Craft as Time Capsule Iwe láti ọwọ́ Hsiao-Wen Hu

Craft as Time Capsule Iwe láti ọwọ́ Hsiao-Wen Hu jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2021 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ìtẹ̀wé àti Àtẹ̀jáde.

FàdákàÌtẹ̀wé· 2021

Craft as Time Capsule Iwe

látọ̀wọ́ Hsiao-Wen Hu

Oníbàárà: Pratt Institute

Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìtẹ̀wé

36,290

Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #121747

Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Craft as Time Capsule Iwe

Ise agbese yii jẹ iwe ti o kẹhin ti iwadii iwe afọwọkọ Hsiao-Wen lori ṣiṣe iṣẹ ọwọ bi ilana itọju ni ọjọ-ori oni-nọmba lọwọlọwọ. Iwe naa ni awọn ẹya mẹta, ṣe ayẹwo iyipada laarin ti ara ati foju, ohun elo ati data, ilowosi olumulo ati iriri lati irisi ṣiṣe iṣẹ-ọwọ ati titọju. Bi agbaye ṣe yipada lati awọn iṣẹ ṣiṣe ti ara si awọn ibaraenisepo foju, awọn iwulo tuntun ati awọn fọọmu ti ifaramọ pẹlu agbegbe wa ni itara. Iru iyipada kii ṣe awọn ifihan nikan nipasẹ ohun ati imọ-ẹrọ, ṣugbọn tun gbogbo aṣa ni titobi.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award

Craft as Time Capsule Iwe jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Craft as Time Capsule Iwe yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Craft as Time Capsule Iwe jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: This project is a documentation of Hsiao-Wen's thesis research on craft making as a preservation methodology in the current digital age. The book consists of three parts, examining the intertranslation between the physical and the digital from the perspectives of crafts. The typographic choices in this book are a combination of Serif, Sans Serif, and Script typefaces, symbolic of the longevity of crafts and human’s use of technology.
Ìwọ̀n àti Àpò: The dimension of the book is in US letter size: 216 mm x 279 mm.
Àwọn Àkọlé: design research, book design, editorial design, graphic design, typography, print, craft, technology, archive, postdigital, preservation
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: The book was intended to be printed on newsprint papers and have debossing on the cover. Unfortunately, the plan was postponed due to the pandemic.
Ìwádìí: This research aims to look at the transition between the physical and virtual, material and data, user engagement and experience from the perspective of craft making and preservation. Craft has always been a reflection of culture and identity. As our lives transitioned from physical activities to virtual interactions, new needs and forms of engagement with our surroundings were prompted. And such change not only exhibits via the object and the technology, but also the whole culture at large.

As craft and preservation being the two main cores of this research, it is important to explore different ways to archive the research process. In addition to this book, the designer had also built a website to document the research in another format. It is also interesting to compare the same content on two different mediums.
Ìmísí: This book can be seen as an archive that not only documents the designer's research in writing but also organizes several other design projects, experiments, and references in a clear structure that supports the main thesis. The grid and the rigid layout of the book are inspired by letterpress, which plays a key role in my research on technology and web interface design.
Àkókò Iṣẹ́ Àkànṣe: This research started in 2019 and was finalized in May 2020. The book was designed after the completion of the research, from June to August 2020.