Project 1C Craft Movement Research by Eunice Tan

Studio ARIA

book I C

bang ka chao

CRAFT MOVEMENT RESEARCH

01 craft movement 02 individual biographical research 03 current issues and future challenges 04 economically sustainable 05 local bodies 06 social media

CRAFTING RESEARCH the future of craft

acknowledgements

chief editor Eunice Tan Kai Yi

editors Craft Movement : Tan Lin Qin

Individual Biographical Research : Michelle Vun Yi Ling Current Issues and Future Challenges : Tan Wei Zhe

Economically Sustainable : Fong Li Theng

Local Bodies : Eunice Tan Kai Yi Social Media : Lean Soong En

team Lee Mei Shin, Kishanraaj Ganesan, Ting Kai Lin, Chan Jun Ming, Tam Zi Syn, Chong Tze Chean, Wan Nor Amirul Hakim Bin Nor Azahan, Tan Loon Ying, Tan Wei Zhe, Ong Wei Tjea, Tan Yong Quan, Sylvester Gabriel Hong Kah Weng, Tee Yi Qi, Maybelle Mak Hui Ling, Wong Qin Yi

PROJECT 1C : CRAFT MOVEMENT RESEARCH

CONTENTS

CRAFT MOVEMENT ART NOUVEAU

“Have nothing in your house that you do not know to be useful, or believe to be beautiful.”

1. PHILOSOPHY 2. ESTABLISHMENT 3. WHAT INSTILLED THE MOVEMENT? 4. ARTS AND CRAFTS AS A WAY OF LIFE 5. ARTS AND CRAFTS :ENDING 6. BIRTH OF ART NOUVEAU 7. ART NOUVEAU BECAME A ‘TOTAL STYLE’. 8. ART NOUVEAU: ENDING. 9. REFLECTIONS

Arts and Craft Movement

CRAFT MOVEMENT RESEARCH : ART NOUVEAU

Kishanraaj.G 1001851650

Arts and Crafts Movement : Philosophy The Arts and Crafts movement believed that: - The industrial revolution had made man less creative as ‘his’ craft skills had been removed from the manufacturing process. - Aim was to put ‘man’ back in to the design and manufacturing process, Craft skills and good honest design would again be central to the manufacturing process.

Arts and Crafts Movement : Establishment Named after ‘Arts and Crafts Exhibition Society’, a group founded in London in 1887 comprised of a number of different artistic societies, such as: - ‘The Exhibition Society’ - ‘The Arts Workers Guild’ -Other small workshops craftspeople and large manufacturing companies. - aimed to assert a new public relevance for the work of decorative artists including ceramics, textiles, metalwork and furniture. In 1880s, people in the society were influenced by works of William Morris, who had become an internationally renowned, successful designer. Morris’s active participation turned hugely influential to the generation of decorative artists. He believed in the importance of creating well-made objects and argued for the return to a system of manufacture based on small-scale workshops.

CRAFT MOVEMENT RESEARCH : ART NOUVEAU

What Instilled the Movement? Morris wasn’t entirely against the use but, felt that the division of labor – increase efficiency, which separate tasks individuals having weak relationship with

of machines a system to formed, lead the outcome.

He wanted to free the craftspeople from being factory operators and allow them to engage directly with creative process. Ruskin built the philosophy of the Movement and William Morris lead. Morris took Ruskin’s ideas about nature, art, morality, and the degradation of human labor and translated them into a unified theory of design and managed to wed aesthetics and social reform into Movement. As the old way of making declined, the movement’s founders rushed to save crafts traditions before they disappeared entirely.

CRAFT MOVEMENT RESEARCH : ART NOUVEAU

Arts and Crafts As A Way of Life The Arts and Crafts movement flourished in in Europe. Members of the community felt driven to spread their message, convinced that a better system of design of manufacture could actively change people’s lives. Its birth, marked a change in the value society placed on crafts. This was a reaction to not only effects of industrialization but, also the low status of decorative arts. The movement is more passionate resistance than nostalgic revival.

Arts and Crafts movement : Ending

At its core, the movement celebrates the direct relationship that artisans have with their crafts. Therefore, it isn’t a style but, rather a philosophy a design principle. They referred designs from before the industrial revolution. To the late Middle Ages and to Gothic design, for inspiration. Logically, the principle failed as hand made products are so much more costly than mass produced imitations, and their ordinary man could not afford them while they’re meant for upper class mostly.

CRAFT MOVEMENT RESEARCH : ART NOUVEAU

Birth of Art Nouveau In 1892, Walter Crane (member of the Arts and Crafts Movement) wrote ‘The Claims of Decorative Art’. Objective: To bring art into the daily life of all classes which inspired many craftsmen and they were the ones that actually evoked a real change and ready for ‘Art Nouveau’, - Inspired by nature. - No more copying of past styles - No more mass production. - Based on creativity and craftsmanship. It was influenced by experiments with expressive line by the painters; Paul Gaugin and Henri De Toulouse- Lautrec.

Hotel Tassel By Victor Horta

CRAFT MOVEMENT RESEARCH : ART NOUVEAU

Art Nouveau Became A “Total Stuff” Best known characteristic of Art Nouveau: - The flowing moving lines. expresses emotion (movement). - The motifs and patterns based on flora & fauna are usually long-stemmed, gracefully stylized plants and flowers. - The flat-perspective and strong colors of Japanese woodcuts.

Art Nouveau : Ending The philosophy says that people should be surrounded by beautiful artwork that includes a wide range of arts like architecture, jewelries, lighting, printed fabrics, furniture, household silver and other utensils, wallpaper, typography and graphic design etc. “Art should be a way of life!” Yet again, we must conclude that the socialist principles behind Art Nouveau failed as it was utterly luxurious and too expensive for ordinary people. Artistically though, it became a huge success! Although Art Nouveau was replaced by 20th-century modernist styles fairly quickly, it is considered today as an important transition between the historicism of Neoclassicism and Modernism.

Hotel Tassel Railing

CRAFT MOVEMENT RESEARCH : ART NOUVEAU

Reflection Styles or movements are periods of time in history, where some designers came up with new thoughts and new philosophies about arts and crafts that totally differ and change the way of thinking about crafts, at that time. Automatically, they are avant-garde in history and they start to became so practical, so logical, or even though so revolutionary that a huge amount of the craftspeople of that period start to follow the principles, itâ&#x20AC;&#x2122;s theory and the cycle continues till today. The constant shifting values in styles and movements in the past further evidence the evolvement in perception towards beauty and our ability to evolve further and how we define beauty which has to do with how an artist configures the work in such a way intellect and emotions are expressed but, not just sensible perception. This can serve to remind us about living in the present moment, to appreciate, and to relish it. Embracing these changes with a new theory of Change frees us to connect and communicate in the realm of ideas, process, emotion and exchange. By embracing these, we will be able to harness change in arts, can have positive impacts for users, owners, design professionals and even society.

PROJECT 1C : CRAFT MOVEMENT RESEARCH

CONTENTS

CRAFT MOVEMENT MINGEI

“The adoration of the beautiful among the sordid facts of everyday existence.”

1. Mingei: The Meaning Of Folk Craft • origin • the way of tea • aesthetic ideal of mingei • social ideal of mingei 2. Relevance of Mingei • in japan • with western arts and crafts movement 3. Success & Failures of Mingei Movement 4. Mingei: Nature & Harmony

CRAFT MOVEMENT RESEARCH : MINGEI

mingei: the meaning of folk craft Ting Kai Lin 1001746129

origin The Mingei Movement was founded by Yanagi Soestu.It was influenced by the early ways of tea in Japan, other than his study of western arts and craft, and Korean crafts. During the 9th century, tea is widely associated with religious ritual in Buddhism monasteries. However, by the 13th century tea became a luxury associated with the status. Followed by the Muramachi period, it is transformed where wabi-sabi is introduced. wabi-sabi (äž&#x2DC;ĺŻ&#x201A;) is the acceptance of transience and imperfection. This forms the concept in which Yanagi found his inspiration for the appreciation of Mingei.

CRAFT MOVEMENT RESEARCH : MINGEI

the way of tea What Yanagi found captivating is the ability to perceive and appreciate, as well as the purity and harmony in proportion to nature. “seeing” - perceive Tea utensils were chosen intuitively, making use of those not originally crafted for tea. Throwing away the knowledge or the symbol it was given, but perceiving its truest as a whole. “accepting” - appreciate one is then able to notice and appreciate the beauty of imperfection of the object. Nature and mortality is embraced for its beauty - as existence itself is flawed. the purity and harmony the harmony between human and nature where we seek to be one with the rhythm of the universe, makes us in acceptance of the unknown.

Aspects of Mingei influenced by The Way of tea: 1. Direct Perception (chokkan) of the viewer / user 2. Self-surrender (tarikido) of the craftsmen

“The ability to comprehend intuitively, and because of their penentration, they saw the truth.” -Yanagi Soetsu

CRAFT MOVEMENT RESEARCH : MINGEI

aesthetic ideal of mingei Mingei is the beauty of tradition of functionality, or beauty of intimacy, honesty, truth and labour. Mingei eliminates the clash of individuality in design and makes the product very intimate and functional for all. It is also bought without pride, instead of buying the name of the maker, it is only considered for its purpose.

Beauty criteria for Mingei: 1. natural 2. traditional (representative of a regional culture) 3. simplicity 4. functionality 5. inexpensiveness (used by the masses) 6. made by â&#x20AC;&#x153;unknown craftsmenâ&#x20AC;?

CRAFT MOVEMENT RESEARCH : MINGEI

social ideal of mingei guild system The production of Mingei products practices a tradition of regional guild system where the craft techniques are passed down generations in the family or from master to apprentices. The varity of Mingei crafts where techniques of form or ornamentations and material is the symbolism of traditional roots. e.g. pottery of Seto Ware is different from the pottery of Onta in terms of techniques and clay materials. The local materials is shared equally among families which among some that share spaces, creating a harmonious and interactive environment for the community.

Onta Ceramics

Seto Ware

cultural imprint Mingei craftsmen work is a state of coordinated labour, where one puts aside his own individual sense of beauty and let cultural imprint(teachings of the community) and nature do the work for him.

Todai “a slab of clay placed under vessels to be fired in the kiln with ‘shadows’ left by the fired pots leave an attractive abstraction of forms and colours”

CRAFT MOVEMENT RESEARCH : MINGEI

relevance of mingei

in japan Mingei plays an important role in Japanese history post World War II. In 1950, due to the Korean War, the Japanese Government initiated the “National Treasures of Japan” to preserve the traditional artistan-craft culture of japan. The idea of Mingei movement helped in developing these systems, leading to a popularity in 1960 called the “Mingei Boom”. This in turn facilitated Japan’s economy in terms of a change in social organization at that time. Potters or crafters found themselves wealthy due to publicity. The nature of the publicity from the government boosted the nasionalism in the ranks of the public, however over demand and profit brought implications on to the craft itself.

CRAFT MOVEMENT RESEARCH : MINGEI

with western arts & crafts movement Mingei is influenced by and Crafts movement, a the two regions, e.g. movements are a result

the earlier 18th century Western Arts complex intercultural dialogue between William Morris and John Ruskin. Both of mass-production and nasionalism.

Craft in three categories: 1. Folk crafts or getemono 2. Individual/Artist Crafts 3. Industrial Crafts 4. Aristocratic Crafts Similarities: Craftsmanship and handcrafts is held highly. Ideal society in which art and morality were united.

Individual / Artist Crafts (Mokubei)

Folk crafts or getemono

Differences: William Morris supports the freedom in creativity whereas Yanagi’s concept relies on the “other power” - nature, tradition and divine power.

Aristocratic crafts (Nabeshima ware)

Werkbund

Industrial Crafts

CRAFT MOVEMENT RESEARCH : MINGEI

success & failures of the mingei movement

failure Failure Factors: 1. technology (Mechanization) 2. improved communication (individualism) 3. Increased demand (Greed / Profit) The Failure in Social Ideal is due to the introduction of technological innovations, with over demand and profit that eliminates labour. Hence the disappearance of guilds/ apprenticeship due to less time and labour required to craft (e.g. fire kilns in pottery making) causing the ruin of harmonious and cooperative system. The community is isolated from each other without the sharing of spaces and knowledge. Industrialization brings improvement in railway systems and communication system leads to tourism and social media in which individualism among the artist-crafters are developed or even those who seek for profit to go after crafting. This in turn also causes The Failure in Aesthetic Ideal where craft is commercialized and sold as a “beauty of pride” which causes a twist in interpretation of beauty in the masses. “Craft” became an adoration for the price or name where it can be easily disposed, as a consumable product.

CRAFT MOVEMENT RESEARCH : MINGEI

success Mingeiâ&#x20AC;&#x2122;s success is where it can evoke nalisonalism and awareness of the traditional culture of Japanese crafts in the public. Due to its emergence during the 1950, it can be said as one of the main factors Japanese folk crafts are able to be preserved now. This led to the relatively well-preserved crafts of Japan in comparison to other countries, where museums and workshops are still to be found in provinces. Though not as pure as it once was, it is still embedded in the culture scene of Japan and very much seen.

kettle

elephant chair

butterfly chair

everyday items designed by Sori Yanagi. a harmonious combination of Mingei and Industrial design

CRAFT MOVEMENT RESEARCH : MINGEI

mingei : nature & harmony

â&#x20AC;&#x153;rather the soul than the hand, the man than the technique, which appeals to us. â&#x20AC;?

