The township of Stannington was a distinctive community on the north-western edge of Sheffield before being absorbed within the city in the twentieth century. By 1660 the inhabitants earned their living by a combination of farming and the manufacture of cutlery, albeit on a small scale. This thesis will demonstrate how the life of the community was affected by the boom in the Sheffield cutlery industry from the mid-eighteenth century. At that time the rapidly expanding industry, needing more water-power. began to spread out from the town along the tributaries of the River Don. The steep falls of water down the Loxley and Rivelin valleys encouraged the building of grinding wheels, leading to an increase in the workforce, mainly from the surrounding area of Hallamshire. Rural cutlery trades began to decline in the mid-nineteenth century. due to more efficient and economical methods of manufacture in Sheffield, but the employment gap in Stannington was filled by coal and gannister mining, together with work in the brickyards and paper mills. The continuing industrial growth altered not only the way of life, but the landscape itself as new works and houses sprang up, although farming continued to thrive. We shall see that, in spite of these changes in the economy, there survived a solid core of families, some of whom lived in Stannington for generation after generation, throughout the period covered by this thesis - and beyond. A detailed study of these longstanding families who held public office in the township, the parish and the wider areas of Hallamshire, will show how they adapted to the economic change and continued to give stability to their community. Newcomers to the township accepted and integrated into the ways of the old established families and, in many cases, became part of the core themselves.

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El presente proyecto de investigación consiste en el desarrollo del negocio Ecomestible. Esta investigación trata de utensilios comestibles de diversos sabores y que reducen la contaminación ambiental. Este trabajo nos permite ver que tan factible será el proyecto tanto a corto, mediano y largo plazo por medio de diversas investigaciones realizadas en Lima metropolitana para la zona 7 para hombres y mujeres entre 18 a 55 años de edad del nivel socioeconómico B y C. Además, cuando se investigó el mercado se descubrió una oportunidad económica maravillosa, ya que somos los primeros en sacar este producto al mercado. Por lo cual, se pudo determinar que nuestro público objetivo desea reducir el uso del plástico, contribuir con el medio ambiente y mantener una vida saludable. Por ello, se hizo una fórmula de ingredientes naturales, sin ningún tipo de preservantes para asegurar utensilios comestibles totalmente ecológicos, orgánicos y al alcance de nuestro público objetivo. Por último, en este trabajo se realizó entrevistas, encuestas de google, publicidad pagada en redes sociales, específicamente en facebook para conseguir un mayor alcance de clientes potenciales. / This research project consists of the development of the Ecomestible business. This research deals with edible utensils of various flavors and that reduce environmental pollution. This work allows us to see how feasible the project will be both in the short, medium and long term through various investigations carried out in metropolitan Lima for zone 7 for men and women between 18 to 55 years of age of socioeconomic level B and C. In addition, when the market was investigated a wonderful economic opportunity was discovered, as we are the first to bring this product to market. Therefore, it was determined that our target audience wants to reduce the use of plastic, contribute to the environment and maintain a healthy life. For this reason, a formula of natural ingredients was made, without any type of preservatives to ensure totally ecological, organic edible utensils and within reach of our target audience. Finally, in this work, interviews, google surveys, paid advertising on social networks, specifically on Facebook, were carried out to achieve a greater reach of potential customers. / Trabajo de investigación

