Rooted and interwoven: Craft, cultural ecology and evolving material practices

The “Interior Archetypes Research and Teaching Project”, initiated in 1997 at Cornell University, creates a typology of contemporary interior design practices that is derived from reiterative historical designs that span time and style and cross cultural boundaries. An argument for the significance of a typology of historic and contemporary interior design practices is based on ten years of experiments resulting from the project. Approximately one hundred archetypes have been developed by the principal investigator, graduate students, and associated educators. The article establishes the premises for this research model and defines the methodological, theoretical, and pedagogical implications of the study for both undergraduate and graduate learning experiences. The Interior Archetypes Project names contemporary design practices that have not been named, thereby providing designers with an interior–specific, history–specific, and contemporary design–specific vocabulary. The project also offers an innovative approach to further design criticism and design sustainability. The Interior Archetypes Project will disseminate a new knowledge base for the creative dimension of design—that is, the productions of its practitioners. The key method of delivery for the Interior Archetypes Project is its web site.

This paper argues for a consistent and new design-specific disciplinary framework that will provide a better understanding of emergent design practice. Design today is characterised by a blurring of traditional design domains (Sanders 2006) and design activities that are backed by other subject specialist areas such as computing, electronics or bioengineering. In order to understand and facilitate collaborative working, a consistent disciplinary framework is required. Furthermore, in understanding complex disciplinary influences this framework provides a method of delineating and analysing emergent practice. To derive the framework this paper explores the existing literature on disciplinary terms. Contemporary creative design practice is then analysed via this taxonomy. To this end, the paper argues that through consistent use of the terms, ‘multidisciplinary design’, ‘crossdisciplinary design’, ‘interdisciplinary design’ and ‘transdisciplinary design’, distinctions can be made within the increasingly complex domain of contemporary design practice.

Amateur Craft provides an illuminating and historically-grounded account of amateur craft in the modern era, from 19th-century Sunday painters and amateur carpenters to present day railway modellers and yarnbombers. Stephen Knott's fascinating study explores the curious and unexpected attributes of things made outside standardised models of mass production, arguing that amateur craft practice is ‘differential’ – a temporary moment of control over work that both departs from and informs our productive engagement with the world. Knott's discussion of the theoretical aspects of amateur craft practice is substantiated by historical case studies that cluster around the period 1850–1950. Looking back to the emergence of the modern amateur, he makes reference to contemporary art and design practice that harnesses or exploits amateur conditions of making. From Andy Warhol to Simon Starling, such artistic interest elucidates the mercurial qualities of amateur craft. Invaluable for students and researchers in art and design, contemporary craft, material culture and social history, Amateur Craft counters both the marginalisation and the glorification of amateur craft practice. It is richly illustrated with 55 images, 14 in colour, including 19th century ephemera and works of contemporary art.

Despite recent intensity in discourse surrounding the definition and territory of interior design as a practice and a field of study in professional and academic forums around the world, little consideration has been given to the process and outcomes of contemporary interior design practice, and how analysis of it may (or may not) contribute to interior design’s persistent discussions of contested definition of identity and territory. This paper seeks to find a position within the current literature that allows justifiable discussion of contemporary interior design practice methodologies and projects. Using examples of awarded projects from Australia’s annual peer judged interior design awards program, analysis of contemporary interior design practice is positioned within the context of the main themes of this continuing debate.

Sustainable design is a phrase commonly used in the realms of design practice and yet the definition of the same remains quite fuzzy, thus providing the motivation for this research. The paper looks at contemporary sustainable design practices in the area of architecture design, building construction and landscape architecture. The objective is to understand what the term “sustainable design” really means as used in practice and what strategies are being employed towards the goal of sustainable development. The practices are assessed for their empathies as per the currently defined social, ecological, economical well-being goals of sustainable development. The paper concludes that out of the conventional triad of social, economic and ecological well-being, the socioecological well-being is emerging as the prevalent trend among the contemporary sustainable design practice. The trend needs to be continuously refined in this direction through intelligent employment of social and economic capital.

This article attempts to analyse and critically discuss the evolution of graphic design promotion with emphasis on the influence of theory, professional criticism and publications on the development and perception of the discipline. It analyses the history of design from the epoch of mechanised production and invention of typographic print, through the development of theory and practice of typography, to the contemporary discourses and practices of design. Particular attention is paid to key figures and publications, which have had significant influence on the development of graphic design, such as the works of Joseph Moxon, Pierre Simon Fournier, Jan Tschichold, Beatrice Warde, as well as the later periodicals – “Graphis”, “Neue Graphik” and “Projekt”. Moreover, the text presents how the development of design theories and practices have been accompanied by the need for criticism and reflection over the role a applied graphics in the society, as apparent from such manifestos as Ken Garland’s First Things First and the activity of magazines, e.g. “Emigre” and “Eye”. There is emphasis on the meaning of attitudes and areas of designer’s operations, as well as their influence on contemporary design practices. The analysis highlights that the promotion of graphic design is not limited to visual aspects, but also includes a broad cultural, educational and social context, underlying its diversity and complexity. As the results of the analysis demonstrate, the discipline constantly evolves, responding to changeable social and technological needs, which contributes to its dynamic development and adaptation. Keywords: design promotion, history of typography, design criticism, graphic design theory, design practices evolution