It can be said that the essence of Mingei is not in the craft itself, but of the attitude. Craft itself is dependent on an intellectual system to survive. It is dependent on humanity and morality itself. An individual makes up the community, and then the universe and nature - we are all connected. Human psyche in itself is interconnected with nature. Setting apart human and nature will lead to the ruin of ethics in which nature will be valued only to the extent of our benefits - hence over demand and consumption. The sharing of knowledge between human and nature is where we are connected with it. Connectedness, Caring, followed by Commitment. Instead of dwelling in isolation, where we force things our way, not perceiving, accepting or embracing nature, letting things be as they are and allowing nature to inform our psyche is in sense - sharing, where a beauty in harmony will be achieved.

PROJECT 1C : CRAFT MOVEMENT RESEARCH

Craft Movement Deutscher Werkbund “Design is not about decorating functional forms - it is about creating forms that accord with the character of the object and that show new technologies to advantage.” - Peter Behrens, leading member of Deutscher Werkbund.

CONTENTS Introduction ..........................01 Movement ..............................02 Mind map ..............................04 Ideas and creations ...................06 Conclusion/Discussion..................10

Deutscher Werkbund

CRAFT MOVEMENT RESEARCH : DEUTSCHER WERKBUND

Chan Jun Ming 1001746777

Introduction Deutscher Werkbund was a German Association of Craftsmen founded in Munich in 1907 with the initial members of 12 architect and

12 business man. It is a combination of architects, artists,

craftsman and manufacturers intended to improve the quality and design of German products through integration of traditional arts and industrial mass-production techniques.

Origin During the end of 19th century, German industry is competing in global markets, the increasing of foreign trade makes industry to be a requisite for German economy. Due to the impact of rapid

development of industry, the conflict between industrialization

and art was risen followed by the formation of Deutscher Werkbund.

Figure 1. The conflict between mass-production and arts and crafts.

CRAFT MOVEMENT RESEARCH : DEUTSCHER WERKBUND

The movement of Deutscher Werkbund

Concepts

The movement of Deutscher Werkbund was greatly influenced by two

In 1914, the organization adopted the ideas of Hermann Muthesius

spired by the arts and crafts movement from William Morris and

and “Neues Bauen”(New architecture). Less ornamental emphasis,

men, Hermann Muthesius and Henry Van de Velde. They were inthey further expanded the ideas with machine made-goods. Hermann Muthesius support the idea of standardization. However Henry Van de Valde hold on to the idea of individualism.

and created the modernist concept, “Neues Wohnen”(New Living) greater emphasis on practicality and use. The motto “Vom Sofakissen zum Städtebau” (from sofa cushions to city-building) shows the range of interest in the organization.

Charateristics • Honest about material

• Form derived from its functional logic

• Design solely object than can be mass produce

Contribution Figure 2. Hermann Muthe-

Figure 3. Henry van de Vel-

sius. German architect,

de. Belgian painter, archi-

author and diplomat.

tect and interior designer

Value of Standardization

One of the contribution from Deutscher Werkbund is their philosophy that laid the foundation for the formation of Bauhaus

which is founded by Walter Gropius. He integrated the idea of Deutscher Werkbund with his own value which is the minimalism.

• Uniform aesthetic in design for mass production

• High quality products that can fulfilled the demands from global market.

Value of Individualism

• Prevent us from restricting ourselves in a solid form.

• Quality came from the creation of free spirit not from the creation for mere consideration of global demands.

CRAFT MOVEMENT RESEARCH : DEUTSCHER WERKBUND

Mind Map - Summary of Deutscher Werkbund

CRAFT MOVEMENT RESEARCH : DEUTSCHER WERKBUND Bentwood Chair by Josef Hoffmann

Joseph Hoffmann was one of the leading member of Deutscher Werkbund. His designed the first model of bentwood chair which used the natural materials such wood and rattan. The wood bending

technique allows the design of curving wood which makes the chair looks more aesthethic.

Bentwood chair by Michael Thonet

During experiment of the Bentwood Chair and the technique of

wood bending, Michael Thonet and his son try to increase the

quantity of the production by reducing the amount of materials

used. They merged the backrest and back legs into a single piece and developed machines that allows them to speed up the progress

of wood bending. The final outcome shows the quality of simplic-

ity and functionalism which later became a valuable example for the Bauhaus movement.

01 07

CRAFT MOVEMENT RESEARCH : DEUTSCHER WERKBUND Cesca Chair by Marcel Breuer

The design of Michael Thonet inspired Marcel Breuer to furthur

expand the idea by experimenting new kind of material, the tubular steel. He combined traditional craftsmanship with industrial method and the result is amazing. The tubular steel provided

certain flexibility for the cantilevered shape and it makes the chair more comfortable to sit on.

The pictures shown above are the inspiration of Marcel Breuer

in designing the Cesca Chair. The handlebar of the bicycle was created by the technique called steel bending and it inspired

Marcel Breuer to use the same technique and material to make an evolution on the Bentwood Chair.

01 08

CRAFT MOVEMENT RESEARCH : DEUTSCHER WERKBUND

Conclusion Deutscher Werkbund promotes the ideas of standardization and mass-production technique to fulfilled the common needs and increase the demands of their products in global market. Their practices of designing solely object that can be mass produce was inherited by the Bauhaus. The Bauhaus aims to unify all creative effort. It does not oppose or reject any other ways of design, in contrast they accept all types of design, as long as it meets the functionality and able to improve the usersâ&#x20AC;&#x2122; experience. The way that the Bauhaus used technology is what we should be practicing. In our digital era, designers tend to design through digital software which somehow obstructed our creativity by limiting the choices we have during the execution our ideas. However the designer in Bauhaus, they have clear ideas on the way of using technology. Like Michael Thonet and Marcel Breuer, they make use of technology to achieve their intention during the execution stage but their ideas were came from numerous experiments and inspiration from daily life. In conclusion, we should appreciate all types of creative effort. No matter what kind of movement or method of creation, we should embrace it and cooperate each other to create more possibilities in improving oneâ&#x20AC;&#x2122;s life.

PROJECT 1C : INDIVIDUAL BIOGRAPHICAL RESEARCH

CONTENTS

Background & Influences Perspective & Stand Contribution & Impact Conclusion

JOHN RUSKIN John Ruskin was one of the most ambitious and impassioned man in the 19th century. He seemed to mostly care for one thing â&#x20AC;&#x201C; Beauty. The more he thought about it, the more he noticed to remake a beautiful world, it was only possible to remake it politically, economically and socially.

As the

world in his era, was growing in pollutions and inequality caused by modern capitalism and industry. Which was ugly in his eyes.

Background &Influences Lee Mei Shin

INDIVIDUAL BIOGRAPHICAL RESEARCH : JOHN RUSKIN

1001746605

Background and Influences John Ruskin was born in 1817 in England to a Scottish family. He

was born into a wealthy family. At a young age, he was influenced by his fatherâ&#x20AC;&#x2122;s collection of arts and his evangelic Christian

mother. As he was born in a well to do family, he had chances to travel around Europe with his parents. The place that

impressed him the most was Venice. When he returned to England, he was struck by the contrast between the glories of Venice and

the dingy reality of British Urban life. This also changed the course of his life and his stand in arts.

INDIVIDUAL BIOGRAPHICAL RESEARCH : JOHN RUSKIN

Perspective & Stand John Ruskin had a different perspective on how the world was growing. In the society of modern capitalism, it was all about mass production, which lead to a guild system, craftsmen oversee

their work as replicating job, just to sustain life and income,

where the spirit and purpose of art was lost. Ruskin saw it as a deteriorating society. Study of Spray of Dead Oak Leave -1879

He strongly believes, moral ethics and the spirit of nature and the society are strongly tied together. The connectiveness of all three which would affect the outcome of life and art.

He believes a craftsman needs to have respect for nature,

materials and skills he had, not by using machines to replicate works for mass production. He believes that by hands on

experiences, we as humans are able to diversify and create something new.

01 Mountain

Rock and Alpine -1845

INDIVIDUAL BIOGRAPHICAL RESEARCH : JOHN RUSKIN

Riskin has a strong stand and perspective on architecture style

as well. He believes in the Gothic style, as it was created to glorify God, while he thinks the Modern Renaissance style was overly glorified and also glorifying themselves. In his

perspective, the architecture of a society reflects on the North West Porch of St Mark’s, Venice., John Ruskin -1877

morality and values of the society. As he has written in his works, ‘The stones of Venice’ and ‘The 7 Lamps of

architecture’ both reflected on the beauty, power, nature and life of an architecture building. He stresses on morality,

society, and spiritual purposes of art and his Naturalist theory of visual representation.

Example, he stresses the point of Gothic styles and Modern

Renaissance style. He believes the irregular, imperfection of

craft men, gives spirit and purpose of the artwork. Because of the influence of his evangelic Christian mother, he also

believes that nature should be added in arts. Nature allows to

connect spiritually and has energy, which was what he saw from the Gothic northern Europe Cathedrals, the properties of energy

and rawness. He finds that the lost of Gothic style in Western cultere, is a lost of identity.

Architetural Notebook-’N book” (pg45) , John Ruskin - 1849

Venice, 01

Byzantine Capitals, Concave Group, John Ruskin- 1851 Ruskin John Ruskin

INDIVIDUAL BIOGRAPHICAL RESEARCH : JOHN RUSKIN

Contribution & Impact

Through documentation, we learnt a good lesson of giving back to

With the wealth his father left him, he started the St. George

beneficial to Ruskin, but he sees the value in it, and preserving

art, craft and the rural environment, founded in 1871. This

Today his works of documentation is like a time capsule for

experience producing works by understanding and giving spirit

great works, and what we can take and learn from him. A great

craftsmen to preserve the skills and sustain the community.

benefit of himself, but for the future society.

of the people individually on how morality and the society is

make mistakes and are imperfect. These flaws are what makes us

human, thoughts, emotions and aspirations a separate, because

the little irregular imperfection in our works and daily life.

were a necessary outcome of thoughts. Which again sticks to his

will be more confident in working with our own hands, rather than

in his naturalist theory.

and understanding on things we do.

the community. When documenting his works, it may not be

Guild. This organization was registered educational charity for

it. Therefore, he documented, his thoughts, and things he seen.

organization was to help local craftsmen to gain education and

people in our era. We can look back into the past, to see his

to the product, not by mass production. It was also to allow

attitude towards life and giving to others. Not only for the

He was an impactful man, as his writings were impactful to most

Another great lesson to learn from Ruskin is, we are human, we

connected. Ruskin never accepts that different aspects of

more human, and able to push forward by accepting and embracing

the separation is a kind of dreadfulness. Therefore, actions

Accepting that we are not machines, and unable to be perfect, we

stands which are morality, society and spiritual purpose of arts

relying on machines. Which gives us a chance for more experience Finally, Ruskinâ&#x20AC;&#x2122;s vision crystallises as an undeniable

cultural fact. He speaks to us of the past, and from the past,

Conclution Through this research on John Ruskin, we can all learn a lot from his life. He was a man whom documented every good thing he has seen. This is one good habit that we can learn from Ruskin. It is to be more observant in the smallest detail, document our

thoughts and sketch what we have seen. This gives a chance to rethink, certain detail that we may have overlook when we are

in a hurry. Documentation is a great way to record history and reflect on ourselves. It also contributes to the readers in the

future, like how we are able to pick up lessons from Ruskinâ&#x20AC;&#x2122;s works he has documented.

but also of the ways in which past things can be refashioned and recuperated. We may rightly question claims that he persists as

a contemporary. Commemoration, at its best, avoids unthinking absorption or blind celebration. Whether or not we endorse his personal vision, Ruskin places a revealing pressure on vision itself. Seeing becomes an ethical faculty, a function as

interested in the process as in its end-product. As such it recovers a form of vision hospitable to broader kinds of

knowledge and self-awareness. His attention to the world favours innocence over scepticism, and intuition over learned

principle; but it also contains its own rigours, privileging

as it does what is seen above what we merely think or assume to be there.

PROJECT 1C : INDIVIDUAL BIOGRAPHICAL RESEARCH

WILLIAM MORRIS • Known for :Leader of Arts and Crafts Movement • Born:March 24, 1834- Oct 03, 1896 • Notable Quotes: “ If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful.”

