What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? Crafting History provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, Albena Yaneva traces archiving through the daily work and care of all its participants, scrutinizing their variable ontology, scale, and politics. Yaneva addresses the strategies practicing architects employ to envisage an archive-based future and tells a story about how architectural collections are crafted so as to form the epistemological basis of architectural history.

New York Times Book Review Editors' Choice A groundbreaking and endlessly surprising history of how artisans created America, from the nation's origins to the present day. At the center of the United States' economic and social development, according to conventional wisdom, are industry and technology-while craftspeople and handmade objects are relegated to a bygone past. Renowned historian Glenn Adamson turns that narrative on its head in this innovative account, revealing makers' central role in shaping America's identity. Examine any phase of the nation's struggle to define itself, and artisans are there-from the silversmith Paul Revere and the revolutionary carpenters and blacksmiths who hurled tea into Boston Harbor, to today's “maker movement.” From Mother Jones to Rosie the Riveter. From Betsy Ross to Rosa Parks. From suffrage banners to the AIDS Quilt. Adamson shows that craft has long been implicated in debates around equality, education, and class. Artisanship has often been a site of resistance for oppressed people, such as enslaved African-Americans whose skilled labor might confer hard-won agency under bondage, or the Native American makers who adapted traditional arts into statements of modernity. Theirs are among the array of memorable portraits of Americans both celebrated and unfamiliar in this richly peopled book. As Adamson argues, these artisans' stories speak to our collective striving toward a more perfect union. From the beginning, America had to be-and still remains to be-crafted.

It would not be an overstatement to say that Cemal Kafadar has transformed the field of Ottoman history. As a result of his pathbreaking books and articles, the field is experiencing a turn within itself as well as recasting its relationship with world history. This volume acts as a tribute to Kafadar and the important interdisciplinary work he has both done and inspired in the field. In line with the intellectual pluralism that Kafadar has cultivated over his career, readers will find a number of articles engaging with a wide range of questions, approaches, perspectives, and sources across Ottoman history. Kafadar's students and friends, individually or in pairs, researched and crafted contributions to this volume with a variety of conceptual premises, theoretical approaches, and interpretive tools to celebrate his thirty years of teaching, research, and mentorship, in addition to the overwhelming generosity of his intellectual and personal engagement.

Here is the first comprehensive survey of modern craft in the United States. Makers follows the development of studio craft--objects in fiber, clay, glass, wood, and metal--from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century. More than four hundred illustrations complement this chronological exploration of the American craft tradition. Keeping as their main focus the objects and the makers, Janet Koplos and Bruce Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft. In a vivid and accessible narrative, they highlight the value of physical skill, examine craft as a force for moral reform, and consider the role of craft as an aesthetic alternative. Exploring craft's relationship to fine arts and design, Koplos and Metcalf foster a critical understanding of the field and help explain craft's place in contemporary culture. Makers will be an indispensable volume for craftspeople, curators, collectors, critics, historians, students, and anyone who is interested in American craft.

What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? Crafting History provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, Albena Yaneva traces archiving through the daily work and care of all its participants, scrutinizing their variable ontology, scale, and politics. Yaneva addresses the strategies practicing architects employ to envisage an archive-based future and tells a story about how architectural collections are crafted so as to form the epistemological basis of architectural history.

After Mexico’s revolution of 1910–1920, intellectuals sought to forge a unified cultural nation out of the country’s diverse populace. Their efforts resulted in an “ethnicized” interpretation of Mexicanness that intentionally incorporated elements of folk and indigenous culture. In this rich history, Rick A. López explains how thinkers and artists, including the anthropologist Manuel Gamio, the composer Carlos Chávez, the educator Moisés Sáenz, the painter Diego Rivera, and many less-known figures, formulated and promoted a notion of nationhood in which previously denigrated vernacular arts—dance, music, and handicrafts such as textiles, basketry, ceramics, wooden toys, and ritual masks—came to be seen as symbolic of Mexico’s modernity and national distinctiveness. López examines how the nationalist project intersected with transnational intellectual and artistic currents, as well as how it was adapted in rural communities. He provides an in-depth account of artisanal practices in the village of Olinalá, located in the mountainous southern state of Guerrero. Since the 1920s, Olinalá has been renowned for its lacquered boxes and gourds, which have been considered to be among the “most Mexican” of the nation’s arts. Crafting Mexico illuminates the role of cultural politics and visual production in Mexico’s transformation from a regionally and culturally fragmented country into a modern nation-state with an inclusive and compelling national identity.

The classic work on papermaking, this book traces the craft's history from its invention in China to its introductions in Europe and America. The foremost authority on the subject covers tools and materials; hand moulds; pressing, drying, and sizing; hand- and machine-made paper; watermarking; and more. Over 320 illustrations.Reprint of the second, revised, and enlarged 1947 edition.

In Europe, Indian hobbyism, or Indianism, has developed out of a strong fascination with Native American life in the 18th and 19th centuries. “Indian hobbyists” dress in homemade replicas of clothing, craft museum-quality replicas of artifacts, meet in fields dotted with tepees and reenact aspects of North American Indian lifeworlds, using ethnographies, travel diaries, and museum collections as resources. Grounded in fieldwork set among networks of Indian hobbyists in Germany, the Netherlands, Belgium, France, and the Czech Republic, this ethnography analyzes this contemporary practice of serious leisure with respect to the general human desire for play, metaphor, and allusion. It provides insights into the increasing popularity of reenactment practices as they relate to a deeper understanding of human perception, imagination, and creativity.

The histories of post-1500 American Indian and First Nations societies reflect a dynamic interplay of forces. Europeans introduced new technologies, new economic systems, and new social forms, but those novelties were appropriated, resisted, modified, or ignored according to indigenous meanings, relationships, and practices that originated long before Europeans came to the Americas. A comprehensive understanding of the changes colonialism wrought must therefore be rooted in trans-Columbian native histories that span the centuries before and after the advent of the colonists. In Crafting History in the Northern Plains Mark D. Mitchell illustrates the crucial role archaeological methods and archaeological data can play in producing trans-Columbian histories. Combining an in-depth analysis of the organization of stone tool and pottery production with ethnographic and historical data, Mitchell synthesizes the social and economic histories of the native communities located at the confluence of the Heart and Missouri rivers, home for more than five centuries to the Mandan people. Mitchell is the first researcher to examine the impact of Mandan history on the developing colonial economy of the Northern Plains. In Crafting History in the Northern Plains, he demonstrates the special importance of native history in the 1400s and 1500s to the course of European colonization.

This is a practical guide to the historical study of international politics. The focus is on the nuts and bolts of historical research--that is, on how to use original sources, analyze and interpret historical works, and actually write a work of history. Two appendixes provide sources sure to be indispensable for anyone doing research in this area. The book does not simply lay down precepts. It presents examples drawn from the author's more than forty years' experience as a working historian. One important chapter, dealing with America's road to war in 1941, shows in unprecedented detail how an interpretation of a major historical issue can be developed. The aim throughout is to throw open the doors of the workshop so that young scholars, both historians and political scientists, can see the sort of thought processes the historian goes through before he or she puts anything on paper. Filled with valuable examples, this is a book anyone serious about conducting historical research will want to have on the bookshelf.