Made in is a research, design and heritage initiative encouraging collaboration and knowledge exchange between traditional craftsmen and contemporary designers. The aim of the project is to revitalize crafts tradition and educate designers about material and immaterial heritage, thus creating new, authentic and more sustainable face of contemporary design.
The Made in project aims to promote European craft heritage and innovative contemporary design to general public. The goal of the project is to establish knowledge exchange platforms, constructive dialogue, and ultimately, new collaborative practices between craftsmen and designers.
Made in emerged from the heightened awareness of the crucial role that traditional crafts and manufactories play in creating and sustaining local and European identity. Particularly in this age of globalization, the crafts – tightly woven into the fabric of local communities – present a way to preserve local identity and local distinctiveness. Furthermore, the craft production supports sustainable practices using locally sourced materials and encouraging re-usage / repair of existing products and thus promoting slow consumption (versus today’s age of excess).
However, craft workshops and craftsmen are disappearing from urban environments, expelled by overwhelming quantities of cheap “made in China” products. The craft and small manufacturing productions do not find a place within the contemporary designer practices. This is mostly due to the lack of direct exposure of new generations to the values, specifics and histories of these crafts, which present an essential part of any culture.
WHO (THE PARTNERS) Austria: Werkraum Bregenzerwald
Croatia: Museum of Arts and Crafts (leading partner), Oaza Studio
Serbia: Nova Iskra – Creative hub, Mikser
Slovenia: Museum of Architecture and Design Supported by CREATIVE EUROPE – CULTURE
The important design competition took place already for the eighth time in 2018. It was founded more than two decades ago on the initiative of the Craft and Trade Association of Andelsbuch in cooperation with the graphic designer Harry Metzler. The Werkraum Bregenzerwald has been inviting submissions for the competition every three years. It is an important catalyst for the regional culture of crafts and trades in cooperation with designers from home and abroad. The competition is only open to submissions from a Bregenzerwald craft or trade.
Out of 122 objects in the submission categories of product, the craft of building and experiment, an international jury of specialists selected thirty winning projects in the award categories distinctions, acknowledgements and commendations. Criterion was the synergy of craftsmanship and original design. Particular attention was paid to regional aspects, materiality, functionality and sustainability; meanwhile, priority is given to versatility and powers of innovation in all genres of crafts and trades.
Elke Delugan-Meissl (AT), Marianne Goebl (CH), Philipp Kuntze (CH), Rianne Makkink (NL), Thomas Machhörndl (AT), Harry Metzler (AT), Hermann August Weizenegger (DE)
The joint venture of the Werkraum Bregenzerwald with Royal College of Art students in London takes an artistic and documentary approach in exploring a collective work process. Under the guidance of the collective Diaméter, the culturally diverse and interdisciplinary group reflected upon their positions as creatives socialised in the urban environment in relation – or in contrast – to the practice of crafts in the Bregenzerwald. The exhibition shows film footage of the young designers’ encounters during a week-long workshop and of the objects resulting from the work process with the master workshops. The experimental research was based on three key focuses: the material culture of the Bregenzerwald, the visibility and invisibility of handicraft, also the re-contextualisation and rethinking of materials and practices.
After venues including the Vienna Design Week and the Museum für Kunst und Gewerbe in Hamburg, the project is to be seen for the first time after Handwerk + Form 2018 in the Werkraumhaus. A comprehensive documentation of the project – supported by the State of Vorarlberg – can be viewed on the website dccd.show.
What design principles might we learn from nature that can be applied to designing, producing and managing life in a resource-efficient and sustainable way? The exhibition tells the story of a tree’s eco-system and thereby demonstrates nature’s strategies and patterns that have been envolving for more than 3.8 thousand million years.
The audience is introduced to the framework and the practice of biomimicry by learning from ordinary and innovative applications in various crafts and design professions. This transdisciplinary exhibition project is underpinned by extensive collaborative research and oriented toward educating all stakeholders. Thus, the exhibition brings together science, crafts and artistic production in an
inspiring learning lab for the whole family.
Elisabeth Kopf, Project- and Communicationdesigner, Design Buero Baustelle
Regina Rowland, Professor and Biomimicry-Expert
Timo Kopf (Zoologist), Christian Rammel (Ecologist) and Birgit Gschweidl (Botanist)
Opening hours: Tue – Sat, 10:00 AM – 6:00 PM
Sun, Mon and public holidays closed
Reductions (Students, Apprentice, 15 People and more): EUR 5
The second Werkraumschau has products on show from various workshops of the Werkraum Bregenzerwald – among them several new members – in a spotlit scenario.
The Werkraumhaus designed by Peter Zumthor as a multi-functional building becomes the stage and the handicrafts the actors in a continually changing play of daylight and artificial light. Stage flood- and spotlights generate an immaterial and atmospheric architecture of light, mount the objects in the space, infuse life into their surfaces and forms, and trace a graphical shadowplay on the floor of the building.
“We do many things with our hands, touch people, play the piano, sewing clothes, lay rebar in formwork, grind flooring, clean ditches. Sometimes the prestige of´handmade objects is great. Sometimes the result of work performed with the hands is hardly worth mentioning or is not even visible. Artists, who paint, draw and give shape to things speak of the intuition of the hand, while manual labourers on the production line tell other stories.
In the exhibition titled “handmade” we want to use cinematic means to display an inventory of things that were made by hand. Without judging. In accompanying interviews craftsmen are invited to report