CONTENTS Influence Characteristic of his Art Purpose Success and Failure Summary

Influence

INDIVIDUAL BIOGRAPHICAL RESEARCH: WILLIAM MORRIS

TAN LING QIN 1001746635

Influence • Neo-Gothic

• Medieval Art

When William Morris visits with Street and Burne-Jones to Bel-

gium and northern France, where he first saw the 15th century painting, it confirmed Morris in his love of Medieval art. Medieval buildings in Oxford proved to inspired and develop his attraction toward the Medieval history and architecture. Medieval styles in William Morris designs - Using bold forms - Strong colours

One of William Morris’ significant work of Medieval Art in William Morris’ design is the Red House. It was designed and constructed

in Medieval art and Neo-Gothic style, The aesthetic styling of the house has clearly indicated William Morris’ fixation on the medieval ideal: steeply-pitched roofs, prominent chimneys and

cross gables indicates the example of Tudor Gothic design. The

L-shape of the house’s footprint allows it to partially wrap around a garden, simultaneously creating an asymmetry typical of medieval structures built and renovated incrementally over

time. Red House is exposed to bricks and timber as Morris’ was inspired by nature materials. The Gothic style was a favorite of

Arts and Crafts practitioners; to them, it hearkened back to an age of greater craftsmanship and human dignity.

INDIVIDUAL BIOGRAPHICAL RESEARCH: WILLIAM MORRIS Two Interior Spaces of Red House which shows the characteristics of William Morris’ art and environment. •

Drawing Room

Drawing room is filled with Morris’ wallpaper and have a visual of

the outdoor activities. Morris saw his love for his wife, Jane and decided to make the drawing room a paean to the constancy of love.

•

Bedroom

The bedroom was apparently one of the best decorated and fur-

nished rooms. It was simple and was decorated with William Morris’paintings. One of them was the biblical paintings which were hidden.

INDIVIDUAL BIOGRAPHICAL RESEARCH: WILLIAM MORRIS

Characteristic of William Morris’ Art •

Stresses the inherent beauty of the material

•

Value of simplicity, utility and beauty

• •

Importance of nature as inspiration

richness of colour and complexity of design

Works done in the Arts and Craft style have patterns that tend toward rectilinear, or straight-lined and angular forms, but they do also include curved lines. Images are very stylized, but use many natural elements. Colors tend to be natural tones, such

as deep green, browns, rich reddish terra cottas, and similar earth tones. Morris’ wallpaper are mostly designed based on na-

ture and include many natural elements such as vines, birds and flowers. As William Morris mastered the art of woodblock print-

ing, he had his wallpapers printed by hand, using carved, pear woodblocks loaded with natural, mineral-based dyes and pressed down with the aid of a foot-operated weight. Each design created

by Morris was made by carefully lining up and printing the woodblock motifs again and again to create seamless repeat.

“ Remember that a pattern is either right or wrong. It cannot be forgiven for blundering, as a picture may be which has otherwise

great qualities in it. It is with a pattern as with a fortress, it is no stronger than its weakest point” said Morris about the precise process.

INDIVIDUAL BIOGRAPHICAL RESEARCH: WILLIAM MORRIS Comparison of Famous Tapestry from two different country/culture but both in 19th & 20th century.

WOODPECKER TAPESTRY – William Morris(Europe)

The extent to which Morris’designs are

influenced by the Medieval art, it is abundantly clear from the design of his

work, not only in its gothic lettering

THE SUITORS – Gerhard Munthe(Norway) Gerhard Munthe’s work are packed with information, full of detailed, multi-layered storytelling of Norwegian folklore. Recognizable motifs, patterns and typology were taken from the works and abstracted to simplified graphic forms that can be used across the identity material.

and busy pattern-work, but also, from the

Munthe’s emphasis on traditional and national crafts, notwith-

medium.

But his mythic material prompted a more obviously modern con-

decision to employ tapestry as an artistic

Woodpecker Tapestry is a simple decorative

vertical panel but a remarkable piece completed by a process of hand-loom work. Morris’central idea of bringing nature’s

beauty into his design is realized in this

tapestry. He has a deep love towards all natural things. Motif in this tapestry is showed through the natural world with its

flowers, trees and animals. By utilizing elements of caolour, a harmonious design that signifies naturalistic and playful is

produced. To sum up, Woodpecker Tapestry

displays William Morris’ philosophy of bringing nature’s beauty into his work. His design was clearly inspired by living

forms and produced by natural materials

and it is the aesthetic of nature that makes William Morris a significant designer in the history.

standing his resistance to traditional rules of perspective. cern with dreams and psychological disturbance. The connection

in Munthe’s work between medievalism and modernity brings William Morris to mind.

The surrealistic currents of his work,

his reimagining of pattern and his commitment to the creative

translation of design as a distinct practice connect him to British Arts and Crafts practitioners, while insisting equal-

ly on a differentiation, on a distinct vision that reveals the 19th-century roots of modern Norway’s creative rebirth.

INDIVIDUAL BIOGRAPHICAL RESEARCH: WILLIAM MORRIS

Purpose â&#x20AC;˘ Return to handcrafted detail-oriented design

â&#x20AC;˘ Promoted the joy of craftsmanship and beauty of nature When mass production came along, the art of making things-craft-

ing them- started to faded away. William Morris suppose that industrial production caused us to be less creative and removing the skill from the manufacturing process.

Success and Failure of William Morris Success: Raising the Status for the Craftsmen and Promoting Respect for Native Materials and traditions Failure: Produce Art for the Masses

IDEOLOGY NOT DESIGN

However, the major innovation of the Arts and Craft movement was

in their ideology, not in their style or design, which harked back to medieval architecture and tapestries, illuminated man-

uscripts and rustic styles of decoration and furniture. Though the movement was successful in raising the status of the crafts-

man and promoting respect for native materials and traditions,

it failed to produce art for the masses: its handmade products

were expensive. Only the wealthy ones are affordable to owned paintings done by William Morris.

INDIVIDUAL BIOGRAPHICAL RESEARCH: WILLIAM MORRIS

Summary

TAN LING QIN 1001746635

Summary Arts and Crafts Movement was born from the values of people concerned about the effects of industrialization on design and traditional craft. During the Victorian era’s Industrial Revolution,

William Morris was the one who strived to protect and

revive the traditional techniques of handmade production that

were being replaced by machines. He actively promoted the joy of craftsmanship and nature of beauty. Craftsmanship was the

only way to restore the workers’ lost dignity and wholeness. By making things both aesthetic and functional, workers could

express their unique personalities and understand the meaning

behind what they did. Art and craftsmanship were the only way out of alienation. William Morris did not have modern robots and

artificial intelligence in mind when he wrote his vision of the future of work.

We should continue practice and appreciate the traditional

craftsmanship that was strived by William Morris. As what he

said in the quote, by working at it and will it manually, a man working on something will only exist as the mind and soul are exercising. Memory and imagination can only exist in one’s mind but in a machine. Only craftsmanship will be able to express our unique personalities and find meaning in what we do.

“ A man at work, making something which he feels will exist because he is working at it and wills it, is exercising the

energies of his mind and soul as well as of his body. Memory and imagination help him as he works.”- William Morris.

PROJECT 1C : INDIVIDUAL BIOGRAPHICAL RESEARCH

CONTENTS

CHARLES RENNIE MACKINTOSH ‘Life is the leaves which shape and nourish a plant, but art is the flower which embodies its meaning’ – Rennie Mackintosh

Background Design Influence Mackintosh’s contribution Significant works Success and Failure Conclusion / Reflection

Background

INDIVIDUAL BIOGRAPHICAL RESEARCH:RENNIE MACKINTOSH

design influences

Michelle Vun Yi Ling 1001746536

Art Nouveau Mackintosh had developed new spatial concepts, with traditional Scottish elements adapted to modern way of life. Motifs, such as curvilinear ironwork and floral mouldings. Distinguishable linear style architecture and decorative arts.

Japanese style The building was originally built in Victorian style. Mackintosh and his

wife have made a unique renovation

inside with the fusion of geometric shapes and Japanese motifs in abstract way.

The characteristics which symbolize Japanese style are: THE 120 MAINS STREET FLAT

a. Ukiyo-e on wall, Ikebana flower b. White wall and pilasters

c. Japanese fireplace with woodblock print in white (1868 -1928) Scottish architect, designer , painter

square frame

INDIVIDUAL BIOGRAPHICAL RESEARCH:RENNIE MACKINTOSH

Mackintosh’s contributions He was the Early Modernism pioneer, blended in Art Nouveau style with modernistic element. Mackintosh has developed his unique style, Glasgow style and Mackintosh lettering.

Glasgow style

Celtic imagery and motifs

Glasgow rose

Elongation and Attenuation

Mackintosh Lettering

The May Queen: Panel from the Ladies’ Luncheon Room by Margaret Macdonald Mackintosh (1900)

INDIVIDUAL BIOGRAPHICAL RESEARCH:RENNIE MACKINTOSH

Significant works

- architecture Glasgow School of Art, United Kingdom

a. Large machine-produced glass and iron windows that light the studios show Mackintosh utilising modern industrial techniques

b. Floral motifs in wrought iron beneath the exterior windows, whilst floral and geometric Art Nouveau decorative motifs are worked into the fixtures, balusters, mantelpieces, bookcases and tables of the library

c. The library also featured decorative details including short

balustrades between a gallery and the wooden uprights that were enamelled in bright colours and a cluster of electric lights that cascaded from the centre of the ceiling

INDIVIDUAL BIOGRAPHICAL RESEARCH:RENNIE MACKINTOSH

Success and failure

d. The May Queen: Panel from the Ladies’ Luncheon Room

- art The May Queen: Panel from the Ladies’ Luncheon Room d. Mackintosh and his wife, Margaret Macdonald

Mackintosh,

collaborated

on a pair of gesso panels with strong sense of Glasgow style

geometric,

the

underscoring

the

chair

back

the

looks is

rigidly curved—

juxtaposition

the then- developing art form of Art Nouveau

His works and career in his

way

Modernism

had

hometown, Glasgow declined.

influence abroad, especially to

between the severe and soft lines in e. The Hillhouse chair

Rennie Mackintosh, who pathed brought a huge art and crafts

The Hillhouse chair While

Failure

the

- furniture -

Success

the Europe.

Although Mackintosh was nearly forgotten for several decades, the late 20th century saw a revival of interest in his work. The stark simplicity of his furniture designs, in particular, appealed to contemporary and modernistic taste.

INDIVIDUAL BIOGRAPHICAL RESEARCH:RENNIE MACKINTOSH

Conclusion / reflection

- It’s okay to be different -

What can we learn from Rennie Mackintosh? Two roads diverged in the wood, he took the one less

travelled by and that has made all the difference. It’s

his courage to be unique and absolute dissimilar on what he did during that era. Just being authentic despite

criticism, it was the very thing that made him successful. You be you, it’s okay to be different, it’s okay to just have a few people who truly understand and embrace you.

That is when you start to shine. Too often we give up all things just to feel accepted. We prefer being integrated

into a larger group, rather than be a sheep in the wolf’s pack. We live in an era of endless opportunity, which we can express our own ideas and stand out among the crowd. Just like what Rennie Mackintosh did, he identified the

chance and constructed his marvellous Mackintosh’s legacy.

-Innovative ecosystem In short, Charles Rennie Mackintosh left behind a distinctive career impact to the world.

However, it is

more crucial to sustain and innovate the essence of design

by intersection or convergence of practices to create a desired effect.

PROJECT 1C : CRAFT MOVEMENT RESEARCH

CURRENT ISSUES & FUTURE CHALLENGES

CONTENTS Traditional vs Mass Produced crafts Depletion of Raw Materials Covid-19 Pandemic Environmental Concern Passing Down Craftsmanship Craft and Contemporary Market

“Craft-making industry has slowly being depreciated by the millenial and modenized society due to various reasons from current issues Covid-19 to technological advancement. It is vital to study the cause of the deterioration and turn it into an opportunity through the suggested methods to adapt with the fast paced era.”

Tan Wei Zhe Ong Wei Tjea Tan Yong Quan Sylvester Gabriel

1001747446 1001957302 1001747037 1001746722

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

market competitive

comparison

craft

products

mass products

natural material

handmade

products

artificial material

are

factories polluted the

environmental

friendly than factorymade

products.

water and air by burning

resource

improve skill

handicraft

producing

and

workers

knowledge

and

metals

chemicals.

inhibit skill

products

requires

coal

are

not

very

motivated, since their

skills.

work is very repetitive.

creativity time consuming

handicraft many a

includes

powered

details.

products

procedures

lot

costly

time saving

require a lot of

with

develop

production rate

and

much

can

produce

faster.

cheap

time

mass production enables

for a skillful craftman to produce one product.

machinery

companies

cost

larger with

produce

quantities

machines.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

example of mass product : IKEA

pros

convenient flat

introduction IKEA is a Swedish-founded, Dutch-based global

retail behemoth. Offering low-cost, visually

appealing furniture in well-designed highlycoordinated

warehouse

spaces,

itâ&#x20AC;&#x2122;s

minimalistic

packaging

maximised

storage

efficiency and lower

the usage of trucks.

simple

eco - friendly

structure

all

easier for clients to

assembly

less

hazardous

environment

dismantle at will.

concept

low cost

well design

good utility

e n s u r e

ensure the

product are

affordable

quality of

products

utility of

products

time consuming

durability

everything have to be

Some

concept not suitable

to cheap materials

done by yourself, DIY for

everyone.

which

m a t e r i a l s .

cons

retailer and has been for the last decade.

are

made by recyclable

little

wonder IKEA is the worldâ&#x20AC;&#x2122;s largest furniture

products

pretty

products flimsy

are

due

or users mistakes.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

depletion of material

depletion of raw material

When

overconsumption human

population

natural

resources

increases, of

also

the

use

increases.

