REPAIR: Material, craft, meaning by Mark Johnston

Repair Embodied history and storytelling through the craftsmanship of material joints

Design Research Unit Mark Johnston

Contents

Introduction...................................................................................07 Material Consciousness..................................................................09 Joint and Dis-joint.........................................................................13 Craftsmanship................................................................................15 Throwaway culture........................................................................17 Age and wear..................................................................................19 The Japanese Aesthetic: Kintsugi and Wabi-Sabi ....................21 Material joint studies.....................................................................27 Repair..............................................................................................37 Three chairs repaired: Methodology.........................................39 Salvage and preparation......................41 Chair 1, the timber stool.....................42 Chair 2, the steel chair.........................44 Chair 3, the timber chair.....................46 Manifesto........................................................................................49 The presentation...........................................................................50 Bibliography...................................................................................55

Introduction Following the title of this Design Research Unit; Storytelling, this investigative project discusses the idea of attaching poetic meaning to the material joint.

Material + Craft + Meaning “In the analogy of ‘Speaking Architecture’, the architectural details are seen as words composing a sentence” Frascari 1996 Can the material joint be used in repairing a broken object in order to signify meaning, thus making it more profound in character through embodied history? Can such an intangible concept as time be portrayed by an inanimate object through this act of repair? In an age of consumerism and throwaway culture, is the act of repair really viable?

Richard Sennett writes about “inanimate things with human qualities” 2009, as he studied how materials can instantly evoke emotion and tell a story. Similarly, Marco Frascari stated, “Details are much more than subordinate elements; they can be regarded as the minimal units of signification in the architectural production of meanings” He went on to describe this concept as “constructing and construing”, where the tangible and intangible of architectural and material joints could be unified. 1996

This text accompanies a series of material studies undertaken as an exercise in thinking through making. The idea of attaching meaning to a material joint through the art of craftsmanship is the origin of this investigation. With influences and inspiration taken from various architects, artists, designers and craftsmen, I have undertaken explorations into material joints and studied the resultant effects they produce. The techniques and lessons learned from these investigations were then set to use in practical applications via the repair of three broken chairs. The culmination of these studies led to the production of a personal manifesto summarizing my findings and conclusive thoughts on materials, craft and most importantly, the role of repair in a contemporary context.

Background

Material Consciousness In our day to day lives we are surrounded by a vast range of materials both natural and man-made. These materials have the potential to affect us at an emotional level, and despite the fact they create the built environment around us and the very world we live in, this phenomenon can be easily overlooked. Inanimate objects, and the materials they are made from, have an innate and embedded memory, a story they can tell us about their history. When we first experience them we immediately have an opinion of these materials; on their properties, their qualities and their very essence. Sennett described this anthropomorphism as “virtue discovered in the material” 2009 and studied how the use of raw materials, and the craftsmanship of turning them into our built environment, has a profound effect on us. In the same way a person can tell you a story of their past, it is this ‘material consciousness’ that allows us to experience the history conveyed by these inanimate objects and materials. “Many materials tell us about themselves, and we are comfortable with them. Each species tells us about itself and we even sense them to a greater extent.” Bohlin 2010 Whether it is the study of tree-rings or ‘dendrochronology’ which tells us about the age and properties of certain woods, or the reading of the colour, texture and aggregate in concrete, materials can tell us a great deal. “Each detail tells us the story of its making” Frascari 1996

“Many natural materials tell us about themselves, And we are comfortable with them. Each species tell us about itself We even sense them to a greater extent, And we like to touch them. Wood is a familiar and lovable material, When handled and detailed well, It is a wonderful thing. We believe in an architecture that springs From the nature of its circumstance, That gets into the essence of things, On a practical and emotional level, That gets into the nature of people, Which I think we often don’t think enough about. How they sense things How they feel How they see How they touch. The nature of places, Whether they are natural, or man-made …or somewhere in between.”

