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craft</title> <meta name="description" content="Search results for: traditional craft"> <meta name="keywords" content="traditional craft"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="traditional craft"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 4999</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: traditional craft</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4999</span> Decorative Plant Motifs in Traditional Art and Craft Practices: Pedagogical Perspectives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Geetanjali%20Sachdev">Geetanjali Sachdev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the decorative uses of plant motifs and symbols in traditional Indian art and craft practices in order to assess their pedagogical significance within the context of plant study in higher education in art and design. It examines existing scholarship on decoration and plants in Indian art and craft practices. The impulse to elaborate upon an existing form or surface is an intrinsic part of many Indian traditional art and craft traditions where a deeply ingrained love for decoration exists. Indian craftsmen use an array of motifs and embellishments to adorn surfaces across a range of practices, and decoration is widely seen in textiles, jewellery, temple sculptures, vehicular art, architecture, and various other art, craft, and design traditions. Ornamentation in Indian cultural traditions has been attributed to religious and spiritual influences in the lives of India’s art and craft practitioners. Through adornment, surfaces and objects were ritually transformed to function both spiritually and physically. Decorative formations facilitate spiritual development and attune our minds to concepts that support contemplation. Within practices of ornamentation and adornment, there is extensive use of botanical motifs as Indian art and craft practitioners have historically been drawn towards nature as a source of inspiration. This is due to the centrality of agriculture in the lives of Indian people as well as in religion, where plants play a key role in religious rituals and festivals. Plant representations thus abound in two-dimensional and three-dimensional surface designs and patterns where the motifs range from being realistic, highly stylized, and curvilinear forms to geometric and abstract symbols. Existing scholarship reveals that these botanical embellishments reference a wide range of plants that include native and non-indigenous plants, as well as imaginary and mythical plants. Structural components of plant anatomy, such as leaves, stems, branches and buds, and flowers, are part of the repertoire of design motifs used, as are plant forms indicating different stages of growth, such as flowering buds and flowers in full bloom. Symmetry is a characteristic feature, and within the decorative register of various practices, plants are part of border zones and bands, connecting corners and all-over patterns, used as singular motifs and floral sprays on panels, and as elements within ornamental scenes. The results of the research indicate that decoration as a mode of inquiry into plants can serve as a platform to learn about local and global biodiversity and plant anatomy and develop artistic modes of thinking symbolically, metaphorically, imaginatively, and relationally about the plant world. The conclusion is drawn that engaging with ornamental modes of plant representation in traditional Indian art and craft practices is pedagogically significant for two reasons. Decoration as a mode of engagement cultivates both botanical and artistic understandings of plants. It also links learners with the indigenous art and craft traditions of their own culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20and%20design%20pedagogy" title="art and design pedagogy">art and design pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=decoration" title=" decoration"> decoration</a>, <a href="https://publications.waset.org/abstracts/search?q=plant%20motifs" title=" plant motifs"> plant motifs</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20art%20and%20craft" title=" traditional art and craft"> traditional art and craft</a> </p> <a href="https://publications.waset.org/abstracts/160969/decorative-plant-motifs-in-traditional-art-and-craft-practices-pedagogical-perspectives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160969.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4998</span> The Effects of Implementing Platform Strategy for Craft Industry Development: A Case Study on Economic Value-Added of Taiwan Bamboo Village</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kuo-Wei%20Hsu">Kuo-Wei Hsu</a>, <a href="https://publications.waset.org/abstracts/search?q=Shu-Fang%20Huang"> Shu-Fang Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Global trend in creative economies promoted the modernization process of the development of cultural and creative industries and technology coincided with the craft industry towards value-added industrial restructuring. Due to government support and economic motivation in the private sector, regional craft products have emerged across counties and cities all over Taiwan which have led to an increased focus on craft culture promotion. However, most craft industry corporations in Taiwan are micro-enterprise, restricted operating profitability. This phenomenon shows the weakness of craft industry constitution when facing the rapid expansion of global economic commerce and manufacturing. In recent years, combining public and private enterprise, Platform business models revolutionary changed in craft industries’ original operation and transaction models. Therefore, this study attempts to explore the effects by implementing platform strategy on bamboo industry development in Nantou, the hometown of crafts in Taiwan, with an experimental investigation. This study concluded that platform strategy increases essence and insubstantial value for the bamboo industry in Taiwan. This study explored the economic value added of Taiwan bamboo village with three perspectives: Community participation, Culture Conservation, Regional Rejuvenation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=platform%20strategy" title="platform strategy">platform strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=craft%20industry" title=" craft industry"> craft industry</a>, <a href="https://publications.waset.org/abstracts/search?q=economic%20value-added" title=" economic value-added"> economic value-added</a> </p> <a href="https://publications.waset.org/abstracts/57061/the-effects-of-implementing-platform-strategy-for-craft-industry-development-a-case-study-on-economic-value-added-of-taiwan-bamboo-village" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/57061.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">341</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4997</span> Ikat: Undaunted Journey of a Traditional Textile Practice, a Sublime Connect of Traditionality with Modernity and Calibration for Eco-Sustainable Options</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Purva%20Khurana">Purva Khurana</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional textile crafts are universally found to have been significantly impeded by the uprise of innovative technologies, but sustained human endeavor, in sync with dynamic market nuances, holds key to these otherwise getting fast-extinct marvels. The metamorphosis of such art-forms into niche markets pre-supposes sharp concentration on adaptability. The author has concentrated on the ancient handicraft of Ikat in Andhra Pradesh (India), a manifestation of their cultural heritage and esoteric cottage industry, so very intrinsic to the development and support of local economy and identity. Like any other traditional practice, ikat weaving has been subjected to the challenges of modernization. However, owing to its unique character, personalize production and adaptability, both of material and process, ikat weaving has stood the test of time by way of judiciously embellishing innovation with contemporary taste. To survive as a living craft as also to justify its role as a universal language of aesthetic sensibility, it is imperative that ikat tradition should lend itself continuous process of experiments, change and growth. Besides, the instant paper aims to examine the contours of ikat production process from its pure form, to more fashion and market oriented production, with upgraded process, material and tools. Over the time, it has adapted well to new style-paradigms, duly matching up with the latest fashion trends, in tandem with the market-sensitivities. Apart, it is an effort to investigate how this craft could respond constructively to the pressure of contemporary technical developments in order to be at cutting edge, while preserving its integrity. In order to approach these issues, the methodology adopted is, conceptual analysis of the craft practices, its unique strength and how they could be used to advance the craft in relation to the emergence of technical developments. The paper summarizes the result of the study carried out by the author on the peculiar advantages of suitably- calibrated vat dyes over natural dyes, in terms of its recycling ability and eco-friendly properties, thus holding definite edge, both in terms of socio-economic as well as environmental concerns. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=craft" title="craft">craft</a>, <a href="https://publications.waset.org/abstracts/search?q=eco-friendly%20dyes" title=" eco-friendly dyes"> eco-friendly dyes</a>, <a href="https://publications.waset.org/abstracts/search?q=ikat" title=" ikat"> ikat</a>, <a href="https://publications.waset.org/abstracts/search?q=metamorphosis" title=" metamorphosis"> metamorphosis</a> </p> <a href="https://publications.waset.org/abstracts/71754/ikat-undaunted-journey-of-a-traditional-textile-practice-a-sublime-connect-of-traditionality-with-modernity-and-calibration-for-eco-sustainable-options" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71754.