Man

overexploited natural An

overpopulation increase

populace

expands

the

necessary

sustain

it.

This

leads to an excessive incentive too

many

extract

resources.

our

advances

industrialization,

we need an increasing

amount of resources to

the

develop new technologies

for

and

his demand and comfort.

need for resources and conditions

resources

industrialization

Through

Wood

deforestation is

material

industrial (furniture building

things

important for

purposes. and

materials)

supply

our

enough daily

lifes for all people.

pollution

Since

the

industrialization period, levels

increased. products

pollution

significantly The

from industry the

river

wasted

discharged polluted

and

air.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

How COVID-19 affects Craftsman

LOST PROFIT Lost

E- COMMERCE

profit

and

Losing job for some self employed

craftsmakers.

E-commerce option and

ONLINE STUDIOS Face-to-face

workshop

far

replace

bazaars

market.

craft

Raise awareness of eco-

distance

raw materials are hard

online

studios and e- learning is

trading

RAISING AWARENESS

studios are not allowed, thus

traditional

replacing

it.

friendly

products.

to collect during this pandemic due to lockdown of

many

countries.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

Does Craft Matters?

PRESENT DAY

OLDEN DAYS Promotes the heritage of

a country through the use of indigenous materials. Preserves

traditional

knowledge and talents.

Manufactured

mainly

by hand. Most of the crafts

made

are

for

daily necessities like

furnitures,baskets, fish traps and cutlery

USAGE OF CRAFTS

Mainly used for fashion

and aesthetic purposes.

Preserves knowledge in

traditional

and

modern

talents

way.

Manufactured by factories

to boost the tourism of the

country.

Letting

tourist get to know the country’s arts

and

traditional

crafts.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

Environmental Concern

WHAT... is the major problem?

WHY... should we concern about it?

HOW TO SOLVE?

Deforestation creates a

Crafts usually requires

Rethink

problems

host

environmental

Thailand.

raw material that can found

nature.

the

role

craft today. The purpose crafts

were

made.

Wetlands and mangroves

Cutting down big amount

Innovation

have

purposes

industries. Making the

coastal been

degraded

areas

seriously expansion

of commercial, industry, and

much

tourism, of

biodiversity

causing

Thailandâ&#x20AC;&#x2122;s losses.

of trees for industrial air

worsen

pollution

climate

the

causing

changes.

and

collaboration

across

crafts useful rather than as an aesthetic purpose. Practicing (reduce, recycle) younger

the

reuse,

teaching

the

generations.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

passing down knowledge of craftsmanship Traditional music

instrument-Karen Harp

We live in a world in which the digital explosion has made so many

originated from North-

categories of objects redundant. These are things that once had

west Thailand.

a role that went far beyond utility. They were the possessions

that we used to embody memories, to mark the essential landmarks

of life, to show something about who we are. As we used them and lived with them, they marked the passing of time.

Sustainability

The past 200 years have seen the rise of the machine, which can Traditional

Thai Sculpture

of Sanctuary of

make things infinitely faster and cheaper, meaning traditional human-made craft does not stand a chance to survive. There is also the philosophical threat of the marketplace.

Truth, Pattaya.

A silk weaver in Baan Ta-Sa-Wang, Surin

Province produces a

fine Thai silk brocad.

Symbol of Thai Culture and Civilization

Craft is about connection â&#x20AC;&#x201C; to nature, to oneâ&#x20AC;&#x2122;s place and to oneself. It is about connecting the past to the present,

while looking towards the future. Without training the next generation of craftspeople, there is a risk of losing some of most important built heritage.

Inheritance

To ensure that the knowledge and skills associated with traditional artisanry are passed on to future generations so that crafts can continue to be produced within the communities, providing livelihoods to their makers and reflecting creativity.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

what does younger generation think of crafts? Crafts as an expression

Crafting creates opportunities While crafting was once a necessity for clothing your family or creating items you needed in your home. The passion for creativity and

desire for entertainment, many modern crafters see that crafting let us explore the creativity side of us and provides valuable opportunities to earn a side income today.

Crafting is no longer only what grandmas do but has gained popularity

in Millennials and Generation Y. It is a way for them to express themselves, be creative, spend time with family and friends as well as possibly a job for some.

Access to new tech for crafting The younger generation tends to take advantages of the latest technologies such as 3D printers, 3D scanners, laser cutters, computer

numerical machinery together with traditional crafting tools for metal, clay, wood or textiles.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

issues in thailand Traditional Thai Weaving

Thailand has been recognized for its traditional cultures, including

weaving. Handmade textile production has been inherited by craftspeople

for generations. However, since the end of World War II, traditional weaving has been in severe decline in many parts of Thailand, affected by the rise of industrial factories and the number and choices of mass-

produced goods. There has been a shortage of experienced weavers and younger practitioners in traditional weaving.

Currently, there are not many weavers who are between 20 and 49

years old. Many people have migrated to towns and cities to take

up jobs that can provide a higher income or to study in higher education as well as to live a more modern lifestyle. The future of traditional weaving in Thailand is uncertain.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUES & FUTURE CHALLENGES

issues in malaysia Labu Sayong (Kuala Kangsar, Perak)

Dato’ Shafik Fauzan, Former KPWKM Committee Chairman “A

lack

interest

among

youths

making

handicraft products could be due to their inability to appreciate handmade goods. Malaysian youths,

however, preferred earning a fixed income over making and selling traditional handicraft.”

Ruwaida Baharudin, Traditional Wood Craver Besut, Terengganu “The fact is that the demand for craft products is high but there is simply not many skilled artisans The number of labu sayong producers using the traditional method and their output is decreasing. Modern production techniques cause the

pottery producers had switched to the modern pottery production. Efforts

around. The younger generation must do what they can to keep this craft alive and breathe new air into it, so that it doesn’t disappear with time.”

to continue the traditional mode of production are very challenging,

not only in terms of profitability, but also due to competition from large scale modern pottery production.

Tay Yak Seng, Traditional Cane Furniture Maker Batu Pahat, Johor “My daughters know how to weave, but I’m discouraging them to take over the business. The money you get isn’t much and it comes slowly. There are no rest

days. You need to have a lot of passion to do this, something that I don’t feel many youngsters have in them these days. So, no point la.”

how do craft adapt and stay relevant in contemporary market ?

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

why is it that makes our craft irrelevant?

issues preventing crafts from adapting to modern lifestyle - crafts requires practied form of apprenticeship

globalization | modernsation C R A F T

Modern lifestyle

- digitalized world - fast paced

- academic oriented (education) - money-oriented

- industrialization

- Not well-defined craft in curriculum

- slow & demanding process

- emergence of contemporary form of arts

- most crafts are family based business - no formal apprenticeship - provide less job opportunity

traditional

crafts-making

without

innovation get diminished by the society - stigmatization of idea that smart people make their living with their minds, not by their hands

- craftsmen is not exposed to new modes of marketing

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

value of crafts The issues that we faced has lead us to the question of whether craft still acquire the value of craft in the market and also in everyday people’s live?

We have to understand that craft

is something to made, why it’s

made, vital to modern life than ever. It represents material,

provenance and the art of making things. We get to learn the value

of making things and appreciate tangible things more. spirit

human mind

physical

body & material

perception of people towards craft

Crafts and culture are often strongly linked together as it

keeps the local culture heritage and

national

identity

alive.

SELF-EXPRESSION

SKILL | CREATIVITY

SOUVENIR

Strenthen relationship between

locals and plaace (part of social nature of crafts. It also gives immaterial value and therapeutic values.

Crafts is indeed a medium/tool for people to express themselves

and also their sense of taste of culture. Crafts is a platform to showcase the locals’ skills and creativity. Crafts is usually associated with souvenirs for tourist/foreigners.

economic value social value cultural development

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

adapt and stay relevant

GOVERNMENT

PRIVATE | NGO

role of crafts now

MASS MEDIA

External parties is really crucial in the development and continuation of traditional crafts in the creative industry.

This will provide marketing channel and opportunity for crafts to be exposed to the local market and international market.

Craftsmen is able to dialogue with the materials to create - events

certain impression.

- exhibitions - campaigns

- competitions - marketings

- advertisement

PROTOTYPE PRODUCT

craftsmen machine

- training & workshops

- luxury brand collaboration

- tourism industry collaboration

Craftsmen / Artisan are now mostly part of industrialization

of making crafts. However, manual works will always remain. With the combination of craftsmen and technology,

it will leads to more complex meaning & possibilities.

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

Contemporary Thai Craft traditional x innovation x industrialization

Korakot is is a bamboo wickerwork crafts inspired by the surrounding nature

mae teeta

which sources materials locally and traditional skills of the people in the Thai community. Mostly used for everyday items in the past, wickerwork has

been oudated and substituted by chaeper materials to imitate the outloook.v

Traditional wickerwork

Mae Teeta is a local indigo dyeing techniques that was almost disappeared from

Sakon Makhon province. Adopting the traditional wevaing and dyeing techniques of high quality, the brand sources materials

that include indigo extracted

Contemporary wickerwork design items

- specialized skills - specialized materials - good time management

from trees using an organic fermentation techniques. Communicating the cultural significance of the technique has posed a challenge to a younger generation.

Traditional methods of making mae teeta

Repurpose the craft by innovation to cater younger generation

korakot

Depreciation Neglegence of the craft

Entrepreneur Brand Building Campaigns

Production of the invented craft into fashion

Restore & appreciation of traditional craft

Creates community of craftsmen

Creates job Empower locals Reduce social problem

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

Designer Thai craft stores These contemporary look thai craft stores has rejuvenate the traditional crafts. It

incorporate modern interior design with the exhibition of the luxury craft products. This has strongly reflect the taste of culture of the Thailand and shows how they really appreicate and respect their local art and crafts even in our time now. vv Alexander Lamount

Good design

Another story

Wonder room

PROJECT 1C : CRAFT MOVEMENT RESEARCH

Economically sustainable models of craftsmanship practices The decline of traditional production to consumption systems in todayâ&#x20AC;&#x2122;s society has caused the traditional crafts to be undervalued in the current market. To revive and spread awareness of traditional crafts, efforts must be made to preserve and value these skills and knowledge while sustaining craft and craftsmen in current times.

CONTENTS .Introduction .Circular Economy .Provenance in Design & Making .Co-operative Business in the Craft Industry .Social business & the Capitalist

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

Introduction

Fong Li Theng 1001746888

how are we able to sustain? Post-industrialization craftsmanship is endangered with the influx of industrial products into their traditional closed

economies. Technology over tradition, and for mass produced

substitutes over craft products, has disrupted traditional localized production-to-consumption systems, resulting in a loss

of livelihoods for traditional producers as well as its cultural aspects. To bring back art and handicrafts into the market, craftsmen and the artisans need to understand the modern market and its promotional strategies, and they have to understand their space in the current global market.

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

what is economic sustainability? Economic sustainability is one of the pillars and integrated part of sustainability where we focus on how we are able to use, safeguard and sustain both human and material resources

CRAFT INDUSTRY

to create long-term sustainable values by optimal use, recovery and recycling methods. From another perspective, we can define

it to be influenced by economic structures created by humans to cultivate sustainability when different sustainability models

are introduced at the starting point. With its innovative potential to combine sustainable practices, technology, and profitable tools, we have the opportunity to view and study them from different perspectives as well as to influence them in order to

promote sustainable development so that the future generations can cater to their needs.

Economic Models

Economic models are the foundation to a business on how it runs and sustains its business works from an economic perspective. These economic models are crucial in describing the business on how it creates, delivers, and captures value for all its stakeholders while continuing to strive for better performance and business growth. With these economic models, we are able to create postive business efects.

Sustainable Economic Models

Sustainable economic models are a part of the economic model that targets on processes of developing and creating a healthy economy, that supports and sustains the business, people, the environment as well as the cultural aspects of the community over the long-term. These models are crucial in order to be avoid compromising the future generation.

Social Environmental

Environmental

Natural Resource Use Environmental Management Pollution Management (air, water, land & waste)

Environmental Justice Natural Resources Stewardship Locally & Globally

Environmental Economic

Energy Efficiency Subsidies / Incentives for use of Natural Resources

Sustainability Social

Standard of Living Education Community Equal Oppurtunity

Economic

Profit Cost Savings Economy Growth Research & Development

Economic - Social Business Ethics Fair Trade Workerâ&#x20AC;&#x2122;s Right

CE C I O RN CO M UY L A R

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

other documents are not valid forms of

its rightful owner.

Disputes About Authenticity Items that have a documented chain of ownership from the moment of creation to the current owner are more likely to be authentic.

Disputes About Value If an item prove the authenticity of

a piece then will greatly increase its value. Piece that passed though the

hands of a celebrity, historical figure, prestigious collector, or famous gallery, then its value will increase.