Peter Bohlin 2010

Joint and dis-joint

“The joint is the beginning of ornament, And that must be distinguished from Decoration which is simply applied. Ornament is the adoration of the joint”

Kahn 1975

As we have learned from Sennett’s ideas on Material Consciousness, materials can affect the way we react to objects. However the individual properties of two materials, and the stories they tell, will change when a joint between the two is formed, creating an altogether new story. This allows us to experience the joint in a completely different way. In the work of Carlo Scarpa, it was the intention that a single architectural detail can tell you everything there is to know about the building as a whole. In Kenneth Frampton’s book Studies in Tectonic Culture, he writes how Scarpa used the joint as a storytelling element; “Throughout

his work, the joint is treated as a kind of tectonic condensation; as an intersection embodying the whole in the part, irrespective of whether the connection in question is an articulation or a bearing or even an altogether larger linking component such as a stair or a bridge.” 1995 . He continued to

reference Gottfried Semper and his ideas on the symbolic and technical aspects of architectural representation, regarding the expression or covering-up of structure. In his essay entitled ‘The case for the tectonic’, Frampton discusses the “potentially poetic

manifestation of structure in the original Greek of poesis as an act of making and revealing” , further enforcing the idea of architectural representation as a storytelling device. 1990

However, it is not only the material joint that can signify meaning and tell a story; the dis-joint can be just as profound. A fracture, gap, void or break can emanate significance, as noted by Frampton; “Something has to be said about the signification of the ‘break’ or the ‘dis-joint’ as

opposed to the signification of the joint…rupture may have just as much meaning as connection”

1990. It is this dis-joint that forms the basis for much of the thinking behind this investigative project.

Craftsmanship To evoke emotion and use the detail as a storytelling device, there is a fundamental necessity for craftsmanship. Materials and joints cannot express their character or signify meaning without this input of time, effort and craft to reveal the intention of the designer. “Good workmanship will make something better out of pinchbeck than bad will out of gold.” Pye 1995 Corrupto Optimi Pessima - The corruption of the best is the worst of all Master craftsman David Pye bases good workmanship and craft on the criteria of “soundness and comeliness”; soundness meaning the crafted item is strong and without structural weakness, and comeliness providing an aesthetic delight and expressed beauty. In meeting these criteria, Pye believed a well-crafted inanimate object could produce meaning. 1995 “What we want to do is not express the properties of materials, but to express their qualities. Their qualities are subjective: they are in here, in our heads. They are ideas of ours.” Pye 1995

David William Pye 1914-1993

Master craftsman, theoretician and author of ‘The Nature and Art of Workmanship” and “The nature and Aesthetic of Design” David Pye had originally trained to be an architect specialising in timber buildings until the beginning of World War II where he spent several years in the field. After the war he spent several more years in the Navy where he gained a keen life-long interest in naval architecture. Pye went on to teach for twenty-six years at the Royal College of Art London, eleven of which when he was Professor of Furniture design. David Pye is known for his concept of the “Workmanship of Risk”, meaning any sort of craft using a technique in which the quality of the result is not predetermined and solely depends on the “judgement, dexterity and care which the maker exercises as he works”. This was counter to the “workmanship of certainty” i.e. highly regulated massproduction where the quality of the result is predetermined. 1995

Throwaway culture “It seems a little less obvious why we are so fond of new things” Pye 1995 Today we live in a materialistic world, in a society of consumerism where the latest versions of everyday items are a necessity; like our cars, TVs and mobile phones. This modern urge to constantly upgrade and renew our possessions has become detrimental to us as a society and has given birth to a throwaway culture where we dispose of something as soon as it becomes regarded as outdated or even slightly damaged. With large electronics companies and technical suppliers even introducing planned obsolescence with intentional and inevitable flaws into their products to ensure customers return within several years to buy the newest version of that product, we cannot expect to live sustainable lives in the way we use materials. In a way, the same can be said for the architecture of today, where new buildings have drastically low lifespans compared with the classical Architecture of ancient civilisations which in some cases has stood for thousands of years. “Buildings came to be viewed as economic investments with an intentionally planned short existence” Frascari 1996 In the case for the tectonic, Frampton references Giorgio Grassi and how his ideas “cause us to question the very idea of the new, in a moment that oscillates between the cultivation of a resistant culture and a descent into value-free aestheticism.”1990 John Ruskin once eloquently stated “If we build, let us think that we build forever” 1849, in regards to the apparent fleetingness of our built environment. In response to this, David Pye took a less romantic stance and remarked; “If we build, let us remember to build for the scrapheap. Shall we make everything that it goes wrong or breaks pretty quickly? I think not.” 1995