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">174</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4996</span> Craft Development in the 19th Century Sokoto City: A Lesson towards Economic Diversification in the 21st Century Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nura%20Bello">Nura Bello</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Sokoto caliphate is the product of a hectic revolutionary movement that took place in the first decade of the nineteenth century under the leadership of Seikh Usmanu Danfodio. The movement led to the overthrow of the Sarauta system in Hausa Land, leading to the emergence of the Sokoto caliphate and Sokoto city as its headquarters. This development led to the collapse of Alkalawa (headquarters of the Gobir Kingdom) in 1808. A year later, in 1809, Sokoto city emerged as the headquarter of the Sokoto Caliphate. Due to the open door policy adopted by the leaders, the city came to experience an influx of people especially craft manufacturers from all over Hausa Land and beyond, who occupied many areas of the city and engaged in different craft production. This paper aims to highlight the development of crafts manufacturing in the 19th century Sokoto city and its contribution to transforming the city into a major economic base of the caliphate. In dealing with the above issue, qualitative research methods that mainly involve the use of oral and archival data will be adopted. Finally, the paper identified that the expansion of craft manufacturing in the 19th century Sokoto city could have resulted from the role played by the leadership of the caliphate, which favoured such development. The paper argues that if those industries were revived in Nigeria today, they would ultimately create various jobs among the younger generations, which would result in economic prosperity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=craft%20manufacturing" title="craft manufacturing">craft manufacturing</a>, <a href="https://publications.waset.org/abstracts/search?q=diversification" title=" diversification"> diversification</a>, <a href="https://publications.waset.org/abstracts/search?q=economy" title=" economy"> economy</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a> </p> <a href="https://publications.waset.org/abstracts/157549/craft-development-in-the-19th-century-sokoto-city-a-lesson-towards-economic-diversification-in-the-21st-century-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157549.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4995</span> Creativity, Skill, and Intelligence as Understood by Tradition Rooted Craftspersons</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Swasti%20Singh%20Ghai">Swasti Singh Ghai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Creativity is understood as an intersubjective phenomenon shaped by socio-cultural values and economic forces. Creativity as a means to achieve progress is a very modern concept, driven by a global capitalist market economy. The dominant urban, often first-world articulations of creativity, overshadow the rural, local and cultural notions of people in the developing nations. Artisanal practices of making grounded in preindustrial and pre-capitalist contexts hold varying cultural and region-specific concepts and standards for ascribing creativity to a person or product, or process. These notions reflect the underlying philosophy that constitutes their worldview. The process of colonization through western education has blurred or overlapped some of these key philosophical concepts. This article adopts a post-colonial stance to understand the perceptions of skill, intelligence and creativity among tradition rooted textile craft practitioners of Kutch, Gujarat in India. The artisans, while negotiating their space in the contemporary markets, are making efforts to include the modern categories of art, craft, and design in their worldview. The paper will first review theories of creativity that throw light on the link between skill, intelligence and creativity. Then the paper will use secondary research and data from interviews to share crafts person notions of skill, creativity and intelligence and their interrelationship. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20craft" title="traditional craft">traditional craft</a>, <a href="https://publications.waset.org/abstracts/search?q=textile" title=" textile"> textile</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=skill" title=" skill"> skill</a>, <a href="https://publications.waset.org/abstracts/search?q=intelligence" title=" intelligence"> intelligence</a> </p> <a href="https://publications.waset.org/abstracts/150247/creativity-skill-and-intelligence-as-understood-by-tradition-rooted-craftspersons" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/150247.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">125</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4994</span> The Promotion of Andalusian Heritage through Tourism in the Medina of Marrakech</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nour%20Eddine%20Nachouane">Nour Eddine Nachouane</a>, <a href="https://publications.waset.org/abstracts/search?q=Aicha%20Knidiri"> Aicha Knidiri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Hispano-Moorish art was born in 786 when Abd ar-Rahman built the first mosque in Cordoba. It is a still-living art in the trades of the big Moroccan cities. Everyone agrees that the different artistic forms of Arab-Muslim art find their full development in traditional Moroccan architecture, and this heritage allows artists and artisans to create magnificent masterpieces. Marrakech, by way of example, constitutes a symbolic city, which represents the reflection of a rich history of this art carried by a long artisanal tradition that is still living nowadays. Despite its ratification by UNESCO as intangible cultural heritage, and beyond official speeches, several of those craft trades are endangered, and with them the whole history of millennial savoir-faire. From the empirical study of the old historic center, 'the medina' of Marrakech, we explore in this article the opportunity offered by the tourism industry in order to protect these craft trades. We question artisans on the evolution of the sector and the challenges of the transmission of this heritage. We evoke the case of Spanish cities like Granada in a comparative reflection on the strategies and perceptions of the public administrations of a part, and, on the other hand, on the shared experience of artisans and tourists. In an interdisciplinary approach mixing anthropology, history, sociology, and even geography, we question the capacity of heritage processes to mobilize and involve a set of actors and activate a trajectory for the safeguarding of Andalusian arts and techniques. The basic assumption of this research is that the promotion of traditional craft trades through tourism and based on good scientific knowledge can present an original offer to cope with globalization and guarantee the transmission of that savoir-faire to new generations. Research in the field of Islamic arts does not constitute a retreat into the nationalist identity or a fixation on the past but an opening towards cultural diversity, free from any standardization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=heritage" title="heritage">heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20andalusi" title=" art andalusi"> art andalusi</a>, <a href="https://publications.waset.org/abstracts/search?q=handcraft" title=" handcraft"> handcraft</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a> </p> <a href="https://publications.waset.org/abstracts/127632/the-promotion-of-andalusian-heritage-through-tourism-in-the-medina-of-marrakech" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127632.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4993</span> The Effect of Market Orientation on Marketing Performance through Product Adaptation Strategy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hotlan%20Siagian">Hotlan Siagian</a>, <a href="https://publications.waset.org/abstracts/search?q=Hatane%20Semuel"> Hatane Semuel</a>, <a href="https://publications.waset.org/abstracts/search?q=Wilma%20Laura%20Sahetapy"> Wilma Laura Sahetapy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims at examining the effect of market orientation on marketing performance through product adaptation strategy. The population of the research is domestic leather craft companies located in five regions, the center of the leather craft industry in Indonesia, i.e., Central Java, East Java, South Sulawesi, Bali, and West Kalimantan. The respondent consists of a manager level from each company. Data collection used a questionnaire designed with five-item Likert scale. Collected data were analyzed using structural equation modeling (SEM) technique with SmartPLS software version 3.0 to examine the hypotheses. The result of the study shows that all hypotheses are supported. Market orientation affects marketing performance. Market orientation affects product adaptation strategy. Product adaptation strategy influences the marketing performance. The research also has revealed the main finding that product adaptation strategy contributes to a mediating role in the market orientation strategy and marketing performance relationship. The leather craft companies in Indonesia, therefore, may refer to this result in improving their marketing performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=leather%20craft%20industry" title="leather craft industry">leather craft industry</a>, <a href="https://publications.waset.org/abstracts/search?q=market%20orientation" title=" market orientation"> market orientation</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing%20performance" title=" marketing performance"> marketing performance</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20adaptation%20strategy" title=" product adaptation strategy"> product adaptation strategy</a> </p> <a href="https://publications.waset.org/abstracts/82472/the-effect-of-market-orientation-on-marketing-performance-through-product-adaptation-strategy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82472.