Crafts in the Built Environment

Abstract

“Training and educating people requires considerable application.” HRH the Prince of Wales

The role of the built environment in the social development of our society is of crucial importance. It works both as a protagonist and as evidence base and historical stage. The awareness of the responsibilities of the architect, urban designer and planner is the first step in creating vibrant, liveable and sustainable places. The separation between craftspeople and architects has led to a mechanistic design process, which allows for little creativity or personal expression. The size and height of the building has become a status symbol more than it has ever been before. The art, in the form of detail, has been largely excluded from the process of design, being almost replaced by mass production.

In the current climate of increasing consumerism, the need for a revival of crafts and the creative approach is a top priority. There are organisations that began to recognise the problem. One of them is the Prince’s Foundation for Building Community, which has been running ”Building Skills” summer schools in the UK and across the world. This paper gives an overview of the benefits of such courses and analysis of the results. It will also provide some examples of contemporary classical buildings, designed with art in mind, as well as outstanding conservation projects involving skilled craftsmen.

The educational programmes carry within a potential to change the fortunes of the individuals and in many cases the entire communities. The comments from the students, who attended the Summer School, often reflect the values received during the training. Many places in the world which have suffered from natural disasters are faced with difficult decisions about rebuilding their settlements. They are faced with choices whether to restore the buildings or demolish and build contemporary structures.

The study will also look at interpretation of architectural details of historic buildings as a language which is now rarely spoken, but which can heal the spaces, if brought back to wider use. A simple exercise of looking and drawing buildings and streetscapes provides the foundation for understanding and producing the creative energy. Even the highly dense urban areas of special historic character usually provide opportunity for relaxation and contemplation. Most recent modern developments lack that quality. The only way to deal with this problem is to educate, starting at an early age, about the language of historic buildings and their features. Changing the culture of perceiving architecture as exclusive occupation and making it accessible to all members of the public is the way forward.