This dissertation is concerned with the making of metal making. It explores how skills, knowledge, and artefacts were circulated and grounded within the Swedish metal trades during the period ca. 1730 to 1775. It also analyses how these processes were related to different ways of organising practices of work. The metal trades are referred to as comprising various forms of state-supported metal manufacturing outside the guild system. The focus is on finer metal making (finsmide), above all cutlery making. The first chapter discusses the theoretical and methodological approaches. Critical to the analysis are the terms strategies and tactics, which are used to approach the interplay of different ways of knowing and acting in everyday metal making. This is done related to a trajectorial method. The trajectories of state official Samuel Schröder and the Stockholm cutler Eric Engberg are centred, but I also explore one broader skills-trajectory: the ‘English way’ of making cutlery. Chapters 2 to 4 examine the strategic stage for metal making, focusing on the attempts made by the eighteenth-century Swedish state to order the domestic trades in line with ideas of an all-embracing division of labour. This development is investigated by discussing regulations, spatial mapping and supervision, as well as descriptions and ‘corrections’ of workshop practices. Chapters 5 to 7 highlight the interplay of strategies and tactics within a changing manufacturing ‘system’. Artisans’ journeys, the construction of workshops in Stockholm, and the introduction of piecework at provincial knife works during the 1750s and 1760s are explored. The discussion leads up to the founding of a ‘free town’ for metal-making artisans in Eskilstuna in 1771. The results of this dissertation add to Swedish research on early-modern metal making in a number of ways. Urban space and the connections between metal-making communities are highlighted. In doing this, emphasis is placed on how practices of work were shaped over time by the movements of people, artefacts, and materials. Most notably, the circulation, imitation, and local adaption of knowledge and skills within the metal trades are accentuated. These findings also connect to recent research concerned with manufacturing and knowledge-making in pre-industrial Europe.

A social etiquette has emerged around the consumption of food in the West which requires the use of cutlery – knife, fork and spoon. It is the spoon that is the subject of this thesis, a utensil so familiar as to have become almost invisible. The significance of the spoon should not be underestimated and it is employed in this study as a device to offer insight into material practices, examine theoretical issues in relation to design and explore the culture of representation that has developed around objects in the contemporary field of visual and material culture. In this sense this thesis can be seen as located in the blurred boundaries of art, craft and design and as constituting a text which contextualises and supports a collection of artefacts developed in the course of a 'practice led' Art and Design PhD. The spoon exists not only as an object whose usefulness transcends time but also in terms of a metaphorical singularity; as an idea with an infinite number of possible interpretations and material manifestations. This thesis originates in the idea of a reflective cross-disciplinary enquiry intended to explore fundamental questions around what the author defines as “spoonness”, articulating that which might otherwise be articulated through (and subsumed in) the making of the object itself. Significantly, by tracing the journey of the authors film „Emilie Eating Soup‟ together with the various objects, exhibitions and catalogues developed in the course of this research, this thesis also contributes to current critical discourse from the perspective of the practitioner - a voice that in the past has often been absent from academic discourse. It opens up the creative processes to scrutiny and further comment, and serves as a model of analysis to others in the field of material culture to aid reflection upon their own practice and generate new modes of innovation. A critical reflection upon the works subsequent reception at a series of prestigious international exhibitions and events is made throughout this thesis. These materials, together with this text, combine to represent the broad arc of this author‟s creative practice and collectively define the innovative nature of this PhD.

Det familjeägda   friluftsvarumärket Trangia är inne i en förändringsfas. Deras nya målsättning   är att fördubbla företagets omsättning på 5 år med bibehållen lönsamhet för   att säkra företagets fortsatta tillväxt. Målstyr-ningen riktas mot att växa   ytterligare på befintliga marknader, utveckla fler produkter och även bredda   sortimentet med nya produkter. Målet med examensarbetet har   varit att ta fram ett produktkoncept på ett friluftsbestick åt Trangia. Ett   koncept som om det tas vidare ska kunna bidra till ett hållbart växande för   företaget gällande sociala, ekologiska och ekonomiska aspekter. Detta har   uppfyllts genom framtagandet av produktkoncept Tora 1.0. Tora 1.0 är ett   friluftsbestick i form av en spork där gaffel och sked i vardera änden av   besticket är fullstora ätredskap. Tora 1.0 har utformats till att vara ett   ergonomiskt och hållfast friluftsbe-stick. Produktens formspråk präglas av   dess funktion och är i en stilren, enkel och tidlös design. Detta har   uppnåtts genom omfattande formana-lyser av besticket. Handgrepp och   kontaktpunkter mellan hand och be-stick har studerats. Genom bockning och val   av måttsättning har förstyv-ande geometrier arbetats fram. Hållfastheten och   ergonomin har testats och omarbetats genom många prototyptester.   Idégenereringen har föru-tom genom kreativa och systematiska metoder främst   framskridit genom dessa fysiska prototyper i form av lermodeller,   3D-utskrifter och CAD-modeller. Valen som har gjorts i projektet har tagits   fram genom en be-slutsmatris och diskussion med Trangia om måluppfyllelsegrad   av upp-rättad kravspecifikation. Projektet har värnat om   Trangias värden ”trygghet”, ”långsiktighet” och ”kvalitet”. Det har gjorts   genom att ställa höga krav på att tillverkningen ska kunna ske i Trangias   produktion i Trångsviken, Jämtland. Innan Tora 1.0 kan sättas i produktion behöver   användartester göras, konstruktionen säkerhetsställas och en omfattande   kostnadskalkyl beräknas. / <p>Betyg: 180616</p>