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">360</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4992</span> Crafting a Livelihood: A Story of the Kotpad Dyers and Weavers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anahita%20Suri">Anahita Suri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Craft -an integral part of the conduit to create something beautiful- is a visual representation of the human imagination given life through the hand. The Mirgan tribe in the Naxalite infested forests of Koraput, Odisha are not exempt from this craving for beauty. These skilled craftsmen dye and weave the simple yet sophisticated Kotpad textiles. The women undertake the time-consuming task of dyeing the cotton and silk yarns with the root of the aul tree. The men then weave these yarns into beautiful sarees and dupattas. The root of the aul tree lends the textile its maroon to brown color, which is offset against the unbleached cotton to create a minimalist and distinctive look. The motifs, incorporated through the extra weft technique, reflect the rich tribal heritage of the community. This is an eco-friendly, non-toxic textile. Kotpad fabrics were on the verge of extinction due to various factors like poor infrastructure, no innovation in traditional designs/products, customer ignorance leading to low demand. With livelihood opportunities through craft slowly dwindling, artisans were moving to alternative sources of income generation, like agriculture and daily wage labor. There was an urgent need for intervention to revive the craft, spread awareness about them in urban spaces, and strengthen the artisan’s ability to innovate and create. Recent efforts by government bodies and local designers have given Kotpad handloom a contemporary look without diluting its essence. This research explores the possibilities to leverage Kotpad handloom to find a place in the dynamic culture of the world by its promotion among different target groups and incorporating self-sustaining practices for the artisans. This could further encourage a space for handmade and handcrafted art, rich with stories about India, with a contemporary visual sensibility. This will strengthen environmental and ethical sustainability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=craft" title="craft">craft</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary" title=" contemporary"> contemporary</a>, <a href="https://publications.waset.org/abstracts/search?q=handloom" title=" handloom"> handloom</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20dye" title=" natural dye"> natural dye</a>, <a href="https://publications.waset.org/abstracts/search?q=tribal" title=" tribal"> tribal</a> </p> <a href="https://publications.waset.org/abstracts/127239/crafting-a-livelihood-a-story-of-the-kotpad-dyers-and-weavers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127239.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">145</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4991</span> Numerical Simulation of the Flow around Wing-In-Ground Effect (WIG) Craft</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Elbatran">A. Elbatran</a>, <a href="https://publications.waset.org/abstracts/search?q=Y.%20Ahmed"> Y. Ahmed</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Radwan"> A. Radwan</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Ishak"> M. Ishak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of WIG craft is representing an ambitious technology that will support in reducing time, effort, and money of the conventional marine transportation in the future. This paper investigates the aerodynamic characteristic of compound wing-in-ground effect (WIG) craft model. Drag coefficient, lift coefficient and Lift and drag ratio were studied numerically with respect to the ground clearance and the wing angle of attack. The modifications of the wing has been done in order to investigate the most suitable wing configuration that can increase the wing lift-to-drag ratio at low ground clearance. A numerical investigation was carried out in this research work using finite volume Reynolds-Averaged Navier-Stokes Equations (RANSE) code ANSYS CFX, Validation was carried out by using experiments. The experimental and the numerical results concluded that the lift to drag ratio decreased with the increasing of the ground clearance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=drag%20Coefficient" title="drag Coefficient">drag Coefficient</a>, <a href="https://publications.waset.org/abstracts/search?q=ground%20clearance" title=" ground clearance"> ground clearance</a>, <a href="https://publications.waset.org/abstracts/search?q=navier-stokes" title=" navier-stokes"> navier-stokes</a>, <a href="https://publications.waset.org/abstracts/search?q=WIG" title=" WIG"> WIG</a> </p> <a href="https://publications.waset.org/abstracts/62997/numerical-simulation-of-the-flow-around-wing-in-ground-effect-wig-craft" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62997.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">380</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4990</span> Sustainable Design through up-Cycling Crafts in the Mainstream Fashion Industry of India </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Avani%20Chhajlani">Avani Chhajlani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion is considered to be the most destructive industry, second only to the oil rigging industry, which has a greater impact on the environment. While fashion today banks upon fast fashion to generate a higher turnover of designs and patterns in apparel and related accessories, crafts push us towards a more slow and thoughtful approach with culturally identifiably unique work and slow community-centered production. Despite this strong link between indigenous crafts and sustainability, it has not been extensively researched and explored upon. In the forthcoming years, the fashion industry will have to reinvent itself to move towards a more holistic and sustainable circular model to balance the harm already caused. And closed loops of the circular economy will help the integration of indigenous craft knowledge, which is regenerative. Though sustainability and crafts of a region go hand-in-hand, the craft still have to find its standing in the mainstream fashion world; craft practices have a strong local congruence and knowledge that has been passed down generation-to-generation through oration or written materials. This paper aims to explore ways a circular economy can be created by amalgamating fashion and craft while creating a sustainable business model and how this is slowly being created today through brands like – RaasLeela, Pero, and KaSha, to name a few. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=circular%20economy" title="circular economy">circular economy</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous%20crafts" title=" indigenous crafts"> indigenous crafts</a>, <a href="https://publications.waset.org/abstracts/search?q=slow%20fashion" title=" slow fashion"> slow fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a>, <a href="https://publications.waset.org/abstracts/search?q=up-cycling" title=" up-cycling"> up-cycling</a> </p> <a href="https://publications.waset.org/abstracts/134023/sustainable-design-through-up-cycling-crafts-in-the-mainstream-fashion-industry-of-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/134023.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">187</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4989</span> Open Innovation in SMEs: A Multiple Case Study of Collaboration between Start-ups and Craft Enterprises</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carl-Philipp%20Valentin%20Beichert">Carl-Philipp Valentin Beichert</a>, <a href="https://publications.waset.org/abstracts/search?q=Marcel%20Seger"> Marcel Seger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital transformation and climate change require small and medium-sized enterprises (SME) to rethink their way of doing business. Inter-firm collaboration is recognized as helpful means of promoting innovation and competitiveness. In this context, collaborations with start-ups offer valuable opportunities through their innovative products, services, and business models. SMEs, and in particular German craft enterprises, play an important role in the country’s society and economy. Companies in this heterogeneous economic sector have unique characteristics and are limited in their ability to innovate due to their small size and lack of resources. Collaborating with start-ups could help to overcome these shortcomings. To investigate how collaborations emerge and what factors are decisive to successfully drive collaboration, we apply an explorative, qualitative research design. A sample of ten case studies was selected, with the collaboration between a start-up and a craft enterprise forming the unit of analysis. Semi-structured interviews with 20 company representatives allow for a two-sided perspective on the respective collaboration. The interview data is enriched by publicly available data and three expert interviews. As a result, objectives, initiation practices, applied collaboration types, barriers, as well as key success factors could be identified. The results indicate a three-phase collaboration process comprising an initiation, concept, and partner phase (ICP). The ICP framework proposed accordingly highlights the success factors (personal fit, communication, expertise, structure, network) for craft enterprises and start-ups for each collaboration phase. The role of a mediator in the start-up company, with strong expertise in the respective craft sector, is considered an important lever for overcoming barriers such as cultural and communication differences. The ICP framework thus provides promising directions for further research and can help practitioners establish successful collaborations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=open%20innovation" title="open innovation">open innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=SME" title=" SME"> SME</a>, <a href="https://publications.waset.org/abstracts/search?q=craft%20businesses" title=" craft businesses"> craft businesses</a>, <a href="https://publications.waset.org/abstracts/search?q=startup%20collaboration" title=" startup collaboration"> startup collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=qualitative%20research" title=" qualitative research"> qualitative research</a> </p> <a href="https://publications.waset.org/abstracts/164974/open-innovation-in-smes-a-multiple-case-study-of-collaboration-between-start-ups-and-craft-enterprises" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164974.