PASW Regional Newsletter: Spring 2005
Regional Network Meeting Report
Material Solutions? Exploring the contribution craft makes to architecture.
Bovey Tracey, 4 November 2004
Maggie Bolt welcomed everyone to the meeting and explained that she would be chairing the afternoon as Andrew Kelly was unavoidably absent. She went on to say that she was pleased to be holding this meeting in association with the Devon Guild of Craftsmen and to be looking at the crafts as an area of investigation with regard to the interface they have within architecture.
"Increasingly", Maggie said, "makers and artists are finding that they are working collaboratively with other design professionals, as part of their role within commissions in the public realm, and the relationship, ideally, should be one where their conceptual and aesthetic vision becomes as important as any product which may arise. If time is provided for discussion and reflection, and the maker becomes an integral part of the creative team, then a freer interpretation of the brief can result and, as a consequence, the original conceptions or expectations as to what might be wanted, possible or needed can shift, leading to a more creative design solution".
A winter piece by Naomi Vincent. Photo: The Artist.
Maggie introduced the experienced and interesting speakers for the afternoon and outlined how they would be exploring the contribution that crafts and makers can bring to architectural projects. Firstly, Alex Murdin, Director of the Devon Guild of Craftsmen, would be challenging the perceptions of craft. He planned to demonstrate the added value of working with makers, who not only bring conceptual and visionary ideas to the table but also an in-depth knowledge of their materials and an ability to influence construction and meet other agendas within the construction industry - be they around sustainability targets or embracing new and exploratory technologies. Then Janet Stoyel, a highly respected and innovative maker, would be talking about her experience of working with architects, interior designers and fashion designers. Maggie explained that Janet has an international reputation for being at the cutting edge of development, with her innovative high-tech laser and ultrasound technology within the field of textiles. Janet would describe her experiences of working within architectural contexts and outline what it was that makers like herself could bring to the design process. Lastly, Maggie introduced Sarah Wigglesworth of Sarah Wigglesworth Architects, who have just been given a special award from RIBA for their house and office in Stock Orchard Street, London. As a practice they are interested in making buildings, which employ readily available materials in a highly inventive way and in achieving unexpected results with them. Sarah would discuss what the meaning of craft and craftsmanship is to architecture in the 21st century and would go on to discuss this in relation to mainstream construction, self build and DIY. She would provide the architect's perspective on the benefits of collaborating with makers and what she felt it brought to the creative and design process.
Alex Murdin welcomed everyone to the Devon Guild, saying that many people would notice the changes to the building that had recently taken place and how this had given him a different perspective of architecture. He stated that his presentation, looking at the role of craft within architecture, would be unashamedly 'pro craft' in its nature.
He talked about the associations that come with the word 'craft': skill based rather than about content, backward looking, purely decorative, not a statement, small scale, handmade, about heritage and an after-thought. He said that these associations were often transferred into negatives, but that he, in fact, saw them as positive associations, saying that "with fine art you get concept, with craft you get concept plus knowledge of materials". "Many craft practices, especially in an architectural context", he said, "produce work on the edge of both art and craft, which is very positive".
Alex then went on to show images of work by Jackie Abey and Jill Smallcombe, Guy Martin, Jim Partridge, Robert Dawson and Alex Beleschenko, which demonstrated this. These images, he said, show how aesthetics integrate with design, the value of utilitarian work, how discussions about materials can create a better understanding between architects and craftspeople and the value of both small scale and large scale work.
Alex talked about innovation being key to contemporary craft practice and how important it was for makers to engage with new technologies. He talked about the impact of introducing craft objects into an interior design context, for example, how important lighting was as a way of defining architectural space and how craftspeople working with local industry enabled the link between the work, the place and its environment. He finished by saying that he felt public craft today was innovative and flexible, able to provide design solutions and contextualized.
Maggie thanked Alex for his presentation and invited questions.
The questions raised issues about the distinction between artists and craftspeople and the enormous spectrum of practice between fine art and design which makers might occupy, the difficulty of craftspeople penetrating industry and how this area is being helped by organisations like NESTA, and the importance of artists and craftspeople working together, especially within an architectural context where a lead artist will often be responsible for bringing in other makers.
Maggie then introduced Janet Stoyel. Janet started by giving the meeting a whistle-stop tour of her career and what she does. She said that she was a manufacturer, maker and artist all rolled in to one. When she was training at the Royal College she had become very concerned with environmental issues surrounding her practice and this had been a major influence in the way she works. In 1994 Janet established the Cloth Clinic and worked with the MOD and Ultrasound Manufacturers to create the equipment she needed for her work, an ultrasound machine and full scale class 4 industrial laser.
