1. Lupo, E., Giunta, E. and Trocchianesi, R. (2011). Design Research and Cultural Heritage: Activating the Value of Cultural Assets as Open-ended Knowledge Systems. Design Principles and Practices: An International Journal—Annual Review, 5(6), pp.431-450.
This research paper aims to give evidence to the value of incorporating culture and cultural heritage in design research, and demonstrate how the design discipline can contribute in the Cultural Heritage (in its tangible and intangible aspects, from artifacts to processes, practices and performances), through designing sustainable, socially and economically, repertories of knowledge evolve and transform the nature of cultural heritage. The article presents an experimental project” Inspired by Beijing Opera” which proves this heritage activation by design, that opens the patrimony to new interpretations without losing the concept of its traditional matrix. This paper is very helpful to guide my research method on traditional cultural heritages, especially on converting intangible meaning to tangible object. By interpretative design process, identify, clearly distill and conclude the essence of a cultural patrimony in its cultural archetype and expressed by visual form and material. The paper uses very strong example to demonstrate its opened-ended knowledge system, however its argument is only limited on the single project.
2. Bailey, R. and Townsend, K. (2015). Craft and the handmade: Making the intangible visible. Craft Research, 6(2), pp.157-163.
The article use four example to illustrate as part of an expanding landscape of both commercial and public sector platforms, contemporary applications of the handmade craft can serve to generate new experimental modes of thinking and making which not only challenge our preconceptions of what craft is, but also what it has the potential to evolve into.
3. Hue, M. (2009). Promotion of spiritual development: exploration of the self and spiritualism through the practice of Chinese calligraphy. Pastoral Care in Education, 27(1), pp.63-76.
The article argues that heritage calligraphy serves as more than a utilitarian function; the author aims to examine the cultural meaning of Chinese calligraphy and its practices in general, and specifically its connection to spiritualism. The methodologies of narrative approach and textual analysis were employed based on interviews. The article uses examples from school practitioners to raise the importance of calligraphy for spiritual development. The Chinese calligraphy and woodworking have commonality in many ways, they are both the practice of spiritual discipline. This article is a great resource for me to explore the spiritual realm and find the supportive evidence to spiritual serenity. But this article introduces the philosophy of Dao; it is a bias religious approach for some people, which is something I need to aware and avoid.
4. ANDRIJAUSKAS, A. (2016). VISUAL ARTS AND MUSIC IN TRADITIONAL CHINESE ART SYSTEM. Music in Art, XLI/1–2, pp.166-187.
This article aims to explain why Chinese traditional aesthetics is an uncommonly distinctive cultural phenomenon which created by the spiritual values of a great civilization. How did this wonderful spiritual culture form over the history? Chinese aesthetic is a result of absorbing new content in every period of dynasty; and creatively reform and evolve become ever richer and more multi-layered. Specifically, the paper discussed about the rise of visuality in calligraphy and argued from calligraphy, artist’s inner culture and individual personality are visibly conveyed. It is a great example of convert intangible into tangible, and could help me to expand and connect my idea to my culture. Additionally, the evolution of Chinese aesthetic is an interesting and historical approach to innovation and creativity, it is exactly what we are doing, making changes for the future. Unfortunately, the author only touched the surface of what I want to present in my thesis.
5. Tsui, C. (2013). From Symbols to Spirit: Changing Conceptions of National Identity in Chinese Fashion. Fashion Theory, 17(5), pp.579-604.
This article argues that the evolution from the use of traditional Chinese symbols to the Chinese spirit within the fashion design world signifies a new form of Chinese nationalism: instead of delivering Chinese culture in an explicit, direct, and exterior form, Chinese designers have switched to convey their unique “Chineseness” in a subtle, indirect, and hidden form. This article provides a great pioneer example to people and guide the direction of future of the traditional furniture making, I think Chinese furniture should not limited on the symbolic form, such as Ming Dynasty Chair etc., the power of the culture should come from its spirit and essence. I would like to emphasis this spirit by not only present the cultural spirit on the furniture also create the spiritual link between the user and the furniture. The author uses many interviews to prove the idea of from symbol to spirit in contemporary Chinese fashion design. But, I think it is maybe not convincing to compare fashion industry and furniture design.
6. Siqi, D. (2018). Chinese characters and the spirit of place in China. Technoetic Arts, 16(1), pp.99-111.
This article explores the history of the Chinese characters and the rules for creating them; then, it reports on the possible transfer of these rules and principles to the design of architectural spaces. It is trying to find out how traditional building could become contemporary without losing its connection with the past. I think it is very useful article in terms of relating architecture to calligraphy, because the composition of the architecture is just like the composition of furniture. The rhythm we see in the calligraphy is a synonymous subject we see in the balanced design. The partial of this article could relate to the idea of thinking through making in my thesis.
7. Ingold, Tim. “Walking the Plank: Meditations on a Process of Skill.” Defining Technological Literacy, 2006, pp. 65–80.
In this section of the book, Tim talks about a process of himself making a bookcase out of raw wood and illustrates three themes of fundamental significance for the proper understanding of technical skill: the processional quality of tool use, the synergy of practitioner, tool and material, and the coupling of perception and action. I really enjoy reading his idea of quality of the outcome depends at every moment on the care and judgment with which the task proceeds, which explains my nucleus professional ethic of attention to detail in every single step. He also argues that rhythm and movement must be felt, they are the keys to skilled practice. Rhythm is not a movement but a relation between movements, and working rhythm goes hand in hand with concentration. Interestingly this idea overlaps the concept of the rhythm of the calligraphy is created by the movements and pauses in writing, which is also an expression of showing inner sensations. Overall, I could draw ton of connections between calligraphy and woodwork from this article, but I also think I need to find some counter arguments against him.
8. LUCculture. YouTube, YouTube, 31 Oct. 2013, www.youtube.com/watch?v=Ygne72-4zyo. Thinking through Making. Professor Tim Ingold, University of Aberdeen, Scotland
In Tim Ingold’s speech, he argues that making, as an inherently mindful activity in which the forms of things are ever-emergent from the correspondence of sensory awareness and material flows in a process of life. In other words, making is to project the form onto the material. The theory and the mental work come before its application and execution. The creativity generates from the flow of the transformation process of material, from the movement of the imagination and sensory awareness and from the process of improvisation, thinking through making. Every object is a way station to the next one, and every thought is a passing moment in a process of thinking, which means every ending is a beginning. He uses weaving and stone as examples to explain history of material of making art in order to emphasis the importance of understanding material. More importantly, Tim believes that thinking through making generates knowledge from inside of our own practice. I think thinking and making both are ongoing activity, and there are both having correlations to the spiritual world I am arguing in my thesis, because I think thinking is psychological work and making is physical work, but the rhythm is presentation of sensation.