“Disbelief” over plans to remove crafts from UK creative industries

Glassblowing, photo by Shutterstock

News: government proposals to remove crafts from its list of recognised creative industries have triggered “disbelief” and “frustration” in the sector.

Industry body the Crafts Council said the announcement had been met with “incomprehension” by the country’s craftspeople.

“The response has been mostly a sense of disbelief and incomprehension,” said research and policy manager Julia Bennett, pointing to the dozens of messages left on the organisation’s Facebook page today.

“There’s a lot of frustration, a sense of feeling undervalued and a fear that this will make people invisible.”

As reported yesterday, the proposed change is part of a review of the UK’s creative industries set out in a consultation paper released by the Department for Culture, Media and Sport (DCMS) earlier this week, which stated that craft occupations are largely “concerned with the manufacturing process, rather than the creative process.”

“I am so frustrated by this,” said crafts blogger Jen Smith of The Make Box. “The craft industry is booming right now and should be wholeheartedly supported by our government.”

Commenters on the Craft Council’s Facebook page said the decision revealed “a total lack of respect and understanding [of] the craft process” and was “obviously made by people that shuffle bits of paper around and have never created a thing in their lifetime.”

Dezeen commenters also branded the move “saddening” and “a symptom of myopic thinking.”

The decision to remove crafts from the list of creative industries seemed to be a reaction to the difficulties of gathering economic data on the sector, Bennett told Dezeen.

“The reason I think that [the government] is going down this route is that it’s challenging to come up with a methodology for measuring craft. We are working with DCMS and would welcome their investment in a methodology that would actually count craft,” she said.

In a blog post earlier this week, the Crafts Council said it was “disappointed” at the government’s proposals, adding that the methods of data collection and classification used by the DCMS did not present an accurate picture of the UK’s craft sector.

According to the council, nearly 90% of makers in the sector are the sole employee of their company, and many of them have an annual turnover of less than the VAT threshold of £79,000.

“If a sole trader falls below the VAT threshold, then because the government chooses not to gather business data below that level, they become invisible,” said Bennett, who argued that relegating crafts from creative industries would obscure the sector’s economic value and make it increasingly difficult for makers to obtain funding and support.

“We provide a lot of programmes at the Crafts Council to help people’s businesses grow. To get funding for things like that, we need to be able to say how many businesses we’re contributing to and what the scale of the sector is.

“We estimate in the UK there’s over 23,000 craft businesses with a gross value added of £220 million in 2011. It’s not as big as some other parts of the creative industries, but nevertheless it’s a substantial bit of business that’s not being made visible, not counted,” she said.

The proposed changes are intended to update the government’s 1998 Creative Industries Mapping Documents, one of the first attempts to quantify the value of creative businesses to the economy.

Consultation on the revised classifications closes on 14 June 2013. Details of how to respond can be found here.

Photograph is by Shutterstock.

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Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

A group of students from the Royal College of Art in London has developed headsets that allow the wearer to adjust their sight and hearing in the same way they’d control the settings on a TV or radio (+ movie).

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

The Eidos equipment was developed to enhance sensory perception by tuning in to specific sounds or images amongst a barrage of sonic and visual information, then applying effects to enhance the important ones.

“We’ve found that while we experience the world as many overlapping signals, we can use technology to first isolate and then amplify the one we want,” say the designers.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

The first device is a mask that fits over the mouth and ears to let the wearer hear speech more selectively. A directional microphone captures the audio, which is processed by software to neutralise background noise.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

It’s then transmitted to the listener through headphones and a central mouthpiece, which passes the isolated sound directly to the inner ear via bone vibrations. “This creates the unique sensation of hearing someone talk right inside your head,” they say.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

The second device fits over the eyes and applies special effects – like those seen in long-exposure photography – to what the wearer is seeing in real-time. A head-mounted camera captures the imagery and sends it to a computer, where it’s processed by custom software to detect and overlay movement.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

It’s then played to the wearer inside the headset, allowing them to see patterns and traces of movement that would normally be undetectable.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

Possible applications could include sports, allowing teams to visualise and improve technique in real time, and performing arts where effects normally limited to video could be applied to live performance.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

The audio equipment could enable concert-goers to enhance specific elements of a band or orchestra. The designers also suggest that filtering out distracting background noise could improve focus in the classroom for children with ADHD and assist elderly people as their natural hearing ability deteriorates.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

Two prototypes styled with faceted surfaces and graduated perforations were presented at the Work in Progress exhibition at the Royal College of Art earlier this year. “Our final objects convey the mixing of digital technology with the organic human body,” explain the team.

The Eidos team includes students Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara.

Eidos by Tim Bouckley, Millie Clive-Smith, Mi Eun Kim and Yuta Sugawara

Other projects about enhancing sensory perception on Dezeen include cutlery shaped to stimulate diners’ full range of senses and alter the taste of food, and masks that let the wearer experience the world from the perspective of different animals.

Other wearable technology we’re reported on includes a camera that automatically photographs moments of your life that are worth remembering and the Google Glass headset that overlays what you’re seeing with information from the internet.

