Recuperation means “regaining something lost or taken” and this has been the main focus of my thesis – essentially reclaiming discarded bricks and educating future bricklayers to work with reclaimed materials. How can the status of craftsmanship be raised through architecture and the processes of crafts be made visible? What opportunities can our current brick stock pose and can derelict buildings be seen as a material bank? My proposal is a bricklaying ”folkhögskola” in Henriksbergshamnen, southwest of central Stockholm, parts laid brick by brick by the students themselves in collaboration with local carpenters.  The college campus juts out on the shoreline, complementing existing buildings and revives the site as a handicrafts center in the region. A brick college will teach future masons to work with reclaimed bricks and educate visitors on the possibilites of the brick and its working hands. Further up from the waterfront, a brick recuperation operation collect, clean and carefully inspect donated bricks that have been discarded as construction waste.

Orientador: Valeriano Mendes Ferreira Costa / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T23:42:44Z (GMT). No. of bitstreams: 1 Seraine_AnaBeatrizMartinsdosSantos_D.pdf: 6208135 bytes, checksum: 6e341e05fbc704d001e8e4da0a734545 (MD5) Previous issue date: 2009 / Resumo: Ao considerar a realidade de pauperização, somada ao aumento do desemprego e ao movimento de desassalariamento, impõe-se ao Estado brasileiro o desafio de promover a inclusão social e, conseqüentemente, reduzir a pobreza. Nesta conjuntura, observa-se a tentativa de o governo federal enfrentar tal realidade socioeconômica quando, a partir da década de 1990, adota como estratégia institucional a Ideologia do Empreendedorismo e, na intenção de dinamizar determinados setores produtivos da economia, com o intuito de minimizar a pobreza, passa a incentivar a criação dos micros e pequenos negócios, estimulando o trabalho por conta própria. Exemplifica essa tentativa o propósito de o governo federal transformar o artesão em empreendedor. O presente trabalho de pesquisa situa-se no campo das Políticas Públicas, destacando aquela destinada ao fomento da produção artesanal - Programa do Artesanato Brasileiro (PAB) - criado em 1991. Face ao exposto, pretende-se analisar o PAB, a partir de sua concepção, institucionalidade e implementação, segundo a contribuição teórica de Bo Rothstein. Toma-se como evidência empírica da execução do PAB, no Piauí, o segmento artesanal ceramista, desenvolvido no Bairro Poty Velho, localizado na zona Norte de Teresina, capital do Estado. / Abstract: Taking into account the reality of impoverishment and social exclusion, together with the increasing of unemployment and with the diminishing of wage earning, it is imposed to the Brazilian State the challenge to promote the social inclusion and, consequently, reduce poverty. It is in this scenario that it is observed the attempt by the Federal Government to face such a socioeconomic reality when, from the Nineties, it adopts the ideology of Enterprising as institutional strategy. Aiming for making certain productive sectors more dynamic, and so minimize poverty, they begin to encourage the opening of micro and small businesses, stimulating autonomous (self governing) work. An example of this attempt is the intention of the Federal Government, in the Nineties, of transforming the artisans into businessmen. The present research work deals with public policies, mainly that one aimed for stimulating craftsmanship production - "Brazilian Craftsmanship Program" (Programa do Artesanato Brasileiro (PAB) established in 1991. What is made in the present work is the analysis of such program from its conception, institutionality and implementation according to the theoretical contribution of Rothstein. It is taken as empirical evidence the execution of PAB in Piauí, the ceramic craftsmanship activity developed in Poty Velho district in the North Zone of Teresina, the capital of the State. / Doutorado / Ciencias Sociais / Doutor em Ciências Sociais

This dissertation examines the nature of luxury and luxury branded products, and the meanings attached to them. This is the first study of its kind as materials, manufacturing, sales and marketing processes are analyzed in relation to the retail environment to establish tiers of luxury relevant in today’s global market. Existing literature about the definitions and implementation of marketing strategies that impact on luxury brands (e.g. Danziger, 2005; Kapferer et al, 2009; and Okonkwo, 2007) demonstrate a lack of clarity as marketeers concentrate on adding value to mass produced products. In essence, terminology is employed, it is argued, that artificially elevates the product by attribution. The dissertation goes on to examine the complexity of the marketing tools used to add value to mass-produced products and a taxonomy of luxury is established to differentiate categories of products. Luxury is a