In the 2010 documentary ‘Waste Land’, artist and photographer Vik Muniz investigates the potential for discarded waste from the vast landfills of Rio de Janeiro to be used in creating huge installations that would later become worldfamous pieces of art.

In our current economic climate it seems absurd to live with a throwaway state of mind, and the responsibility for this falls with the mentality of our generation. In today’s society where newer is better, there is a belief that a damaged item is beyond repair and laziness ultimately prevails. However, if we return to the ideals of Pye, and his belief that the imperfections in inanimate objects create a uniqueness and beauty; “The effects of age and wear are powerful diversifying agents”1995, we can see that new might not necessarily be better.

Age and Wear

“Why and when do we prefer things not to have been affected by ages and wear?” Pye 1995 If we look at an old item or a visibly damaged object, we instantly experience it differently than we would a new object. We understand that it had an owner, it has been used, appreciated, shown some worth. A damaged object tells us a story of its past, how it was once whole, and perhaps through some unfortunate series of events has become obsolete. It is human nature to enjoy old objects, to find beauty in the aged and worn, “Things we inherit from the past remind us that the men who made them were like us and give us a tangible link with them.” However it is the culture of our generation that overpowers these innate emotions towards the broken and used; “he may be glad to replace it, in an age of materialism and the passion for novelty” Pye 1995 What if this object could be re-used, recycled, or even repaired to further its life and continue its story… in a beautiful way? If the age of an object adds to its history, and creates a greater story to tell, surely we can promote the conservation, re-use, recycling and repair of these objects. “Things which are made to fail early should be made maintainable and repairable, so that a man who cares for something other than novelty and status symbols can make them last his time respectably while he gets on with his life. Optional durability is what we want” Pye 1995

The Japanese Aesthetic

Kintsugi and the Wabi-Sabi philosophy For centuries great craftsmen have used the art of the joint to attach poetic meaning to materials, most notably in the ancient Japanese art of mended ceramics or Kintsugi. It is this movement that sparked my interest in repaired items (and more importantly how the items have been repaired) and eventually formed the basis of this project. There is a true fleetingness in the act of breaking something, and in this art of highlighted repair, the moment is preserved and subject to a constant re-telling. Kintsugi is the art of repairing broken ceramics with a special resin coloured with gold or silver powder. The repaired ceramics were usually pots, bowls or utensils used in traditional tea ceremonies that have been accidentally damaged during the rituals. The brightened resin not only brings the bowl back to its original form and allows the pieces to fit together again, but highlights the cracks and draws attention to the fact that it was once broken. This art form is widely believed to have originated sometime in the 15th century, when Japanese shogun Ashikaga Yoshimasa accidentally dropped and shattered one of his favourite tea bowls. As the story goes, he immediately had the fragments sent to China to be repaired, but the bowl was returned with a standard repair job of unattractive metal staples which diminished the beauty of the bowl. Outraged, the shogun enlisted the finest Japanese craftsmen to create a more aesthetically pleasing solution, when they came up with the art of golden joinery.