See more wearable technology »
See more masks »
See more projects from the Royal College of Art »

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TYLT Y-Charge and iPhone Case: Two new accessories to keep your gadgets safe, stylish and fully charged up

TYLT Y-Charge and iPhone Case


In a field inundated with options, finding thoughtful and functional smartphone accessories can be an overwhelming task. Any tech-savvy driver will tell you that a dual USB charger is a must-have, filling the void where the cigarette lighter used to be (no one…

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Virgin Galactic passenger spacecraft completes first rocket-powered flight

Virgin Galactic test flight

News: Richard Branson’s Virgin Galactic passenger spacecraft broke the sound barrier during its first rocket-powered flight in California yesterday.

Virgin Galactic’s SpaceShipTwo was brought to an altitude of 14,000 metres before being released by its carrier craft over the Mojave Desert.

The pilots then rotated the spacecraft to a vertical position and ignited its rocket, which propelled it beyond the speed of sound and took it to almost 17,000 metres above ground.

Virgin Galactic test flight
Image by VirginGalactic.com

“The first powered flight of Virgin Spaceship Enterprise was without any doubt our single most important flight test to date,” said Branson, the British entrepreneur who founded Virgin Galactic to be the world’s first commercial space travel company.

“Today’s supersonic success opens the way for a rapid expansion of the spaceship’s powered flight envelope, with a very realistic goal of full space flight by the year’s end,” he added.

SpaceShipTwo is designed to carry two pilots and six passengers on two-and-a-half-hour sub-orbital flights and was unveiled in 2009, a year after its carrier craft WhiteKnightTwo was unveiled – see all news about Virgin Galactic.

Photo by Mark Greenberg

The Virgin Galactic terminal in New Mexico was designed by Foster + Partners, the British firm that recently announced proposals to 3D-printing buildings on the moon – see all news and stories about space.

Top image is by Marscientific.com and Clay Center Observatory.

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The Designer Says: Tweet-sized advice from design legends

The Designer Says


“I just want to make beautiful things, even if nobody cares.” – Saul Bass Framed as a call-and-response between designers, “The Designer Says: Quotes, Quips,…

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Austerity edible furniture by Lanzavecchia + Wai

Milan 2013: a coffee table topped with a giant hard-boiled sweet and a white chocolate chair are among items in a series of edible furniture by design studio Lanzavecchia + Wai (+ slideshow).

Austerity edible furniture by Lanzavecchia and Wai

Designed in response to the current economic climate, the decorative or unnecessary elements of the furniture can be eaten until all that’s left is what’s needed for basic functionality. Lanzavecchia + Wai used a range of food types to build up each item around its pared-down black iron version.

Austerity edible furniture by Lanzavecchia and Wai

The Hard Candy coffee table has a top made from a huge hard-boiled sweet that leaves one saucer at the end of each leg after it has been nibbled away.

Austerity edible furniture by Lanzavecchia and Wai

Twenty-four kilograms of white chocolate was formed around a stool to create the Chocolate chair.

Austerity edible furniture by Lanzavecchia and Wai

Rice bricks glued together with starch form a backrest for a bench, draped with a cotton quilt full of dried beans.

Austerity edible furniture by Lanzavecchia and Wai

A table top baked into a cracker balances on stacked tins of corned beef, which can be removed as the table is munched to leave a simple tray.

Austerity edible furniture by Lanzavecchia and Wai

The pieces were shown as part of a series of food-based projects at the Padiglione Italia‘s Foodmade exhibition, located in the Ventura Lambrate district of Milan.

Austerity edible furniture by Lanzavecchia and Wai

Another cuisine-related exhibition in Milan featured patterned rolling pins that made edible plates and a meat grinder that squeezed out biodegradable bowls.

Austerity edible furniture by Lanzavecchia and Wai

We’ve previously featured tableware and a desk lamp that can be eaten.

Austerity edible furniture by Lanzavecchia and Wai

See more stories about design and food »
See all our coverage of Milan 2013 »

Lanzavecchia + Wai sent us the information below:


The domestic landscape reflects our culture, our taste and our habits. The objects that populate it absorb the atmosphere that pervades the space through their physicality, functionality and identity.

Ostensibly living intact through good times and also adverse ones, the domestic objects become invisible to us over time with their familiarity.

How can furniture react to times of crisis? The decorational elements that were once appreciated, suddenly become superfluous and should evolve to reflect a new era of austerity; the objects become edible and offer themselves to be consumed when needed.

In four conceptual objects, Lanzavecchia + Wai repropose basic nutrients, carbohydrates, proteins, sugar and chocolate as food reserves which at the same time complement and finish the objects by covering elemental metal structures.

Piece by piece the object is eroded, exposing a soul, the core-function, which will remain over time. This will encourage us to re-think what basic necessities are: a true reflection on the essence of the things that will lead us into the future.

The Austerity collection consists of Hard Candy coffee table, Chocolate chair, Grains sofa and Hardtack table.

