The items are part of a girl’s traditional costume. Historically the girls of the ethnographic area of Lăpuș used to wear such clothing attire as daily outfit, but with the passing of time the traditional costume is worn only on special occasions such as on holidays, weddings, etc. The traditional costume is one of the most important manifestations of traditional culture, the result of the creative effort of a whole community and a real identity brand. The dominant note of the elements that compose the Romanian folk costume is the use of white fabrics made of natural f ibres (plant and animal). Particular attention is paid to the long and difficult technological processes of producing clothing elements in the world of the traditional village, weaving a whole system of beliefs and customs in this regard. The traditional production of costumes relied on local resources such as wool, hemp, linen, and cotton. The most relevant piece of this attire and the element that establishes the genesis of the Romanian folk costume is the shirt, which synthesises the most traditional elements and, at the same time, the most numerous artistic elements of ornamentation. In traditional spirituality, the embellishments that are used to decorate the shirt are not just decorative signs, but they have a much deeper spiritual meaning and play a protective role for the person wearing the clothing item. The symbols and various shapes embroidered on traditional costumes embody the identity of the people in a mixture and contraposition of sacred and mundane, faith and pagan superstitions, creative genius and practical functions.
Inspired by a discussion with a UC Berkeley engineer on privacy and human rights at the Fashion Institute of Technology, Rachele Didero developed the idea of combining crafting in fashion and computer science. Subsequently, Rachele met Federica Busani, current Co founder of Cap_able, and together they decided to transform this project into a start-up, a cultural, as well as entrepreneurial, tool to promote and facilitate innovative actions by young people, in this case young women. Usually, it takes the form of a trig able to enhance networking actions between designers, young entrepreneurs and production districts to encourage their entry into the broad community of sectoral production and to enable the intersection of solutions for the execution, commercialisation and dissemination of design focused on ethic concepts also in order to foster good practices in social issues due to micro-commerce and tourism. Through this start-up they proposed to stimulate a new type of neocraft production in their territories, but also connected with a rural sustainable initiative, the Filmar Better Cotton Initiative (BCI).
Textile artisan Ragnhild Lie discovered that most of the wool from the area was being sent out of the country while people were knitting with foreign-produced yarn. This led her to reclaim the wool and cultural heritage in the craft. With a background in working with wool, Lie decided to establish a workshop centred around sheep, wool and craftsmanship on her small farm. In 2013, she introduced the first 6 wild sheep to the farm. Lofoten Wool was founded in 2014, with sustainability at the core of everything they do. Their commitment to quality, both in design and product, forms the foundation of their work. Lofoten Wool believes in a short production line with local roots that take into account and continue old handicraft traditions. They shear their own sheep and take care of the cultural landscape through traditional grazing techniques. A modern garment with a new design based on a historical knitting tradition is the result. Traditional practices with wool have developed to yarn production, and a substantial progress in knitting patterns and techniques. They also try to use as much of the sheep as possible: from making soap from the fat, liver pate from the meat, lamb roll, pinnekjøtt (traditional dish), and skin and yarn from the wool. The yarn is spun at Hillesvåg Ullvarefabrikk in Nordhordland before it gets dyed in Lofoten Wool’s workshop using natural colours, some of which come from traditions dating back to Viking times. The garments are hand-knit by local artisans, showcasing a love for craftsmanship and sustainability. Without sheep and wool, people would never have been able to settle in the north. Wool, the raw material, is regionally distinct because of the unusual climatic conditions of the Lofoten Islands in Norway, north of the Arctic Circle. The wool comes from an old sheep variety “gammelnorsk sau”. The “gammlenorsk sau” sheep variety is extremely hardy and robust, thus tolerating the conditions outdoors all year around. They have a unique pro
Skäktefallstrålar (Rays of scutching tow)
The weaver draws inspiration from the landscape and rich culture of Scotland. As Sam stated: “I follow a well trodden path that continues to draw connections between the diverse Scottish landscape and the cloth that I make”. Weaving woollen cloth has been an essential part of Scottish life for centuries, evolving from handwoven domestic production of the 17th century to mechanised mass production during the Industrial Revolution. Classic cheviots, rustic homespun-style tweeds, robust Estate tweeds, as well as the finest woollen cloths remain a staple of the Scottish textile industry. They provide warmth, protection, style, and comfort, while also reflecting craftsmanship, provenance, and individuality amidst a world of mass production. While pockets of mechanised production developed in the Highlands and north east of Scotland, thousands flocked to the newly established mass production mills in the lowlands. Claiming to be the oldest firm of loom makers in the world, Geo Hattersley and Sons developed the Hattersley Domestic loom in parallel with a whole range of sophisticated specialist textile machinery. Originally developed for export to the colonies in the late 19th Century, the Hattersley Domestic is a compact, semi-automated foot-treadle loom. While evolutions in textile manufacturing grew at a higher pace with the advances in water, steam and coal power, the Hattersley Domestic ensured pockets of production remained in remote rural settings where individuals and communities could continue to produce commercial cloth and remain on the land
Bed Blanket Coat “Manta da Cama Coat"
Helena Cardoso is a Portuguese designer and visual artist. Cardoso has worked since the late ‘70s, with several artisans specialising in different handmade techniques and materials in northern Portugal, especially traditional Portuguese crafts. Cardoso has been active in the areas of product design, fashion design, interior design, jewellery, social design and visual art. Regarding her work at villages, Cardoso officially started, in 1982, her partnership as a tutor with the Commission on the Status of Women –CCF (nowadays it is called CIG- Commission for Citizenship and Gender Equality) and worked to support groups of women in underprivileged villages in northern Portugal until the present day. In 2010, Cabeceiras de Basto City Council invited designer Helena Cardoso to work with artisan women, resulting in a set of new contemporary pieces (some of which use industrial wool), while maintaining the traditional way of making them. The designer was inspired to create the Manta de Cama Coat, which uses ancestral weaving skills —the chequered pattern—, but replaces the colour palette (blacks, oranges, and browns) with a monochromatic one (white and black) with brightly coloured accents using rags of burel.
