THE IDEAL OF HANDICRAFTS AND THE MODERN
DESIGN FORMATION: COINCIDENCES AND FAILURES
Journal Name:
- Orta Doğu Teknik Üniversitesi Mimarlık Fakültesi Dergisi
Keywords (Original Language):
| Author Name | University of Author |
|---|---|
Abstract (2. Language):
Many analysts of the History of Art and Industrial Design have at times
tried to give ‘shape’ and form to the idea of functionality and aesthetics that
have characterized the utilitarian objects from the appearance of mankind
till now. Almost always, however aptly, their research efforts have not
reached but one conclusion: that the interpretation of the industrial
design as it was understood so far had deep its roots in the concept of the
traditional handicrafts’ ideal.
So although the concepts of craftsmanship and industrial design are
fundamentally different, nevertheless, it would be remiss to ignore the
strong relationship between each other over the course of history. There
is no doubt that the craft has been always a genuine poetic element, a
precursor for the message of progress and reform power that design has
induced during the Industrial Revolution, it being for centuries an intimate,
traditional way of producing utilitarian objects in such domains as pottery,
jewelry, furniture, construction, textiles, metalwork, even bookbinding
and the manufacture of toys. On the other hand, design has always
been the conception and planning of the artificial, that broad domain of
human made products which includes material objects, visual and verbal
communications, organized activities and services, and complex systems
and environments for living, working, playing, and learning. According to
the above, this paper aims at supporting the strong relationship between
craft and design by documenting it with the use of both historical examples
and the identification of their common elements.
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Abstract (Original Language):
Bu araştırma günümüzde modern tasarım olarak adlandırılan kavramın el
sanatları kavramıyla yakından ilişkisini incelemektedir. Esas amacı, yalnızca
kuramsal olarak değil, aynı zamanda karanlık Orta Çağdan günümüze
uzanan bir dizi anahtar tarihsel örnekten hareket ederek el sanatlarının, Batı
toplumlarında başarıya ulaşan endüstriyel tasarımın temelini oluşturduğunu
göstermektir. Bu göz ardı edilemeyecek ilişkinin gelişimindeki önemli dönüm
noktası 19. yüzyıl İngiltere’sidir. Çünkü bu dönem Sanayi Devrimi’ni içermesi
yanı sıra Morris ve Ruskin’in hiç de gerçekçi olmayan biçimde inandıkları
gibi Orta Çağa özgü yöntemlerle nesnelerin yeniden tasarlandığı dönemdir.
Daha sonra, Avrupa’da, Modernizmin kitle üretiminden önce uygulamalı
sanatlarda el sanatlarının son umudu olan Art Nouveau ile birlikte Üçüncü
Dünya ülkelerinin elle yapılan üretimleri günümüzde hala önemli ve ayrı
kalan söz konusu iki kavramın benzerliklerini ve farklılıklarını işaret eder.
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