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">93</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4988</span> Revival and Protection of Traditional Jewellery Motifs of Assam (India), over Eri Silk by Innovative Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ratna%20Sharma">Ratna Sharma</a>, <a href="https://publications.waset.org/abstracts/search?q=Kaveri%20Dutta"> Kaveri Dutta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Assam (India), the gate way to the Northeast India is mainly known for its exquisite silks, the art and craft. The state has a rich collection of traditional jewellery which is unique and exclusive to the state. These jewelleries hold a special place in the heart of the Assamese women. Similarly handloom industry of Assam is basically silk oriented. Among the wild silk, Eri silk fabric has remained as “the poor man’s silk” but it is closely attached to the assamese society, dress for it's warm quality. In view of the changing market trends, fashion and consumer demands, Silk is emerging as a fashion fabric both in India and abroad. In case of Eri silk fabric it has limited use in clothing and accessories. Hence the restructured and redesigned traditional jewellery motifs of Assam (India) over Eri silk products will have greater potential in reviving the decline of art, generate revenue, self employment towards craftsmen and also recognition of the art. The information incorporated in the paper is primary and the data have been collected by purposive sampling method. This work of art was expressed on Eri silk fabric in the form of traditional hand embroidery as it is closely connected with the era of the individual in history of mankind and reflects the personal expression of an entity. For this study selected traditional motifs of Assamese ornaments was used. Some of the popular traditional Assamese jewellery include earrings with exquisite Lokaparo, Keru, Thuriya, Jangphai, etc. An array of necklaces including Golpata, Satsori, Jon biri, Bena, Gejera, Dhol biri, Doog doogi, Biri Moni, Mukuta Moni, Poalmoni, Silikha Moni and Magardana and diversified rings including Senpata, Horinsakua, Jethinejia, bakharpata and others. Selected two motifs each from necklace, earring and finger ring designs. Selected motifs were further developed into 3 categories- the border, the main motif and all over butta followed by placement of developed patterns on products. Products developed were stoles, scarf’s, purses, brooch pins, skirts for women and ties, handkerchief, jackets for men. The developed products were surveyed by selected respondents. From the present study it can be observed that the embellished traditional jewellery motifs resulted in fresh and colourful pattern on developed Eri silk products. Moreover the motifs which were gradually fading among the community itself showed a very good recognition towards art. The embroidered Eri silk fabric also created a huge change in a positive way among craftsman. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Art%20and%20craft%20of%20Assam" title="Art and craft of Assam">Art and craft of Assam</a>, <a href="https://publications.waset.org/abstracts/search?q=eri%20silk" title=" eri silk"> eri silk</a>, <a href="https://publications.waset.org/abstracts/search?q=hand%20embroidery" title=" hand embroidery"> hand embroidery</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20Assamese%20jewellery%20motifs" title=" traditional Assamese jewellery motifs"> traditional Assamese jewellery motifs</a> </p> <a href="https://publications.waset.org/abstracts/29070/revival-and-protection-of-traditional-jewellery-motifs-of-assam-india-over-eri-silk-by-innovative-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29070.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">661</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4987</span> The Influence of Islamic Arts in Omani Weaving Motifs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zahra%20Ahmed%20Al-zadjali">Zahra Ahmed Al-zadjali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The influence of Islam on arts can be found primarily in calligraphy, arabesque designs and architecture. Also, geometric designs were used quite extensively. Muslim craftsmen produced stunning designs based on simple geometric principles and traditional motifs which were used to decorate many surfaces. The idea of interlacing simple rectilinear lines to form the patterns impressed Arabs. Nomads of Persia, Turks and Mongols were equally impressed with the designs so they begin to use them in their homes in carpet weaving. Islamic designs, motifs and colours which were used became common place and served to influence people’s tastes. Modern life style and contemporary products have changed the style of people’s daily lives, however, people still long for the nomadic way of life. This is clearly reflected in people’s homes. In a great many Muslim homes, Islamic decorative motifs can be seen along with traditional ‘Bedouin’ style furnishing, especially in homes of the Arabian Peninsula. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=craft" title=" craft"> craft</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=Oman" title=" Oman"> Oman</a>, <a href="https://publications.waset.org/abstracts/search?q=weaving" title=" weaving"> weaving</a> </p> <a href="https://publications.waset.org/abstracts/35756/the-influence-of-islamic-arts-in-omani-weaving-motifs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35756.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">471</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4986</span> Furnishing The Envelope; 3D Printed Construction Unit as Furniture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Kalkatechi">Maryam Kalkatechi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper presents the construction unit that was proposed as a result of researching and finding solutions for challenges of the traditional masonry unit. The concept of ‘unit as arrangements of cells’ was investigated in four categories of structure, handling and assembly, thermal characteristics and weather ability which resulted in construction unit as an independent system which shapes a part of the envelope. Comparing to the traditional wall systems in which the system is in layers, the part system is a monolithic piece by itself. Even though the overall wythe-10 inches- is less than the combined layers-14 inches- in a traditional wall system, it is still seen as a spatial component. The component as a furnishing of envelope is discussed from material application point of view. The algorithm definition of the arrangement cells crafts the relationship between cells and functionality with material. This craft is realized as the envelope furnishing. Three alternative materials in relation to furnishing the envelope are discussed for printing the construction unit; transparent plastic, opaque plastic and glass. The qualities vary in the four categories, however this paper focuses on the visual qualities of materials applied. In a diagram the qualities of the materials are compared in relation to each other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=furnishing%20envelope" title="furnishing envelope">furnishing envelope</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20printed%20construction%20unit" title=" 3D printed construction unit"> 3D printed construction unit</a>, <a href="https://publications.waset.org/abstracts/search?q=opaque%20plastic" title=" opaque plastic"> opaque plastic</a>, <a href="https://publications.waset.org/abstracts/search?q=transparent%20plastic" title=" transparent plastic"> transparent plastic</a>, <a href="https://publications.waset.org/abstracts/search?q=glass" title=" glass"> glass</a> </p> <a href="https://publications.waset.org/abstracts/80329/furnishing-the-envelope-3d-printed-construction-unit-as-furniture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80329.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">181</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4985</span> Establishment of Thuja Label: Development Prospects for the Marketing Practices of the Handicraft of Essaouira's Marquetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fatima%20El%20Kandoussi">Fatima El Kandoussi</a>, <a href="https://publications.waset.org/abstracts/search?q=Lamiae%20El%20Hdiddioui"> Lamiae El Hdiddioui</a>, <a href="https://publications.waset.org/abstracts/search?q=Mustapha%20Bouragba"> Mustapha Bouragba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The woodwork of thuja in Essaouira is one of the main crafts in Morocco. Certainly, marquetry reflects both cultural and artistic identity of the city, considering the talent and ancestral knowledge of craftsman working in marquetry. Yet, the production units encounter a considerable number of difficulties among which insufficiencies within marketing practices. Consequently, it is obvious that major improvements are needed, and supportive solutions must be provided in order to improve the Essaouira’s marquetry, as a symbol of the entire province. Thus, the establishment of Thuja Label is a necessary measure that would be the key to ensuring sustainability of this vital craft. The main purpose of this paper is to study marketing practices’ current state of the production units in the marquetry of Essaouira, therefore to recommend remedial actions likely to raise them up to the required functional level. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=craft" title="craft">craft</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing%20practices" title=" marketing practices"> marketing practices</a>, <a href="https://publications.waset.org/abstracts/search?q=marquetry" title=" marquetry"> marquetry</a>, <a href="https://publications.waset.org/abstracts/search?q=thuja%20label" title=" thuja label"> thuja label</a> </p> <a href="https://publications.waset.org/abstracts/97728/establishment-of-thuja-label-development-prospects-for-the-marketing-practices-of-the-handicraft-of-essaouiras-marquetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97728.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">198</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4984</span> Evaluation of Bagh Printing Motifs and Processes of Madhya Pradesh: From Past to Contemporary</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kaveri%20Dutta">Kaveri Dutta</a>, <a href="https://publications.waset.org/abstracts/search?q=Ratna%20Sharma"> Ratna Sharma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Indian traditional textile is a synthesis of various cultures. Art and crafts of a country showcases the rich cultural and artistic history of that nation. Prehistorically Indian handicrafts were basically made for day to day use; the yearning for aesthetic application soon saw the development of flooding designs and motifs. Similarly, Bagh print a traditional hand block Print with natural colours an Indian handicraft practiced in Bagh, Madhya Pradesh(India). Bagh print has its roots in Sindh, which is now a part of Pakistan. The present form of Bagh printing actually started in 1962 when the craftsmen migrated from Manavar to the neighboring town of Bagh situated in Madhya Pradesh and hence Bagh has always been associated with this printing style. Bagh printing basically involved blocks that are carved onto motifs that represent flora such as Jasmine, Mushroom leheriya and so on. There are some prints that were inspired by the jaali work that embellished the Taj Mahal and various other forts. Inspiration is also drawn from the landscapes and geometrical figures. The motifs evoke various moods in the serenity of the prints and that is the catchy element of Bagh prints. The development in this traditional textile is as essential as in another field. Nowadays fashion trends are fragile and