DESIGN FOR SUSTAINABILITY USING A CRAFT-BASED HUMAN-CENTRIC APPROACH AND CONSUMER PARTICIPATION
DOI:
https://doi.org/10.29121/shodhkosh.v5.i1.2024.774Keywords:
Design Thinking, Human-Centric Design, Sustainability, Craft-Based Approach, Consumer ParticipationAbstract [English]
It is often perceived that craft means no technology, primitive methods, and materials that have zero or significantly less impact on the actual needs of people. However, this research is trying to trace the craft's nature, importance, and potential in creating human-centric designs with sustainable methods. This research discusses the role of craft and design for a sustainable future. The intent is to build a bridge between design, craft, and sustainability. This paper hopes to bring together all three and benefit the participating stakeholders, researchers, designers, and artisans, allowing them to exchange and coordinate their points of view and expertise to find new solutions to associate craft with sustainable design, which are the crucial design challenges of today.
This research contributes to (1) exploring practices and connotations of traditional craft about human-centric design thinking and sustainability; (2) validating the hypothetical framing of the coordination amid craft and sustainability through actual case studies, (3) stakeholder engagement can be enhanced through a craft-based approach towards sustainable development. This paper discusses Indian consumers' feedback towards craft-based products, accepts their suggestions, authenticates, and draws conclusions. Hypothetically we can say that A craft-based strategy might have a good impact on sustainable design.
The research paper's outcome is a suggestive plan to incorporate craft as the basic structure and vital resource of human-centric design and contribute to sustainability. We claim that craft has critical potential to contribute towards evolution for sustainable design transformation for people and society, which may lead to significant changes in worldview, economic activities, and environmental concerns.
Downloads
References
Adamson, G. (2007). Thinking through Craft. Newyork: Berg publisher. DOI: https://doi.org/10.5040/9781350036062
Agnihotri, A. (2023). Gond Painting from Madhya Pradesh Receives GI tag. Dindori: ANI, Hindustan Times.
Bardhan, A. & Bhattacharya, A. (2022). Role of Traditional Crafts in Sustainable Development and Building Community Resilience: Case Stories from India. Culture Society Economy Politics, 2(1), 38-50. DOI: https://doi.org/10.2478/csep-2022-0004
Bhopal, N. (2017). Projects. Bhopal: NIFT Bhopal.
Communication Tejaswini. (2017). Gond Painting on Fabric. Bhopal: Communication Tejaswini, Courtsey.
Elizabeth, B.-N. & Sanders, P. J. (2008). Co-Creation and the New Landscapes of Design. CO-Design, 5-18. DOI: https://doi.org/10.1080/15710880701875068
FPJ Bureau. (Aug 19, 2012 12:12 am). Crafts Crusader Laila Tyabji has the Key to a Gold Mine. The Freepress Journal. Retrieved from
Hands, X. Y. (2019). A Reflection upon Herbert Simon’s Vision of Design. The Design General, 22(Sup-1), 1345-1356 (2019). A Reflection upon Herbert Simon’s Vision of Design. The design general, 22(Sup-1), 1345-1356. DOI: https://doi.org/10.1080/14606925.2019.1594961
Interaction Design Foundation. (2021, June 14). Interaction Design Foundation - IxDF. (2021, June 14). What is Human-Centered Design?. Interaction Design Foundation - IxDF.
Jaffer, A. (2016). Gond Art Finding its Way. The Hans India.
Kelley, D. (n.d.). IDEO Design Thinking. Retrieved From 2023, March 9.
Li, W-T, Ho, M-C, & Yang, C. (2019). A Design Thinking-Based Study of the Prospect of the Sustainable Development of Traditional Handicrafts. Sustainability, 11(18). https://doi.org/10.3390/su11184823 DOI: https://doi.org/10.3390/su11184823
Outlook. (2023). Art Takes The Stage Through a Collaboration of Designers and Artists at Lakme Fashion Week.
Ranjan, M.P. (2007). Crafts of India, Handmade in India (p.579). Council of Handicraft Development Corporations.
Satyabhama Institute of Science & Technology. (2001). Definition and Understanding – SDE1402. Retrieved from Satyabhama Institute of Science & Technology.
Saxena, A. (2017). An Account of Dots and Lines- Gond Tribal art of Madhya Pradesh, Their Tradition, Relevance and Sustainability in the Contemporary Design Domain. International Journal of Current Research, 09(11), 61128-61135.
Saxena, D. A. (2017). Advance Training with Reference to Design and Product Development for Women Gond Artisan of Dindori District, Phase II. Bhopal: NIFT Bhopal, Tejaswini Rural Women Empowerment Program.
Worrall, S. (2016, 4 Monday). Meet the Woman Fighting for the Survival of India’s Traditional Crafts Culture. Smithsonian Journeys Travel Quarterly.
Zhan, X., & Walker, S. (2017). Craft and Design for Sustainability: Leverage. Design Research Centre, Lancaster University.
Zheng, C. N. (2017). Combining Practices in Craft and Design. the Tenth International Conference. Yokohama, 331-340. DOI: https://doi.org/10.1145/3024969.3024973
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Dr. Anupam Saxena, Shalini Pandey
This work is licensed under a Creative Commons Attribution 4.0 International License.
With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.
It is not necessary to ask for further permission from the author or journal board.
This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.
