| abstract |
| Background The entry from industrial society to the information age is accelerating, the culture and values of design and crafts are changing as well as the changes in our daily lives. The creative fusion of digital production technology, art, and crafts opens up endless possibilities for expressing the formative language of a new era. By investigating and researching the characteristics of Dutch designer Laarman's work, this study examines the aspect of contemporary design culture and proposes it as an example of an innovative symbiotic relationship between technology and craft.
Methods To understand the historical background, I examined the impact of the development of digital technology, including the First Industrial Revolution, on traditional crafts. I also examined the development of information technology and the meaning of crafts during the Fourth Industrial Revolution, represented by 3D printing. Rahman was a prime example of this, and he examined the artist's philosophy and projects in detail.
Result After the Industrial Revolution, the design of simple and geometric shapes developed by modernists is transforming into a fluid and informal shape with the development of digital technology. At the same time, the heyday of the production culture is coming, in which small production spaces are activated and creative ideas are realized. The creative activities of amateur craftsmen, not traditional craftsmanship concepts, are also emerging as a new trend. Laarman's design is a combination of digital production technology that symbolizes a new craft concept, and shows infinite possibilities for creative production that was difficult to realize by hand.
Conclusion The present digital age does not make crafts obsolete, but offers new possibilities for both craftsmen and designers. Just as the pioneers of modernism developed an aesthetic inspired by industrial technology, new discourses on the hybrid craft values in the digital age is needed. |
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| Key Words |
| 디지털 제작, 공예, 요리스 라만, Digital making, Crafts, Joris Laarman |
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