| 1. |
-
Crafting Cultural Heritage
- 2016
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage? This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld; Thomas Laurien; Eleonora Lupo and Elena Giunta; Gunnar Almevik and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.
|
|
| 2. |
- Femenias, Paula, 1966, et al.
(författare)
-
Earthy textiles. Experiences from a joint teaching encounter between textile design and architecture
- 2017
-
Ingår i: Cumulus REDO Conference Proceedings Design School Kolding 30 May - 2 June 2017. - 9788793416154 ; , s. 236-251
-
Konferensbidrag (refereegranskat)abstract
- This paper presents experiences from a two-day teaching workshop where first year students in architecture meet with first year students in textile design for an assignment on building structures with textile, soil and plants designing for indoor gardening with the aim of inspiring for more sustainable lifestyles. The background is a research project on textile architecture with the objective of exploring this new field and to establish a platform for long-term collaboration between the disciplines of architecture and textile design. The paper addresses pedagogical challenges in the meeting between first-years students of different disciplines and traditions, but also in the meeting between research and undergraduate teaching. The students produced creative results but had difficulties in exploring the full complexity of the task. An evaluative discussion is based on observations, photo documentation, notes during group discussions, follow-up questionnaires among the students and reflections among involved researchers.
|
|
| 3. |
- Fridh, Kristina, 1961
(författare)
-
From Japanese tradition towards new subjectivity in the architecture of Kengo Kuma and Toyo Ito
- 2017
-
Ingår i: arq : Architectural research quarterly. - Cambridge : Cambridge University Press. - 1359-1355 .- 1474-0516. ; 21:2, s. 113-130
-
Tidskriftsartikel (refereegranskat)abstract
- The Japanese architects Kengo Kuma and Toyo Ito work with the formation of mental processes, which include spatial perceptions, but also haptic experiences. In this regard, they both connect to the Japanese architectural tradition. Therefore, it is interesting to compare their work, especially since visually the architecture of these two architects differs. However, through staged, unexpected and changeable experiences of materiality and spatial organisation – interacting in dynamic flow with the surroundings – similar mental processes are evoked when conceiving and perceiving their architecture that are an integral part of the ongoing processes to transform their architecture into ‘abstractions’. The point of departure for being involved in these similar, processual stage-settings is the creation of uncompleted experiences of wonder; a void, which is recognised from the traditional Japanese expressions for beauty – shibui and yugen – and described by Soetsu Yanagi as a hidden, subjective beauty. This in turn leads to a new subjectivity in connection with traditional Japanese conceptions of space, where space is a subjective perception and a changeable process in the mind of the beholder, and not an outside object. The references to the architectural tradition include the villa and the garden of Katsura and the architect Kazuo Shinohara, who opposed and criticised Western Modernism with the basis in his own Japanese tradition.
|
|
| 4. |
- Fridh, Kristina, 1961-, et al.
(författare)
-
Sound absorbing textile surfaces in the urban landscape - collaborative research in textile and architectural design
- 2019
-
Ingår i: Futurescan 4: Valuing Practice Edited by: Helena Britt, Kevin Almond, Laura Morgan. - 9781527249691
-
Konferensbidrag (refereegranskat)abstract
- The design of woven and knitted structures can be compared with the formation of buildings’ facades and constructions. However, textile designers do not generally participate when the exterior structure and facades of a building take shape, but rather when textiles and materials for the indoor environment are chosen, often with the intention of enhancing the acoustic qualities of spaces. In this research project, two architects and a textile designer collaborate, the latter focusing particularly on sound design. Incorporating textile designers in the early stages of building projects can lead to benefits of exploring and improving sound landscapes in outdoor environments. In order to search for and develop new approaches, methods and techniques in the field described as textile architecture, textile facade modules were designed and produced, and the design process was examined and evaluated from the points of departure of the two design fields. Questions such as ‘who is actually prototyping?’ arose, as well as the search for finding common references and concepts, both historical and contemporary, to strengthen the collaborative work. A practice-based experimental approach was important for the project and the merger of the two design fields, not least to put different textile techniques and materials to the test to examine how they can affect the sound landscape and experiences of space. The key activities in the laboratory work were technique, method, perception, stage-setting and context, which connected both to textile design and architecture. The different textile materials were chosen to comply with the requirements of external climate impact and rough outdoor environments. In groups of demarcated design experiments, the textile techniques of weaving and hand tufting were explored, and the modules were tested acoustically.
|
|
| 5. |
- Fridh, Kristina, 1961
(författare)
-
The Materiality of the Surface
- 2009
-
Ingår i: Architecture and Phenomenology, June 26-29, 2009, Japan.
