Fading Traditional Trades and Crafts Akwụkwọ nke Jesvin Yeo

Ihe emepụtara bụ Fading Traditional Trades and Crafts Akwụkwọ nke Jesvin Yeo bụ onye meriri a na-asọpụrụ nke ukwuu nke 2022 Ihe Nrite A' Design Award nke Ọlaedo na Udi Asọmpi Nhazi Mbipụta na Mgbasa Ozi Ebipụtara.

ỌlaedoMbipụta· 2022

Fading Traditional Trades and Crafts Akwụkwọ

nke Jesvin Yeo

Onye Meriri Ihe Nrite A' Design Award nke Ọlaedo na Udi Mbipụta

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #140455

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Fading Traditional Trades and Crafts Akwụkwọ

Akwụkwọ a na-eji 3D embossing edepụta ma gosipụta nkọwa dị mgbagwoju anya nke ọrụ ndị omenkà ọdịnala si Singapore mere nke ọma, site na ụgbọ mmiri dragọn akwụkwọ na ọla ndị India ruo na akpụkpọ ụkwụ Peranakan. Ibe agba na-anọchi anya ịrị elu na ọdịda nke nka ọdịnala, ka ụlọ ọrụ ahụ na-amalite oge mmepe ya (nke na-adịghị agwụ agwụ) ruo afọ ọla edo ya (edo edo) wee jiri nwayọ nwayọ (ọcha). A na-etinye nzu pastel maka ndị na-agụ akwụkwọ ka ha kpuchie ibe ndị ahụ wee chọpụta nka furu efu nke ihe nketa ọdịbendị a na-adịghị ahụ anya nke Singapore, dịka naanị anyị bụ ụmụ mmadụ nwere ike ichebe, kwado ma weghachite ya.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaedo

Fading Traditional Trades and Crafts Akwụkwọ meriri A' Design Award nke Ọlaedo, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa mbụ, dị ịtụnanya ma pụtara ìhè. Ndị meriri na Ọlaedo bụ ihe e kere eke dị oke ọhụrụ, nwere ọhụụ ma na-egbu maramara nke na-egosipụta ọgụgụ isi, amamihe na nka nke ndị designer ha. A na-atụ anya na Fading Traditional Trades and Crafts Akwụkwọ ga-abụ ihe e mepụtara kacha enweta otuto, na-edu ọnọdụ ma bụrụ ihe ncheta nke na-enye uru na-adịbeghị mgbe ọ bụla. Design a meriri A' Design Award nke Ọlaedo bụ ọrụ dị ebube, a na-asọpụrụ nke na-erite uru buru ibu ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Fading Traditional Trades and Crafts Akwụkwọ na-eweta mmetụta ọchịchọ siri ike, na-akpali agụụ, na-akwado nzụlite ihe ma na-adọrọ anyị adọrọ.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: What makes this book unique is the use of the 3D embossing technique, not just embossing, to highlight the intricate details of the works meticulously crafted by traditional Singaporean artisans, from dragon boats to Peranakan beaded shoes. With the pastel chalk, the book encourages reader engagement by colouring pages to discover the lost art of our ancestors, as only we humans can help safeguard, support and bring attention to the significance of this intangible cultural heritage.
Nha & Mkpuchi: Book Box: 145mm (width) x 305mm (height) x 52mm (thickness)
Book Box Sleeve: 540mm (width) x 220mm (height)
Book: 140mm (width) x 298mm (height) x 40mm (thickness)
Book Sleeve: 530mm (width) x 298mm (height)
Inside pages (accordion fold): 4350mm (width) x 290mm (height)
3 Hard Covers: Inside Cover, Front and Back Covers
Mkpado: Traditional Artisans, Traditional Crafts, Cultural Artifacts, Intangible Cultural Heritage
Teknụzụ Mmepụta: The making of this book explores how to combine traditional book forms with new technologies, make traditional book forms more interesting through unusual structures and visual stimuli, and push the boundaries of book design. The book is of significance to the design field because it not only records the traditional crafts for future designers to explore and contribute to the local craft landscape but also examines book design as a form of vanishing traditional craft.
Ịma Aka Imepụta: The project challenges were facing the covid-19 pandemic and the difficulty of making 3D embossed plates. Production of the book was delayed for 6 months due to the intricateness of the artefacts and further halted for 8 months due to the spread of the coronavirus. The team worked closely with the production houses to ensure things could move forward smoothly, and we are grateful that all challenges were managed well in the end.
Nchọpụta: Given the scarcity of available resources, the approach included analysing oral history data collected by the National Archives of Singapore under the Vanishing Trades project in the 1980s and conducting fieldwork with current and retired artisans to understand the current situation and future substantiate the findings. The aim of the project is to document Singapore lost or vanished traditional crafts so that future generations can learn about them even after they disappear.
Mkpali: Working with traditional artisans, I learned that when our ancestors came to Singapore in the 19th century from Malaya, China and India, they brought their values and livelihoods with them. These livelihoods include various forms of traditional crafts that have largely enriched Singapore cultural heritage. Thus, it is essential to record these crafts, some of which have vanished or will vanish within the next 20 years, and trace their place to the roots of their meaningful beginnings.
Oge Ọrụ: The project started in May 2015 in Singapore and finished production in December 2021. The book is on sale from March 2022.
Usoro Ọrụ: The colour pages of the book symbolize the rise and fall of traditional crafts, as the industry begins its developmental period (dull colour) to its golden age (yellow colour) and gradually fades (white colour). The pastel chalk is attached for readers to shade the pages and discover the lost arts of this intangible cultural heritage of Singapore.
Patentị: Copyrights belong to Jesvin Yeo, 2021
Ndị Otu: Jesvin Yeo
Alvin Ng.
Asụsụ Foto: All images: Photographer Victor Gui, 2021 and 2022