This paper investigates how professionals within the Italian fashion industrycollaborate and communicate to develop the nation brand Made in Italy. Theproblem of brand confusion, which occurs when the different parties within anation does not cooperate towards a distinct brand message, is analysed.Based on a theoretical review of previous studies in nation branding,interviews and observations in the area of Florence and a desk study ofscientific papers, articles and literature, the model “The Nation Brand Tree”was developed. This was applied to the case of Made in Italy. Conclusions: Thecertification “100% Made in Italy” was proven to be an ineffective solution ofsaving the Italian heritage of craftsmanship and quality. The Italian nationbrand is currently being preserved by private investors, but there is a need forincreased governmental support to create a stronger and unified nation brandfor Made in Italy. / Program: Textilekonomutbildningen

In recent centuries the Swedish Tiled Stove has varied in its design with an aesthetic evolutionary history that has not only followed the architectural and artistic ideals but also the taste in stove design. The heat source has varied depending on the regional traditions and where it was located within the country, but the inside of the construction was of a similar five channel system. The purpose of this paper is to study and compare the design of tile matrices made by Emil Petterson with other Swedish stoves.  The following questions will be addressed: What characterized the production of a small scale tile stove workroom during the years 1900-50? Which main styles can be described as Emil Pettersson’s ideal while producing his matrices? And finally, is it possible to study the tile stove matrices as objects of historical and cultural significance, and what difficult methodological issues might occur in the doing of it?  To answer these questions I will present the results of the documentation of Pettersson’s tile matrices with detailed historical categorizations and schedules. The conclusion shows that Pettersson as a stove builder and -producer was characterized by eclectic ideals and a design shape based on more liberal interpretations of contemporary trends. The studying of tile stove matrices showed that, despite its difficulties regarding the inverted shapes, it is a barer of great historical and cultural value and that it plays a key part in the historical context of tile stove ovens.

Craftsmanship is recognised as a source of practical wisdom that can inform sustainable management and use of natural resources. However, there are many outstanding questions about how the skills and tacit knowledge embedded in craftsmanship can facilitate social-ecological resilience for sustainability. It has also proved difficult to access and articulate the knowledge embedded in craftsmanship. With this study I explore the skill and tacit knowledge components of craftsmanship as a repository of cultural-ecological memory through two case studies: the duodji, or handicrafts, produced by a Sámi craftswoman living in Jokkmokk, Sweden, and the fishing style of a fisherman in the Stockholm archipelago. As such, the research has two main aims: 1) to understand how the skills and tacit knowledge embedded in craftsmanship function as carriers of cultural-ecological memory; 2) to explore ways of mobilising and capturing these knowledge types by making them visible through the use of visual methodologies like photography. The research highlights the value of the accumulated knowledge and the portfolio of skills that are components of craft practices. Visual methods, in particular photo elicitation, invite participants to link their craftsmanship to their culture and identity. In doing so, visual methods contribute a new perspective on the role of craftsmanship as a carrier of cultural-ecological memory because the craft practices themselves become reservoirs of tacit knowledge and embodied skills that can be drawn upon in responding and adapting to changes or disturbances in the social-ecological system.

O objetivo desta dissertação é analisar as relações entre memória e identidade a partir do estudo de uma comunidade de artesãos, habitantes da cidade de Tracunhaém, Zona da Mata no Estado de Pernambuco. Desta forma é possível aproximar uma análise empírica sobre o artesanato local a um referencial teórico capaz de embasar a percepção do moldar do barro, da identidade urbana da cidade de Tracunhaém, e seus mestres/artesãos. Estes últimos são proeminentes nesta pesquisa: são os produtores de bens simbólicos, pontos de referência para pensarmos a identidade urbana de Tracunhaém como uma cidade inserida em uma memória artesã servindo para o estabelecimento de uma tradição. Simultaneamente a dissertação foi elaborado um produto em forma de e-book, pensado em colaborar com a visibilidade da produção artesanal efetuada em Tracunhaém. / This dissertation's objective is to analyze the relations between memory and identity starting from the study of a community of artisans, inhabitants of the city of Tracunhaém, Wood Zone of the Pernambuco state - Brazil. In this manner, it is possible to approximate an empirical analysis about local craftsmanship to a theoretical referential capable of supporting the perception of the molding of clay, of Tracunhaém's urban identity, and its masters/artisans, those being prominent in this research: they are producers of symbolic goods, points of reference in the thinking of urban identity of Tracunhaém as a city also inserted in an artisan memory of sorts, serving to the establishment of a tradition. Simultaneously to the dissertation, a product in the form of an e-book was elaborated, as a means of collaborating with the visibility of the artisanal production in Tracunhaém.

