extract insights on the value and meaning I found in woodcarving after being diagnosed with terminal brain cancer. I continued to carve wood throughout the entire diagnosis and treatment period. I was already an experienced woodcarver and had done extensive research on my own making processes. Both the making and research provided meaning and value for me in my ordeal. I discuss three lessons I learned: 1) Deliberate controlling of attention on the here and now worked as a coping mechanism, giving meaning and value to my situation; 2) Grounding myself in physical touch with a close connection to the material contributed to maintaining my positive identity as both maker and researcher, and acted as another coping resource; and 3) As I made the objects, I re-made myself. My intention to save and finish these artifacts, and the joy I experienced as I finished them, gave meaning and purpose to my situation. These lessons support previous findings on craft and wellbeing, contribute insider insights on the use of wood in art making during cancer treatment, and they could potentially inspire others facing dire straits to use crafting to cope.
Opphavsrett 2023 Marte Sørebø Gulliksen https://creativecommons.org/licenses/by-nd/4.0
The Influence of User-oriented Design Research on Framing
The concept of framing has been used as a creative and constructive tool in the design process. This study provides new insights into frames and framing as a tool for understanding disciplinary differences in multidisciplinary collaborations where design research is included. With an increasing focus on patient participation in the design of health and assistive technology, the importance of considering the users' perspectives cannot be overstated. However, bridging the gap between different disciplinary practices of framing problems that incorporate user experiences and values is a challenge. A case study of the (project name)(xxxx) research project was selected to investigate the practical implications of insights on mobility from a focus group interview with lower-limb prosthetic users. A follow-up ideation workshop with an interdisciplinary group of researchers from the project xxxx was used as the starting point for exploring different disciplinary perspectives. The research contributes to the concept on framing by demonstrating how examining relevant perspectives from the literature provides valuable insights into different ways of framing in the design process.
Opphavsrett 2024 Martha Risnes, Mirjam Mellema, Terje Gjøvaag, Peyman Mirtaheri, Arild Berg https://creativecommons.org/licenses/by/4.0
The purpose of this paper is to understand how collaborative making is used as not only a means of production, but an exercise in storytelling. Through dialogue between craftspeople, skills are developed, shared, and maintained. Craft practice is communicated, and memories are preserved. This paper explores how, through a case study of producing an artefact from start to finish, collaborative making leads to creating more than just an object, but also a connection between all involved. ‘Watch’ is part of a wider doctoral study in which nine artefacts were made from collected stories of lost love and then through encounters with several craftspeople. The paper considers the relationships between crafts­people and how we work together to develop hybrid skills by utilising traditional practice to create new ways of crafting.
Opphavsrett 2023 Charlotte Mary Goldthorpe https://creativecommons.org/licenses/by-nd/4.0
The Digitalization of Studio Practices and Its Impact on the Development of Design Literacy of First-Year Architecture Students
Digital skills are emphasized in the ongoing process of digital transformation in higher education. In this article, digital literacy is discussed within the broader perspective of design literacy and the acceleration of the digitalization process of first-year design education at the time of the outbreak of the COVID-19 pandemic in spring 2020 is highlighted. The article interrogates the role of digital skills in the development of design literacy of first-year architecture students through a multiple case analysis of ARCH 101 design studio practices executed in the Bachelor of Architecture programmes at the Özyeğin University, Department of Architecture and the Middle East Technical University, Department of Architecture. The digitalization processes of ARCH 101 studios increased rapidly when the COVID-19 pandemic started and resulted in the integration of digital tools into basic design education in ways that transformed (1) the communication modalities and the representation and research strategies used by students, and (2) the understanding and methodologies of the design process when used as generative design tools.
Opphavsrett 2023 Derya Yorgancıoğlu, Esin Kömez Dağlıoğlu https://creativecommons.org/licenses/by-nd/4.0
Første gang vi møttes var da du intervjua meg om hovedfagsoppgaven min om selbustrikking i 1992, du som redaktør for tidsskriftet Forming i skolen, det som nå heter Form. Da var jeg nytilsatt på SLFO, mens du allerede hadde jobba der i 8 år. Det første vi samarbeidet om var Reform 94 i videregående skole, jeg som etterutdanningsleder på VEIF og du som faglig ansvarlig for etter- og videreutdannings-kurs for lærere i videre­gående skole. Statens lærerkurs, som den gangen var ansvarlig for kursing av lærere i Norge, hadde fått 1 million kron­er og vi fikk hele potten, fordi det bare var vi som allerede hadde planene klare for etter- og vid­ere­ut­dan­ninger. Mange som ikke tidligere hadde kompetanse til å undervise i Tegning, form og farge i vi­de­re­­gående skole, fikk det over natta i forbindelse med omstrukturering av skole­struk­turen. Men de måtte få en halvårsenhet, 30 studiepoeng, i Tegning, form og farge for å kunne under­­vise i faget. Det gjaldt blant annet frisører, fordi Tegning, form og farge ble grunnkurs også for det faget. For at dette stu­die­til­budet skulle bli landsdekkende, opprettet vi 15 lokale studiesteder rundt i hele landet. Lærerne på dis­se kursene var i stor grad tidligere PPU-studenter av deg. I tillegg satte vi i gang fjernundervisning med direktesendte TV-forelesninger med noen av de ledende fagpersonene på den tida. Dette var i sam­arbeid med Arild Boman på Universitetet i Oslo, og sendingene gikk på TV-Norge, som ikke hadde send­inger sjøl på dagtid på den tida. Så kursdeltakerne på alle kursstedene kunne se sendingene, men det kunne også alle andre som tilfeldigvis slo på TV-Norge. Så vi fikk stedig kommen­tarer fra andre folk som hadde sett oss på TV.