innovative changes over existing fashion field in the short span is the demand of times. We must make efforts to preserve this cultural heritage of arts and crafts and this is done either by documenting the various ancient traditions or by making a blend of it. Since this craft is well known over the world, but the need is to document the original motif, fabric, technology and colors used in contemporary fashion. Hence keeping above points in mind this study on bagh print textiles of Madhya Pradesh work has been formulated. The information incorporated in the paper was based on secondary data taken from relevant books, journals, museum visit and articles. Besides for the demographic details and working profile of the artisans dealt with printing, an interview schedule was carried out in three regions of Madhya Pradesh. This work of art was expressed in Cotton fabric. For this study selected traditional motifs for Bang printing was used. Some of the popular traditional Bagh motifs are Jasmine, Mushroom leheriya, geometrical figures and jaali work. The Bagh printed cotton fabrics were developed into a range of men’s ethic wear in combination with embroideries from Rajasthan. Products developed were bandhgala jackets, kurtas, serwani and dupattas. From the present study, it can be observed that the embellished traditional Bang printed range of ethnic men’s wear resulted in the fresh and colourful pattern. The embroidered Bagh printed cotton fabric also created a huge change in a positive way among artisans of the three regions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20and%20craft%20of%20Madhya%20Pradesh" title="art and craft of Madhya Pradesh">art and craft of Madhya Pradesh</a>, <a href="https://publications.waset.org/abstracts/search?q=evolution%20of%20printing%20in%20India" title=" evolution of printing in India"> evolution of printing in India</a>, <a href="https://publications.waset.org/abstracts/search?q=history%20of%20Bagh%20printing" title=" history of Bagh printing"> history of Bagh printing</a>, <a href="https://publications.waset.org/abstracts/search?q=sources%20of%20inspiration" title=" sources of inspiration"> sources of inspiration</a> </p> <a href="https://publications.waset.org/abstracts/34457/evaluation-of-bagh-printing-motifs-and-processes-of-madhya-pradesh-from-past-to-contemporary" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34457.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">353</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4983</span> Effect of Design Parameters on Porpoising Instability of a High Speed Planing Craft</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lokeswara%20Rao%20P.">Lokeswara Rao P.</a>, <a href="https://publications.waset.org/abstracts/search?q=Naga%20Venkata%20Rakesh%20N."> Naga Venkata Rakesh N.</a>, <a href="https://publications.waset.org/abstracts/search?q=V.%20Anantha%20Subramanian"> V. Anantha Subramanian</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is important to estimate, predict, and avoid the dynamic instability of high speed planing crafts. It is known that design parameters like relative location of center of gravity with respect to the dynamic lift centre and length to beam ratio of the craft have influence on the tendency to porpoise. This paper analyzes the hydrodynamic performance on the basis of the semi-empirical Savitsky method and also estimates the same by numerical simulations based on Reynolds Averaged Navier Stokes (RANS) equations using a commercial code namely, STAR- CCM+. The paper examines through the same numerical simulation considering dynamic equilibrium, the changing running trim, which results in porpoising. Some interesting results emerge from the study and this leads to early detection of the instability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=CFD" title="CFD">CFD</a>, <a href="https://publications.waset.org/abstracts/search?q=planing%20hull" title=" planing hull"> planing hull</a>, <a href="https://publications.waset.org/abstracts/search?q=porpoising" title=" porpoising"> porpoising</a>, <a href="https://publications.waset.org/abstracts/search?q=Savitsky%20method" title=" Savitsky method"> Savitsky method</a> </p> <a href="https://publications.waset.org/abstracts/97595/effect-of-design-parameters-on-porpoising-instability-of-a-high-speed-planing-craft" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97595.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">179</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4982</span> Reviving the Ancient Craft of Patteda Anchu Saree Weaving of Karnataka, India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hemalatha%20Jain">Hemalatha Jain</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Vasantha"> M. Vasantha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Patteda Anchu is one of the first variety of sari woven centuries ago in Gajendragarh village from Gadag district of north Karnataka. The sari played a significant role in bringing together the socio-cultural aspect in ancient days. It was used as wedding sari for bride and also to adorn goddess Yellamma Saundatti by the devotees. Indian traditional art and crafts were rich in culture and diversity, however with the onset of liberalisation and end of the license raj lot of traditional Indian artwork are on the verge of extinction today. Patteda Anchu is one of the examples of traditional art lost to globalisation. The main aim of the study was to document the ancient weaving tradition of the Patteda Anchu and revive by exploring the weaving possibility as yardage with different product layout. To accomplish the formulated objectives a exploratory cum diagnostic study was planned. Data was collected through observations and interviews schedule during the field visits in Gajendragarh village. There are very few weavers weaving on traditional looms and many weavers who have moved to weaving other sari's or construction work were interviewed to understand the downfall of the sari. The discussions and interviews conducted with the local weavers, shop keepers, sales agents, weaving society, NGOs and Self help groups helped in unearthing the new opportunities to develop products for the local and national market and help start weaving of Patteda Anchu and expand its market. The handloom art details in terms of raw materials, loom set up, dyeing, types of Patteda Anchu, weaving process and colors were documented through photographs, video recordings and supplemented with notes. Based on the analysis of the feedback gathered it was recommended to develop products on the handloom without changing the width frame or design of the traditional weaving methods. The weavers, weavers society and other cooperatives centres also were in consent with the new product development which will help sustain the Patteda Anchu. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gajendragarh" title="Gajendragarh">Gajendragarh</a>, <a href="https://publications.waset.org/abstracts/search?q=patteda%20Anchu%20sari" title=" patteda Anchu sari"> patteda Anchu sari</a>, <a href="https://publications.waset.org/abstracts/search?q=revival%20of%20traditional%20art" title=" revival of traditional art"> revival of traditional art</a>, <a href="https://publications.waset.org/abstracts/search?q=weaving" title=" weaving"> weaving</a>, <a href="https://publications.waset.org/abstracts/search?q=handloom" title=" handloom"> handloom</a> </p> <a href="https://publications.waset.org/abstracts/27257/reviving-the-ancient-craft-of-patteda-anchu-saree-weaving-of-karnataka-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27257.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">518</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4981</span> Design of Control System Based On PLC and Kingview for Granulation Product Line</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mei-Feng">Mei-Feng</a>, <a href="https://publications.waset.org/abstracts/search?q=Yude-Fan"> Yude-Fan</a>, <a href="https://publications.waset.org/abstracts/search?q=Min-Zhu"> Min-Zhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Based on PLC and kingview, this paper proposed a method that designed a set of the automatic control system according to the craft flow and demands for granulation product line. There were the main station and subordinate stations in PLC which were communicated by PROFIBUS network. PLC and computer were communicated by Ethernet network. The conversation function between human and machine was realized by kingview software, including actual time craft flows, historic report curves and product report forms. The construction of the control system, hardware collocation and software design were introduced. Besides these, PROFIBUS network frequency conversion control, the difficult points and configuration software design were elaborated. The running results showed that there were several advantages in the control system. They were high automatic degree, perfect function, perfect steady and convenient operation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=PLC" title="PLC">PLC</a>, <a href="https://publications.waset.org/abstracts/search?q=PROFIBUS" title=" PROFIBUS"> PROFIBUS</a>, <a href="https://publications.waset.org/abstracts/search?q=configuration" title=" configuration"> configuration</a>, <a href="https://publications.waset.org/abstracts/search?q=frequency" title=" frequency"> frequency</a> </p> <a href="https://publications.waset.org/abstracts/3810/design-of-control-system-based-on-plc-and-kingview-for-granulation-product-line" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3810.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">402</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4980</span> Window Display Design of Thai Craft Product Affecting Perceptions of Thai and Foreign Tourists </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kanokwan%20Somoon">Kanokwan Somoon</a>, <a href="https://publications.waset.org/abstracts/search?q=Chumporn%20Moorapun"> Chumporn Moorapun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A product’s perceived value may increase purchase intention. Value perceptions may differ among cultures. Window displays can be used to increase products’ information and value. This study aims to investigate the relationship between window display design elements and value perceptions of local products between two different cultures. The research methodology is based on survey research. Several window displays in favorite of tourist spots were selected as a unit of study. Also, 100 tourists (56 Thai tourists and 44 foreign tourists) were asked to complete a questionnaire. T-Tests were used to analyze the comparison. Then, the results were compared to Thai and foreign tourists. Finally, the results find that Thai and foreign tourists have different perception towards three design elements that are size of the window, props and colour lighting. The differences of their perceptions signify the different cultural values they adhere to. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross-culture" title="cross-culture">cross-culture</a>, <a href="https://publications.waset.org/abstracts/search?q=window%20display" title=" window display"> window display</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20craft%20product" title=" Thai craft product"> Thai craft product</a>, <a href="https://publications.waset.org/abstracts/search?q=environmental%20perception" title=" environmental perception"> environmental perception</a> </p> <a href="https://publications.waset.org/abstracts/45454/window-display-design-of-thai-craft-product-affecting-perceptions-of-thai-and-foreign-tourists" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45454.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">277</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4979</span> Numerical Studies on 2D and 3D Boundary Layer Blockage and External Flow Choking at Wing in Ground Effect</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20Dhanalakshmi">K. Dhanalakshmi</a>, <a href="https://publications.waset.org/abstracts/search?q=N.%20Deepak"> N. Deepak</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20Manikandan"> E. Manikandan</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Kanagaraj"> S. Kanagaraj</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Sulthan%20Ariff%20Rahman"> M. Sulthan Ariff Rahman</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20Chilambarasan%20C.%20Abhimanyu"> P. Chilambarasan C. Abhimanyu</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20A.%20Akaash%20Emmanuel%20Raj"> C. A. Akaash Emmanuel Raj</a>, <a href="https://publications.waset.org/abstracts/search?q=V.%20R.%20Sanal%20Kumar"> V. R. Sanal Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper using a validated double precision, density-based implicit standard k-ε model, the detailed 2D and 3D numerical studies have been carried out to examine the external flow choking at wing-in-ground (WIG) effect craft. The CFD code is calibrated using the exact solution based on the Sanal flow choking condition for adiabatic flows. We observed that at the identical WIG effect conditions the numerically predicted 2D boundary layer blockage is significantly higher than the 3D case and as a result, the airfoil exhibited an early external flow choking than the corresponding wing, which is corroborated with the exact solution. We concluded that, in lieu of the conventional 2D numerical simulation, it is invariably beneficial to go for a realistic 3D simulation of the wing in ground effect, which is analogous and would have the aspects of a real-time parametric flow. We inferred that under the identical flying conditions the chances of external flow choking at WIG effect is higher for conventional aircraft than an aircraft facilitating a divergent channel effect at the bottom surface of the fuselage as proposed herein. We concluded that the fuselage and wings integrated geometry optimization can improve the overall aerodynamic performance of WIG craft. This study is a pointer to the designers and/or pilots for perceiving the zone of danger a priori due to the anticipated external flow choking at WIG effect craft for safe flying at the close proximity of the terrain and the dynamic surface of the marine. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boundary%20layer%20blockage" title="boundary layer blockage">boundary layer blockage</a>, <a href="https://publications.waset.org/abstracts/search?q=chord%20dominated%20ground%20effect" title=" chord dominated ground effect"> chord dominated ground effect</a>, <a href="https://publications.waset.org/abstracts/search?q=external%20flow%20choking" title=" external flow choking"> external flow choking</a>, <a href="https://publications.waset.org/abstracts/search?q=WIG%20effect" title=" WIG effect"> WIG effect</a> </p> <a href="https://publications.waset.org/abstracts/89424/numerical-studies-on-2d-and-3d-boundary-layer-blockage-and-external-flow-choking-at-wing-in-ground-effect" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89424.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">271</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4978</span> Digital Development of Cultural Heritage: Construction of Traditional Chinese Pattern Database</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaojian%20Li">Shaojian Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The traditional Chinese patterns, as an integral part of Chinese culture, possess unique values in history, culture, and art. However, with the passage of time and societal changes, many of these traditional patterns are at risk of being lost, damaged, or forgotten. To undertake the digital preservation and protection of these traditional patterns, this paper will collect and organize images of traditional Chinese patterns. It will provide exhaustive and comprehensive semantic annotations, creating a resource library of traditional Chinese pattern images. This will support the digital preservation and application of traditional Chinese patterns. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digitization%20of%20cultural%20heritage" title="digitization of cultural heritage">digitization of cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20Chinese%20patterns" title=" traditional Chinese patterns"> traditional Chinese patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20humanities" title=" digital humanities"> digital humanities</a>, <a href="https://publications.waset.org/abstracts/search?q=database%20construction" title=" database construction"> database construction</a> </p> <a href="https://publications.waset.org/abstracts/182148/digital-development-of-cultural-heritage-construction-of-traditional-chinese-pattern-database" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182148.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4977</span> Manufacturing the Authenticity of Dokkaebi’s Visual Representation in Tourist Marketing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mikyung%20Bak">Mikyung Bak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The dokkaebi, a beloved icon of Korean culture, is represented as an elf, goblin, monster, dwarf, or any similar creature in different media, such as animated shows, comics, soap operas, and movies. It is often described as a mythical creature with a horn or horns and long teeth, wearing tiger-skin pants or a grass skirt, and carrying a magic stick. Many Korean researchers agree on the similarity of the image of the Korean dokkaebi with that of the Japanese oni, a view that is regard as negative from an anti-colonial or nationalistic standpoint. They cite such similarity between the two mythical creatures as evidence that Japanese colonialism persists in Korea. The debate on the originality of dokkaebi’s visual representation is an issue that must be addressed urgently. This research demonstrates through a diagram the plurality of interpretations of dokkaebi’s visual representations in what are considered ‘authentic’ images of dokkaebi in Korean art and culture. This diagram presents the opinions of four major groups in the debate, namely, the scholars of Korean literature and folklore, art historians, authors, and artists. It also shows the creation of new dokkaebi visual representations in popular media, including those influenced by the debate. The diagram further proves that dokkaebi’s representations varied, which include the typical persons or invisible characters found in Korean literature, original Korean folk characters in traditional art, and even universal spirit characters. They are also visually represented by completely new creatures as well as oni-based mythical beings and the actual oni itself. The earlier dokkaebi representations were driven by the creation of a national ideology or national cultural paradigm and, thus, were more uniform and protected. In contrast, the more recent representations are influenced by the Korean industrial strategy of ‘cultural economics,’ which is concerned with the international rather than the domestic market. This recent Korean cultural strategy emphasizes diversity and commonality with the global culture rather than originality and locality. It employs traditional cultural resources to construct a global image. Consequently, dokkaebi’s recent representations have become more common and diverse, thereby incorporating even oni’s characteristics. This argument has rendered the grounds of the debate irrelevant. The dokkaebi has been used recently for tourist marketing purposes, particularly in revitalizing interest in regions considered the cradle of various traditional dokkaebi tales. These campaign strategies include the Jeju-do Dokkaebi Park, Koksung Dokkaebi Land, as well as the Taebaek and Sokri-san Dokkaebi Festivals. Almost dokkaebi characters are identical to the Japanese oni in tourist marketing. However, the pursuit for dokkaebi’s authentic visual representation is less interesting and fruitful than the appreciation of the entire spectrum of dokkaebi images that have been created. Thus, scholars and stakeholders must not exclude the possibilities for a variety of potentials within the visual culture. The same sentiment applies to traditional art and craft. This study aims to contribute to a new visualization of the dokkaebi that embraces the possibilities of both folk craft and art, which continue to be uncovered by diverse and careful researchers in a still-developing field. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dokkaebi" title="Dokkaebi">Dokkaebi</a>, <a href="https://publications.waset.org/abstracts/search?q=post-colonial%20period" title=" post-colonial period"> post-colonial period</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20marketing" title=" tourist marketing"> tourist marketing</a> </p> <a href="https://publications.waset.org/abstracts/36832/manufacturing-the-authenticity-of-dokkaebis-visual-representation-in-tourist-marketing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36832.