Cultural Concept in Furniture Design: Perceptions, Issues and Challenges

Sarawak Borneo has long been known for its diverse culture and multi-ethnicity, which is reflected in its arts and crafts. Pua Kumbu and Orang Ulu are famous visual motifs that can be seen on many products from Sarawak, including textiles and paintings, which could potentially be integrated into furniture design as cultural elements. The purpose of this study was to identify the perception, issues and challenges of cultural concepts embedded in furniture design from the perspective of manufacturers, designers and the public. In-depth interviews, surveys and observation were the three qualitative research methods applied in this study at MIFF 2018 and MIFF 2019. In general, the findings from the surveys done in 2018 and 2019 show that manufacturers, designers and consumers agree that cultural elements can be a unique feature and a competitive advantage for furniture design. A range of furniture designs that feature different cultural elements, such as local materials, colors, stories and history, are discussed in this article, which is expected to inspire designers and manufacturers to experiment and explore this approach in furniture. However, to achieve this, manufacturers and designers have to have their own views and strategies on how they interpret cultural-related elements in furniture, based on their consumers’ interests and global market needs.

Working Together: Cooperation or Collaboration?

Teamwork involves different types of interactions—specifically cooperation and collaboration—that are necessary in education and many other professions. The differences between cooperation and collaboration underline the teacher’s role in influencing group dynamics, which represent both a found­ation for professional design education and a prequalification for students’ competences as teachers and for critical evaluation. As a test case, we focused on the Working Together action-research project in design education for specialised teacher training in design, arts, and crafts at the Oslo Metropolitan University, which included three student groups in the material areas of drawing, ceramics, and textiles. The project developed the participants’ patience, manual skills, creativity, and abilities, which are important personal qualities for design education and innovation and represent cornerstones in almost every design literacy and business environment. The hope is that students will transform these compe­tences to teaching pupils of all ages in their future careers.

Traditional arts and crafts of the peoples of Chukotka and its traditions in the modern subculture

В статье представлен обзор объектов декоративно-прикладного искусства коренного населения в Чукотском автономном округе. Материалом исследования послужили музейные коллекции Чаунского краеведческого музея, основу которых составляют предметы быта, этнографии и декоративно-прикладного искусства «оленных» (кочевых) и «сидячих» (оседлых) чукчей, эскимосов и других народов; а также архив Певекской школы искусств. Опираясь на опыт Чаунского краеведческого музея в области комплектования и экспонирования предметов декоративно-прикладного искусства, предлагается рассмотреть образцы традиционного чукотского искусства, а также его традиции в современной субкультуре. Под традиционным искусством понимается косторезное искусство народов Чукотки, а также вышивка из кожи и меха — такое разделение соответствует делению коренных жителей на кочевых и оседлых. Под современной субкультурой в данном случае понимается культура, созданная в многонациональном регионе в процессе ассимиляции местных жителей и так называемого «пришлого» населения — русских, украинцев и многих других. В результате происходили не только смешанные браки, но и взаимное обогащение культурных традиций — это ярко проявилось в проведении праздников, создании литературных произведений, а также в создании предметов декоративно-прикладного искусства. В собрании Чаунского краеведческого музея представлены подобные образцы декоративно-прикладного искусства как чукотских мастеров, так и мастеров других национальностей. The article presents an overview of objects of decorative and applied art of the indigenous population in the Chukotka. The research material was the museum collections of the Chaunsky Museum of Local Lore, which are based on household items, ethnography and decorative and applied art of the "reindeer" (nomadic) and "sedentary" Chukchi, Eskimos and other peoples; as well as the archive of the Pevek School of Arts. Based on the experience of the Chaunsky Museum of Local Lore in the field of acquiring and exhibiting objects of decorative and applied art, the author examines examples of traditional Chukchi art and its traditions in the modern subculture. Traditional art is understood as bone carving art of the peoples of Chukotka, as well as embroidery from leather and fur — this division corresponds to the division of indigenous people into nomadic and sedentary. In this case, the modern subculture is understood as a culture created in a multinational region in the process of assimilation of local residents and the so-called “newcomer” population — Russians, Ukrainians and many others. As a result, not only mixed marriages took place, but also the mutual enrichment of cultural traditions — this was clearly manifested in the celebration of holidays, the creation of literary works, as well as in the creation of objects of decorative and applied art. In the collection of the Chaunsky Museum of Local Lore, there are similar examples of decorative and applied art of both Chukchi masters and masters of other nationalities.