O objetivo desta dissertação é analisar as relações entre memória e identidade a partir do estudo de uma comunidade de artesãos, habitantes da cidade de Tracunhaém, Zona da Mata no Estado de Pernambuco. Desta forma é possível aproximar uma análise empírica sobre o artesanato local a um referencial teórico capaz de embasar a percepção do moldar do barro, da identidade urbana da cidade de Tracunhaém, e seus mestres/artesãos. Estes últimos são proeminentes nesta pesquisa: são os produtores de bens simbólicos, pontos de referência para pensarmos a identidade urbana de Tracunhaém como uma cidade inserida em uma memória artesã servindo para o estabelecimento de uma tradição. Simultaneamente a dissertação foi elaborado um produto em forma de e-book, pensado em colaborar com a visibilidade da produção artesanal efetuada em Tracunhaém. / This dissertation's objective is to analyze the relations between memory and identity starting from the study of a community of artisans, inhabitants of the city of Tracunhaém, Wood Zone of the Pernambuco state - Brazil. In this manner, it is possible to approximate an empirical analysis about local craftsmanship to a theoretical referential capable of supporting the perception of the molding of clay, of Tracunhaém's urban identity, and its masters/artisans, those being prominent in this research: they are producers of symbolic goods, points of reference in the thinking of urban identity of Tracunhaém as a city also inserted in an artisan memory of sorts, serving to the establishment of a tradition. Simultaneously to the dissertation, a product in the form of an e-book was elaborated, as a means of collaborating with the visibility of the artisanal production in Tracunhaém.

My claim is that analogue knowledge must be enacted and therefore cannot be documented explicitly, the emphasis lies in the process therefore architecture must address it in such a way. The architecture lends itself to knowledge as a carrier, of both a space for it to enact and to embody its processes and output. The process here is associated with craftsmanship, enduring and evolving where the craftsperson works to delay the image; they do not work to a set goal (the image) but only to further their own knowledge and craft, it is essentially a process of trial and error that evolves the ‘thing’ it is creating. Craft does not hold itself to exquisite products, quite the opposite; its focus is not on the thing it has created but the idea itself, the iterative act, that is craft. When coupled with the practice of analogue knowledge a proposition emerges, an architecture that embodies and addresses this knowledge as a practice archive. A space that pertains to the principals explored in theory however introduces a platform for craftspeople to inhabit and enact. A space that is not ephemeral, where analogue knowledge can endure and evolve as a practice. It becomes an archive not as accumulative practice, but as engaged or performative practice, the performance is the carrier of theory and enactment of knowledge.

O objetivo desta dissertação é analisar as relações entre memória e identidade a partir do estudo de uma comunidade de artesãos, habitantes da cidade de Tracunhaém, Zona da Mata no Estado de Pernambuco. Desta forma é possível aproximar uma análise empírica sobre o artesanato local a um referencial teórico capaz de embasar a percepção do moldar do barro, da identidade urbana da cidade de Tracunhaém, e seus mestres/artesãos. Estes últimos são proeminentes nesta pesquisa: são os produtores de bens simbólicos, pontos de referência para pensarmos a identidade urbana de Tracunhaém como uma cidade inserida em uma memória artesã servindo para o estabelecimento de uma tradição. Simultaneamente a dissertação foi elaborado um produto em forma de e-book, pensado em colaborar com a visibilidade da produção artesanal efetuada em Tracunhaém. / This dissertation's objective is to analyze the relations between memory and identity starting from the study of a community of artisans, inhabitants of the city of Tracunhaém, Wood Zone of the Pernambuco state - Brazil. In this manner, it is possible to approximate an empirical analysis about local craftsmanship to a theoretical referential capable of supporting the perception of the molding of clay, of Tracunhaém's urban identity, and its masters/artisans, those being prominent in this research: they are producers of symbolic goods, points of reference in the thinking of urban identity of Tracunhaém as a city also inserted in an artisan memory of sorts, serving to the establishment of a tradition. Simultaneously to the dissertation, a product in the form of an e-book was elaborated, as a means of collaborating with the visibility of the artisanal production in Tracunhaém.

