The designer–artisan dialogue: establishing the conditions for an expanded design practice

This research investigates the relationship between design and artisanal practice with a focus on the small-scale production workshop as the site for a renewed and dynamic design dialogue. The study is focused around two key questions: What role does dialogue between designer and artisan play in the design, development and production of artefacts? What are the conditions that enable, facilitate and develop dialogue between designer and artisan in their production of contemporary artefacts? Situated within the frame of a practice-led approach, this research examines ways in which collaborative dialogue between designers and artisans can together establish the conditions for future design practice. The production of artefacts is an objective shared by designer and artisan, although their respective areas of knowledge, skill and expertise are to varying degrees separate and different. Convention might suggest that the designer's objective is to imagine forms as solutions to need, whereas it is the artisan's role to bring the designer's cognitive labour fully into its material being. Counter to this view I explore the proposition that artisans, like designers, are actively involved in the design process through innovation and enquiry, as they negotiate working practices within their disciplines. Further I seek to demonstrate that artisanal practices and `traditional' material articulations continue to be important agents in the production of contemporary artefacts. One of the intentions of this research is to more fully comprehend the differences between design and artisanal practices, and the zone in which they intersect - a space of dialogue. To this end l have initiated projects with local Victorian artisans and in addition have undertaken extensive interviews within Australia and overseas. The research takes the form of a practice-led investigation, entailing close observation of workshop practices and working with and alongside artisans skilled in metalwork, ceramics and fine woodcraft. Collaborations conducted in the course of this research have resulted in the manufacture of a number of artefacts, the outcome of dialogue with artisans in my capacity as a designer. These artefacts embody a consolidation of artisanal skills, knowledge and my design thinking together with the affordances of the materials selected for this study - metal, clay and wood. In reviewing the history of 20th century design, it is surprising to note the paucity of information as to the conceptual, material and developmental dialogue between designer and artisan in the design and manufacture of iconic artefacts. The dissertation closely documents processes of artefact design and production as it seeks to address this under-researched area of practice.