The paper presents a comprehensive analysis of pre-project research methods, systematized according to the type of information obtained, the specifics of their application in contemporary design practice, data acquisition techniques, and their accuracy and relevance for design decision-making.Pre-project research methods are classified according to research categories, specific design domains, and data collection approaches.The most significant methods for establishing a reliable informational research base are identified and structured through analysis, generalization, and comparative evaluation, with particular attention to the priority role of innovative digital dimensions in contemporary design, as well as data related to user segments, their preferences, and behavioral patterns.Integral interrelationships among modern design methods in trend analysis, including their advantages and associated behavioral scenarios, are identified and examined.The feasibility of developing a pre-design brief as a primary source in contemporary digital design for the creation of innovative design products is substantiated.The study employs methods of systematic analysis of scientific publications relevant to the research topic, a set of general scientific comparative analysis methods, information analysis techniques, classification methods, as well as contemporary tools and methodologies applied in digital design.Particular attention is given to the transformation of pre-project research practices under the conditions of digitalisation of design practices and the growing role of data in project decision-making.The importance of integrating user experience analytics, technological constraints, and market context as a holistic foundation for shaping an innovative design strategy is examined.It is emphasised that systematic pre-project analytics reduces the risks of erroneous design solutions and increases the adaptability of the design product to changing socio-cultural and technological environments.The potential for further development of pre-project research methods within the interdisciplinary and educational framework of contemporary design is outlined.The research proposes an improved algorithm for constructing a reliable informational base as a structured system for developing technical specifications in the design of contemporary design products.The research findings may be applied in the education and professional training of design specialists and related professionals, as well as in practical design activities across various design fields.

The term ‘Digital Craft’ is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in Computer Numeric Control (CNC) making? This article takes the position that craft practice is rooted in the relationship between materials, tools and techniques as an intricate workflow. We suggest that the workflow can be considered as autopoietic in nature, in that it is both self-referential and self-making, at the same time as continuously designing. Through this, digital fabrication can be seen as a practice that co-evolves technology and material systems. The first author took a step back and reconsidered David Pye’s theory of making in relationship to digital craft practice. This is later cross-examined with a series of semi-structured interviews with contemporary craft practitioners, to devise a systematic approach to the analysis of craft practices. This research stems from the first author’s background in architecture, whose design practice is craft based using digital fabrication technology. Through this research, we examined making as a means of generating design knowledge in the process. The article suggests that the authenticity of craft lies within the deeper structure of the practice: the formation of repertoire where its social and cultural meaning is derived through coupling the practice with other systems.

This paper aims to propose and stimulate a critical debate on the multidisciplinary aspects of communication design, focusing on the contribution, mutual learning, and synergy of audiovisual storytelling, transmedia design, and game design. We assume the narratives as the common ground for developing design processes and practices for addressing complex socio-economic challenges.In particular, we focus on the role of design within inclusive and co-design processes proposing the narratives as a framework and the co-created stories as both contemporary cultural expressions and design practices. In light of case studies and examples from our research and educational experiences at the School of Design and Department of Design (Politecnico di Milano), we propose to look at the designer as the drama manager of the design processes, capable of facing the challenges of tomorrow. In doing so, we discuss the gap between authorship and agency that occurs whenever design operates in social innovation contexts, collaborating with non-designers – artists, experts in other disciplines, or people and communities at the margins of society.

This paper presents the rich heritage of Indian folk and tribal art forms and culture. Art traditions such as Madhubani, Warli, Gond, Patta Chitra, Bhil and other folk and tribal practices have historically served as powerful visual expressions and are now being reinterpreted to address present day cultural, political and technological contexts.The study examines how traditional folk and tribal art forms of India are adapted and integrated into contemporary art and design practices. It explores the transformation of traditional motifs, symbols, borders, color schemes, and compositional styles within modern creative fields such as digital art, textile and fashion design, product design and mixed-media artworks. Though visual analysis and selected examples, the paper highlights how artists and designers creatively integrate traditional aesthetics with modern materials, techniques, and conceptual frameworks while preserving cultural authenticity.The fusion of art and design further emphasizes the impact of modern technology and digital tools in revitalizing folk and tribal art forms. Digital platforms, design software and online marketplaces enable artists to experiment with innovative materials, and contemporary design processes. These tools have broadened creative possibilities, allowing traditional motifs to be reinterpreted in new mediums such as sustainable textiles, contemporary fashion, home décor, and multimedia installations. At the same time, the paper considers the challenges of maintaining authenticity and the cultural integrity of these art forms while engaging with global audiences and commercial markets.The study concludes that the integration of Indian folk and tribal art forms into contemporary art and design contributes to cultural sustainability and creative innovation. By bridging tradition and modernity, these art forms continue to evolve while maintaining their cultural significance, relevance, and aesthetics richness, ensuring their continuity and resonance in an increasingly globalized and interconnected world.