ALL OWNERS AND SIGNATURES ARE VERIFIABLE Contact information for all signers must

be included somewhere in the provenance — and be verifiable.

IT’S BASED ON FACT, NOT OPINION, UNLESS FROM A RESPECTED SOURCE Statements that a piece looks similar to

other, authentic pieces can’t be considered provenance unless they come from a

person or organization with specific expertise.

CRAFT MOVEMENT RESEARCH: ECONOMIC SUSTAINABLE MODELS

Nyonya Beaded Shoe design and

made by Mr.Tan Kok

Oo in Penang, Malaysia

Originated from the Straits of Melaka in Ma-

laysia. Beaded shoes, known as Nyonya shoes,

Peranakan shoes, or kasut manek in Malay, are integral part of Nyonya culture. Nyonya are the

descendants of early Chinese immigrants, who

settled in Penang, Melaka and Singapore formed a unique culture, which is a mix of Malay and Chinese.He slippers are

beads (manek potong)

made of Peranakan cut

Oil paper umbrella design

and

made by Chiang Mai Handicraft Village ,Thailand.

Originated from a monk called Phra

Intha, who travelled to Myanmar and

discovered people making oiled umbrellas.

Made of mulberry bark and paint-

ed with oil paints mixed with Mameu oil of many different colors, such as red, yellow, blue and green.

T R A D I T I O N A L C R A F T

P R O V E N A N C E O F

Balinese Masks

design

and made by Ida Bagus Anom in Bali , Indonesia.

Originated from Bali and

are full of spiritual meaning that stems from the history of animism and dynamism

on the island, along with influences from Hinduism.

The masks are created to house spirits and energies and are used in rituals or ceremonies

as a medium for ancestral spirits to pass back over to this world.

Made from crocodile wood

(pule), a tree that grows in cemeteries, the domain of the goddess Rangda.

CRAFT MOVEMENT RESEARCH: ECONOMICALLY SUSTAINABLE MODEL

introduction

Traditional Craft Industry & Sustainable Business Models

The Traditional Craft industry usually refers to smallscale industries that originated from pre-modern times which provides communities with traditional commodities or services. Two significant features must be included in the context of â&#x20AC;&#x153;Traditional Craftsâ&#x20AC;?, first is reflecting the history of industry and second is the tools used in the industry. Traditional craftspeople inherit the necessary skills and knowledge from their parents and their parents from the generation before them, passing on invaluable history in the process. The tools in traditional crafts rely on workmanship, natural power and materials obtain from nature. More often than not, this industry is managed by family relationships in order to pass on cultural knowledge from one generation to another.

CRAFT MOVEMENT RESEARCH: ECONOMICALLY SUSTAINABLE MODEL

arts-cooperative business An art co-operative functions similarly to other co-operative businesses but is tailored to fit its artisan member’s needs. An artist co-operative is most commonly form for marketing purposes and sharing gallery or retail space. Other purposes for creating and investing in an artist cooperative may include purchasing expensive equipment, sharing a studio or purchasing materials in bulk together.

Circle Craft is an artist co-operative based in Granville Island, Vancouver and has members producing a variety of handicrafts. An annual market is held by the cooperative to display and promote member’s products. The organization is self sustaining through commisions of member’s sales.

two sides// ethics • • • • • •

voluntary membership reflects diversity of local community and create job opportunities promote growth in community through high quality products providing financial security to artisan members traditional arts and craft uses natural materials which reduces pollution promotion of cultural heritage by limiting participation to local artisans job opportunities for rural traditional

Charleston Crafts is a juried arts and crafts co-operative gallery based in South Carolina. Artists based in South Carolina are only accepted to promote growth in the community. Members are required to pay an annual fee in order to maintain the co-gallery owned.

artisans

business • • • • • • •

provide market contact for young artisans artisan members are able to reduce cost by buying materials in bulk quantities increases income of artisans by eliminating middleman gallery management and responsibility can be distributed among members provide a platform for young artisans to start their career harder to attract large investors due to low financial return limited distribution of profits to members

Tanoti is a local congregration of female artists and weavers based in Sarawak. This co-operative specializes in traditional songket weaving and aims to revitalize the art of traditional weaving. The co-operative provides career opportunities for rural and remote villages.

CRAFT MOVEMENT RESEARCH: ECONOMICALLY SUSTAINABLE MODEL

co-operatives // tourism// cultural heritage

co-operatives • • •

provide platform for artisans to expand their business present opportunities with less risk allow more recognition for local artisans

tourism • • • •

association with tourism bodies (MOTAC) recieve recognition as a heritage artist better exposure to visiting tourists recieve funding from government programs (CENDANA)

cultural heritage •

•

preserving and educating consumers regarding cultural knowledge of product creating more career opportunity results in less artisans giving up on their crafts encourage the next generation to pursue this career

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

SOCIAL ENTERPRISE AND THE CAPITALIST MANAGEMENT

SOCIAL ENTERPRISE Social business is a plan for the successful operation business. This business type is to empower the local artisan

to the world, their attention is to redefine the way global works, by investing in local makers and helping their micro enterprise. Moreover, it helps to boost their production

capacity and also the operations mindful and aiming to sustainibility increase life.

artisans incomes and quality of

CAPITALIST

ARTISAN ARTISAN ARTISAN

Capitalist is a person uses their wealth to invest in trade and industry for profit in accordance with the principles of capitalism. But, capitalist in SOCIAL BUSINESS is about of improving social outcome. This social business is a positive side for the capitalist for making profit.

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

Craftmanship Craftmanship is making huge comeback these days because consumers are tired of the cheap throwaway products.

Consumers only seek for authenticity, uniqueness, durability, originality and personalisation. People nowadays want the

quality stuff made just for them. The craftmen have their own ways to create a new things to improve their skills but not doing the same thing all over agaian. They want to invent something that they can get profit from it by sellling it.

Moreover, they can enhance their creative thinking towards Arts and Craft.

SOCIAL BUSINESS +

CAPITALIST +

ARTISAN PROBLEM

OVERCOME

Artisan craftsmanship remains the second largest employer in

The approach is to combines a focus on both sustainability and

and women craftspeople who seek a sustainable livelihood. However,

online market place. By having social business, this could achive

developing countries. It is the main sources of income for both men these artisans are also some of the most marginalized around the world, lacking independent access to the global market.

transparency, ensuring the ethics of each and every piece for the the aim for developing the traditional arts and crafts into a

better way. The capitalist also play roles by helping the artisans making money. Capitalist is not just focusing that but they making profit for their own too.

Handcrafted in Kenya By - Ojiko - Elijah - Andrew

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

THE ARTISANS

ELIJAH

OJIKO

Memories and the Process

Kenya’s crafts Kenya’s jewelry is very authentic because of the material that it is using. Each pieces were made from upcycled and recycled materials by some talented artisan which is Ojiko, Elijah, and

Andrew. Every pieces of handcrafts were inspired by the ridges and textures of Kenya’s sand dune.

CRAFT MOVEMENT RESEARCH : ECONOMICALLY SUSTAINABLE MODEL

THE ARTISANS

SARUM

VANN

Memories and the Process

Cambodia’s crafts Artisans Angkor has developed from the ambitious belief that it is possible to revive ancient Cambodian Arts & Crafts while improving

Handcrafted in Cambodia By - Da - Sarum - Vann

the lives of thousands of people living in rural areas. Not only are we committed to the preservation of Cambodia’s cultural legacy, but

we also want to empower individuals by helping them secure their future by the means of education and welfare.

PROJECT 1B : CRAFT RESEARCH

CONTENTS

THAILAND LOCAL BODIES There are total over 2000 organizations in Thailand which supports over 300,000 local craftsmenâ&#x20AC;&#x2122;s living through innovative works.

.Introduction .Existence of Local Bodies .Comparison between Local Bodies .Recommendation .Location of Chosen Thailand Local Bodies .Thailand local bodies that support local craftsmen:

-The SUPPORT Arts and Crafts Interna tional Centre of Thailand (SACICT) -Thailand Creative & Design Center (TCDC) -ThaiCraft Fair Trade

.Programme and Events Happening in Year 2019 .Thailand local bodies that collaborative innovation of products: -Iconcraft | Iconsiam

-VT Thai -Crafting Future Thailand x British Council

Tee Yi Qi 1001747073 Eunice Tan Kai Yi 1001747624 Maybelle Mak Hui Ling 1001746603

Introduction to local bodies

CRAFT RESEARCH : LOCAL BODIES

During the 1960s and 1970s,

handicrafts

were promoted further and became a symbol of

the identity of Thai culture.

Why local bodies is important in handicraft industries? Promotes the beauty of handicrafts of Thailand globally and to preserves traditional knowledge and talents. Artisans could engage with local bodies to gain employment opportunities.

What is the role of local bodies in handicraft industries?

However, as time passes,

everyday

goods

made by craftsmen were threatened by cheap, mass produced goods.

Hence, many local bodies were established since

Her

Majesty

Queen Sirikit founded SUPPORT at 1976.

As a medium to safeguard the cultural heritage not only to keep communityâ&#x20AC;&#x2122;s identity but also to give economic advantage and other

Development of local

values. To boost up the craft industries to world arena.

bodies

Why preservation of handicraft is important?

from 1980s.

The handicrafts faded away and lost its place in society while industrial products flourished. Thus, the handicraft heritage is endangered and this sector needs attention to safeguard the inherited

skills and knowledge, to transmit it from generation to generation.

became

frequently

started

CRAFT RESEARCH : LOCAL BODIES

Comparison between local bodies Then After Her Majesty Queen Sirikit established SUPPORT to support the

rural people and their skills, more bodies started to establish and act as a medium to connect the artisanâ&#x20AC;&#x2122;s community, starting from

a small scale. Physcial service were given when technology was not of an easy access.

Now Technological advances and rapid social changes have triggered the support bodies to develop their own online social platform, ex-

panding their scale. Craft makers also use digital technology to practice or produce their work because they have easier access to technology and reduced costs. Digital systems are seen to upgrade the existing creativity.

Recommendation In order to sustain traditional craft heritage and ensure continuous transmission of craft skills and knowledge, government, local

bodies, craftsmen and public should work hand in hand to achieve it.

CRAFT RESEARCH : LOCAL BODIES The SUPPORT Arts and Crafts Interna-

Location of Chosen Thailand Local Bodies

Thailand Creative & Design Center (TCDC)

ThaiCraft Fair Trade

1160 Charoenkrung Road, Bangrak,

Sua, Phra Nakorn, Bangkok 10200,

tional Centre of Thailand(SACICT) 59 Moo 4, Chang Yai, Bang Sa-ai,

The Grand Postal Building

35 Bamrung Muang Rd., San Chao Por

land

Bangkok 10500.

Thailand.

Phranakhon Sri Ayutthaya 13190 Thai-

VT Thai

ICONCRAFT

VT Thai Group Co., Ltd.

IconSiam, 299 Soi Charoen Nakhon 5

Road, Ban Klongsuan, Prasamut Jadee,

Khlong San Bangkok 10600.

299 Soi Prachauthit 90, Prachauthit Samutprakarn 10290 Thailand.

Charoen Nakhon Road Khlong Ton Sai,

Crafting Future x British Council Thailand 6 branches in Bangkok: Siam

Square(2),Pinklao,Ladprao,Chaengwattana,Srinakarin.

1 branch in Chiang Mai.

CRAFT RESEARCH :

LOCAL BODIES

About SACICT SACICT is a Thailand government-owned

public organization. SACICT is established to aims for excellence in

the management, production and mar-

The SUPPORT Arts and Crafts International Centre of Thailand(SACICT)

keting of Thai handicrafts and also

aims to be the main key in the development of the network of co-operation in production and marketing efforts so as to propel Thai arts and

crafts

products

towards

lo-

cal and international recognition.

CRAFT RESEARCH :

Increase interaction with the consumers International Innovative Craft Fair (IICF) International Innovative Craft Fair (IICF) is a fair that held every

once a year in Thailand. The objective of the fairs is to showcase and

sell distinctive and innovative contemporary

Thai

handicrafts

created

by the country’s top craftspeople. Besides that, it is also a platform

for artist or craftsmen to exchange views and experiences with the public.

LOCAL BODIES

Beneficiary of SACICT Handicraft Craftman • SACICT have in charge on recognise

and develop the skills of craftspeople so that they continue to create precious works of art and pass on

their skills to younger generations. •

SACICT

dom •

using and

support

their

SACICT

craftsmen and cal

the

and

the

craftsmen

skills

earn

and

decent

promote

marketing

expansion

and

wis-

income.

support

activities

their

international

lo-

markets

Conducts Workshop Carry on handicrafts through teachers to youth SACICT

have

organized

activity

which is “carry on handicrafts through teachers to youth” at the Navasilp

Building. The purpose of this workshop is to transfer knowledge of creating handicrafts to the teachers and educational personnel. In order for

them to brought the handicraft knowledge to teach the students and youth.

