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Neo- Handi- Craft in America JEAN-LUC PIERITE Estados Unidos / United States WALTER GONZALES ARNAO Perú Gerente internacional de compras y logística de Fundación Fab. International procurement and logistics manager for The Fab Foundation. Docente en la Universidad Nacional de Ingeniería (UNI). Creador del Fab Loom, Mini telar y Telar de cintura para ciegos. 73 patentes otorgadas, DIGITAL 53 patentes en trámite y 3 registros de software. Professor at National University of Engineering (UNI). Creator of Fab Loom, Mini Loom and Waist Loom for the Blind. 73 granted patents, 53 HANDI- patents in process and 3 software registrations. CRAFT FAB 15 EGYPT/2019 TRINIDAD DE LOS ÁNGELES GÓMEZ MACHUCA México Directora del Fab Lab Maya. Coordinadora del Programa Social y Educativo de Quintana Roo. Director of Fab Lab Maya. Coordinator of the Social and Educational Program of Quintana Roo. MONTSERRAT CIGES LÓPEZ Costa Rica Española. Consultora independiente de innovación para proyectos de sostenibilidad social en distintas comunidades Latinoamericanas. Desarrolladora del método Do It Yourself Materials. NEO- Spanish. Independent innovation consultant for social sustainability projects in different Latin American communities. Developer of the ”Do It HANDI- Yourself Materials” method. GUILLERMO SEBASTIÁN GUERRA JARA Ecuador Encargado de laboratorio en AIMA Lab (Asociación Ecuatoriana de Industriales de la Madera). CRAFT IN In charge of a laboratory at AIMA Lab (Ecuadorian Association of Wood Industries). AMERICA ARISTARCO CORTÉS MARTÍN La fabricación en serie ha desplazado en gran medida METHODS TO INCORPORATE México la mano de obra. ¿Será posible que las artesanías se Director y coordinador de proyectos tecnológicos y de inversión DIGITAL FABRICATION del Instituto de Diseño e Innovación Tecnológica de la Universidad mantengan populares en esta era digital? Walter Gonzales y PROCESSES INTO Iberoamericana Puebla. Director and coordinator of Technological and Investment Projects of the otros emprendedores han logrado innovar en las artesanías HANDICRAFTS Institute of Design and Technological Innovation of the Ibero-American University Puebla. BENITO RAÚL JUÁREZ VÉLEZ mediante la tecnología digital en América. Lo invitamos a Perú saber cómo lo lograron. Cofundador y presidente del Fab Lab Perú. Creador y director del método SimbioCreación. NEOARTESANÍA Co-founder and president of Fab Lab Peru. Creator and director of the Mass production has greatly displaced the workforce. Is it PERU PERU ECUADOR ECUADOR RICA COSTA MEXICO MEXICO MEXICO UNIDOS ESTADOS “SymbioCreation” method. EN AMÉRICA possible for handicrafts to remain popular in this digital age? Walter Gonzales and other entrepreneurs have succeeded MÉTODOS PARA INCORPORAR PROCESOS DE FABRICACIÓN in innovating in handicrafts through digital technology in DIGITAL EN LAS ARTESANÍAS America. We invite you to know how they achieved it. LUIS ALBERTO CAMACHO LUYANDO ISBN: 978-612-47366-1-2 México Gerente del Fab Lab IDIT Ibero Puebla (Instituto de Diseño e Innovación ISBN: 978-612-47366-1-2 WALTER GONZALES ARNAO Tecnológica de la Universidad Iberoamericana Puebla). JUAN FELIPE ENRÍQUEZ FIALLO Manager of the Fab Lab IDIT Ibero Puebla (Institute of Design and Ecuador Technological Innovation of the Ibero-American University Puebla). Diseñador de accesorios y calzado. Desarrollador de método HeartMade. Gonzales Walter Benito Juarez Enriquez Felipe Juan Guillermo Guerra Ciges Montserrat Cortes Aristarco Luis Camacho Gomez Trinidad Pierite Jean-Luc Designer of accessories and footwear. Developer of the “HeartMade” 9 7 8 6 1 2 4 7 3 6 6 1 2 method. 9 7 8 6 1 2 4 7 3 6 6 1 2 OT. 17961 / Public - Mirtha / UNI - Metodos para Incorporar... Artesania PORTADA / Medida: 56.1 x 24.0 / Lomo OK: 1.7 mm. / Int. 196 pp. Bond 120 gr. / Cosido Únete a la red Fab Craft ingresando al siguiente link Join the Fab Craft Network using the following link www.digitalcraft.uni.edu.pe The cover of this book evokes the fusion between ancestral knowledge and digital technologies. It is an abstraction between the quipu, the warp and the RGB color model. The quipu is an ancient instrument of accounting and recording of information used by the ancestral cultures of the Andes, in Latin America. It allowed them to calculate the cycles and the state of the earth. Thus, they could anticipate the frosts and know the adequate time for the sowing and the abun- dant harvest without chemicals or preservatives. The abstraction of the cover shows knots, warp and saturated colors, typical of our indigenous fabrics, to express the beauty of our planet. In addition, the composition with RGB colors symbolizes new technologies, digital fabrication, and the code of digital handicrafts (fusion of tradition, culture and innovation). La carátula del