Tea Container, 18th century, Karatsu ware, Museum für Lackkunst, Münster, Germany

Regarding the investment of time and effort into a repair, James-Henry Holland, an Associate Professor of Japanese Language and Culture in New York states, “The owner has to decide that the piece has sufficient historical, aesthetic, personal or social value to merit a new investment…A newly-mended utensil proclaims the owner’s personal endorsement, and visually apparent repairs call attention to this honour.” 2008

The fact that these craftsmen used gold or silver powder in this delicate and timeconsuming restoration process expresses the sense of worth in their personal possessions and communicates the profound esteem felt for the damaged object. Although it may be cheaper and much easier to throw away the broken object and simply purchase a new one, the way of Kintsugi provides the craftsman with an object of much greater worth, albeit of perhaps lesser value. This inevitably led to many people deliberately breaking their ceramics as they deemed them too perfect, in order to repair them with Kintsugi and make them more beautiful through imperfection.

“The world breaks everyone and afterward many are strong at the broken places” Hemingway 1929

It is clear that this mentality stemmed from the Japanese aesthetic philosophy of Wabi-Sabi. To put it simply, this philosophy revolves around the melancholic appeal of the modest, and the beauty in imperfection and decay. Paradoxically, Wabi-Sabi promotes the idea that something cannot truly be perfect, without these imperfections. Kintsugi became a physical embodiment of this Wabi-sabi belief, where the golden cracks emanate the sense of imperfection. This aesthetic became a new form of ornamentation in Japan, implementing an aesthetic of substance, rather than decoration. Before this Japanese aesthetic became known or appreciated in the west however, John Ruskin, of the Arts and Crafts movement in Britain, distinguished that “free and rough workmanship” has an aesthetic quality which is unique and absent in regulated and monotonous production. “To banish imperfection is to destroy expression, to check exertion, to paralyze vitality.” Ruskin 1853

Attempting the technique To gain more of a personal insight into the art of Kintsugi I attempted the process myself with a bowl I had accidentally broken recently. The bowl itself was nothing special; a plain white ceramic bowl of little value and even less worth. It had developed a hairline crack and eventually split into two pieces, with a rather crisp line of breakage. The process of Kintsugi repair for this bowl was relatively simple, mixing a modern two-part resin and gold powder to give it the aesthetic appeal. Once mixed for several minutes, the resin was applied to both sides of the bowl and they are pressed together firmly. The resin is worked along the crack to form a smooth well finished repair line, and left to harden for a few minutes. When the resin has started to set, but is still slightly adhesive on the surface, more gold powder was applied gently with a brush to brighten the surface of the resin. Once left overnight to completely harden, then resin line can be sanded down or left slightly uneven for a more â&#x20AC;&#x2DC;imperfectâ&#x20AC;&#x2122; finish.

Material Joint Studies As a direct influence from studying Kintsugi, the following series of material joint studies reflects on the idea that repairing an object using less than conventional techniques and materials can draw attention to the repair and highlight the fact that it was once broken. The intention was that the objects would not only be â&#x20AC;&#x2DC;repairedâ&#x20AC;&#x2122; and brought back to their original form, but have a more profound character and a signification would be produced from the material joint. The study focuses on two different types of dis-joint; a crack and a breakage. These two repair tasks differ greatly and so provide broader thinking towards a variety of repair solutions. To demonstrate these two very different challenges of repair, I used bricks that were broken in half, and a log that had a significant longitudinal crack along it. The log was cut radially into six pieces and six different bricks were used in order to experiment with different repair techniques. The results of these studies are shown over the next six pages.

Brick + Rope [Successful] This was the first of my attempted repairs of a brick broken in two. From the outset of my reading into materials and joints I became interested in rope and the idea of the knot being used structurally, especially in ship rigging. In his essay Wickerwork, weaving and the wall effect Stephen Bates touches on the ideas of Gottfried Semper and noted that “the knot could be read as the primary technical symbol” Bates 2007.

Despite being a relatively thin rope, when lashed around the brick so many times it created an incredibly strong bond between both halves. The brick could be held at one end with no looseness at all.