single category that is demonstrably unstable and it is manifested in the changing landscape of the luxury brand market which is considered as part of the fashion cycle where luxury brands continue to extend their product offer to satisfy a continually growing consumer market. Branding has become increasingly important and as a result the proposed taxonomy of the luxury and luxury brands market contributes to a better understanding of the sector. Distinctions are made through the use of three Case Studies (Louis Vuitton, Prada and Tanner Krolle) to address the differences between the luxury and luxury brand markets through the analysis of products within the leather goods category. Thus this dissertation redefines concepts of luxury that are established through new materials, techniques and production methods. Existing definitions of luxury are unstable due to an ever changing cyclical market and are exacerbated by marketing, branding, advertising and mass production. It is important to remove the façade of marketing and branding, despite, or because, of them being powerful forms of communication, in order to provide a perspective that acknowledges the change and importance of fashion business methodologies to ensure business growth. At the same time it is also important to recognize the fundamental significance of luxury brand heritage and the convenient message this sends to the consumer. This work provides an important new platform for future research in terms of a more nuanced debate on luxury in all its guises. Evidence of the broad research potential of this dissertation exists, for example, in the growing demand for luxury and luxury branded products and services of the emerging economies in the BRICS (Brazil, Russia, India, China and South Africa) countries. In addition as the market changes and demands for luxury increases, luxury and luxury brand companies could use this research to connect more meaningfully to their heritage when defining new luxury goods and services. It is evident that concepts of luxury will continue to be defined as part of a complex structure of understanding and interpretation. In light of this, one must not lose sight of the importance of the knowledge of the craftsmen and women and their ability to communicate the intricacies of their skills in order to provoke and challenge the perpetuating luxury debate.

Lime mortar and plaster have been investigated with the aim to improve the knowledge on how to make them as durable as before the cement technology was developed. The background was the durability problems experienced for newly produced lime plaster on the medieval churches on the island of Gotland, Sweden. In some cases the new lime plaster façades showed severe frost damages after only one winter. Although the lime was burnt and produced according to old local traditions, the lime mortar was still mixed and worked onaccording to methods developed for lime-cement mortar. This often led to a very porous lime plaster with a lime shell in the surface and such a plaster has been shown to be sensitive to frost expansion. Field studies were combined with laboratory studies of thin section specimens. Optical microscopy and scanning electron microscopy have been important analytical methods showing the porosity and the structure of the binder and aggregate materials. The investigations have been carried out on both historic and on newly made reference mortar and plaster. The field studies were carried out mainly on Gotland, using local materials. The influence of the raw materials, i.e. lime, aggregate and blending ratio was investigated. The focus has been on the workability of the fresh mortars as well as the pore structure of the carbonated plaster. The craftsmanship, meaning mixing and application of mortar and working the plaster surface, was studied in order to clarify its final pore structure. The pore structure in a material determines many of its technical properties, such as moisture transportation, compressive strength, permeability and frost resistance. All these properties are closely connected to the durability of the mortar and plaster. The permeability of the plaster has an impact also on the durability of the covered construction materials. Behind low-permeable plasters made with hydraulic binder, examples of extensive damages of rotten wood and leached lime have been shown. The investigations have shown the importance of choosing a mortar adjusted to the building construction. They also showed the importance of choosing a blending ratio adjusted to the specific binder and sand used in order to get a mortar with a suitable pore structure and good durability. It has also shown the importance of knowing when and how to work on the plaster surface in order to obtain a homogenous material that is well receptive for lime wash and has a good frost resistance. The combination of all the investigations has led to a method for reconstructing historic mortar and plaster with good durability.