Community • Efforts are made by SACICT to develop new products attractive to both the domestic and international markets. •

SACICT

have

•

SACICT

have

and

panded

lic

the

promoted

and

marketing

awareness

value

raised on

ex-

channels

the

Thai

pub-

beau-

crafts

CRAFT RESEARCH :

LOCAL BODIES

About TCDC The Thailand Creative and Design Centre or TCDC is a government-owned public organization and it is also

a public resource center in Thailand

that focused on the design and creative industries. TCDC is a place

Thailand Creative & Design Center (TCDC)

that can access to knowledge for

Thai residents, as well as inspiring Thai people to be creative through

workshops, activities and inspirations from the successful designers

worldwide. Besides that, TCDC also play an important role in helping

to promote Thai designers or artists on the international market.

CRAFT RESEARCH :

Increase interaction with the consumers Chiang Mai Design Week (CMDW) Chiang Mai Design Week (CMDW) is an event that held every two years, which

will conduct exhibitions, various activities and workshops at various locations in Chiang Mai, Thailand. The

purpose for this event is to present the design innovation or a new project

that addresses the needs of today’s

people as well as act as a discussion

area to exchange views and experiences meet and share design knowledge.

Beneficiary of TCDC Handicraft Craftman • TCDC have strengthened artisans’

capacity to market their products. • TCDC supports disadvantaged producers. alized

This Crafts Innovation workshop wants to create awareness of the value of

“Thai art and wisdom” as a factor that

will create success for Thai entrepreneurs. In this workshop, all participants got a chance to experience

the work of Thai art and craft through creating Thai lacquer works with the master, Thanin Chuenjai. This is a

perfect lesson for learning the value of ‘local wisdom’ through thinking processes and integrating of new techniques and contemporary society.

producers

with

and

margin-

workers

sition of vulnerability to security and economic self-sufficiency. •

TCDC

promote

the

expansion

craftsmen cal

SACICT Crafts Innovation Workshop

work

order to help them move from a po-

and

Conducts Workshop

They

and

marketing

and

international

support

activities

their

lo-

markets.

Community • TCDC provide the public learning system for creation of Thai intellects.

• TCDC have built fresh and upto-date resource centre rich with the creative knowledge to public.

• TCDC also create knowledge development

innovation

favour-

able for the improvement of Thai economy

and

quality

life.

LOCAL BODIES

CRAFT RESEARCH :

LOCAL BODIES

About ThaiCraft Fair Trade ThaiCraft sell handcrafted products

from the village communities of Thailand. Fair Trade is also a social enterprise and they promoting self-reliance for village artisans from

all parts of Thailand. Their objectives are to generate a fair income for village producers, to help keep

ThaiCraft Fair Trade

alive the diverse craft traditions of

Thailand, and to promote Fair Trade.

Increase interaction with the consumers

CRAFT RESEARCH :

LOCAL BODIES

Beneficiary of ThaiCraft Fair Trade

Monthly ThaiCraft Fair ThaiCraft Fair held most months (usu-

Handicraft Craftman

ally on a Saturday) in downtown Bangkok since 1992. Most of their artisan partners take part themselves in these highly popular events where customers

can select from an ever-changing and

wide variety of gifts with a distinctive Thai accent for family and friends as well as for themselves. ThaiCraft

Fairs showcase the best of village-made handicrafts in all parts of Thailand.

• Fair Trade have provided new market

access

•

with

Fair

producer

Trade

producers

groups.

transparent

and

customers.

• Fair Trade have strengthened artisan

capacity to market their products. •

Fair

price

Trade

paid

ensures to

fair

artisans.

Community

Create Opportunity Most of the craftmens or artisans living in the village and most of them are

earning their livelihood as a craftmens. However, there are many amazing

handicrafts not as exposed and recognozed as they should be, as well

as being sold at a lower cost than

the real value worth.Therefore, ThaiCraft deliberately to work with marginalized producers and workers in

order to help them move from a position of vulnerability to security and

economic

self-sufficiency.

Thai-

Craft Empower producers and workers as stakeholders in their own organisations

• Fair Trade have provided promote

influence

for

the

handi-

crafts to the public and society. •

ing

Fair

the

Trade

have

traditional

preserv-

life

val-

ue of community life and protecting the environment in Thailand.

CRAFT RESEARCH :

February

LOCAL BODIES

August

Cross Cultural Craft

Innovative Work magazine published

December

July

SACICT Craft Trend Talk

Chiang Maiâ&#x20AC;&#x2122;s Design Week

May

ThaiCraft Fair Trade

Year 2019

August

Art and Crafts Forum

April

International Innovation Craft Fair (IICF)

October

SACICT M.A.D.E magazine published

June

SACICT Crafts Fairs Bangkok

Programme and Events Happening in Year 2019

CRAFT RESEARCH : LOCAL BODIES

Introduction of ICONCRAFT | ICONSIAM

ICONCRAFT ICONSIAM

Many Thai craftsmen truly have the skills, yet often somehow fall short

of platforms from which to let their artistry shine. Realising the struggles facing Thai artisans, Iconsiam -- a new Bangkok landmark --

is launching Iconcraft, a specially created venue for Thai designers and entrepreneurs to showcase innovative crafts, add value to their

creations, and at the same time promote the reputation of Thai craftwork on the world stage.

CRAFT RESEARCH : LOCAL BODIES

with more than 300 designers,

creators, innovators and artisans in a vast array of

disciplines to

creatively showcase

Thailand’s innovative Iconcraft is a venue for telling stories crafts.

The centre of Thai innovative

of Thais via their crafts.

crafts and craftwork where a

Duangrit

will be able improve valuable

architect

the past & get

Iconcraft.

new generation of designers

Bunnag, the

crafting skills inherited from

who designed

appreciated among the new generation.

ICONCRAFT functions as a space to present the value of Thai culture to the eyes of the world through innovative art pieces and contemporary craftworks with the concept of “Local Craft Hero to Global Icon”,providing opportunities for artisans to showcase their abilities, masterpieces onto global stage.

Seven categories of the finest innovative art pieces and craftworks: • The Smith • The Painter • The Sculptor • The Carpenter • The Weaver • The Gastronomer • The Therapist

Bangkok Design Week Features Thai crafts

Iconcraft collaborate

Inspirational Space to Create High Skilled

Innovative Craft Designed For Everyday Life

About ICONCRAFT | ICONSIAM

Concept of “Craft The Future.” the event is a platform to show craft products mixand-match artistic elements from various artistic genres in both old and new, local and international.

Operated under the “Innovative Craft Designed For Everyday Life” concept, showcases and sells over 5,000 pieces created by over 300 craftsmen. Also on display permanently at Iconcraft are seven art installations telling stories of the origin and local wisdom of Thai craftsmanship.

CRAFT RESEARCH : LOCAL BODIES

Personalised Product VT Thai was founded by Jirarot Pojanavaraphan (Wat), a young-blood businessman who sees the potential in Thai

handmade product in the world market. Wat

recognizes

prevent global

outdated

Thai

many

factors

handicraft

recognition design,

ranging

that get

from

language

barrier,

digital

market-

as well as the lack of knowledge on technology

and

ing. This is where in

VT THAI ARTISANAL HANDCRAFT WITH SOCIAL IMPACT

fulfill

the

VT Thai comes

missing

gaps.

About VT THAT Seeing the potential in Thai handmade wickerwork and its rapid growth in world market, Jirarot Pojanavaraphan (Wat) CEO of VT Thai Group Co.,Ltd, decided to launch an e-commerce platform vtthai.com â&#x20AC;&#x201C; an online modern Thai design handicraft handicraft marketplace, which aims to become the worldâ&#x20AC;&#x2122;s shopping destination

Thai

handmade

products.

CRAFT RESEARCH : LOCAL BODIES

Collaborative Innovation for Product Design

Preserve the Traditional and Pass on the Vision

VT Sekection

How to preserve Traditional?

There are a lot of products are collaboration among VT THAI team , Designer and

sign into handcraft product.

help preserve the Thai traditional way

local artisan which work together to add the value ,modern and contemporary de-

VT select is a collection of products which VT Thai have carefully selected. All the products are very extraordinary work or making from rural craftsmen and craftswomen. The latter is proudly called ‘VT Local support‘. Some of the rural people has the skill. However they are mostly around 60-80 years old and don‘t know much about the design in modern world or creativity and market.

Thai

also

has

important

mission to be accomplished that is to

of living and passing on the local wisdom to the next generation. It

is very ironic that the new generation Thai sees these old-fashioned

object, while in the eyes of the world they are precious work of art.

The Target Market The target customers for VT Thai are

foreigners traveling to Thailand es-

How to Pass on the Vison

pecially tourists from Europe, United

These traditional craft are highly

recently started focusing on Japanese

ers across Thailand does as part of

line ads through Google AdWords, and

design

page. Towards the end of the year, VT

gold

State, China, and Japan. The brand has

valuable knowledge that many villag-

market, by doing blogger review, on-

everyday living. With a bit of twist in

launch VT Thai Japan Facebook fan-

ing plan they can literally weave

Thai is planning on expanding to China Market via

social

promoting media

the

brand

platforms.

and

out

the

right

their

own

markethands.

CRAFT RESEARCH : LOCAL BODIES

How Does VT Thai Helps the Community? VT Thai has collaborated with young designers and design students across the country to improve on the design of Thai handicraft. The design plan was given to the local community responsible for the production before the finished item gets listed on the website. VT Thai helps to market the product by taking product pictures and write a story on how each item was made, which also get translated in to three different languages – English, Japanese, and Chinese. The community will get direct benefit from selling on the website without paying any consignment fee.

Social Impact - Handmade handbags cloud handcraft history from local to international VT THAI is the Thai Cloud handcraft.VT THAI In Thai language, it means ‘Thai way of life’. With each product you purchase at VTTHAI will help contribute to a positive impact and change in the local community. VT Thai gather all Thai local artisans who have folk and traditional wisdom in here. VT Thai aim to: 1. Empower Thai women especially in local, to use their own traditional craft skill. 2. VT Thai try to preserve these masterpieces to the people in the next generation from their ancestors of knowledge.

3. Empower Thai local artisans to participate in global marketplace and create sustainable livelihood.

4. We aim to be one marketing Channel for Thai local artisans.

5. We believe that Thai local artisans can gain higher than the minimum income in craft community .

CRAFT RESEARCH : LOCAL BODIES

About Crafting Future | British Council The British Councilâ&#x20AC;&#x2122;s Architecture Design Fashion team creates

Crafting Future British Council

new opportunities for the UK design sector around the globe,

through collaboration and exchange; promoting deeper understanding of ourselves, our world and each other through design. British

Council Arts, which works across over 100 countries in international network. The design programme at the British Council seeks

to address todayâ&#x20AC;&#x2122;s global challenges through design, exploring the social and cultural value of a wide range of design disciples.

CRAFT RESEARCH : LOCAL BODIES

Collaborative Innovation for Product Design Crafting Futures is building a positive future by unlocking craft’s

unique potential to inspire people around the globe. The programme

celebrates the value of craft in our history, culture and world today. Crafting Futures is a global British Council programme, active in

over 20 countries around the world with an extensive network of partners. Through making and international collaboration, Crafting Futures brings together craft practitioners, designers and organisations from

around the world to explore possibilities for this future together.

The programme is Supporting revitalization of cultural assets through collaborative activities.

East Asia Advisory Group As part of Crafting Futures’ aims to support the future of craft through shared learning and collaboration, Council

has

East

Asia

There

are

the

British

launched

Advisory

Group.

advisers

were

chosen from across the ASEAN region, areas ing

representing

craft,

community ship,

expertise, social

women’s

diverse

includ-

enterprise,

leader-

empowerment.

The Advisory Group is intended to

provide the programme of the sector from beyond the immediate project

partners and given an additional voice to our planning processes.

Seinn Witt Yee, Chomwan Weeraworawit,

Josept Lo, Sasibai Kimis, Inthaphan Buakeow

CRAFT RESEARCH : LOCAL BODIES New for Old Since

2014,

Crafting

Future

worked

Indonesia,

Myanmar,

Thailand

and

Vietnam

provide

opportunities

for

training,

and

collaborations

and exchanges with artisans, designers and makers. The crafts sector is a source of cultural diversity and has a role to play toward sustainable

development.

Through

innovative

and

contemporary

design

practices,

crafts

can

foster

mutuality

creative

internationally.

1 December Craft Reveals Coference

16 August

9 June

Thailand :

Innovative Craft and Design #1

Film : From Loom to Loom

2016

2014

2017

2015

2014 2015 28 January Chian Mai Design Week 26 November Thailand :

Innovative Craft and Design #2

1 January Thailand :

Innovative Craft and Design #3

PROJECT 1C : CRAFT MOVEMENT RESEARCH

THAILAND SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTSMEN

CONTENTS . . . .

