Abstract

Focusing on a process where the designer embeds herself in craftspeople’s workshops with the intention of ‘learning from inside’ and ‘making together’; this paper proposes pathways for considering collaboration within design. ‘One Over, One Under’ as the title of the mentioned project suggests, points to the tensions that make weaving possible, also acting as an analogy to collaboration between designers and craftspeople. The project proposes a mode of working and a spectrum of outcomes where the designer has a first-hand experience of production techniques, engages in a serious and continuous dialogue through making, and develops an intervention that also brings forth her own skill set (such as introducing digital manufacturing and structural variations), transforming the conventions and boundaries between established roles and manufacturing techniques. An experiment that resulted in a series of objects considering both the technologies of production and the input of the designer, this process not only increases the potentials that crafts hold for the field of design, but it also offers possibilities of collaboration and further articulation of the design act.

Keywords:

basket weaving, 3D printing, learning from inside, crafts and design

Creative Commons License

Creative Commons Attribution-Noncommercial 4.0 License
This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License

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Jun 25th, 12:00 AM

‘One Over, One Under’: a dialogue between design and craft

Focusing on a process where the designer embeds herself in craftspeople’s workshops with the intention of ‘learning from inside’ and ‘making together’; this paper proposes pathways for considering collaboration within design. ‘One Over, One Under’ as the title of the mentioned project suggests, points to the tensions that make weaving possible, also acting as an analogy to collaboration between designers and craftspeople. The project proposes a mode of working and a spectrum of outcomes where the designer has a first-hand experience of production techniques, engages in a serious and continuous dialogue through making, and develops an intervention that also brings forth her own skill set (such as introducing digital manufacturing and structural variations), transforming the conventions and boundaries between established roles and manufacturing techniques. An experiment that resulted in a series of objects considering both the technologies of production and the input of the designer, this process not only increases the potentials that crafts hold for the field of design, but it also offers possibilities of collaboration and further articulation of the design act.

 

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