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186017316 Gower Bm M. Dip. Tech 1989

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186017316 Gower Bm M. Dip. Tech 1989 CRAFT IDEALISM AS AN INFLUENCE ON DESIGN WITH PARTICULAR REFERENCE TO FURNITURE AND INTERIORS BEVERLEY MICHAEL GOWER SUBMITTED IN PART fULFILMENT Of THE REQUlREMENTS fOR THE MASTERS DIPLOMA IN TECHNOLOGY INTERIOR DESIGN SCHOOL OF APPLIED ART. CAPE TECHNIKON NOVEMBER 1989 The hands of James Krenov, worker in wood. PREFACE While working as a designer of furniture and interiors for the =nmercial market in Natal durirg the later 1960's and early 1970's, I was exposed to rural Zulu harxlcraft offered for sale on the roadside in outlyirg areas. 'Ihe work revealed a special quality and an "integrity" which I was unconsciously looking for in my own field of design. It was in this experience that the concept of looking to craft as a source for design was to originate. 'Ihe contrast between this simple and honest expression of art and craft, albeit camrnercially oriented, and the sophisticated area of design where I was obliged to function, became apparent. Not only was it the marked stylistic difference that impressed, but there seemed to be an urrlerlyirg s=ial significance to the work. 'Ibis prompted I!le to make a record of all the examples of craft I could locate when travelling through the rural areas of Natal. 'Ihere was no motive at that stage other than personal interest and the observations were not structured as research. It was only years later, when embarking on this study that these impressions became relevant. I would like to ackncMledge the assistance and guidance of my exten1al supervisor Dr Raym.¥ld Van Niekerk and the support of my internal supervisor Mr stan Slack. For the task of transmittinj my harrl written notes to type I must thank Sharel 5wanepoel and for processinj the illustrations, Martin Rhode. 'lhe practical work was photographed by Robin Featherstone to VJhom I am most grateful. To those of my colleagues VJho have assisted me either practically or indirectly I record my thanks. Finally, for editinj, proof readinj and encouragement durinj my times of doubt, I express my appreciation and gratitude to Anja IXlnnelly. 'lhe contents of this dissertation represent my = work and the opinions contained therein are not necessarily those of the Tec:Imikon or the Human Sciences Research Council. TABIE OF cnNTENI'S PAGE NUMBERS ABSTRAcr/EKSERP 1 and 2 1. INrROOOCTION 1.1 PERSONAL OBSERVATIONS OF RURAL CRAFT ill NATAL ill 'IRE EARLY 1970's 3 1.2 PERCEIVED CRAFT IDEALISM 8 1.3 AREAS OF RESEARQI 14 1.4 SUMMARY 17 2. INTERIOR DESIGN 2.1 AN INI'ERPREIXI'ION OF INTERIOR DESIGN WI'IH REFERENCE 'ID FORNI'IURE 20 2.2 'IRE ABSTRAcr PROCESS OF DESIGN ill INTERIORS 24 3. CRAFT 3.1 A DEFINITION OF CRAFT 34- 3.2 MATERIAL ClJL'IURE AND FOlK Am' ill REIATION 'ID CRAFT 39 - 3.3 AN HIS'IDRICAL PERSPECITVE OF CRAFT ill 'IRE WEST FRCM ANTIQUITY 'ID 'IRE lliOOSI'RIAL AGE 48 - 3.4 A SUMMARY OF 'IRE ARIS AND CRAFTS 65 - 3.5 EVIDENCE OF A CRAFT REVIVAL 100 4. PRACTICAL IDRK 4.1 PARAMErERS REIATING 'ID PROoocrs, mJllMENT AND MATERIAIS 140 4.2 INFIDENCES ON 'IRE DESIGN DIRECTION 142 4.3 AN OBSERVATION ON 'IRE USE AND EFFECI'S OF 'IDOIS 146 4.4 'IHREE PROCESSES OF MAKING 149 4.5 CATAIJ:)::;lJE OF EXPERIMENTS 159 5. CDNCIUSION 5.1 mMJI'ION OF CRAFT 163 5.2 'llJE INFIIJENCES OF CRAFT ON DESIGN 171- ERRATUM: Due to final rationalisation of page layout, 47 does not appear. Please note no text is missing. ABSTRACT In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft. EKSERP In in:lustri!!le sanelewings wat al hoe Ireer op rekenaar­ tegnologie staatmaak, klink die toenarne in harrlwerk byna na 'n anachronisme. Hierdie verskynsel is ontgin ten opsigte van die ontweq:dissipline, veral op die terreine van interieur- en meubelontweJ:p. Teen die agtergrorrl van 'n opname oor die heden::1aagse bedl:ywig­ heid in Suid-Afrika is die historiese evolusie van harrlwerk nagevolg in 'n paging am die toepaslikheid van hierdie onlangse verskynse1 te orrlersoek. Die kemnerk van idealisme is ge!dentifiseer in die kategorie van harrlwerk wat gedurerrle die vorige eeu uit die "Arts and Crafts Moverrent" voortgespruit het. Hierdie idealisme, tesame met die vroel!re nateri!!le kulture van suider-Afrika, word voorgehou as 'n IDOOntlike invloed op ontwerp. 