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">278</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4976</span> Complementary and Traditional Medicine in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H%C3%BCseyin%20Bi%C3%A7er">Hüseyin Biçer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study is an explanation of using and expectation traditional and complementary medicine in Turkey in terms of regionally, cultural and social. Due to geopolitics position, at the intersection of the Middle East, Africa and Europe, Turkey has historically hosted many civilizations and cultures, and hosts many religions at the same time and therefore is very open to intercultural interaction. For this reason, the traditional medicine of Turkey contains traces of many civilizations rather than a traditional medicine of its own. In Turkey, complementary and traditional medicine are used actively. The aim of the study is to measure whether the patients have ever taken traditional medicine as a caretaker or for the supportive treatment of their diseases, and as a result, their expectations. This cross-sectional, paper-based survey study was conducted in 27 state hospitals and 29 family medicine clinics in seven geographical regions of Turkey. Patients who had an appointment in the waiting rooms that day were included. 77.4% of the patients participating in the study stated that they used traditional medicine at least 5 times in their life, 27.6% stated that traditional medicine was sufficient in some diseases, and 36.8% stated that traditional treatment was a part of normal treatment. Both faith and cultural approaches in Turkey always keep traditional medicine close to drugs. Another danger, apart from traditional medicine drugs that can interact with drugs, is that patients find it sufficient to use traditional and complementary medicine alone. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=complementary%20medicine" title="complementary medicine">complementary medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20medicine" title=" traditional medicine"> traditional medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=medicine%20in%20Turkey" title=" medicine in Turkey"> medicine in Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=alternative%20medicine" title=" alternative medicine"> alternative medicine</a> </p> <a href="https://publications.waset.org/abstracts/143862/complementary-and-traditional-medicine-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143862.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">257</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4975</span> Crafting of Paper Cutting Techniques for Embellishment of Fashion Textiles</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Vaidya-Soocheta">A. Vaidya-Soocheta</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20M.%20Wong-Hon-Lang"> K. M. Wong-Hon-Lang </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Craft and fashion have always been interlinked. The combination of both often gives stunning results. The present study introduces ‘Paper Cutting Craft Techniques’ like the Japanese –Kirigami, Mexican –PapelPicado, German –Scherenschnitte, Polish –Wycinankito in textiles to develop innovative and novel design structures as embellishments and ornamentation. The project studies various ways of using these paper cutting techniques to obtain interesting features and delicate design patterns on fabrics. While paper has its advantages and related uses, it is fragile rigid and thus not appropriate for clothing. Fabric is sturdy, flexible, dimensionally stable and washable. In the present study, the cut out techniques develop creative design motifs and patterns to give an inventive and unique appeal to the fabrics. The beauty and fascination of lace in garments have always given them a nostalgic charm. Laces with their intricate and delicate complexity in combination with other materials add a feminine touch to a garment and give it a romantic, mysterious appeal. Various textured and decorative effects through fabric manipulation are experimented along with the use of paper cutting craft skills as an innovative substitute for developing lace or “Broderie Anglaise” effects on textiles. A number of assorted fabric types with varied textures were selected for the study. Techniques to avoid fraying and unraveling of the design cut fabrics were introduced. Fabrics were further manipulated by use of interesting prints with embossed effects on cut outs. Fabric layering in combination with assorted techniques such as cutting of folded fabric, printing, appliqué, embroidery, crochet, braiding, weaving added a novel exclusivity to the fabrics. The fabrics developed by these innovative methods were then tailored into garments. The study thus tested the feasibility and practicability of using these fabrics by designing a collection of evening wear garments based on the theme ‘Nostalgia’. The prototypes developed were complemented by designing fashion accessories with the crafted fabrics. Prototypes of accessories add interesting features to the study. The adaptation and application of this novel technique of paper cutting craft on textiles can be an innovative start for a new trend in textile and fashion industry. The study anticipates that this technique will open new avenues in the world of fashion to incorporate its use commercially. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=collection" title="collection">collection</a>, <a href="https://publications.waset.org/abstracts/search?q=fabric%20cutouts" title=" fabric cutouts"> fabric cutouts</a>, <a href="https://publications.waset.org/abstracts/search?q=nostalgia" title=" nostalgia"> nostalgia</a>, <a href="https://publications.waset.org/abstracts/search?q=prototypes" title=" prototypes"> prototypes</a> </p> <a href="https://publications.waset.org/abstracts/41105/crafting-of-paper-cutting-techniques-for-embellishment-of-fashion-textiles" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41105.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">357</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4974</span> Designing for Wearable Interactions: Exploring Care Design for Design Anthropology and Participatory Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wei-Chen%20Chang">Wei-Chen Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu-Cheng%20Pei"> Yu-Cheng Pei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines wearable interaction design to mediate the design anthropology and participatory design found in technology and fashion. We will discuss the principles of design anthropology and participatory design using a wearable and fashion product process to transmit the ‘people-situation-reason-object’ method and analyze five sense applied examples that provide new thinking for designers engaged in future industry. Design anthropology and Participatory Design attempt to engage physiological and psychological design through technology-function, meaning-form and fashion aesthetics to achieve cognition between user and environment. The wearable interaction provides technological characteristics and semantic ideas transmitted to craft-cultural, collective, cheerful and creative performance. It is more confident and innovative attempt, that is able to achieve a joyful, fundamental interface. This study takes two directions for cultural thinking as the basis to establish a set of life-craft designs with interactive experience objects by users that assist designers in examining the sensual feelings to initiate a new lifestyle value. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20anthropology" title="design anthropology">design anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=wearable%20design" title=" wearable design"> wearable design</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20communication" title=" design communication"> design communication</a>, <a href="https://publications.waset.org/abstracts/search?q=participatory%20design" title=" participatory design"> participatory design</a> </p> <a href="https://publications.waset.org/abstracts/83409/designing-for-wearable-interactions-exploring-care-design-for-design-anthropology-and-participatory-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83409.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4973</span> New Territories: Materiality and Craft from Natural Systems to Digital Experiments </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carla%20Aramouny">Carla Aramouny</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital fabrication, between advancements in software and machinery, is pushing practice today towards more complexity in design, allowing for unparalleled explorations. It is giving designers the immediate capacity to apply their imagined objects into physical results. Yet at no time have questions of material knowledge become more relevant and crucial, as technological advancements approach a radical re-invention of the design process. As more and more designers look towards tactile crafts for material know-how, an interest in natural behaviors has also emerged trying to embed intelligence from nature into the designed objects. Concerned with enhancing their immediate environment, designers today are pushing the boundaries of design by bringing in natural systems, materiality, and advanced fabrication as essential processes to produce active designs. New Territories, a yearly architecture and design course on digital design and materiality, allows students to explore processes of digital fabrication in intersection with natural systems and hands-on experiments. This paper will highlight the importance of learning from nature and from physical materiality in a digital design process, and how the simultaneous move between the digital and physical realms has become an essential design method. It will detail the work done over the course of three years, on themes of natural systems, crafts, concrete plasticity, and active composite materials. The aim throughout the course is to explore the design of products and active systems, be it modular facades, intelligent cladding, or adaptable seating, by embedding current digital technologies with an understanding of natural systems and a physical know-how of material behavior. From this aim, three main themes of inquiry have emerged through the varied explorations across the three years, each one approaching materiality and digital technologies through a different lens. The first theme involves crossing the study of naturals systems as precedents for intelligent formal assemblies with traditional crafts methods. The students worked on designing performative facade systems, starting from the study of relevant natural systems and a specific craft, and then using parametric modeling to develop their modular facades. The second theme looks at the cross of craft and digital technologies through form-finding techniques and elastic material properties, bringing in flexible formwork into the digital fabrication process. Students explored concrete plasticity and behaviors with natural references, as they worked on the design of an exterior seating installation using lightweight concrete composites and complex casting methods. The third theme brings in bio-composite material properties with additive fabrication and environmental concerns to create performative cladding systems. Students experimented in concrete composites materials, biomaterials and clay 3D printing to produce different cladding and tiling prototypes that actively enhance their immediate environment. This paper thus will detail the work process done by the students under these three themes of inquiry, describing their material experimentation, digital and analog design methodologies, and their final results. It aims to shed light on the persisting importance of material knowledge as it intersects with advanced digital fabrication and the significance of learning from natural systems and biological properties to embed an active performance in today’s design process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20fabrication" title="digital fabrication">digital fabrication</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20and%20craft" title=" design and craft"> design and craft</a>, <a href="https://publications.waset.org/abstracts/search?q=materiality" title=" materiality"> materiality</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20systems" title=" natural systems"> natural systems</a> </p> <a href="https://publications.waset.org/abstracts/89239/new-territories-materiality-and-craft-from-natural-systems-to-digital-experiments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89239.