Brick + Wax [Unsuccessful] After breaking this particular brick, one half shattered into several small pieces. Once I had built a wooden mould for the wax in the exact dimensions of the original brick, I was able to embed the fragments of brick into the wax whilst pouring it. Once hardened, the effect of the brick within the wax produced an interesting aesthetic however the structural integrity of the joint failed after removing the cast.

Brick + Concrete [Successful] Similarly with the wax brick, I constructed a wooden mould to the dimensions of the whole brick and placed one half inside. This form of repair doesn’t attempt to join the two halves of the broken brick, but instead acts to return it to its original volume by other means. The concrete being poured into the mould acts almost as a prosthetic limb for the brick, replacing what is missing. Once the wooden cast was removed and the concrete cured, the joint held firmly between the two materials.

Brick + Chickenwire [Successful] This was the first of the repair experiments that looked at the effect of completely wrapping one material around another to form the joint. Much like the rope, the chickenwire on its own was fairly fluid and didnâ&#x20AC;&#x2122;t have a definite shape to it. However once it was wrapped tightly around the two halves of broken brick and secured, it formed a sturdy connection.

Brick + Timber [Unsuccessful] The timber being used here was an early investigation into salvaging materials and using reclaimed timber that I found from various sources. Once the timber was cut, glued and sanded it produced an attractive aesthetic, however due to the irregular nature of the brick, and the uneven breakage, it was impossible to manipulate the timber to the correct shape in order to make the joint fit.

Brick + Golden Resin [Successful] This was a direct application of the same method used in Kintsugi. A two-part resin was mixed with gold powder and applied to both halves of the brick. The resin stuck the two halves together firmly, despite the much greater weight of the brick compared with the small pieces of ceramic this technique was usually used for.

Timber + Steel [Successful] As simple as this repair was, I believe it was just as successful as some of the others. A hole was drilled laterally across the crack to allow a 10mm steel bolt to be inserted. Two countersink holes were also drilled at either side of the hole to allow for the bolt head and nut to sit within the timber. Although this repair isnâ&#x20AC;&#x2122;t largely emphasised, it is one of the more structurally sound repair jobs.

Timber + Timber [Successful] This repair was implemented with a timber butterfly joint. This is a common technique used in woodwork and timber craft when there is a large surface of natural wood with a minor crack in it, often in timber furniture such as tables. The timber key(s) is inserted in the crack and acts to prevent the crack from growing or splitting completely. In this joint where both materials are the same, it was important to choose a wood for the butterfly key that contrasts with the cracked log, so a much lighter wood was chosen. Once the key was measured and cut out, its shape was traced onto the crack in the log. This shape was then drilled and chiselled out finely to allow the key to slot in with minimal force. Once the key is inserted by around 1.5cm, it is cut and sanded down to create an almost seamless finish.

Timber + Wax [Indeterminate] Much like the wax used in the brick investigation, the wax filling the timber crack produced an aesthetic pleasing to the eye, however it does not act structurally and the crack in the timber could potentially split further. This repair job acts as more of a temporary cover-up, rather than a preventative repair.

Timber + Rope (Wrapped) [Successful] Continuing the study of joining solid and fluid materials, tightly wrapped rope was used in this joint as a compressive force to prevent the crack from growing. The rope produced in interesting effect in terms of texture and surface and seemed to prevent the crack from growing.

Timber + Rope (Laced) [Successful] This material joint used the same rope as shown in the previous study, but in a completely different manner. Small holes were drilled along the crack in the timber, and the rope was laced along it and secured in high tension. Again, in this specific instance it was difficult to determine the success of the repair, however I believe in other applications this technique could work successfully. Using different coloured rope would help to accentuate this repair.

Timber + Adhesive Filler [Unsuccessful] This was one of the few experiments with a more conventional methodology. A wood-filler created for the specific purpose of filling small cracks and chips in timber was used here, however it lead to issues with further cracking within the filler once dried. Another reason I deemed this method unsuccessful was that the joint wasnâ&#x20AC;&#x2122;t emphasised enough; the filler was roughly the same colour and texture as the timber, and so it blended in once it had dried and the whole concept of accentuating the repair was lost.