Opphavsrett 2023 Inger Marie Søyland https://creativecommons.org/licenses/by-nd/4.0
Du har vært en foregangskvinne og gjort vei i vellinga. Du har vært uvurderlig i å synliggjøre faget og snakke tydelig om hvilken rolle vi som fag har og kan ha i samfunnet. Din kunnskap og interesse for hvordan designkompetanse er noe som angår oss alle var med å vekke mitt fagdidaktiske hjerte og hjerne. Kombinert med bakgrunnen og kunnskapen jeg hadde som designer, ble møtet med dette i PPU studier mye av grunnen til at jeg fikk en økende interesse for mer kunnskap om feltet. Du har en svært positiv energi, som og kommer til syne med ditt glimt i øyet og lure smil.
Opphavsrett 2023 Tore Andre Ringvold https://creativecommons.org/licenses/by-nd/4.0
…for me you are a bright, wise, and compassionate woman and an exemplary academic, providing an embracing environment for her colleagues. I was most fortunate to be introduced to you first in 2018 for the preparations of the Learn X Design 2019 Ankara conference. That initial shy communication conducted via emails, turned into regular online meetings when I joined the DRS EdSIG convening group in late 2019, and then into intense engagements as we started working collectively for the Learn X Design 2021 Jinan conference. Many were involved with their hard work and valuable contribution, but your involvement in particular, has been a motivation for me in the process. We spent many productive hours in online meetings, organizing the event, and building the background to realise it. I love the tapestry that you have behind you on screen in the background, and I love that it is you who have made it. I love you telling us that you will go skiing after the meeting. I can actually imagine you in your suit, grasping your gear, and starting to ski immediately as you step out of the cabin. That is how skilled and talented I find you. Many times, I have felt a reciprocal understanding between the two of us, which has always been reassuring and encouraging. I have learned a lot from you. Thank you for being a friend!
Opphavsrett 2023 Naz A.G.Z. Börekçi https://creativecommons.org/licenses/by-nd/4.0
Jeg har hatt gleden av å samarbeide med deg gjennom ca. 10 år, helt siden jeg ble ansatt på Nasjonalt senter for kunst og kultur i opplæringen ved Nord universitet i Bodø i 2012. Jeg skjønte raskt at du var en sentral fagperson i UH-sektoren i forhold til fagområdet kunst og håndverk. Selv kommer jeg fra et helt annet fagfelt, nemlig biblioteksektor og sosialantropologi, og jeg har senere beveget meg inn i tilpasset opplæring og det spesialpedagogiske feltet. Ved senteret fikk jeg blant annet oppgaver knyttet til forskningsformidling. Nysgjerrigheten for å hele tiden utvide vår kompetanse og lære nye ting er vel noe vi har felles.
Opphavsrett 2023 Merete Hassel https://creativecommons.org/licenses/by-nd/4.0
Hilsen til Liv Merete Nielsen på 70-årsdagen
Professor Emerita Liv Merete Nielsen har i en årrekke vært svært sentral i arbeidet ved Institutt for estetiske fag. Dette strekker seg fra satellittsendinger i forhold til Reform 94 og arbeidet som høgskolelektor på 90-tallet via en periode som doktorgradskandidat og førsteamanuensis, til slutt som professor ved insti­tutt­et. Hun har trukket i tråder, løftet studenter og kollegaer, bygget forskningsgrupper, nettverk og frontet viktige saker for instituttet og faget. I tillegg har hun påtatt seg store oppgaver knyttet til utvikling av lære­planer, stadig med et blikk for strategi og vekst for fagområdet design, kunst og hånd­verk. Vi takker henne for bidraget og vi gratulerer henne så mye med 70-årsdagen.
Opphavsrett 2023 Liv Klagegg Dahlin https://creativecommons.org/licenses/by-nd/4.0
Liv Merete Nielsen disputerte i år 2000, med avhandlingen Drawing and spatial representations. Det var trangt i salen, i de gamle lokalene til AHO, ved St. Olavs plass. Disputasen var historisk. Da doktorgradsprogrammet ved Arkitektur- og designhøgskolen i Oslo (AHO) i 1995 la til rette for å inkludere designdidaktikere, fikk også denne profesjonsgrenen innen ‘the making professions’ mulighet til å forske i eget fagfelt. Liv Merete var den første som disputerte, med eksplisitt fagdidaktisk tematikk. Vi visste det ikke da – men dette var den første disputasen i en rekke av flere, med designdidaktisk forankring. For flere av tilhørerne ble denne begivenheten en inspirasjon for videre forskningskarriere, men også for undervisning i fagdidaktikk, på BA-, MA- og etter hvert også Ph.d.-nivå.
Opphavsrett 2023 Ingvild Digranes, Laila B. Fauske https://creativecommons.org/licenses/by-nd/4.0
I met Liv Merete Nielsen at the DRS Limerick 2018 conference. I was studying Chilean teachers' use of design methods to solve pedagogical problems supported by a British Council fund. Peter Lloyd and Derek Jones brought the experience and vision of The Open University's Design Thinking course. They had Nigel Cross as an unavoidable theoretical reference. I also knew Maureen Carroll and Shelley Goldman's work at Stanford University to promote STEM disciplines in vulnerable schools in Palo Alto. Maureen and Shelley built on the IDEO-d.School universe and had Tim Brown and David Kelly as key references.
Opphavsrett 2023 Úrsula Bravo https://creativecommons.org/licenses/by-nd/4.0