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The scene of a local motorcycle taxi driver hand-knitting a small fishing net at his stand next to a canal will never fade away from my childhood memory. It was the first time I saw the life behind the fishing net. Throughout my textile practice, I’ve reconsidered the fishing net with curiosity and nostalgia. Behind its mesh and diamond shaped structure, I see craftsmanship and the story of its creation. I would like to preserve and encourage these precious values in the net with my Master project Sitting with The Fisherman. The fishing net is reinterpreted to everyday life with a trace of stories within it. The net becomes a tool to gather people together like the fishing net does in the fisherman village. This project will be a pilot idea to others in different contexts, to preserve their precious traditional craftsmanship, to keep it alive by transforming the skill and technique to a new interpretation.

Submitted by Carolina GonçAlves Souza null (pedagogacarol@yahoo.com.br) on 2017-09-26T07:31:00Z No. of bitstreams: 1 souza_cg_dr_rcla.pdf: 3123337 bytes, checksum: 0355a06a33884f8c5ea6d79d4d9d6fc8 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-27T20:54:27Z (GMT) No. of bitstreams: 1 souza_cg_dr_rcla.pdf: 3123337 bytes, checksum: 0355a06a33884f8c5ea6d79d4d9d6fc8 (MD5) / Made available in DSpace on 2017-09-27T20:54:27Z (GMT). No. of bitstreams: 1 souza_cg_dr_rcla.pdf: 3123337 bytes, checksum: 0355a06a33884f8c5ea6d79d4d9d6fc8 (MD5) Previous issue date: 2017-07-28 / A presente tese de doutorado tem por intento buscar compreender o que vem a ser o aspecto da humanização no boneco-personagem Pinóquio, adentrando, interrogando, conhecendo, ainda que parcialmente, em quais condições a obra foi escrita. O percurso metodológico seguiu de acordo com o paradigma indiciário proposto por Ginzburg e a ideia de artesania desenvolvida por Santos, entrelaçando pesquisa bibliográfica à releitura da obra, seguindo pistas referentes à vida do autor – Carlo Collodi, compondo uma narrativa científico-poética. Os aportes teóricos sobre o estudo da linguagem abarcam os escritos de Bakhtin, Rancière, Benjamin e Deleuze e Guattari, além das provocações de Calvino sobre a escrita. Autores como Marcheschi, Bertacchini, Biagi, Lorenzini e Bronzuoli somaram ao estudo da obra As aventuras de Pinóquio. O levantamento bibliográfico inicial indicou que a maioria das pesquisas brasileiras não buscou compreender o processo de humanização do boneco na relação/tensão com o seu criador. A pesquisadora, artista, atenta para a superfície da obra, nas passagens em que a narrativa se desdobra, anda pelas bordas, inventa outro texto: uma leitura renovada, em que a potência do riso toma forma. Pinóquio, pelo riso, mostra para além de uma vida impertinente, uma escrita inventiva de seu autor. / This doctoral dissertation aims to comprehend what is the aspect of humanization in the character-doll Pinocchio, incoming, interrogating, knowing, even partially, under what conditions the manuscript was written. The methodological course followed according to the evidential paradigm proposed by Ginzburg and the idea of craftsmanship developed by Santos, associating bibliographical research to the re-reading of the manuscript, following clues regarding to the life of the author - Carlo Collodi, composing a scientific-poetic narrative. The theoretical contributions on the study of language include the writings of Bakhtin, Rancière, Benjamin and Deleuze and Guattari, as well as Calvin's provocations on writing. Authors like Marcheschi, Bertacchini, Biagi, Lorenzini and Bronzuoli added to the study of the manuscript The Adventures of Pinocchio. The initial bibliographic review indicated that most of the Brazilian researches did not seek to understand the humanization process of the doll in relation/tension with its creator. The researcher, artist, focused on the surface of the manuscript, in the ways in which the narrative stretches out, walks along the edges, invents another text: a renewed reading, in which the power of laughter takes shape. Pinocchio, through laughter, shows beyond an impertinent life, an inventive writing of its author.