Repair Adolf Loos once stated that “objects of practical use survive as long as the material they are made from survives, and their value in the modern world lies in their durability” 1924. However, it is my belief that an object of practical use, such as a piece of furniture, has the potential to last as long as someone is willing to repair and maintain it. A piece of furniture will be given new life when it is repaired, and as each repair job is imposed, it can gradually mutate into something completely new, but the essence of that piece of furniture will remain, its story continuing. “Though physical things decay, their object or idea endures” Sennett 2008 Fixing is a way of thinking through making; it is a design challenge without a pre-defined correct answer, but with an infinite number of solutions. Repairing objects isn’t just a material act of craft or construction, but is a philosophy and a measurement of value and worth. Repair is a form of micro-intervention. The simple process of fixing something, whether intended or not, is a way of conveying the intangible concept of time in an embodied physical act. Pye remarks that “Time is a dimension of all workmanship. It all fails, to be sure; but it fails either sooner or later” 1995. To repair an item is a testament to the affection of its owner, and like the ancient Japanese craftsmen of Kintsugi, it creates a more profound appearance with the potential to use a playful creativity to give new life to an otherwise doomed object. Having undertaken material studies with the bricks and logs, and tested different joining and repairing techniques which accentuate the joint, the next stage of the investigation was to attempt to apply this methodology in a practical setting. To return to the idea of Kintsugi and emphasised repair, there is a common technique in repairing everyday objects using scavenged materials or pieces which do not resemble the original at all; it is this technique that I intend to implement in the next stage of my investigation. ‘The use of imperfect or incomplete tools draws on the imagination in developing the skills to repair and improvise.’ Sennett 2008

Three Chairs Repaired

Methodology Having investigated the properties of various materials, and gained insight into the many different ways in which two materials can form a joint to repair a broken object, I set out to use this knowledge in a real-world application. The previous material studies had looked at bringing broken objects back to their original form in an abstracted fashion, where the repair joints may not have been completely functional, but instead used to highlight the effect of the material combination. To truly learn from these studies the next step was to investigate functional repairs and material joints in everyday objects. Stemming from a keen personal interest in furniture design, and taking inspiration from the Wabi-Sabi ideals of the imperfect, I decided to implement different repairs on three damaged chairs that I had acquired from a local recycling centre. From the material studies I had undertaken, there were several materials and methods I deemed suitable to use in fixing these chairs in such a way that would accentuate the repair, in accordance with the Kintsugi methodology. â&#x20AC;&#x153;If they do not thwart but rather amplify the design by introducing elements of diversity which it lacked, then we like themâ&#x20AC;? Pye 1995

Salvage and Preparation

After finding the three broken chairs that I planned to repair, I set out to salvage usable materials from various sources. I was looking for materials that I could use that would contrast with the existing material of the chairs, and that would highlight the new from the old. Before any physical repair could take place however, the first step was to profile and analyse each chair. In doing this I documented the existing condition of the chair, noting each scratch, dent, breakage and missing constituent piece. I could then think about what the original state of each chair was like, making educated guesses where necessary, and use this to influence the thought process of how I intended to repair them. Thinking about each repair was tackled like any design task, and it became clear that there was no right or wrong answer; instead there was a playful looseness to the brief I had set myself, where I could experiment with the methods and materials I had studied in the first series of investigations. There is however a huge leap between the design of a proposal, and the actual craft involved, especially for the inexperienced craftsman. Pye often distinguished between designers and craftsmen, and the sometimes apparent void between the act of designing and the actual building. “No architect could specify ashlar until a mason had perfected it and shown him that it could be done” 1995 “The quality of the concert does not depend wholly on the score, and the quality of our built environment does not depend on its design. The score and the design are merely the first of the essentials, they can be nullified by the performers or the workmen.” Pye 1995. Although Pye emphasises the importance of the craftsman, rather than the designer, he was known to be the designer and craftsman for many of his projects, where he often worked by himself from start to finish. This investment of time and effort into a project proves the real sense of worth between workman and object. This is especially true in the act of repair, where the craftsman, being me in this instance, becomes more and more connected with the object being worked on; this is yet another factor embodied in the object that creates more depth to its character. “Design proposes. Workmanship disposes” Pye 1995