-
Konferensbidrag (refereegranskat)abstract
- The aim of the project, “The Materiality of the Surface”, is to examine if, and in that case how the way of using different materials when forming space is connected with different cultures’ conceptions of space. The paper summarizes the outcome of this project, which is financed by the Swedish Research Council, the Swedish government agency for research. The research project is based at the School of Design and Crafts, the Faculty of Fine, Applied and Performing Arts, University of Gothenburg and has been going on from 2006 to 2009. It will be presented in the form of an exhibition and a publication in autumn 2009 at the Swedish Design Museum, Rohsska, in Gothenburg. The study is a continuation of the thesis Japanese rooms, where Japanese conceptions of space are discussed in relation to characteristics of emptiness and changeability in traditional and contemporary Japanese architecture, by means of a phenomenological approach and also through hermeneutic interpretations. In Japanese cultural tradition, space is conceived as a subjective perception, a physical experience and a changeable process, which differs from European tradition. In “The Materiality of the Surface”, the relation that different architects have to ways of using different building materials when forming space is examined and studied, according to different conceptions of space. The study includes contemporary Swedish and Japanese architecture, and in the first, more theoretical part of the project, two Swedish and two Japanese architects’/architectural offices’ works are examined and compared, and the point of departure is their relation to materials and spatial conceptions. The Japanese architects/architectural offices are Kengo Kuma & Associates/Kengo Kuma and SANAA/Kazuyo Sejima and Ryue Nishizawa and the Swedish ones are Wingardhs/Gert Wingardh and Claesson Koivisto Rune/Marten Claesson. The other part of the project “The Materiality of the Surface” comprises empirical studies and examinations through design and laboratory work and focuses primarily on the building material glass. The project includes glass design – how to change the characteristics of materiality by using different techniques such as laminating and screen printing glass. Since the project includes the production of design work, it therefore belongs to the field of artistic research. The two persons working on this project are: Kristina Fridh, PhD/architect and Thomas Laurien, textile designer, who specializes in surface design. Combining the competencies of an architect and a textile designer is a new way of approaching the main questions of the project.
|
|
| 6. |
- Hellström, Björn, 1959, et al.
(författare)
-
Modelling the shopping soundscape
- 2011
-
Ingår i: Journal of Sonic Studies. - Leiden : Leiden University Press. - 2212-6252. ; 1
-
Tidskriftsartikel (refereegranskat)abstract
- This article’s pivotal theme is: “How to compose a site-specific sound-art installation for a commercial space in order to improve conditions, while taking perceptual, social, aesthetical, temporal and spatial criteria into account” The interdisciplinary, art-based research approach is derived from the concept of acousmatics, i.e. the process of apprehending any sound, the source of which is invisible. Acousmatic perception concerns the everyday identification process; when lacking visual contact with the sound source, we automatically seek references, such as social (what produces the sound and what is my relation to it?), aesthetical, spatial and temporal (e.g. orientation and demarcation). The acousmatic concept identifies phenomena based on individually, culturally and spatially conditioned experiences. Today, a shopping culture dominates urban space. Indoor malls expose us to all types of acousmatically perceived sounds: jingles, signals, music and muzak from public loudspeakers, mobile devices, etc. In this respect, one could claim that the soundscape of the shopping culture embodies an acousmatic environment. In 2009, the research and sound-art group Urban Sound Institute (USIT) created a permanent sound installation in a shopping mall (Gallerian) located in downtown Stockholm. This installation serves as a case study for the present paper. The artistic assignment involved the creation of a meeting place without material devices as well as the enhancement of the overall atmosphere. The research objective was to elucidate different qualities of the sound installation in regard to the acousmatics of the shopping mall, promoting discussions on the articulation of sound-space configurations in relation to time and site-specific context, issues on musical-architectural qualities as well as objective, subjective and inter-subjective interrelationships between the experience of the sound-art installation and the experience of the shopping mall soundscape. Other applied, interrelated concepts are metabolic environment and masking- and cutting effects.
|
|
| 7. |
- Laurien, Thomas, 1967, et al.
(författare)
-
An Emerging Posthumanist Design Landscape
- 2022
-
Ingår i: Palgrave Handbook of Critical Posthumanism. - Cham : Palgrave Macmillan. - 9783030426811 - 9783030426811 - 9783031049576 - 9783031049583
-
Bokkapitel (refereegranskat)abstract
- A designer is somebody who points, who designates, and gives directions. Design thereby has a direction into the future. What directions are designers pointing out if design is coupled with posthumanism? Posthumanism has come into being in a landscape of both ideas and design. That which has previously been designed and produced is coming back and it can help us point out harmful inequalities if we sharpen our observational tools and concepts.“An Emerging Posthumanist Design Landscape” is an overflowing designated area for examples and thinking on compositions of design and critical posthumanism. It is a landscape in the making, yet scarred by previous design cultures and histories. As design researchers operating out of Scandinavian academia, we invite readers/travelers to meander through an emerging hybrid landscape and to make a few selected stops at the sites of our own recent design interventions. We articulate concepts, frictions, and opportunities sprouted in a sprawling and increasingly populated landscape of design and posthumanism. Posthumanist thinking questions and recharges fundamental design concepts and methods/approaches, e.g.: Who are the actors of posthumanist design? Where does it take place? What do we design? What materials do we use? How do we work? When does design take place? Why are compositions of design and critical posthumanism important undertakings? The responses to these questions sketch trajectories for further travels and the co-creation of an emerging posthumanist design landscape.
|
|
| 8. |
- Lindgren, Monica, 1958, et al.