From domestication to imperial patronage: Deconstructing the biomedicalisation of occupational therapy

Occupational therapy knowledge emerged in the 19th century as reformist movements responded to the industrialisation of society and capitalist expansion. In the Global North, it was institutionalised by State apparatuses during the First and Second World Wars. Although biomedicine contributed to the rapid expansion and establishment of occupational therapy as a health discipline, its domestication by the biomedical model led to an overly regulated profession that betrays its reformist ideals. Drawing on the work of Deleuze and Guattari, our aim in this article is to deconstruct the biomedicalisation of occupational therapy and demonstrate how resistance to this process is critical for the future of this discipline. The use of arts and crafts in occupational therapy may be conceptualised as a ‘nomad science’ aesthetically resisting the domination of industrialism and medical reductionism. Through the war efforts, a coalition of progressive nurses, social workers, teachers, artisans and activists metamorphosed into occupational therapists. As it did with nursing, biomedicine proceeded to domesticate occupational therapy through a form of ‘imperial’ patronage subsequently embodied in the evidence-based movement. ‘Occupational’ jargon is widely used today and may be viewed as the product of a profession trying to establish itself as an autonomous discipline that imposes its own regime of truth. Given the symbolic violence underlying this patronage, the future of occupational therapy should not mean behaving according to biomedicine’s terms. As a discipline, occupational therapy must resist the appropriation of its ‘war machine’ and craft its own terms through the release of new creative energy.

Experience in Preparing Fine Arts Teachers-to-Be

The article presents and verifies the author’s component-based methodology for developing artistic-pedagogical competency in fine arts teachers-to-be. It can be implemented in theoretical training based on the system of museum and tourism activities accorded with Ukrainian folk holidays, multimedia support and artistic-pedagogical design as factors in the optimal transformation of theoretical knowledge into practical skills, as well as students’ understanding of symbolism in arts and crafts. Also, the article presents the results drawn from the implementation of the author’s methodology in the educational process to prove its effectiveness. The analysis of the presented data indicates a pronounced tendency towards the increase in the levels of all components of artistic-pedagogical competency.

Air-crafted Artefacts: Additive upcycling plastics within the Aviation Tourism Industry

<p>Within the New Zealand Aviation Tourism Industry (NZATI), an extensive amount of single-use plastic is consumed due to its light-weight properties and stringent hygiene requirements. After use, most end up in landfills causing immense environmental and health issues. Plastic waste can no longer be sent overseas, and New Zealand (NZ) still lacks sustainable waste management infrastructure. Moreover, there are limited recycling solutions for certain types of plastics, such as soft plastic. This poses a challenge for the industry, which generates tonnes of plastic waste and carbon emissions annually despite the implementation of sustainable practices. This research presents an opportunity for industry leaders such as Air New Zealand (AirNZ) to shift their current waste management model into a closed-loop system. The system focuses on how to upcycle inflight plastic through 3D printing (3DP) technologies into high-value products that reflect the identity of NZ. The research introduces how to implement 3D printed upcycling systems to benefit NZ culturally, economically and environmentally through several scenarios. A materials-led investigation with soft plastic bags, acrylonitrile-butadiene-styrene meal trays and polystyrene coffee stirrers revealed a variety of design possibilities. This resulted in a range of 3DP artefacts with novel visual, tactile and structural qualities. These include baskets printed from soft plastic and flax filament, a large chandelier printed from coffee stirrers, and topographic tiles printed from in-flight meal trays combined with organic waste from the New Zealand Māori Arts and Crafts Institute. The design outputs of this research act as a tangible reference for implementation by industry partners. Additionally, it demonstrates how 3DP and sustainable design approaches can be used to reduce environmental impacts and enhance product value. With a system of 3D printed upcycling in place, it provides the opportunity to promote sustainable tourism, allowing visitors to be responsible for their waste and encourage eco-conscious behaviours.</p>

Air-crafted Artefacts: Additive upcycling plastics within the Aviation Tourism Industry