Introduction Comparison between retailers and local bodies Function/ Beneficial Social media platforms play a role in benefiting craftmens . Craftmens increase product/ brand awareness towards te public through online platform . Ways craftmens achieve and maintain their career . The pros and cons faced by the craftmens using social online platform

Many things have changed with the arrival of social media. For instance, the effect that social media and online platform are having on modern artistic practices. Social media offers artists many opportunity to change and better their crafts. WONG QIN YI 1001747388

LEAN SOONG EN 1001746498

SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

Introduction to social media and online platform for craftmens introduction Native craft date back thousands of years. Adapting is hard when

tradition is the main selling point. Fortunately, traditional

art and crafts are enduring thanks to the most revolutionary technologies: the internet. Thus, social media platform is very

crutial to traditional craft current day survival, whether it

is down to those making, selling or appreaciating the art of crafts.

top 3 preffered distribution platform

FACEBOOK

INSTAGRAM

TWITTER

These 3 distribution platforms aimed at potential clients and can

even build direct sales. Thus, giving both marketing and networking opportunities. Their wide reaching platform can bring great

benefits, could lead to bigger opportunities as the following grows. Twitter is exception as it is not a great arena to sell but

SOCIAL MEDIA IS CHANGING THE ART WORLD

make great connections with journalists and publications.

SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

Comparison between retailers and local business Retailers found out to be a bigger platform for craft artist to sell or promotes artistâ&#x20AC;&#x2122;s products ,thus Includes various crafts

and products from different artisans. They aim to generate a platform to achieve fair income for village producers to keep alive the diverse craft traditions of Thailand.

Moreover, mostly local businesses only focus on one material into various designs of products since they are in a smaller scale. Local businesses focus more on the expression

of ethic crafts-

manship and techniques to evoke cultural memories.

SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

Distribution

Financing

In a way that artisans

Social

provides

Its a platform constant-

via social networking

projects, such as spon-

with fresh materials they

can promote themselves Sites like Instagram, Facebook, Website etc.

It allows the artist

to receive the feedback from the public

media

Creativity

new ways of financing art

sorship via social media.

platforms such as, YOUTUBE make it possible to create and release art at very little cost.

providing

artisans

can use to create a slew of new age art projects and serves as means of

creation to suit a certain group of consumers.

SOCIAL MEDIA PLATFORMS PLAY A ROLE IN BENEFITING THE CRAFTMANS

SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

How craftmens increase product/brand awareness towards the public/ community through online platform?

Partnership

Partner

Brand awareness

Posts

Brand voice

with

Running brand-aware-

Create shareable

Develop

to review the

to target users by

infographics,

their

brand

sticky

influencers

brand and create content

ness ads or campaign categories into

information,

stories, etc.

- Age

- Location - Gender

- Interest - Device

Social marketâ&#x20AC;&#x2122;s top goals for social

voice helps

for

their

in the minds of

consumers

SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

How the craftmens achieve and and maintain their career? Identify and set goals Marketing goals to convert more sales from social media. One

should incorporate posts that move people to landing page or another part of marketing funnel.

Tracecable and guarantee for each products to provide consumers with high-quality handmade products together with the producersâ&#x20AC;&#x2122; stories.

Unique and rare products Product design in aspect : patterns, materials, design must suit the trend and targeted users.

SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

The pros and cons for social media

Pros Convenience - Post directly from any digital devices

- Save drafts to publish later or use scheduling tools - Enjoy a wide audience of users

- Share a wealth of information about the brand in the About

section, including artist statement, links to other artist website, and links to social media channels

Save time Promotion for the product by anytime and anywhere

Low cost Free to join all the major social media platforms and it is equally free to begin interacting with potential customers at a basic level.

Why consumers unfollow brands on social media

Cons Risk of negative publicity Without proper management, such negative publicity can go viral and irreparably damage the reputation of your business.

Loss of control When a dissatisfied former employee or customer posts something

negative about your brand or mobile app development company,

this can go viral and it is usually difficult to control. Social media marketing takes control off business owners and marketers.

Dilutes brand voice Confuse the audience a bit and some may lose confidence in following your brand.

CRAFT MOVEMENT RESEARCH : BIBLIOGRAPHY

Bibliography Craft Research Movement - Art Noveau 1. Florence Hallet : 2020 : Christo (1993-2020)- “Beuaty, science and art will always triump” 2. Styles, School and Movements by Amy Dempsey (Thames & Hudson, 2007 ) 3. The V&A Story : 2015: Arts and Crafts : an introduction “Major Townhouses of the Architect Victor Horta (Brussels)”. UNESCO : 2017 4. Encyclopedia BRITANNICA : dECEMBER 18, 2019 : Art Noveau 5. Emma Taggart: 2018: Meet William Morris : The Most Celebrated Designer of the Arts & Crafts Movement. 6. Groge Philip LeBourdais : 2016: What Is Art Noveau? 8. Gontat, Cybele : 2006 : “Art Noveau.” In Helivrunn Timeline of Art History Craft Research Movement - Mingei 1. Brian D. A. Moeran. (1981). Japanese Social Organization and the Mingei Movement. Pacific Affairs, 54(1), 42-56. doi:10.2307/2757710 2. Jacknis, I. (1994). Getemono: Collecting the Folk Crafts of Old Japan. Retrieved from https://escholarship.org/uc/ item/5nm4b4s4 3. Toki. (2016, December 10). Mingei - The Revival of Japanese Folk Art. Retrieved July 19, 2020, from https://www.toki. tokyo/blogt/2016/12/12/mingei-the-revival-of-japanesefolk-art 4. Okakura, K. (1956). The book of tea. 5. The Value of Culture : On the Relationship between Economics and Arts. (1997). doi:10.5117/9789053562185 6. Yuko, K. (2008). Yanagi Sōetsu and Korean Crafts within the Mingei Movement. Korea: The Past and the Present (2 Vols), 80-91. doi:10.1163/9789004217829_007 7. Marquet, C. (2012). Yanagi Sōetsu and the invention of “folk crafts”: A new contextualisation. Cipango - French Journal of Japanese Studies, (1). doi:10.4000/cjs.244 8. Dunn, M. (2019, August 28). Asian Art Newspaper discovers the art of Mingei, traditional Japanese folk craft from the Montgomery Collection. Retrieved July 21, 2020, from https://asianartnewspaper.com/japanese-mingei/

9. Yanagi, Muneyoshi & Leach, Bernard. : 1972: The Unknown craftsman; a Japanese insight into beauty. Tokyo, Palo Alto, Calif : Kodansha International 10. Shultz, P.W. : 2002 :Inclusion with Nature: The psychology of human-nature realtions. In P.Schmuck & W.P.Schultz Kluwer Academic Publishers. https//doi.org/10.1007/798-14615-0995-0_4 Craft Research Movement - Deutscher Werkbund 1. Bauhaus 2 Your House. (2019). JOSEF HOFFMANN A811 BENTWOOD CHAIR - CANE BACK. Retrieved from https:// www.bauhaus2yourhouse.com/products/josef-hoffmann-a811bentwood-chair 2. Conrads Ulrich. (n.d.). Programs and manifestoes on 20thcentury architecture. The MIT Press. 3. ENCYCLOPEDIA OF ART and DESIGN. (n.d.). Deutscher Werkbund, German Work Federation - Labour League. Retrieved from http://www.visual-arts-cork.com/architecture/deutscherwerkbund.htm 4. Hadi, Muhammad Shaherfi. (2018). Design History: Deutscher Werkbund. Retrieved from https://oss.adm.ntu.edu.sg/ muhammad384/design-history-deutscher-werkbund/ 5. University of Chicago. (2015). DEUTSCHER WERKBUND. Retrieved from https://voices.uchicago.edu/201504arth1570901a2/2015/11/16/deutscher-werkbund/#:~:text=November%20 16%2C%202015-,Deutscher%20Werkbund,in%206%20 countries.%5B1%5D 6. Wikipedia. (n.d.). Deutscher Werkbund. Retrieved from https://en.wikipedia.org/wiki/Deutscher_Werkbund#History 7. YEGIN, M. (2016). ARCH222:Hermann Muthesius and Henry Van De Velde from “theses” and “counter-theses” in Werkbund Congress. Retrieved from https://rmeycanyegin.wordpress. com/2016/02/24/arch222hermann-muthesius-and-henry-vande-velde-from-theses-and-counter-theses-in-werkbundcongress/

INDIVIDUAL BIOGRAPHICAL RESEARCH

Bibliography

INDIVIDUAL BIOGRAPHICAL RESEARCH: JOHN RUSKIN

The Ruskin Library, Google art & cultures

https://artsandculture.google.com/exhibit/ruskin-s-venicethe-ruskin-library/tAIyTnjtf9QFKA?hl=en

John Ruskin ,Biography,criticism & facts

https://www.britannica.com/biography/John-Ruskin The Stones of Venice:1851

https://www.enotes.com/topics/stones-venice WILLIAM MORRIS Emma Taggart : 2018 : Meet William Morris: The Most Celebrated Designer of the Arts & Crafts Movement

https://mymodernmet.com/arts-and-crafts-movement-william-

INDIVIDUAL BIOGRAPHICAL RESEARCH: CHARLES RENNIE MACKINTOSH

MX.04 Interiors for 120 Mains Street : 1995: Mackintosh Architecture

https://www.mackintosh-architecture.gla.ac.uk/catalogue/ browse/display/?sysnum=s433

Hiroaki Kimura: 2012: Japan for Mackintosh

http://www.ks-architects.com/en/column/contents.php?id=7 Julekha Dash: 2019: 5 Charles Rennie Mackintosh Designs With Particularly Interesting Backstories

https://www.architecturaldigest.com/story/5-charlesrennie-mackintosh-designs-with-particularly-interestingbackstories

morris/

Alyn Griffiths: 2018: Glasgow School of Art is Charles Rennie

Laetitia Vitaud: 2017: Back To Craftsmanship: Lessons from

https://www.dezeen.com/2018/06/05/glasgow-school-of-art-

the Arts and Crafts Movement

https://medium.com/want-more-work/back-to-craftsmanshiplessons-from-the-arts-and-crafts-movement-e1aa5f09ec16

Brandy Willetts: 2019: 5 The Revolution After the Industrial Revolution

https://medium.com/@brandywilletts/graphic-design-historywilliam-morris-e3dee4467a14

Jackie Craven: 2019: Biography of William Morris, Leader of the Arts and Crafts Movement

https://www.thoughtco.com/william-morris-arts-and-craftsmovement-177418

Mackintosh’s “masterwork”

charles-rennie-mackintosh-masterwork-150-anniversary/

Bibliography

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES

1. Guide and Examples of Mass Production. (2019, October 10). Global Electronic Services. https://gesrepair.com/mass-production-advantages-and-disadvantages/ 2. Causes, Effects and Solution of Depletion of Natural Resources. (2019, March 6). Conserve Energy Future. https://www.conserve-energy-future.com/causes-effects-solutions-depletion-natural-resources.php

2. Thu, A. M. (n.d.). Case study (IKEA) Questions. Www.Academia.Edu. Retrieved July 22, 2020, from https://www.academia.edu/26146624/Case_study_IKEA_Questions 4. Mass Production Advantages and Disadvantages Explained. (2018, December 18). L.A.C. Conveyors & Automation. https://www.lacconveyors.co.uk/mass-production-advantages-and-disadvantages/

5. Darmenova R., Zhunusakyn S. Aesthetic Education of Youth. Retrieved 2015, from http://www.science-sd.com/461-24865 6. Goh Pei Pei. Grandma turns traditional art into fashion. Retrieved Oct 08, 2018, from https://www.nst.com.my/lifestyle/pulse/2018/10/426418/grandma-turns-traditional-art-fashion

7. Tang Ruxyn. Malaysia Dying Arts. Retrieved 2020, from https://says.com/my/lifestyle/dying-trades-and-arts-in-malaysia 9. Cover Story: Hand in handiwork. Retrieved Oct 17, 2017, from https://www.theedgemarkets.com/article/cover-story-hand-handiwork 9. Azmi Arifin. TRADITIONAL MALAY POTTERY OF KUALA KANGSAR: ITS HISTORY AND DEVELOPMENT1,Retrieved July 17, 2020, from http://web.usm.my/km/33(Supp.2)2015/km33s22015_07. pdf

10. Charlie, 10 Reasons Why Is Traditional Crafts are Woth Preserving, Retrieved July 4, 2013, from https://www.saheldesign.com/10-reasons-why-traditional-craftsare-worth-preserving/

11. Atelier Hann, Does Craft Matters? , Retrieved 2020, from : https://hannstory.tumblr.com/post/623137341585948672/does-craft-matter 12. Bethany Biron, Crafts are not worth someoneâ&#x20AC;&#x2122;s life, Retrieved 2020, from https://www.businessinsider.com/craft-stores-insist-essential-amid-coronavirus-outbreak-2020-3

