Enriching Architecture: Craft and its conservation in Anglo-Irish building production, 1660–1760

Refinement and enrichment of surfaces in stone, wood and plaster is a fundamental aspect of early modern architecture which has been marginalised by architectural history. Enriching Architecture aims to retrieve and rehabilitate surface achievement as a vital element of early modern buildings in Britain and Ireland. Rejected by modernism, demeaned by the conceptual ‘turn’ and too often reduced to its representative or social functions, we argue for the historical legitimacy of creative craft skill as a primary agent in architectural production. However, in contrast to the connoisseurial and developmental perspectives of the past, this book is concerned with how surfaces were designed, achieved and experienced. The contributors draw upon the major rethinking of craft and materials within the wider cultural sphere in recent years to deconstruct traditional, oppositional ways of thinking about architectural production. This is not a craft for craft’s sake argument but an effort to embed the tangible findings of conservation and curatorial research within an evidence-led architectural history that illuminates the processes of early modern craftsmanship. The book explores broad themes of surface treatment such as wainscot, rustication, plasterwork, and staircase embellishment together with chapters focused on virtuoso buildings and set pieces which illuminate these themes

Enriching Architecture

Refinement and enrichment of surfaces in stone, wood and plaster is a fundamental aspect of early modern architecture which has been marginalised by architectural history. Enriching Architecture aims to retrieve and rehabilitate surface achievement as a vital element of early modern buildings in Britain and Ireland. Rejected by modernism, demeaned by the conceptual ‘turn’ and too often reduced to its representative or social functions, we argue for the historical legitimacy of creative craft skill as a primary agent in architectural production. However, in contrast to the connoisseurial and developmental perspectives of the past, this book is concerned with how surfaces were designed, achieved and experienced. The contributors draw upon the major rethinking of craft and materials within the wider cultural sphere in recent years to deconstruct traditional, oppositional ways of thinking about architectural production. This is not a craft for craft’s sake argument but an effort to embed the tangible findings of conservation and curatorial research within an evidence-led architectural history that illuminates the processes of early modern craftsmanship. The book explores broad themes of surface treatment such as wainscot, rustication, plasterwork, and staircase embellishment together with chapters focused on virtuoso buildings and set pieces which illuminate these themes

Cultural reflections on furniture

Culture is the social behaviours in human being’s society, but it can also influence designers and their works. If Nordic design is considered popular, can the design methodology duplicate to reflect East Asian culture? Can a design language be refined from the carrier of culture, such as architectures? By knowing more about Nordic design and East Asian culture, A good design with East Asian culture and Nordic minimalism can be made. It is a test of blending design methodology with another culture so that a successful experience can be referred and design can also become a tool to help communicate between different cultures. The starting point is different from traditional design process which comes from structure or user cases, but from a culture. History of Scandinavian design is analysed to receive the clue of the design philosophy. As a good cultural carrier, traditional architecture in East Asia can stably reflect local culture. The design language can refined from these architecture to reflect the culture. Torii, as an example, is selected. Many researches on structure and shapes are done for next form exploration. Using sketches and mockups, these elements can be transferred into a chair to reflect its inherent culture. There are relatively certain elements that can represent a certain culture in architecture. These traditional architectures provide a timeline to trace the evolution of a culture. In the meanwhile, these elements can be refined and reused. Furthermore, with the help of simple and minimalistic design philosophy, these elements are also suitable to show in a design to tell a cultural story. Even though the elements and character are different and from East Asian culture, with the same Nordic design methodology, it can still be self-adapted, natural and elegant. By expressing Asian culture in Nordic language, there could be more possible potential products designed. Thereby, design can be a new carrier or tool to modernise the old traditional culture and make these culture universally useful and attractive again. Moreover, as the same principle, this method can also be spread to other cultures and more well-designed products in accordance with local culture and living habits can appear

Nostalgia remix: fusing traditional crafts and contemporary interior product design

While always a fundamental part of the design world, textiles have only recently become more integrated into interior product design during the past few years. In particular this kind of exploration gives the product a hand-made authentic quality rooted in traditional craft history. The term “nostalgia remix” both taps current terms in the popular design media, and refers to a concept defined by Judith Cushman-Hammer, lecturer at the University of North Carolina at Greensboro. The term then suggests both an examination of the past and a contemplation of the future of product design. The intent of “nostalgic remix” design, or contemporary designs created with a traditional quality, is to evoke feelings of familiarity and awaken memories; to create products that have an emotional element connected to something recognizable from the past. The thesis investigation develops and evaluates a design process that fuses traditional craft techniques, such as sewing, quilting, and weaving, with contemporary interior product design. The "cocoon" line of products, created through a generative hands-on design process, consists of items intended to help create personal space, privacy, and comfort. This design process encompasses textile arts, or products with a textile component, specifically products that soften the environment