Constructed Banquet explores the meal; its preparation, consumption and remains. Through a (re)construction and arrangement of the spatial context I reflect upon fixed ideas and ingrained behaviors. The aim is to illuminate and shed light on entrenched be- haviors and notions surrounding dining. To transcend the ordinary and let the mundane become extraordinary. During the process I have been making patterns of the everyday ac- tivity of eating - through simplifications, interpretations and exaggerations. The approach of playfulness and curiosity has guided me as I navigate this exploration.  In parallel, I delve into the history of how we gather around a meal. Revisiting traditions, rituals and manners associated with communal dining. Through (re)interpretations and interventions I craft tools that speak a body language. I want to create and stage exagger- ations and deviate from the expected, to let artifacts and new contexts provoke reflection.  By examining the tools and practices of dining, Constructed Banquet took departure in a series of interactive workshops where participants used various unconventional eating tools. These tools, influenced the participants’ character and behavior during the meal, re- vealing the impact of cutlery on social behavior. Additionally, the workshops emphasized the aesthetic value of the traces left behind after a meal, challenging the common urge to erase evidence of use and pointing out the importance of a balance between functionality and the emotional resonance of everyday objects.

Auswertung von 1300 Messern aus deutschen, niederländischen, skandinavischen, baltischen; nordrussischen und polnischen archäologischen Ausgrabungen, die über ein eigens dafür entwickeltes Klassifizierungsmodell von Klingen- und Griffformen erfolgte. Ausgewertet wurden Maße, Formen, Verzierungen und Marken. Die Ergebnisse werden zunächst in Diagrammen dargestellt und im beschreibenden Teil der Arbeit ausführlicher diskutiert. Die Entwicklung der Griffkonstruktionen und ihrer damit einhergehenden Formen werden exemplarisch dargestellt. Dabei wird besonders auf das Auftreten und die Verbreitung der Griffzungenkonstruktionen eingegangen, als Beispiel einer technischen Innovation mit römisch-kaiserzeitlichen Wurzeln, die im späten Mittelalter ihre Hochblüte erreichte. Verzierungselemente an Griffangel- und Griffzungenkonstruktionen werden als Übersichten getrennt nach Materialien sowie in besonders aussagekräftigen Einzelbeispielen näher spezifiziert dargestellt. Mittelalterliche Personendarstellungen auf beinernen Vollgriffen (Hilzen) oder die zeitgleiche Griffplättchentechnik als Beispiel einer auf Metall basierenden Verzierungsart werden in ihrem historischen Kontext behandelt. An Messerklingen werden Verzierungselemente und Marken separat diskutiert. Die Verteilung verschiedener Gruppen von Klingenformen innerhalb unterschiedlicher Fundorte ist ein Versuch, soziologische Bedingungen in offenen und geschlossenen bzw. befestigten Siedlungen unterschiedlicher Regionen an Beispielen der materiellen Kultur nachzuzeichnen. Nach Exkursen zu völkerwanderungszeitlichen Messern und Falt- oder -Klappmessern wird abschließend zu den Themen Herstellungsverfahren und Funktionszuweisung Stellung genommen, wobei das Messer als archäologische Quelle in naturwissenschaftlichen /(metallurgischen) Analysen ebenso dargestellt wird wie im Vergleich mit kunsthistorischen / (bildlichen) Quellen bzgl. einer Annäherung an Aussagen zu Funktion und Gebrauch im Untersuchungsraum.