SNAPS - The last row of Dunes - 2012
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School of Arts, Design and Architecture |
Master's thesis
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Date
2012
Department
Major/Subject
Mcode
Degree programme
Master's Degree Programme in Applied Art and Design
Taideteollisen muotoilun maisteriohjelma
Taideteollisen muotoilun maisteriohjelma
Language
en
Pages
104
Series
Abstract
Snaps Abstract This thesis work concentrates on the production of bottles and brand for the local Danish phenomena schnapps. Why schnapps? Because schnapps has cultural value, but is apparently losing it, because our times can be compared with some kind of liquidity and because I wish to preserve local living traditions and create new bonds between local people. Possibly generate a community of schnapps enthusiasts. The thesis work investigates the recent trend where food and art intertwine, especially the trend of local food shown best in the concept of NOMA (Danish restaurant). Olafur Elliason wrote in the cookbook of NOMA “we do not stop the world when we eat, we go deeper into it” . So it is with drinking as well. I have used both in text and visual a certain phenomenology of the moment. They are collections of pictures and accomplishing texts that give the reader a fuller understanding of a phenomenon. As a phenomena I use the tree to symbolize craft. As the tree, which is embedded in its local environment, so should craft be integrated into local society. This is a key thread in the thesis and leads to the research question. Research Question The thesis work aims to explore the production of a conceptual schnapps-bottle as a functional objects combined with the designing of a local brand focusing on traditional and self-organized schnapps-making processes which can contribute to current discourse of crafts today as being a field of ecological methods, site-specific production and local participation The thesis is divided into four areas, role, form, participation and brand. In extension of this I am trying to give suggestions of the craftsmans role and a short review of a craftstory about how form follows content in today’s society. I don’t believe that we absolutely have to invent new ways of thinking to activate societal changes, but I believe we have to look closer into existing ideas to craft our way forth. Understand history and human behavior better to find better ways of an ecological and social civilization. Is craft in itself a social and ecological idea? Is there a need for authenticity because people are alienated from their reality by consumption, media and capitalism? In that way we must craft the path towards utopia. Locality – Form, content and space From this point on the thesis explores the locality, schnapps-making processes, the bottle of centuries, the link between matter and spirit and the language of the material. Just a small poem to give an idea of the locality. Where the stags roar to mate and the amber rolls on to the beachside that is where I come from. Where one can watch the milky way on clear nights and where men have wrinkled faces of nature’s time. Where reckless fellows throw their naked bodies in the sea and where cows lunch in green fields. Where once fishermen harvest their daily living in the ocean and where luxury was a swearword. Where families go in the forest to find the yellow gold and where questions are rarely asked. Where you always greet your neighbors, but never talk to strangers. Where the sky and the sea have a greyish blue color which is impossible to depict. Where the light is so utterly sharp and every contrast seems so delicate. Where everything is so desolate, that one don’t recognize real company and where untamed and wild nature showers from open skies. Where people don’t talk louder than they think and where humility is a bless. Where the rainbow is golden and nobody searches for the end of it. Where later is never late and where parties have the most uncommon speakers. That is where I come from. I have researched 16 different bottles, which represents the history of glass bottles. They express in many ways the evolution of the bottle in aesthetics and functional manner. The bottle has come from being an ethnic object to a mass-produced global signifier, which only through branding and labels show its locality. Almost each country has its own special beverage which is linked to the country. In France they drink cognac and pastis, In Greece, ouzo, In Italia, grappa and so forth. In Denmark we drink Schnapps. The schnapps process requires four different stages, which are collect, infuse, filter and storage and taste. Schnapps is a very delicate thing, but still it is easy to experiment and get good results. Participation and Brand In the end I participate with local people about the schnapps-making process. As Nicolas Bourriaud says in the book relational aesthetics “”It seems more pressing to invent possible relations with our neighbors in the present, than to bet on happier tomorrows” This is what I am trying to do by creating a schnapps brand, which engages with local culture in creating both new and traditional tastes. I send out 16 bottle with messages inside asking the locals to create recipes of schnapps, which are inspired by the local environment. This is a crafted object inspiring a crafted process, which then provides inspiration for another crafted object. And so it circles onwards. I have choosen 16 recipes which describe the local area and provide it with an empty container for infusion, inside the bottle there is a map of the local area and outside the brand label.Description
Supervisor
Salli, TimoThesis advisor
Taiviola, KirstiDamski, Vesa
Keywords
Bottle, Snaps, Craft, Authenticity, Familiarity, Locality, Diversity, Ecology