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">126</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4972</span> Educational Fieldworks towards Urban Biodiversity Preservation: Case Study of Japanese Gardens Management of Kanazawa City, Japan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aida%20Mammadova">Aida Mammadova</a>, <a href="https://publications.waset.org/abstracts/search?q=Juan%20Pastor%20Ivars"> Juan Pastor Ivars</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Japanese gardens can be considered as the unique hubs to preserve urban biodiversity, as they provide the habitat for the diverse network of living organisms, facilitating to the movement of the rare species around the urban landscape, became the refuge for the moss and many endangered species. For the centuries, Japanese gardens were considered as ecologically sustainable and well-organized ecosystems, due to the skilled maintenances and management. However, unfortunately, due to the depopulations and ageing in Japanese societies, gardens are becoming more abandoned, and there is an urgent need to increase the awareness about the importance of the Japanese gardens to preserve the urban biodiversity. In this study, we have conducted the participatory educational field trips for 12 students into the to the five gardens protected by Kanazawa City and learned about the preservation activities conducted at the governmental, municipal, and local levels. After the courses, students have found a strong linkage between the gardens with the traditional culture. Kanazawa City, for more than 400 years is famous with traditional craft makings and tea ceremonies, and it was noticed that the cultural diversity of the city was strongly supported by the biodiversity of the gardens, and loss of the gardens would bring to the loss of the traditional culture. Using the experiential approach during the fieldworks, it was observed by the students that the linkage between the bio-cultural diversity strongly depends on humans’ activities. The continuous management and maintenance of the gardens are the contributing factor for the preservation of urban diversity. However, garden management is very time and capital consuming process, and it was also noticed that there is a big need to attract all levels of the society to preserve the urban biodiversity through the participatory urbanism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biodiversity" title="biodiversity">biodiversity</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20fieldwork" title=" educational fieldwork"> educational fieldwork</a>, <a href="https://publications.waset.org/abstracts/search?q=Japanese%20gardens" title=" Japanese gardens"> Japanese gardens</a> </p> <a href="https://publications.waset.org/abstracts/84793/educational-fieldworks-towards-urban-biodiversity-preservation-case-study-of-japanese-gardens-management-of-kanazawa-city-japan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84793.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">212</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4971</span> Need for Contemporization of Craft for Sustenance: A Study on Solapur Wall Hanging</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Reena%20Aggarwal">Reena Aggarwal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wall art is a manifestation of the human mind and an absorbing form of cultural expression. Solapur wall hanging making art reflects cultural values, regional sensibilities, beliefs, and identity and helps to preserve the many different communities. The tango of warp and weft in many ways than one tells the story of civilization itself. Solapur wall hanging is a poem in multicolor, written with the warp and weft having long, rich, and complex history with indigenous design vocabularies made by the Padmasali communities. The wall-hanging weaving of Solapur has remained unaltered for years, from being very basic and monochrome having landscapes and portraits catering only to the local market, thereby becoming a potential family income generation tool. The study focuses on the need for contemporization of the Solapur wall hanging and also deliberates on the fact that wherever the culture of native people has been aided by intervention, in nearly every case, the quality of their craft has began to be enhanced. The study also found the underlying reason for diminishing sales to a declining market, low sales, lack of innovation in design, and product development. Keeping in mind that the artisans of Solapur have heroically always hold on to their ancient beliefs and practices, which give them strength and identity, and a sense of pride, an intervention program was developed with an objective of widening the market and help artisans have a sustaining income which include urban consumers and create designs suitable for the urban market. The process of defining and measuring the advantages of design intervention was achieved by using qualitative research methods. An ethnographic research methodology was adopted, which includes six months of close interface with artisans from ten families engaged in making of wall hanging in Solapur. Design solutions were proposed in terms of product diversification and design extensions of the existing product line for increased variety. A collection of contemporary wall arts (wall decor) and room dividers were designed and developed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wall%20hanging" title="wall hanging">wall hanging</a>, <a href="https://publications.waset.org/abstracts/search?q=Solapur" title=" Solapur"> Solapur</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporization" title=" contemporization"> contemporization</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable" title=" sustainable"> sustainable</a> </p> <a href="https://publications.waset.org/abstracts/139319/need-for-contemporization-of-craft-for-sustenance-a-study-on-solapur-wall-hanging" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/139319.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">324</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4970</span> Using India’s Traditional Knowledge Digital Library on Traditional Tibetan Medicine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chimey%20Lhamo">Chimey Lhamo</a>, <a href="https://publications.waset.org/abstracts/search?q=Ngawang%20Tsering"> Ngawang Tsering</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional Tibetan medicine, known as Sowa Rigpa (Science of healing), originated more than 2500 years ago with an insightful background, and it has been growing significant attention in many Asian countries like China, India, Bhutan, and Nepal. Particularly, the Indian government has targeted Traditional Tibetan medicine as its major Indian medical system, including Ayurveda. Although Traditional Tibetan medicine has been growing interest and has a long history, it is not easily recognized worldwide because it exists only in the Tibetan language and it is neither accessible nor understood by patent examiners at the international patent office, data about Traditional Tibetan medicine is not yet broadly exist in the Internet. There has also been the exploitation of traditional Tibetan medicine increasing. The Traditional Knowledge Digital Library is a database aiming to prevent the patenting and misappropriation of India’s traditional medicine knowledge by using India’s Traditional knowledge Digital Library on Sowa Rigpa in order to prevent its exploitation at international patent with the help of information technology tools and an innovative classification systems-traditional knowledge resource classification (TKRC). As of date, more than 3000 Sowa Rigpa formulations have been transcribed into a Traditional Knowledge Digital Library database. In this paper, we are presenting India's Traditional Knowledge Digital Library for Traditional Tibetan medicine, and this database system helps to preserve and prevent the exploitation of Sowa Rigpa. Gradually it will be approved and accepted globally. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20Tibetan%20medicine" title="traditional Tibetan medicine">traditional Tibetan medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=India%27s%20traditional%20knowledge%20digital%20library" title=" India's traditional knowledge digital library"> India's traditional knowledge digital library</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20knowledge%20resources%20classification" title=" traditional knowledge resources classification"> traditional knowledge resources classification</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20patent%20classification" title=" international patent classification"> international patent classification</a> </p> <a href="https://publications.waset.org/abstracts/151272/using-indias-traditional-knowledge-digital-library-on-traditional-tibetan-medicine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151272.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20craft&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20craft&page=3">3</a></li> <li class="page-item"><a class="page-link" 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