[pt] Esta dissertação apresenta uma possibilidade de se (re)pensar a atuação profissional do designer contemporâneo através da prática artesanal da cerâmica. Buscando procedimentos manuais, dialoga-se com um tempo singular e demorado: otempo do barro. Com base no pensamento de Tim Ingold (2013), Richard Sennett(2008) e Donald Schön (2000), por exemplo, propomos uma abordagem tácita, corpórea, de experiências para o profissional, a fim de reaproximar o design de suas origens artesanais. Olhando para a cerâmica, esbarramos em questões que extrapolam o próprio fazer e abrem caminhos necessários de questionamento sobre a hegemonia social do patriarcado também no campo do design. Propõe-se uma cosmovisão ampliada e inclusiva, e nesse âmbito, os estudos de gênero podem contribuir para uma reparação histórica do apagamento e invisibilidade social da contribuição material feminina para o campo projetivo, bem como introduzir metodologias que ajudem na desconstrução de métodos homogeneizadores e/ou patriarcais. Partindo do sistema produtivo da cerâmica artesanal feita por mulheres, como objeto de estudo dessa pesquisa, foi traçado um paralelo sobre as questões de gênero, criação, interesse socioeconômico e sustentabilidade presentes nesta artesania. / [en] This dissertation presents a possibility to (re)think the professional performance of the contemporary designer through the artisanal practice of ceramics. Seeking manual procedures, it dialogues with a singular and time-consuming time, the time of clay. Based on the thinking of Tim Ingold (2013), Richard Sennett (2008) and Donald Schön (2000), for example, we propose a tacit, corporeal approach of experiences for the professional in order to reconnect the design of its artisanal origins. Looking at ceramics, we run into questions that go beyond one s own doing and open paths, necessary, of questioning the social hegemony of patriarchy also in the field of design. An expanded and inclusive worldview is proposed, and in this context, gender studies can contribute to a historical repair of the erasure and social invisibility of the female material contribution to the projective field, as well as introduce methodologies that help in the deconstruction of homogenizing and/or patriarchal methods. Having as object of study the productive system of handmade ceramic made by women, a parallel was drawn on the issues of gender, creation, socioeconomic interest and sustainability present in this artesania.

This degree work in textile design positions itself in the textile- and surface pattern design field by investigating the interpretation of the translation from traditional to contemporary. The motive is to apply a sustainable aspect to surface pattern design by “recycling” traditional and cultural patterns into renewed contemporary expressions. The aim is to design a collection of contemporary surface patterns by exploring and interpreting traditionally common patterns, such as curbits and folklore painting. Modern printing techniques, new technology and materials have been used in the investigation. Three suggestions for a contemporary surface pattern collection have been developed. A repeated pattern that has been laser engraved and colored on acrylic plexiglass, a mirrored pattern that has been digital printed, coated, and cut to reveal the tabletop, and a large-scale placed pattern that has been transfer printed in three layers to enable for a color-mixing-effect. This project contributes to reinforce the knowledge of traditional craftsmanship and establish a new legacy that can serve as both a link to pattern history and as an archive of today. The project desires to influence how a sustainable approach to “recycling” traditional or cultural images and motifs can be used to design new surface patterns.