Chair 1 The Timber Stool

The Repair

The timber stool was missing the wooden seat face that sat on top of the still-functioning rotation plate. Along with some minor cosmetic damage, there was a significant breakage in one of the wooden leg braces. I chose to repair this stool using concrete; a material that was obviously unconventional for this purpose, as a means of highlighting the repair whilst serving a functional purpose.

Chair 2 The Steel Chair

The Repair

The steel chair had a damaged base and was completely missing the back panel. The salvaged timber used in this repair portrays a sense of fractal layers of history; collectively each piece forms this newly repaired chair, but the pieces also hold their own history of past uses, in old bookshelves, chairs, wardrobe panels and wooden pallets.

Chair 3 The Timber Chair

The Repair

This chair had several scratches and dents, and was missing its seat base, cushion and a corner support in the frame. There was also a significant crack in the back panel. Returning to the idea of the rope and the knot acting as a structural element, one continuous piece of bright red rope was used to bind the chair together and form the new seat face along with a new timber corner support.

Manifesto After my investigations into material joints and the repair of the three chairs, I was able to summarize my findings and conclude with a short manifesto. The aim of the manifesto is to inform and influence future repairs and potentially be applied in my design project where the intervention of a derelict building is taking place.

Things break, it is inevitable What we do with the broken thing is the issue at hand When possible, repair rather than replace Increase objectsâ&#x20AC;&#x2122; longevity, reduce amount going to landfill Repair is a way of thinking through making It is a design task with infinite solutions, not necessarily better than the original, but different A repair attempt may fail This is a learning exercise; use it to influence subsequent repairs. Craftsmanship requires practice Use new and unfamiliar materials You can learn a lot about them, and perhaps produce unexpected results Do not hide the repair, emphasise it Repair embodies Worth, not Value Planned obsolescence exists However, it paves the way for potential repair Repair is empowering It nourishes independence, and gives control to the user A repaired object is truly unique One-of-a-kind objects are well sought after Each repair gives an object new life It embodies the objectâ&#x20AC;&#x2122;s history and adds character

The Presentation Images of the final DRU presentation review

Bibliography

Reading Bates, S. – Wickerwork, weaving and the wall effect, Papers 2, 2007 Frampton, K. – The case for the tectonic, Architectural Design vol. 60, 1990 Frampton, K. – Studies in Tectonic Culture, Chapter 9: Carlo Scarpa and the adoration of the joint, MIT press 1995 Frascari, M. – The tell-the-tale-detail, in Nesbitt, K. – Theorizing a new agenda for architecture, Princeton Architectural Press, 1996 Hemingway, E. - A Farewell to Arms, 1929 Holland, J.H. - Mending Ceramics, An anthropological context 2008 Kahn, L. – Light is the theme, Kimbell Art Museum 1975 Loos, A. – Ornament and Crime, Ariadne Press, 1998 Pallasmaa, J. – The eyes of the skin, John Wiley and Sons, 2005 Pye, D. – The Nature and Art of Workmanship, Herbert Press, London 1995 Ruskin, J. – The stones of Venice, DaCapo Press 1853 Ruskin, J. - The Seven Lamps of Architecture, Dover Publications 1849 Sennett, R. – Material Consciousness, The Craftsman, Penguin, 2008

Video Bohlin, P. – In short film entitled “Peter Bohlin, Architect” by Robert Ashcroft, New York Times, 2010 Muniz, V. – In documentary entitled “Waste Land” – Almega Projects, 2010