'n Praktiese kamponent in die VODIl van eksperimente in handgenaak:te meubelstukke is by die opname ingesluit. Die doel hiervan was am die proses beter te leer verstaan en am hierdie spesifieke VODIl van harrlwerk te bevorder. 3 1. INTROOOcrION 1.1 PERSONAL OBSERVATIONS OF RURAL CRAFT ill NATAL ill '!HE EARLY 1970'S 'Ihe =nsequ.ence of the illIpressions described in the preface has been the stimulus for embarking on this project of investigation into the significance of craft in the field of design. As the research has progressed, and the meaning of the idealism of craft as an influence on design has fanned, it has seerra:l. worthwhile to return to the notes made in Natal and attempt to interpret why this spontaneous response to craft had occurred. Over a period of approximately four years a variety of lcx::ations, =nditions and people were seen. Contact was made not only with the Zulu craftsmen mentioned previously, but also others of Nguni st=k and people of several nationalities, both local and foreign, including Afrikaans, Erglish, Gennan and Scandinavian. 'Ihese =ntacts were recorded factually in tenns of place, date and articles seen, also objectively, in so far as there 4 was no interrled aim at the time. Yet when re-evaluating the notes, there appeared to be some essential factor cormnon to these disparate exa:rrples of craft. It seemed as if there was some a=rd amongst these craftsmen which could be described as an ethos. Each instance suggested the individuals might have drawn on a =llective source to direct their activities, where in fact there was little =ntact or knowledge of the other craftsmen. If there was some result cormnon to these widespread and dis=nnected activities, it could be said to be a relationship of three factors:- the work or craft object; the craftsmen or artist; and the location or environment. Not all three were necessarily in evidence on every occasion, yet it is proposed that it was the communion between these factors which imparted a special quality unique to craft. 'Ib illustrate this quality which was identified in the notes of my observations made in Natal, three examples have been taken and stnmnarised. Relevant extracts are quoted directly from my notes to =nvey the ilnpression made at the time. Individual reference has not been given for each quotation. 5 "Tactile Harrl Weav:i.rB" -A fann ''Mielietuinhoek'' Biggars Berg - near Iadysmith, Natal. 'Ihe farmer am his wife introduced han:i knotted rugrpaking which was produced by Zulu women worki.nJ on the fann. n Wol:k started in a <noIShed usinJ primitive equiprent for exanpl.e modified bicycle rims am parts as spinn:i.rB lolheel.s ••• n 'Ihe designs were originally produced by an artist working from her studio in Johannesburg"whidl 'iHere duly posted to the farm lOhere they 'iHere blown to full size am converted into rugs"• 'Ihe artist then bought a farm in the area am transferred her home. "Noii that the designs 'iHere l:Je:iDJ created in the craft envinJrmEnt am had recore deepl.y integrated into the production they took on a new deyth am quality n::Jt evident before". 'Ihrough the influence of the rug making industry other crafts have been encouraged to be produced am a roadside shop was opened by the fanner's family. " ••• allied African crafts have assisted to f~ this as an art am craft CE.lItre of very high starnard whidl has been nationally rec:xJgIlised". 6 The EIC Art arrl Craft centre - Rorkes Drift, Natal "siblated near tile aITfal.o River which is tile border of RWa ZUlu, tile Mission ccnsists of a widely spread g:r:oJp of blildinJs backinJ cnto tile 0skaJ:i:Jerg, a rockY out:crql in an otherwise gently rol.lin.J terrain." Three major crafts are practiced here: Kelim rug weaving, fabric printing arrl pottery. They are sold nationally arrl overseas. The adjacent art school was responsible for producing several renowned Black painters arrl sculptors. Referring to the rugs .. • •• 'Ihe quality arrl tile stan:Iard of designs have renai.ned very simi1 ar CNer tile years arrl if a certain disaIP"intlIEnt is felt at IX:1t seeiIq new dixections, it lIJ.lSt be IeiEiiiered that this is tile pace of =aft ..." The origin of the designs often came from experiences of daily life.
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