CRAFT MOVEMENT RESEARCH : CURRENT ISSUE AND FUTURE CHALLENGES 13. CEA Outlook (2019). Retrieved July, 2020 from Thailand Crafts Industry 14. Design matter (2016),Future Craft: Japan + Thailand. Retrieved July 2020 from https://designmattersatartcenter.org/proj/future-craft-japan-thailand/15. 16. Where Thailand (2016) 5 amazing spaces to pick up designer Thai Crafts. Retrieved July 2020, from https://bk.asia-city.com/shopping/news/amazing-spaces-designer-Thai-crafts 17. Teleri Lloyd-Jones (2011) What is the role and value of crafts today? Retrieved July 2020, from https://blog.britishmuseum.org/what-is-the-role-and-value-ofcrafts-today/ 18. Kathryn Lichti-Harriman (2004) Craft, society and value. Retrieved July 2020, form http://www.craftcommunities.com/craft-society-and-value.html 19. Kunal R Sachdev (2017) Why the traditional heritage craft must go modern. Retrieved July 2020, from https://economictimes.indiatimes.com/blogs/et-commentary/ why-the-traditional-heritage-craft-must-go-modern/ 20.Fast Company (2017) 6 Designers explain why craft stills matters in a Digital world. Retrieved July 2020, from https://www.fastcompany.com/90127475/6-designersexplain-why-craft-still-matters-in-a-digital-world

CRAFT MOVEMENT RESEARCH: ECONOMIC SUSTAINABLE MODELS

Bibliography Amos, L. (2016). Provenance: Without the facts and evidence itâ&#x20AC;&#x2122;s just a story. Distilledid. https://www.distilledid.com/news/provenance-without-the-facts-and-evidence-it-is-just-a-story Artisan., Fox (2019, Oct 18). Field Notes ft. The Artisan of Kenya. Artisonandfox. https://www.artisanandfox.com/blog/artisan-goods-kenya A Future For Crafts, www.futureforcrafts.org/?page_id=131. Binion, R., & Ely, G. (2000). Co-opLaw.org. Retrieved from https://www.co-oplaw.org/co-op-basics/types/artist-cooperatives/ Barone, A. (2020, Feb 3). Social Enterprise. Investopedia. https://www.investopedia.com/terms/s/social-enterprise.asp Cormier, B. (2015). The Trouble with Provenance. On Display, 44. http://volumeproject.org/the-trouble-with-provenance Collector from Artwork Achieve (2017). Provenance: What Is It and Why Should It Matter to You. Artwork Achieve. https://www.artworkarchive.com/blog/provenance-what-is-it-and-why-should-it-matter-to-you CENDANA . (2020). Retrieved from https://www.cendana.com.my/ Charleston Crafts. (2018). Retrieved from https://www.shopcharlestoncrafts.com/about-us Ecology Center. (n.d.). Retrieved July 21, 2020, from https://ecologycenter.org Force, C. (2018). Provenance Research. An Art Detective Traces the Life of Artworks. Associate Research Curator and The Editorial Team, Digital Department. https://www.metmuseum.org/blogs/collection-insights/2018/provenance-research-art-detective Goldstraw, C. (2018, April 21). Why Craft And Provenance Matter. Awling England. https://awling.com/blogs/news/why-craft-and-provenance-matter Goldsmith, C. (2018, Aug 22). Craft economy grows as millennials ditch the traditional workplace. Europeanceo. https://www.europeanceo.com/lifestyle/craft-economy-grows-as-millennials-ditch-the-traditional-workplace/ Ghauri, S. (2019, Mar 22). Sustainability and transparency deliver growth for direct-to-consumer brands. Provenance News. https://www.provenance.org/news/movement/sustainability-and-transparency-deliver-growth-for-direct-to-consumer-brands Green, K. (2014). Circle Craft. Retrieved from http://www.circlecraft.net/coop-2/about-us-3/ Heir, E. (2020). Thoughtful Design. Ethical Partnerships. Conscious Consumption. Earthheir.com. https://earthheir.com/pages/about-edit Hassan, H., Rahman, M. S., & Sade, A. B. (2017). Preservation of Malaysian handicraft to support tourism development. International Journal of Entrepreneurship and Small Business, 10-13. Hurley, C. (1995). Problems with Provenance. Description Guy. https://www.descriptionguy.com/images/WEBSITE/problems-with-provenance.pdf Hollytuppen (2017). Provenance and sustainability offer hotels more than just eco credentials. Freshmontgomery.. Source : http://blog.freshmontgomery.co.uk/2016/07/25/provenance-and-sustainability-offer-hotels-more-than-just-eco-credentials/ Iqball, A. (2010, Nov 3rd). Master Balinese Mask Maker : Ida Bagus Anom. Travel and Photography Blog. http://arifiqball.com/blog/2010/11/03/master-balinese-mask-maker-idabagus-anom/

Bibliography

CRAFT MOVEMENT RESEARCH: ECONOMIC SUSTAINABLE MODELS

KTH. (2020, Jul 11). Economic sustainability. About KTH. https://www.kth.se/en/om/miljo-hallbar-utveckling/utbildning-miljo-hallbar-utveckling/verktygslada/sustainable-development/ekonomisk-hallbarhet-1.431976 Lüdeke, F.(2014, June 9). Working Definitions of “Sustainable Business Model” & “Business Model for Sustainability”. SBM Blog. sustainablebusinessmodel.org/2014/06/09/working-definitions-of-sustainable-business-model-business-model-for-sustainability/ Maxwell, S.(2011, Dec 8). Economic model series, part 1: What is a business economic model? OV Blog. https://openviewpartners.com/blog/economic-model-series-part-1-what-is-a-business-economic-model/#.Xxhu3Z77RPY MacArthur, E. (2020, Jul 21). WHAT IS THE CIRCULAR ECONOMY? Ellen Macathur Foundation. https://www.ellenmacarthurfoundation.org/circular-economy/what-is-the-circular-economy Olga. (2017, Nov 19). Art Of Making Malaysia. Hand-made Nyonya Beaded Shoemaker In Penang. Any Way In A Way. https://anywayinaway.com/hand-made-nyonya-beaded-shoemaker-penang/ Parsons, N. (2020). What is business model?. https://articles.bplans.com/what-is-a-business-model-business-models-explained/ Protocol, C. (2018). How Provenance Affects The Value Of Art & Collectibles. Codex Protocol. https://medium.com/codexprotocol/how-provenance-affects-the-value-of-artReburence, R. (2019). Routledge studies in sustainability. Holistic sustainability through craft-design collaboration. Routledge. https://books.google.com.my/books?id=qcaWDwAAQBAJ&printsec=frontcover&dq=Holistic+sustainability+through+craft-design+collaboration.+Routledge. Sheen, M. (2020). What is it all about? Social Enterprise UK. https://www.socialenterprise.org.uk/what-is-it-all-about/ Tanoti. (2016). Retrieved from https://tanoticrafts.com/mthome/tanoti-story/ Vitaud, L. (2017, Jun 6). Back To Craftsmanship: Lessons from the Arts and Crafts Movement. Medium.com. https://medium.com/want-more-work/back-to-craftsmanship-lessons-from-the-arts-and-crafts-movement-e1aa5f09ec16#bd08 Vens, E. (2016) . Bor Sang Village In Chiang Mai.Chiang Mai handicraft village. Chiang Mai Hotels. http://www.chiangmai.bangkok.com/attractions/bor-sang.htm Wyss, B. (2018, Apr 30). Supply chain. 2018 Promises to Further Raise the Sustainability Bar. Sustainable Brands. https://sustainablebrands.com/read/supply-chain/2018-promises-to-further-raise-the-sustainability-bar Yang, Y., Shafi, M., Song, X., & Yang , R. (2018). Preservation of Cultural Heritage Embodied in Traditional Crafts in the Developing Countries. A Case Study of Pakistani Handicraft Industry. 6-10. Zulaikha, E., & Brereton, M. (2011). Collaborative Design Learning for Traditional Crafts Industry. Brisbane: Queensland University of Technology.

Bibliography

CRAFT MOVEMENT RESEARCH : LOCAL BODIES

1. Arts and Crafts.(2020) Travel Online: https://www.travelonline.com/thailand/arts-and-craft 2. Wachiraya Tatiyanantakul , Donruetai Kovathanakul.(2014) Transform Family Business with Handicraft Heritage Tourism: A Case Study of the communities at Ubon Ratchathani: http://www.ijbts-journal.com/images/column_1356587250/3%20PAR%2069%20Wachiraya%20Tatiyanantakul.pdf

3. Searchlight Process. (2013) Community Handicraft Production in Thailand. Future Challenges: https://futurechallenges.org/local/searchlight/community-handicraftproduction-in-thailand/

4. Ms. Kanokwan Nilphet. (1996) Subject 6: Marketing and Export of Arts and Crafts. Thai Encyclopaedia for Youth.http://saranukromthai.or.th/sub/book/book. php?book=21&chap=6&page=chap6.htm

5. CEA Outlooks.(2019) Thailand’s Craft Industry : https://web.tcdc.or.th/media/publication_lang_file/200/CEA_Outlook_01_eng.pdf 6. Wink Thousand Stars SACICT.(2017) Looking at Pictures of Future Crafts ASEAN Trends. Post Today: https://www.posttoday.com/life/healthy/490750 7. Sangrawee Singhavibun.(2019) Evolve Thai Craftsmanship Internationally with SACICT Crafts Trend 2019. CEA : https://hr.tcdc.or.th/en/Articles/Detail/SACICTCraftTrend 8. Woralun Boonyasurat.(2017) About the Creative City. Retrieved from https://en.unesco.org/creative-cities/chiang-mai%20/ 9.TTcraft.(2018) Mae Chaem Tin Jok Weaving. Retrieved from https://www.ttcrafts.co.th/thapa/index.html 10. Finn2fly. (2019) Bang Chao Cha Community in Ang Thong, Thailand. Retrieved from https://finntofly.com/2019/05/13/bang-chao-cha-community-in-ang-thong-thailand/ 11. VT Thai. ( 2019) VT THAI In BRAND BUFFET Press. Retrieved from https://www.vtthai.com/blogs/news/vt-thai-brand-buffet 12. British Council Global. (2020) New for Old. Retrieved from https://design.britishcouncil.org/projects/new-old/ 13. Bangkok Post. (2020) “ICONCRAFT” opened as an inspirational space to create high skilled Thai artisans onto a global stage. Retrieved from https://www.bangkokpost. com/thailand/pr/1692652/iconcraft-opened-as-an-inspirational-space-to-create-high-skilled-thai-artisans-onto-a-global-stage?cx_placement=article#cxrecs_s 14. The Supports Arts and Crafts International Centre of Thailand (SACICT), retrieved 2020 from https://www.sacict.or.th/en 15. Thailand Creative & Design Center (TCDC), retrieved 2020 from https://web.tcdc.or.th/th/aboutus 16. TCDC: 5 Things to Know about Thailand Creative & Design Center, retrieved 2017 from https://onarto.com/tcdc-things-to-know/

CRAFT MOVEMENT RESEARCH : SOCIAL MEDIA AND ONLINE PLATFORM FOR CRAFTMENS

Bibliography 1. Guild, U., Shovava, Day, T., Comma, &amp; Colorsheets, V. (2018, June 01). 10 Social Networks You Need to Join If You’re a Creative Freelancer. Retrieved July 22, 2020, from https://mymodernmet.com/social-networks-artists/ 2. [Infographic], S., 2020. Social Media For Crafters In 5 Steps [Infographic]. [online] Wunderlabel.com. Available at: <https://wunderlabel.com/blog/p/social-media-crafters-5-steps-infographic/> [Accessed 22 July 2020]. 3. Ellenn. (2011, April 05). How Social Media is Changing the Art World. Retrieved from https://socialmediaclub.org/blog/from-the-clubhouse/how-social-media-ischanging-the-art-world 4. Blogtaboola. “How to Increase Brand Awareness: Full Guide &amp; Strategy: Taboola.” Taboola Blog, 26 June 2020, blog.taboola.com/increase-brand-awareness-today/. 5. “Which Social Media Channel Is Right for Your Art Business?” Artwork Archive, www.artworkarchive.com/blog/which-social-media-channel-is-right-for-your-art-business. 6. ABOUT US. (n.d.). Thaicraft. Retrieved July 22, 2020, from https://www.thaicraft.org/about_us 7. “Media Plays Important Role in the Development of Creative Industries.” Culturepartnership.Eu, 28 Jan. 2016, www.culturepartnership.eu/en/article/media-plays-important-role-in-the-development-of-creative-industries. 8. Sprout Social. “How to Craft an Eﬀective Social Media Content Strategy.” Sprout Social, 27 Sept. 2019, sproutsocial.com/insights/social-media-content-strategy/. 9. ellenn. “How Social Media Is Changing the Art World.” Social Media Club, 5 Apr. 2011, socialmediaclub.org/blog/from-the-clubhouse/how-social-media-is-changingthe-art-world. 10. OTOP Heritage (Bangkok) - 2020 All You Need to Know BEFORE You Go (with Photos). (n.d.). Tripadvisor. Retrieved July 22, 2020, from https://www.tripadvisor. com.my/Attraction_Review-g293916-d10643645-Reviews-OTOP_Heritage-Bangkok.html 11. Maisoncraft. (n.d.). MAISON CRAFT - JOURNEY OF HANDMADE CRAFT CULTURE FAIR TRADE VILLAGE. Maisoncraft. Retrieved July 22, 2020, from https://www.maisoncraft.com/ 12. Home. (n.d.). SarnSard. Retrieved July 22, 2020, from https://www.sarnsard.com/

Studio ARIA July 2020