Janet talked about her inspiration coming from natural sources and said that her work was divided between producing work for interior designers and for architects. She controlled all her fabrics from the fibre upwards and said that playing with silk and metal had led her into working within an architectural context. She went on to show slides illustrating how she could label herself as either an artist or a maker depending upon the project. The slides she showed included images of her work for Hitec Lotec, five spherical objects, which, for her, had demonstrated that textiles could be used for external commissions. The second commission she showed images of was the 10m x 9m theatre curtain for Artpoint, which had been a steep learning curve. Finally, she showed images of her work for Lighthouse - Poole's centre for the arts and Mutley Plain in Plymouth.
Janet finished by talking about what she had learnt. She suggested that it was essential to get to know the lead artist prior to starting work or even accepting a commission. Finally she said that she had been really fortunate to find opportunities that allowed her to work on projects in an integrated way but she urged architects to work closely with craftmakers to ensure that integrated work really was achieved.
Maggie thanked Janet for her presentation and then asked for questions. The audience asked a number of questions covering the importance of documenting all work in progress etc, conservation issues and how materials can alter as a result of the context in which they are placed, the support needed to deliver projects, the issue of mentoring and how easy is it for craftspeople to deal with the scale that is often demanded in an architectural context.
After a break for tea, Maggie welcomed Sarah Wigglesworth. Sarah said that she had been intrigued by the event because of a comment made about the Straw Building she had designed, that it was 'very well crafted', which, in architecture, can be seen as a derogatory term.
Within an architectural context, craft is seen as being about materials within the building and how they are incorporated into it. It is not about industrialisation but rather about the handmade or DIY. The architect, Sarah said, works as the assembler of industrial components. She showed slides of ubiquitous buildings made of readily available materials, "the modern vernacular".
Sarah went on to show slides and talk about the Straw Building and to explain why they had chosen to use unorthodox materials in its design and construction. She said that they had wanted to make an eco product that was not dull and boring and which hovered between the categories of high and low tech. They had wanted to use new techniques, rather than materials that came with assumed mechanisms for usage. By using materials that took a lot of research and development, she wanted to encourage self builders to think "out of their boxes" and to encourage the builders they worked with to be part of the decision-making process.
Sarah talked about the link between food and the building and how she saw the craftsmanship involved in making a building as similar to cooking. When asked to do an exhibit at the House and Garden Show at Olympia, her practice had made an edible place, which for her explained the level of thinking within her practice.
Stock Orchard Street at twilight. Photo: Paul Smoothy.
Talking about the Straw House, Sarah said that the building was about the confusion of living and working in the same place. The materials used reflected this and the surrounding environment. For example, being next to a railway line meant that the materials used needed to cut down noise levels. Therefore, the office had a soft exterior whilst the living area had a harder, more industrial exterior. Sarah finished by saying that it was very important that the building evolved and changed over time and that this was another important consideration when looking at materials.
Maggie thanked Sarah for her presentation and said that it had offered the meeting another interpretation of what craft was in an architectural context.
The plenary session, which then followed, involved interesting debate and discussion concerning:
- specific issues relating to the Straw House around planning, community response and the cost implications of the process.
- the use of modern living spaces and how they function.
- the challenge for Homes for Life and the need to preserve communities by creating dynamic buildings that allow for the changing needs of users.
- how craft can be about the investigation of materials, sometimes practical and sometimes conceptual and how it can be in the detail as well as in the overall structure.
- -the need to engender a climate of creativity amongst clients and an encouragement of collaborative practice that is developed at an early stage.
- issues around planning and how arguments need to be made to planning authorities about local distinctiveness and ecological issues.
- the extension at the Devon Guild and how the building was seen as the backdrop for the people it represents.
- the terminologies of public craft and public art and the need for categorisation or not and the part that perceptions play in this.
- the importance of sufficient funding for the research and development of projects.
- the link between some current social problems and the design of our buildings, towns and cities.
- the legacy we are creating in terms of our culture.
- how the current economy affects the level of creativity that is encouraged within building schemes.
- the need for young emerging artists to have the opportunities to develop their skills.
To end the meeting, Maggie said that the climate was changing and that there was recognition of the value of good design and how that came about. We all needed, in our various roles, to continue to advocate for this. "Quality of design and our environment", she said, "is high on the agenda and the proposed planning reform offers an opportunity to develop more coherent thinking and application in relation to sustainable development, community engagement and innovative high quality design". Maggie concluded the meeting by thanking all the speakers, Alex for providing the venue and the delegates for taking part in the discussions.