February 2017 on Craft
By: Editors, A R
.
Publisher: London EMAP Publishing Limited 2017Edition: 25 January 2017.Subject(s): ARCHITECTURE GENERAL (AR-GEN)Online resources: Click here
In:
Architectural reviewSummary: In this issue, we explore craft and the art of ‘making’. Can the fast-paced global economy be reconciled with our desire for the slow and handmade – and where does technology fit in?
We look at six projects that frame the architect’s ongoing obsession with the bespoke: Peter Zumthor’s zinc mine museum, Peter Salter’s Walmer Yard housing, Studio Mumbai’s Ganga Maki Textile studio, Gianni Botsford’s Layered Gallery, Adjaye Associates’ National Museum of African American History and Culture and the CKK Jordani concert hall by Fernando Menis.
Sam Jacob exposes the marketing of ‘fake’ craft, and Catharine Rossi argues why, in our ‘post-craft’ era, the original moral promises of William Morris are worth fighting for. In Outrage, Tom Wilkinson questions the dubious superiority of the handmade over technology and Typology turns to the very place where craft takes place, the artist’s studio, a once humble workspace now the hallowed ground of masters.
| Item type | Current location | Call number | Status | Date due | Barcode | Item holds |
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Articles Abstract Database
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School of Architecture Archieval Section | Not for loan | 2021-2021606 |
In this issue, we explore craft and the art of ‘making’. Can the fast-paced global economy be reconciled with our desire for the slow and handmade – and where does technology fit in?
We look at six projects that frame the architect’s ongoing obsession with the bespoke: Peter Zumthor’s zinc mine museum, Peter Salter’s Walmer Yard housing, Studio Mumbai’s Ganga Maki Textile studio, Gianni Botsford’s Layered Gallery, Adjaye Associates’ National Museum of African American History and Culture and the CKK Jordani concert hall by Fernando Menis.
Sam Jacob exposes the marketing of ‘fake’ craft, and Catharine Rossi argues why, in our ‘post-craft’ era, the original moral promises of William Morris are worth fighting for. In Outrage, Tom Wilkinson questions the dubious superiority of the handmade over technology and Typology turns to the very place where craft takes place, the artist’s studio, a once humble workspace now the hallowed ground of masters.
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