Spoken and written communication plays a crucial constitutive role in both the production and reception of contemporary art and design practice, and as a result ‘conversation’ words, such as discuss, talk, communicate and respond frequently occur in the texts and talk of art and design educators, their students and creative professionals. In order to understand more about the role of communication in art and design practice, as well as the conceptualisation of art and design practice as communication, this study examines the use of these ‘conversation’ words in ethnographic data collected from a site-specific instance of art and design discourse practice. To achieve this objective, the ethnographic data is treated as sets of corpora which are examined using the tools of corpus analysis. Findings indicate the different constitutive, functional and strategic roles of ‘conversation’ words in art and design education and professional practice. They also shed light on the potential of corpus analytical resources to contribute to ethnographic research.

Ethical issues in contemporary visual communication design practice increasingly demand a reflective approach that goes beyond the procedural guidelines and rhetoric of human-centred design. While empathy and inclusivity are often considered the foundations of design ethics, the cultural assumptions and interpretive limits of these concepts are usually under-examined. This study aims to explore how ethical reflection in design practice can be enriched through dialogue with culturally rooted moral traditions by examining Serat Wulangreh, a 19th-century Javanese literary manuscript. This study uses a hermeneutic approach to selected verses to identify the ethical orientations expressed in Serat Wulangreh's moral teachings. The analysis is supported by consultations with a Javanese cultural expert and a Javanese literary academic to maintain the accuracy of the historical and cultural context. The results reveal three dominant ethical orientations: humanity, empathy, and tolerance, understood as ethical dispositions based on inner discipline, relational awareness, and moral restraint in the context of Javanese court culture. Rather than offering a normative ethical transference, this study positions Serat Wulangreh as a contextual ethical interlocutor that complements contemporary design ethics discourse by emphasising intention, power awareness, and self-restraint. This study contributes to the study of communication and design ethics by demonstrating how non-Western moral texts can enrich ethical reflection through a dialogical approach sensitive to cultural context.

Co-learning for sustainable design: The case of a circular design collaborative project in Ireland

The article investigates Piet Mondrian's Neoplasticism as a visual philosophy of modernity and analyzes its influence on the formation of a universal artistic language that remains relevant in contemporary visual design practices. The object of the study is Neoplasticism as an integral cultural project of the modern era. The subject of the study is the specificity of Mondrian's artistic language and the mechanisms of adaptation of its principles in architecture, design, and digital interfaces of the 20th–21st centuries. It is shown that Mondrian's artistic system, combining rational calculation with a utopian striving for universal harmony, formed a stable visual code. This code, based on the balance of simplest elements, proved to be an effective tool for organizing visual space far beyond painting. Special attention is paid to comparing Mondrian's approach with other directions of abstract art – Malevich's Suprematism and Kandinsky's expressive abstraction. The work applies a systemic approach, allowing to consider Neoplasticism as an integral phenomenon uniting philosophical foundations, artistic method, and socio-cultural influence. The methodology includes a comparative analysis of works by Mondrian, Malevich, and Kandinsky. The method of interpreting visual forms in a philosophical and cultural context reveals the significance of Neoplasticism's formal elements as symbols of universal categories. The scientific novelty of the research lies in the application of an integrative approach that combines art-historical analysis of the formal elements of Neoplasticism with cultural-philosophical understanding of its socio-transformational potential. Unlike existing studies focusing primarily on artistic aspects, this approach reveals the mechanisms of translation of Mondrian's visual code across different historical epochs – from the theosophical origins of the early 20th century to modern digital design practices. The results and conclusions of the study demonstrate that the principles of Neoplasticism remain relevant in contemporary visual practices, especially: in modular systems in web design (adaptive Material Design grid); in principles of visual hierarchy in UI/UX design; in spatial organization in contemporary architecture and exhibition design. The conducted analysis confirms that the cultural code of Neoplasticism continues to function as an effective tool for organizing the visual environment, offering a model for harmonious information structuring in conditions of digital overload.

Daniel Defoe’s Robinson Crusoe (1719) is a perennially popular narrative, repeatedly retold in Robinsonades from science fiction to Hollywood blockbusters. Despite substantial academic interest in the novel, Robinson Crusoe has received little attention in craft or design history. This is surprising given the centrality of making to the novel, which could offer a useful tool for interpreting contemporary craft and design practice. This paper therefore offers a twofold making-based exploration of the novel: the first half explores what kind of maker Robinson Crusoe was, and what his making can tell us about craft. The second mobilizes the making in Robinson Crusoe to examine a selection of works by designers from the late twentieth and early twenty-first centuries. Although diverse, their designs can be all read as Robinsonades: defined as necessity-driven and narrative-led making within multiple limits that I define as the Crusoe Condition.