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Shinola Bicycles: The Detroit-based brand picks up credibility and direction with bicycle industry designer veteran Sky Yaeger leading the way

Shinola Bicycles


Launched less than a year ago, Detroit’s consumer goods company Shinola is still picking up speed, as well as worldwide recognition. In July 2012 we had the opportunity to visit their expansive HQ in midtown…

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La Discrète

Lampada discreta o discreta lampada disegnata da Fabien Dumas.

La Discrète

La Discrète

Android smartwatches mean you can “leave your phone at home”

Burg 17 Android watch by Burg

News: two European companies have launched rival Android-powered smartwatches at the Baselworld watch fair in Switzerland, bringing voice calls as well as email, video, camera and apps to devices worn on the wrist.

Dutch company Burg and Italian brand I’m both used Baselworld, the world’s leading luxury watch fair, as a launchpad for their digital devices.

Burg founder Hermen van den Burg described the reaction to his product as “amazing” and added: “Everyone thinks this is going to change the watch industry”.

Burg launched Burg 17 (top image), which runs on the Android 4.0 operating system and features a 1.54 inch screen. The company claims it is the first ever fully-functional Android-powered smartwatch.

The product offers a host of features including a voice recorder, a 2 megapixel camera, Wi-Fi and GPS. It contains a SIM card, so can be used as an alternative to a mobile phone, and will retail for €389 when it goes on sale in July.

i'm Watch by i'm

Meanwhile I’m launched I’m Watch (above), which offers similar features to the Burg 17 but lacks a SIM card, so must be paired via Bluetooth with a mobile phone to receive calls and browse the internet.

The product runs on Android-based software called I’m Droid 2, which the company describes as “the world’s most advanced smartwatch operating system”.

Wrist-mounted devices have been generating a lot of excitement lately, with rumours that Apple is developing an iWatch and the Pebble smartwatch breaking the record for Kickstarter funding last year.

“People are aware of smartwatches because they’ve heard that Apple is developing one, but when people see we already have a smartwatch with Android and a SIM, they don’t believe it,” said van den Burg.

i'm Watch by i'm

He added: “Smartphones are getting bigger and bigger. People are afraid they’ll lose or break them. Now you can leave your phone at home.”

Users can remove the SIM card from their phone and put it in their smartwatch when they go out, van den Burg said, or buy a second SIM card for their watch.

Van den Burg added: “Android is much easier to use than [Apple’s] iOS. Android is what people use around the world”.

See all our stories about watches and all our stories about wearable technology. See Dezeen Watch Store for a selection of the world’s best designer watches.

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3D printing and digital design lead ICFF 2013 programme

3D printing workshops lead ICFF 2013 programme

News: next month’s International Contemporary Furniture Fair in New York will be the first major design fair to place 3D printing and digital fabrication at the core of its programme, with a four-day series of workshops introducing the hardware and software that could change the face of design, manufacturing and distribution (+ interview).

DesignX, which takes place from 18 to 21 May alongside ICFF, will comprise 15 one and two-hour workshops on topics including 3D printing, online product customisation, parametric design and even 4D printing – the nascent technology of programming materials capable of self-assembly.

3D printing workshops lead ICFF 2013 programme

“At […] these trade shows, you typically have a very large audience who attend over multiple days,” explains Ronnie Parsons, a 3D printing expert from New York studio Mode Collective, who will lead the event’s 3D printing workshops with design partner Gil Akos. “There are talks that address design and technology, but there really isn’t anything that allows people to have direct access to industry leaders through an educational programming model.

“So we thought, why don’t we have a specially built classroom, a lounge space with a little gallery, and put that in the middle of the showroom floor and do educational programming throughout the course of the entire trade show? So that people who attend ICFF could take classes in the very tools and technology that are used to make the things that are surrounding them at the event.”

3D printing workshops lead ICFF 2013 programme

Partnering with The Architect’s Newspaper, Parsons and Akos have put together a programme of workshops led by experts from across the digital design and manufacturing industry, including MIT architecture and programming lecturer Skylar Tibbits, Duann Scott of 3D printing marketplace Shapeways, programmers Jessica Rosenkrantz and Jesse Louis-Rosenberg from Massachusetts design studio Nervous System, and Francis Bitonti, whose 3D-printed dress for burlesque dancer Dita Von Teese we previously featured on Dezeen.

Other DesignX workshops will include programmer Andy Payne’s introduction to using Arduino microcontrollers to control design environments, a look at the networked future of computer-aided design, and a session about online marketplaces for distributed manufacturing.

3D printing workshops lead ICFF 2013 programme
Ronnie Parsons of DesignX organisers Mode Collective

“3D printing is the thing that is most visible right now, that’s the thing that is most at the surface,” says Parsons. “But I think that the skill that is really important for designers in the future is not really 3D printing, but actually the processes of thinking through the design to production phase – beginning to think about how things are made and how the new tools and technology out there will change the way you think about design.”

Attendees can sign up for any number of workshops individually, but must already be registered to attend ICFF.

This month Dezeen launched Print Shift, a one-off print-on-demand magazine dedicated exploring the fast-changing world of 3D printing and the way the new technology is changing the worlds of architecture and design – see all our coverage of 3D printing.

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