presente libro evoca la fusión entre los conocimientos ancestrales y las tecnologías digitales. Es una abstracción del quipu, la urdimbre y el modelo de color RGB. El quipu es un antiguo instrumento de contabilidad y registro de información utilizado por las culturas ancestrales de los Andes, en América Latina. Les permitía calcular los ciclos y el estado de la tierra. Así, podían anticiparse a las heladas y conocer el tiempo adecuado para la siembra y la cosecha abundante sin químicos ni preservantes. La abstracción de la carátula muestra nudos, urdimbre y colores saturados, propios de nuestros tejidos indígenas, para expresar la belleza de nuestro planeta. Además, la composición con colores RGB simboliza las nuevas tecnologías, la fabricación digital, y el código de las artesanías digitales (fusión de tradición, cultura e innovación). Neoartesanía en América. Métodos para incorporar procesos de fabricación digital en las artesanías Neohandicraft in America. Methods to incorporate digital fabrication processes into handicrafts Investigador principal / Principal investigator Walter Héctor Gonzales Arnao Colaboradores/ Collaborators: Jean-Luc Pierite Trinidad de los Ángeles Gómez Machuca Luis Alberto Camacho Luyando Aristarco Cortés Martín Montserrat Ciges López Guillermo Sebastián Guerra Jara Juan Felipe Enríquez Fiallo Benito Raúl Juárez Vélez ÍNDICE / INDEX Presentación 10 Foreword Prólogo 12 Prologue Introducción 16 Introduction Sección 1: Cultura material con fabricación digital en el Perú 19 Section 1: Material culture with digital fabrication in Peru 1. Cultura material y espacios de fabricación computarizada 20 Material culture and computerized manufacturing spaces 2. Actores de la cultura material y sus sistemas de producción 27 Actors of material culture and their production systems 3. Síntesis, conclusiones y reflexiones 38 Synthesis, conclusions and reflections Sección 2: Artesanía: Valores e ideología en el tiempo 43 Section 2: Handicrafts: Values and ideology through time 4. Valores de la sociedad y de las artesanías 44 Societal and handicrafts values 5. Historia de la ideología artesanal en el Perú 50 Peruvian history of artisanal ideology Sección 3: Artesanía + Tecnología: Experiencias internacionales 57 Section 3: Handicraft + Technology: International Experiences 6. InDigiFab: Craftivismo artesanal indígena promovido a través de la educa- 61 ción Fab Lab InDigiFab: Indigenous Artisan Craftivism Promoted through Fab Lab Educa- tion 7. Fab Lab Maya y el programa Artesana Lab 79 Fab Lab Maya and the Artesana Lab Program 8. Reflexiones sobre fabricación digital y sus posibilidades de impacto en la 89 artesanía mexicana Reflections on Digital Fabrication and its Possibilities of Impact in Mexican Handicraft 9. Experiencias del IDIT Ibero Puebla en la utilización de la fabricación digital 97 en artesanías Experiences of IDIT Ibero Puebla in the Utilization of Digital Fabrication on Handicrafts 10. Artesanía, innovación y tecnología 107 Handicrafts, Innovation, and Technology 11. Angara: La historia de un negocio familiar de artesanías con las herra- 131 mientas de fabricación digital Angara: The History of a Handicraft Family Business with Digital Fabri- cation Tools 12. El proyecto HeartMade y reflexiones sobre la cultura material en Italia 137 The HeartMade project and reflections about material culture in Italy 13. Autenticidad y mejora de sistemas productivos 142 Authenticity and Improvement of Productive Systems 14. Caso de estudio: Comparación entre la eficiencia de fabricar un telar 151 artesanal y otro de manera digital (Fab Loom) Case study: Comparison Between the Efficiency in Fabricating an Artis- anal Loom and a Digital One (Fab Loom) Sección 4: Metodología para incorporar los procesos de fabricación digital 165 en la artesanía Section 4: Methodology to incorporate digital fabrication processes into handicrafts 15. Inducción de método para incorporar fabricación digital en las artesanías 166 Induction of a method to incorporate digital fabrication into handicrafts Conclusiones y recomendaciones 192 Final conclusions and recommendations Referencias 195 References PRESENTACIÓN stamos viviendo tiempos de cambios, rodeados de tecnología y aparentemen- te hiperconectados. Los rápidos avances en inteligencia artificial, robótica e Eintercomunicaciones nos permiten prever que el trabajo, como actualmente lo conocemos, va a cambiar radicalmente. La fabricación digital es una pieza más de este rompecabezas. Nos permite mate- rializar fácilmente diseños hechos en computadora. Se adecúa a muchos procesos productivos existentes y permite obtener mayor calidad y homogeneidad en el pro- ducto final. Muchas personas temen que los robots, que pueden realizar procesos repetitivos, desplacen la mano de obra especializada
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