(författare)
-
Potential för estetikfältets legitimering och utveckling : samtal kring forskning inom det estetiskt-pedagogiska fältet
- 2018
-
Ingår i: NEÄL 2018 Abstracts. - Göteborg : Göteborgs universitet.
-
Konferensbidrag (refereegranskat)abstract
- Potential för estetikfältets legitimering och utveckling - samtal kring forskning inom det estetiskt-pedagogiska fältetAbstract till rundabordssamtal NEÄL 2018 Under 1990-talet och början av 2000-talet var intresset för estetisk verksamhet, estetiska lärprocesser och estetiska ämnen i skola och lärarutbildning stort. Forskningsinstitut finansierade studier inom området, läromedel publicerades, nya kurser i lärarutbildningen skapades och olika typer av strategiska satsningar i skola och lärarutbildning gjordes. Under det senaste decenniet har frågor om estetiska perspektiv och estetiska ämnen i skola och lärarutbildning alltmer tonats ned i takt med ett ökat intresse för individualisering, tydliga kunskapskrav och ökad måluppfyllelse. Det kan också tolkas som en ökad tonvikt på de enskilda konstarternas särart och betydelse för samhällsekonomi, på bekostnad av det estetiska som personlig utveckling och bildning. Utvecklingen betraktas av många som förödande för det estetiskt-pedagogiska fältet och det är lätt att nedslås och skylla på det som kallas New Public Management. Men samtidigt måste vi vara självkritiska. Forskning och utvärderingar visar att vi som företräder skolans och lärarutbildningens estetiska verksamhet inte lyckats med att legitimera och definiera det estetiska området, vare sig som ämnen eller som kunskapsområde. Inte heller har vi förmått utveckla detsamma. Såväl Lgr 11 som lärarutbildningsreformen samma år satte ramar som försvårade för modernisering av ämnesinnehållet i de estetiska ämnena i skolan. Här har vi forskare och lärarutbildare ett väsentligt ansvar. Hur kan vi främja kunskapsutveckling inom området? Vilken typ av forskning behövs för denna utveckling? Ska vi möta politikers krav på mer fakta och söka oss mot en annan kunskapsfilosofisk grund, i riktning mot, hjärnforskning, essentialism och falsifierbara resultat? Ska vi samarbeta med andra ämnen och söka vetenskapliga belägg för transfereffekter? Eller ska vi gå på tvärs och fortsätta söka kunskap kring estetiska ämnen i ljuset av begrepp som demokrati och bildning, i syfte att söka hållbara argument för alla barns och ungdomars rättighet att få tillgång till estetiska uttryck. Eller kanske slå in på en helt ny väg? I detta samtal kommer fyra forskare att presentera sina perspektiv och bjuda in till samtal utifrån följande fråga: Vad krävs av forskningen för att fältet ska utvecklas och ges en starkare legitimitet? Monica Lindgren, Fredrik Lindstrand, Ketil Thorgersen, Stina Wikberg
|
|
| 9. |
- Palmsköld, Anneli, 1962, et al.
(författare)
-
Handicrafting Gender : Craft, Performativity and Cultural Heritage
- 2018
-
Ingår i: Gender and Heritage. - London : Routledge. - 9781138208148 - 9781138208162 ; , s. 44-60
-
Bokkapitel (refereegranskat)abstract
- To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft's gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden.
|
|
| 10. |
- Vink, Josina, et al.
(författare)
-
Understanding the Influence of the Co-Design Process on Well-Being
- 2016
-
Ingår i: Service Design Geographies. Proceedings of the Serves.2016 Conference. - Linköping : Linköping University Electronic Press, Linköpings universitet. - 1650-3740. - 9789176857380
-
Konferensbidrag (refereegranskat)abstract
- The aim of this paper is to explicitly link co-design to well-being and expand the conversation about the influence of the co-design process on well-being. This paper highlights considerations for co-design researchers and practitioners interested in enhancing the value created through co-design. The authors draw from discussions in transformative service research (TSR) to better understand how co-design influences well-being. Co-design is defined as a process of joint inquiry and imagination where diverse actors share and combine their knowledge. Based on the broad definition of service set out in service- dominant logic (SDL), the authors take the position that co-design is a form of service and therefore stress the relevance of TSR to co-design. The paper identifies six dimensions of well-being discussed in TSR that extend and highlight gaps in co-design literature related to the influence of the co-design process on well-being. The authors suggest that these dimensions become a component of future evaluations of the co-design process and point to opportunities for further research related to how co-design influences well-being and supports transformation.
|
|