Detta examensarbete handlar om hantverkarens val, om orsakerna till de olika valen och vad dessa val säger om hantverkarens värdegrunder. Men framförallt är det ett examensarbete som undersöker en metod för att komma fram till detta. Våra hantverksprocesser, vårt görande, handlar om att fatta beslut om hur vi ska göra, vad vi väljer och väljer bort. Hantverksprocesser kan vara långa och val påverkas av många olika faktorer, delvis av vad man värderar. Dessa värden skiljer sig bland hantverkare och de formar hantverkarens slutresultat. I examensarbetet undersöker vi vilka värden vårt hantverk vilar på och hur vi utifrån dessa motiverar de val vi gör. Därför utvecklar vi tillsammans en metod som ligger det praktiska yrket nära till hands där ens egna arbete ställs i direkt relation till den andras utförande. Genom att artikulera denna process förtydligar vi hur detta förlopp ser ut och belyser vikten av att gå djupare in i frågor inom hantverksyrket. På så sätt involverar vi varandra för att aktivt reflektera över beslut som tas i det praktiska arbetet, detta för att inte låta bakomliggande faktorer till valen lämnas outtalade. Arbetet visar tydligt att Oskars grund för ändringar av Carls lösningar vilar på etiska värderingar i ett förhållande till material och teknik. Att Carl prioriterar hantverksestetik, arbetsekonomi och funktion i högre grad. Vår undersökning visar att den metod vi valt för att synliggöra våra val och värdegrunder som återspeglas i våra val fungerar. Vi har etablerat en på våra grundvärderingar stabil bas utifrån vilken vi nu kan fortsätta att utveckla oss som yrkesverksamma inom möbelsnickarfältet. / This thesis is about the craftsman's choices, about why we make certain choices and what they can tell us about our value systems. But above all it is a thesis that explores a method to arrive at this. Our practise and processes mainly consists of making choices based on what to do, what we choose and what we don’t. Craft processes can be long and most choices are influenced by a variety of different factors, in part by what one values. These values differ among craftsmen and they shape the craftsman's end results. We want to examine what values our personal craft’s based upon and how we use those to justify the choices we make. Therefore, we develop a method thats practical and where one's own work is set in contrast to the execution of the other. By articulating this process we try to clarify how this process works to highlights the importance of different matters within the craft profession. In this way, we involve each other to actively reflect on decisions taken within the craft, in order not to let factors that influence decisions be left unspoken. The method shows it’s clear that Oskars changes to Carl's solutions are based on ethical values in relation to materials and technical practicies to a greater degree than Carl. Carl on the other hand prioritize craft aesthetic, labor economics and function. Our survey shows that the method we have chosen to highlight our choices and the values that are reflected from them, works. We have established our core values as a base from which we can continue to develop as professionals within the furniture craft.

To re-purpose an abandoned wine cooperative into a set of workshops and studios with a focus on re-interpreting the role of the ‘crafts apprentice’ in a contemporary setting. The project hopes to upsurge society’s interest in the cultural value that such skills and products hold today, as a way of ceasing the decrasing number of dissapearing crafts and craftmen and women. Simultaneously and above all, the main effect that the interventions to this building and the activities taking place is hoping to have, is to add a transcendental societal, communal and sociological value for our community.

The purpose of this thesis is to extrapolate through research the conceptual underpinnings of a body of artwork created by Matt Sigmon. The thesis explains the work in relation to art historical references to readymade art and the dilemmas that arise when fine art is compared to consumer commodities.