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This piece of work examines craft as a process, critically examining its relevance in relation to contemporary alternative methods of production. The aim of this work is to identify opportunities for craft to address the, at times, unhealthy relationship society has with material objects. In particular craft is examined in the context of society’s emphasis on replacement and obsolescence, the throwaway culture, overconsumption and the unsustainable nature of mass production.

 

Chapter Summary

 

Part One: Craft and its Significance

 

i.    Before examining craft in detail it is necessary to define what is meant by craft in wider common parlance as well as specifically in this body of work. This requires not only an outline of what is understood in modern terms but also how craft has evolved from the only viable means of production to a niche segment within an array available today.

 

ii.   Craft examined as a production method is unusual in that it is impossible to separate it from the craft person. Whilst craft in its most basic form was originally simply a means of producing objects, the development of automated methods and eventually the production line meant a changing status and position of craft in the landscape of production. In tandem with a move to more efficient production methods so the uniqueness of crafted objects became celebrated in contrast to the consistency and uniformity afforded by higher volume, automated methods.

 

iii. Craft’s unique emphasis on technical knowledge, building of skill and a deep understanding of material and tools result not only in a trained practitioner but also a passing on of knowledge. This handing down of knowledge led to the forming of guilds in the middle ages. Guilds were effectively specialised local manufacturing hubs using the resources and materials that were available in the immediate vicinity. They provide an interesting contemporary comparison to what is effectively centralised specialist manufacturing, which in general, is material resource agnostic[1]. This is examined in more detail in Part II.

 

iv.   The building up of a body of knowledge about single objects and processes led to further and further specialisation. The repeatable nature of the specialisms and the emergence of readily available power sources eventually led to the automation of production processes. Here the distinction between craft as a one of an array of possible manufacturing techniques becomes an accepted norm. With the marginalisation of what has come to be known as craft so its unique attributes become apparent.

 

v.    With the appreciation of the unique qualities of objects created using the process of craft so a counter movement to large scale, mass manufactured items rose. This movement was typified by the Arts and Crafts movement and popularised by William Morris. The tight control of the process, both design and making, by the crafts person allows creative control and a unified vision. Furthermore, by virtue of the close relationship the designer-maker has with the object this invariably results in a consistent and real narrative to accompany that object. This was recognised and championed by Morris. What makes the late nineteenth century movement particularly interesting is a retrospective analysis of the ideals and objectives which were set out against those which were achieved and how these failings might be addressed in a future, craft orientated manufacturing landscape. These qualities of craft in a modern context are explored further in Part Two. In the current economic and manufacturing climate an object created using efficient and highly refined manufacturing techniques can be produced at a lower unit price than a crafted item. As a result of this crafted objects only exist in limited, non-mainstream applications as non-essential, luxury items..

 

Part Two: The Future of Craft

 

The advantages crafted objects are able to offer, given the right conditions, in comparison to mass manufactured goods are compelling. The potential advantages of crafted objects are examined and split in to three main sub-categories with reference to the main theme of relevance in a contemporary manufacturing landscape.

 

i.    Does it matter where the raw source materials are from, or under what conditions an item is made? What does it mean to have sustainable, ethical production?

 

ii.   The concept of emotional attachment to an object is explored; how it is formed, how it can be modified and what it means for the expected useful life of an object. Documented examples of emotional attachment are investigated and a framework for generalising it is proposed. Through the tightening of the emotional relationship between user and object it is possible to influence and instil more conscientious customer behaviour; the consumer citizen can not only become a reality, but “they” can be empowered with knowledge, choice and most importantly a desire for ethical consumption.

 

iii. The necessity of an object to address the user’s primary needs is examined with reference to its importance and application during its useful life. Craft’s current position within the manufacturing landscape sees it as a process almost entirely devoted to the production of luxury items where cheaper (in terms of initial cost to the consumer), mass manufactured items are able to cater for the consumer’s needs with higher precision, more consistently and reliability. For craft to be a viable alternative this economic reality must be addressed. What is the true cost of an object, both immediately and the unintended cost consequences of the future?

 

iv.  Beyond the immediate owner–object relationship there is the impact that a craft based manufacturing infrastructure would have. A decentralised manufacturing system with locally sourced raw materials results in a potentially more sustainable and manageable supply chain. An understanding of the working conditions of those involved in manufacture is transparent and the route to the end consumer is more direct. Repair and maintenance becomes a viable option over consume and discard. This is examined in the context of the potential to work with advanced manufacturing techniques in a manner which enables useful affordable objects for all.

 

[1] The term ‘material resource agnostic’ implies a lack of sympathy for the natural variation in the raw material and a standardised approach to its treatment and processing.

 

[2] William Morris, Useful Work v. Useless Toil (London: Penguin, 2008).

An Essay on Craft in Modern Consumerism

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