A historical and social background
Since the beginning of the modern era and the Industrial Revolution in the 18th century, craftsmanship has operated as a concept opposed to industrialism or mass production. The products on the market in the 19th and early 20th centuries were either handcrafted-high quality or expensive-or mass-produced, thus low quality and low cost. At this point, one point to make is that before 1750 everything was handmade, so craftsmanship was not a separate concept from any other type of production. With the invention of mechanisation and mass production, handicrafts were also born, in direct opposition to the industry. Soon what is now known as the Art and Crafts Movement will be born, within which the handcrafted design of each element, the clarity of form or structure, the variety of materials, the asymmetry, the traditional construction, and craftsmanship play a key role.
A relationship of mutual influence
But what the term crafts describe is not only the sense related to the old image we all have of well-decorated home tapestries, but is more specifically that human inclination that projects one’s sensibility, care, and interiority into the design. The profound significance of crafts in architecture lies in the connection of a building with space, both between its constituent parts and through the relationship a structure creates with its surroundings. Although craft does not necessarily involve the application of materials and tools, this interaction becomes essential when we move into a more appropriate architectural field. Craftsmanship expresses an ongoing relationship and rapport between material and process, in which the material becomes a form generator. As sociologist Sennett put it in The Craftsman: ‘craftsmanship names a basic and enduring human impulse, the desire to do a job well for oneself.’
A strong and collaborative design process
The way colours are used, juxtapose the fabrics and materials, the way light reflects through them, and the shadows that materials create within the environment are proper architecture. Structural, aesthetic, and acoustic properties are fundamental in good architectural design. But the architect’s work must be able to enter the realm of physically manipulating the materials used. Thus, one enters the field of craftsmanship, the territory of highly skilled experts who can treat each element best for the context in which it is inserted. Through this vital cooperation, it is possible to design a building with a strong identity and well-defined features. This interdependence is one of the most interesting aspects to analyse within the building arts. Indeed, following a collaborative design process involving all the actors will lead to a product that satisfies the people in every aspect.
Deep care and knowledge of materials
It is easy now to share the assumption that craftsmanship is at the very basis of architecture. This is also the basic principle that has been closely followed by architects such as Ettore Sottsass, for example. Indeed, he played an important role in improving the problematic relationship between architects and craftsmen. Sottsass was one of many architects whose careers were based primarily on craftsmanship, an art form that he sometimes drifted away from completely, only to return to it with more strength and commitment. The stronger this mutual relationship is, the greater the possibility of creating a place whose elements will continue to speak to each other for a long time. Architects are the ones whose task and the goal is to develop a clear and well-defined idea of what to do with the materials, but the final form they then go on to take depends on the craftsmen’s manual labour. As Ingold eloquently states, “although the maker has a form in mind, it is not that form that creates the work. It is the engagement with the materials.” And this deep care for materials, the profound knowledge of them, and their masterful workmanship play a major role in the making of the buildings.
The key role of function
Craftsmanship aims to deepen the meaning of built environments through the connections these environments make with the individual and the surrounding reality. These connections can, of course, be of various kinds. They can be intrinsic, thus arising from how components are assembled, or symbolic, thus based on a particular association of meaning. In a historical period in which the aspect of a product is increasingly essential, designers must also think like artists; likewise, aesthetics must be driven by function. It is always necessary to prioritise functionality over form and comfort over symbolism. But what is even more important and gives full value to an architectural design is its ability to tie together all these aesthetic and functional aspects, achieving a higher unity.
References:
Catharine Rossi (2017), ‘Craft contains the critical thinking that could unpack the current state of architecture’ [Online] Available at: https://www.architectural-review.com/essays/craft-contains-the-critical-thinking-that-could-unpack-the-current-state-of-architecture [Accessed date: 2023/13/01]
Mark Sofield (2013), Craft + Context: Connecting Architecture to Place and Time [Online] Available at: https://www.terrain.org/2013/currents/craft-and-context/ [Accessed date: 2023/13/01]
Sirdeep Singh (2016), The Ever-Changing Role of Craft in Architecture [Online] Available at: https://issuu.com/sirdeep/docs/the_ever_changing_role_of_craft_in_ [Accessed date: 2023/14/01]