Artisanal handicrafts of Provence * Source: Flickr public domain
For some time past there has been a good deal of interest shown in what is called in our modern slang Art Workmanship, and quite recently there has been a growing feeling that this art workmanship to be of any value must have some of the workman’s individuality imparted to it beside whatever of art it may have got from the design of the artist who has planned, but not created the work. This feeling has gone so far that there is growing up fashion for demanding handmade goods even when they are not ornamented in any way, as, for instance, woollen and linen cloth spun by hand and woven without power, hand-knitted hosiery, and the like. Nay, it is not uncommon to hear regrets for the hand-labour in the fields, now fist disappearing from even backward districts of civilized countries. The scythe, the sickle, and even the flail are lamented over, and many are looking forward with drooping spirits to the time when the hand-plough will be as completely extinct as the quern, and the rattle of the steam-engine will take the place of the whistle of the curly-headed ploughboy through all the length and breadth of the land. People interested, or who suppose that they are interested, in the details of the arts of life feel a desire to revert to methods of handicraft for production in general; and it may therefore be worth considering how far this is a mere reactionary sentiment incapable of realization, and how far it may foreshadow a real coming change in our habits of life as irresistible as the former change which has produced the system of machine production, the system againstwhich revolt is now attempted. Details »
Published on July 19, 2008 2:22 AM.
Filed under: Articles gathered from others, Articles written in English Tags: 공예, 근대, 디자인, 사회, 생산, 윌리엄 모리스
Iwangjik Crafts Workshop * Source: National Hangaram Design Museum, Seoul
A little translated excerpt from <Iwangjik Crafts Workshop and Contemporary Crafts in South Korea>, written by Gongho Choi
The development of modern crafts has not been investigated due to the lack of historical records and researches. It is a lucky that I’ve got recently found design sketches and photographs of Iwangjik’s products, so that now it has become possible to see the production process of Iwangjik though limited.
The workshop, titled as Hansung(the name of capital since the beginning of Chosun dynasty) Crafts Workshop, founded in 1908, had ran its business for 30 years till the era of Japanese occupation in Korean peninsular faced its end, in other words the end of WW2. It was a facility producing crafts and played a crucial roll in developing modern Korean crafts.
It was when various traditional, cultural values were to be destructed that the workshop was established, and the modernization in Korean peninsular was initially began in this era by external influence. the workshop’s official aim was “to encourage the nation’s craft tradition” while this institution actually restored some bits of traditional craft skills as fine as the product quality of Kyoung-gong-jang(light factory)s, which had produced for long times various office and domestic goods only for governmental bodies. Also, it was a crucial moment in the modern history of Korean crafts that the workshop, as a semi-institutional body, trained a number of craftspeople who was to make the nation’s crafts tradition survived and who later became profound influences on the restoration of previously-demolished craft traditions.
In addition, this organization claimed that “the designs planned here should be made on possible traditional ways though production processes had to be modernized” as opposed to the dominated mood of modernization or Japan-ization in Korea. This was apparently a bold, important approach to restore and cherish tradition and was when nationalistic intelligentsias were influenced by Dong-Do-Seo-Gi(Eastern world take morality or inherited identity while Western world has science or technology), which was a widespread idea for the restoration of national sovereignty at the time.
Published on July 7, 2008 2:06 PM.
Filed under: Articles created by SSALL, Articles written in English Tags: 공예, 근대, 생산, 한국
Nationality: English
Date of Birth: 1808
Place of Birth: Bath
Date of Death: 18 April 1882
Place of Death: London
Identity:
Sir Henry (‘King’) Cole was a civil servant, industrial designer and museum director. He was the son of Captain Henry Robert Cole (1780-1863) and Lætitia Dormer(1792-1867 or 1868). His third brother Charles was a schoolmate of Francis Seymour Haden, who became the Cole family doctor. On 28 December 1833 he married Marian Fairman, third daughter of William Andrew Bond of Ashford, Kent. Details »
Published on May 6, 2006 8:25 AM.
Filed under: Articles gathered from others, Articles written in English Tags: 근대, 디자인, 영국
19세기에 걸쳐 ‘디자이너’라는 말은 명확하지 않고 혼란스러움에 둘러싸여있었다. 이른바 하나의 직업적 책임으로서, ‘디자이너’는 순수예술가, 건축가, 공예가, 기술자(엔지니어), 발명가, 기술자 그리고 낮게는 ‘고용자’로서 다뤄졌다. 19세기는 무자비한 변화의 시기였으며, 디자이너 ? 그 모든 변화들과 함께했던 – 는 패턴북을 만들어내던 18세기의 순수예술가들과, 디자인팀이나 메니지먼트 구조를 바탕으로 일하던 20세기의 산업디자이너들, 그 한가운데에 있었다. 이 두 축은 그 정체성 – 19세기를 산업디자이너의 출현에 아주 중대한 기반형성기로 자리매김한 – 을 확립하기 위한 셀수없는 노력들 위에 놓여있다.
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Published on January 24, 2006 6:27 PM.
Filed under: Articles created by SSALL Tags: 공예가, 근대, 디자이너, 생산
초기의 대량 생산체제에서 우리가 모두 알고 있는 ‘디자인하기’가 존재하게 된 정확한 시기를 집어내는 것과 그 쓸만한 사례를 찾는 것은 쉽지 않다. 현대 디자이너의 기원을 찾는 일은 특별히 어려운데, 왜냐하면 그것은 개인이나 – 혹은 디자인 과정에 개입된, 그리고 대량 생산체제의 구조를 변화시킨 – 개인들의 직업구분이 불명확하게 변화하였기 때문이다.
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Published on January 9, 2006 1:31 PM.
Filed under: Articles created by SSALL Tags: 공예, 근대, 디자이너, 생산
National Geography 1919년 7월호입니다. 그당시의 한국에 대한 기록과 사진들을 볼 수 있습니다. 이런 좋은 책을 만드는 나라에서 왜 이리도 딴 생각을 많이 가지고 있는지,, 의문입니다. Korean Palm User Group에서 옮겨왔습니다.
Published on March 28, 2003 2:08 AM.
Filed under: Articles gathered from others Tags: 근대, 한국