Course: Degree project in Logistics, the Business Administration and Economics Programme, 4FE19E, VT16 Authors: Marcus Lundgren and Tobias Nilsson Supervisor: Peter Berling Examiner: Helena Forslund Title: Product Costing in Small Craft Companies – A Case Study at Gemla Fabrikers AB Background: Today a competitive price is no guarantee to keep a company profitable. Cost control has become more central and especially cost control considering work put in to the product and tradeoffs connected to the product in question has become central to secure the company’s competitiveness. A useful tool to secure the competitiveness is product costing when making profit analysis, setting price levels as well as other decision making. The challenge is to find a product costing method which fits right and distribute the direct and indirect costs in a fair manner. Purpose: The purpose of this study is by constructing a flowchart over the production process adapt a model for product costing that supports pricing and decision making of the product assortment at Gemla Fabrikers AB, and theoretically raise the discussion of the adapted models suitability in a context of small time manufacturers that is characterized by an artisan production. Method: The study is conducted as a case study at Gemla Fabrikers AB and uses a research strategy containing both qualitative and quantitative approaches. Collected data is mainly obtained via unstructured interviews, direct observations and time studies. A process mapping was made as a start to serve as a foundation for other parts of the study. A product costing method was later adapted to fit the parameters and way of working in a company with high levels of craftsmanship. Conclusions: After mapping the process of the company it was clear that the production was characterized by a time-consuming manufacturing process with a large number of activities. This resulted in an adapted product costing method, which origins from the activity based costing model, in order to distribute the costs in a more correct way based v on the actual time consumption. The adapted model is designed with a distinct activity based distribution on product level where every activity cost is established at a given volume of production, resulting in guidance and basis for cost control and when setting prices. Based on the company in the case study the conclusion was made that this way of working with product costing can be used in other companies with similar production and high level of craftsmanship, merging support activities together and focus on the value adding activities. The cost allocation is made using cause and effect based on the actual time put into the activities where a smaller number of time related cost drivers are used. The model is therefore to consider suitable for increased cost control as well as serving as a foundation for product pricing and decision making. / Kurs: Examensarbete i logistik för Civilekonomprogrammet, 4FE19E, VT16 Författare: Marcus Lundgren och Tobias Nilsson Handledare: Peter Berling Examinator: Helena Forslund Titel: Produktkalkylering i mindre hantverksföretag – En fallstudie på Gemla Fabrikers AB Bakgrund: Ett konkurrenskraftigt pris är i dagsläget inte tillräckligt då även en noggrann kostnadskontroll som tar hänsyn till arbetskraftsinsatsen och produktrelaterade avvägningar krävs för att säkerställa konkurrensförmågan. Ett användbart verktyg för detta är upprättandet av produktkalkyler som grund för lönsamhetsanalyser, prissättningsstrategi och beslutsunderlag. Svårigheten ligger dock i att finna rätt kalkyleringsmetod gällande detaljeringsnivån som fördelar en verksamhets direkta och indirekta kostnader på ett rättvisande sätt. Syfte: Syftet med studien är att genom en kartläggning av tillverkningsprocessen anpassa en produktkalkyl för prissättning och beslutsfattande av produktsortimentet på Gemla Fabrikers AB, samt teoretiskt lyfta diskussionen om anpassad modells lämplighet i en kontext för mindre tillverkande företag som karaktäriseras av en hantverksmässig produktion. Metod: Studien utförs enligt en fallstudie på Gemla Fabrikers AB med en flerfaldig forskningsstrategi av kvalitativ art med kvantitativa inslag. Datainsamlingen bygger främst på ostrukturerade intervjuer, direkta observationer och tidsstudier. En processkartläggning genomfördes till en början för att utgöra ett underlag för resterande delar. Vidare anpassades en produktkalkyl utifrån företaget och tillverkningens karaktär vilket slutligen utgjorde ett underlag för modellens lämplighet i en hantverksmässig tillverkningskontext. Slutsatser: Efter genomförd kartläggning av tillverkningsprocessen på fallföretaget framgick det att tillverkningen karaktäriseras av en tidskrävande process med ett stort antal ingående aktiviteter. Detta resulterade i att anpassad produktkalkyl utformades enligt en ABC-modell då slutsatsen blev att fördelningen av kostnaderna skulle göras iii mer rättvisande om dessa fördelades till respektive aktivitet baserat på det faktiska tidsutnyttjandet. Anpassad modell utformades genom en tydlig aktivitetsfördelning utifrån produktnivå där varje aktivitets kostnad fastställs vid en given produktionsvolym vilket möjliggör underlag för en ökad kostnadskontroll, prissättningsstrategi och beslutsunderlag. Baserat på studerat fallföretag drogs slutsatsen att anpassad modell görs lämplig för andra företag i en liknande hantverksmässig kontext utifrån att i högre grad göra sammanslagningar av aktiviteter med ett större fokus på de värdeadderande aktiviteterna. Kostnadsfördelningen sker via ett orsak-verkan samband utifrån det faktiska tidsutnyttjandet där ett mindre antal tidsrelaterade kostnadsdrivare används. Modellen blir då lämplig för ökad kostnadskontroll samt underlag för prissättning och beslutsfattande.