<p>Within the New Zealand Aviation Tourism Industry (NZATI), an extensive amount of single-use plastic is consumed due to its light-weight properties and stringent hygiene requirements. After use, most end up in landfills causing immense environmental and health issues. Plastic waste can no longer be sent overseas, and New Zealand (NZ) still lacks sustainable waste management infrastructure. Moreover, there are limited recycling solutions for certain types of plastics, such as soft plastic. This poses a challenge for the industry, which generates tonnes of plastic waste and carbon emissions annually despite the implementation of sustainable practices. This research presents an opportunity for industry leaders such as Air New Zealand (AirNZ) to shift their current waste management model into a closed-loop system. The system focuses on how to upcycle inflight plastic through 3D printing (3DP) technologies into high-value products that reflect the identity of NZ. The research introduces how to implement 3D printed upcycling systems to benefit NZ culturally, economically and environmentally through several scenarios. A materials-led investigation with soft plastic bags, acrylonitrile-butadiene-styrene meal trays and polystyrene coffee stirrers revealed a variety of design possibilities. This resulted in a range of 3DP artefacts with novel visual, tactile and structural qualities. These include baskets printed from soft plastic and flax filament, a large chandelier printed from coffee stirrers, and topographic tiles printed from in-flight meal trays combined with organic waste from the New Zealand Māori Arts and Crafts Institute. The design outputs of this research act as a tangible reference for implementation by industry partners. Additionally, it demonstrates how 3DP and sustainable design approaches can be used to reduce environmental impacts and enhance product value. With a system of 3D printed upcycling in place, it provides the opportunity to promote sustainable tourism, allowing visitors to be responsible for their waste and encourage eco-conscious behaviours.</p>

The Cultural Industries of the North through the Eyes of Young Russians

Beginning in the late 1920s, the central driving force responsible for the preparation of specialists for work in the Northern, Siberian, and Far Eastern regions of the Russian Federation has been the Herzen State Pedagogical University of Russia, St. Petersburg (Herzen University), primarily led by the Institute of the Peoples of the North. Here, linguists are trained in twenty-three languages of Northern indigenous minorities. Notably, several languages of these minority groups—such as Nganasan, Dolgan, Itelmen, Enets, Ul’ta—are taught only here. The university also provides training in the field of traditional cultures of indigenous peoples (methods of traditional applied arts and crafts of the peoples of the North; dance and musical folklore; museology, etc.). However, not all experts in Northern studies are aware of the educational programs and scientific schools within the Department of Theory and History of Culture at Herzen University, under which the committee for the defense of doctoral and candidate dissertations has been working jointly with the Institute of the Peoples of the North for thirty years. The chairman of the council, doctor of arts, Professor L. M. Mosolova is the founder of the department and the head of the scientific school for the study of the culture of the regions of Russia, the countries of Northern Europe, and Eurasia. A significant amount of research completed by students—from undergraduate to postgraduate levels—is dedicated to the history and current issues of the various regions of Russia, including Siberia, the Far East, and Northern Europe.

"Ko Wai te Ingoa o Tenei Whare?" Architecture and Māori Identity

<p>The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.</p>

Ownership and Sense of Belonging for the Displaced: Integrating Somali Refugees into Wellington City

<p>Having a sense of belonging to a place is important for everyone adapting to a new environment but especially more so for displaced refugees. This is important for raising confidence and self worth which gives refugees a better chance to understand and connect to the surrounding culture and immediate environment. Somali refugees first arrived in New Zealand as asylum seekers. They are discussed specifically in this thesis with relation to the issue of discrimination, methods of integration and its issues such as social depravation. As an ethnic group, the Somali refugees are very distinct in their culture and religious belief thus facing more challenges in the process of integration compared to other refugee communities. This situation is not further aided as they live on the peripheries of the city, in this case, central Wellington city and its outskirts, which impedes the chance of exchange between their culture and other cultures that inform this multi-cultural city. The central city represents a central cultural hub where culture is exchanged through a variety of trade predominantly through food and the arts and crafts. This research explores the importance of providing spaces within the commercial centre for the social and economic value for the Somali refugees that could play a big part in their integration process. The thesis discusses the history of the Somalis, methods of integration and social depravation, precedents of successful spaces for cultural expression, concluding with the final design proposal discussions and conclusion. As the thesis explores the prospect of giving ownership to the Somali refugees in Wellington city the design component of the thesis focuses on architectural interventions that would facilitate and support cultural integration. The study explores the personalisation of an existing inner city built space and the use for functional needs as a first step for the Somalis to partake in economic and cultural exchange, understanding and eventually through such means develop a sense of belonging.</p>