Design by Helena Cardoso handcrafted by the artisans Bucos Women of Casa da Lã group 2023
Bed Blanket Coat “Manta da Cama Coat
Paz Mesa had her first contact with textile crafts through her mother, who taught her how to spin the wool of her own flock of Xalda sheep; a task that she carried out together with her sisters. They later would give the wool already spun to a cousin who was a weaver, for her to make the garments. However, her work as a professional in the field began two years ago, after an eleven-year training period with different national and international artisans. She works mainly with wool, linen and silk: respectful, biodegradable fabrics, committed not only to the environment, but also to the well-being of animals and workers, as well as to the health of the customer. She tries to promote and disseminate more responsible forms of consumption, basing her brand on issues such as sustainability, ecology, territoriality and a circular, ethical and conscious economy. The reverse side of the Xalda Cushion is made with organic Asturian wool in the natural brown tones of the Xalda sheep itself, and the front in a mixture with a warp of the same characteristics, combined with a weft of Extremaduran merino sheep wool hand-dyed with natural dyes in the Paz Mesa artisanal textile workshop. The filling is made of Castilian merino wool with an organic cotton inner cover. The wool was spun in Cuenca in the Wooldreamers spinning mill, which allows small quantities of wool to be processed, facilitating the work of the artisans, and achieving different results as compared to manual processing, which Paz Mesa also practises in other pieces. These small spinning mills contribute to preserving native breeds, craftsmanship and the use of the available resources, since many times the wool is discarded because it cannot be processed as it does not reach the enormous quantities required. The fabric was made by hand on a traditional low heddle loom by the artisan.
Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. One of the areas of the laboratory is ARBIO, dedicated to the production of biodegradable fabrics that the made by kÖs firm of Constantino and Yolanda uses to make some of its pieces. This collaboration is part of the key points of the lab, which seeks synergies with designers, experts, researchers, and the community in general. Constantino learned to sew with his mother and later trained in Fashion and Clothing. Inspired by his research and interest in textile history and historical recreation, he established the made by kÖs brand in 2013, combining traditional inspiration with contemporary designs, after a work of reproducing old pieces based on paintings and photographs with traditional scenes, especially from the 19th century. After a few years, Yolanda joined, who also began sewing with her mother, as well as with her grandmother and her aunts. She is in charge of reproducing the pieces based on Constantino’s model, as well as the more business work, related to suppliers and orders. Her line of garments, with very selected projects, are produced on a small scale and locally, proposing pieces inspired by rural areas, village life and traditional clothing, incorporating current elements to give rise to handmade designer pieces
PhD researcher evaluating how digital tools can help look at cultural landscapes holistically in order to better inform practices related to heritage preservation in the face of climate change threats. I am doing this by looking at how climate change impacts tangible and intangible heritage, how this is affecting community identities and how digital tools can be used to recreate heritage in danger.
University of St Andrews Open Virtual Worlds research group
I am the Community Outreach Officer for the West Highland Museum
Publisher: Routledge, Taylor & Francis
A research fellow in the School of Computer Science, University of St Andrews
Hattersley & Sons domestic mechanical loom, used by Sam Groates at Woven in the Bone for the production of tweed fabric. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The plain Hattersley Domestic Loom was specially developed for cottage or home use and designed to replace the wooden handloom; the Domestic is similar in construction to a power loom. It was introduced ca.1900 and the makers claimed that a speed of 160 picks per minute could be easily attained with from 2 to 8 shafts weaving a variety of fabrics.
Hattersley & Sons domestic mechanical loom, used by Sam Groates at Woven in the Bone for the productino of tweed fabric. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The plain Hattersley Domestic Loom was specially developed for cottage or home use and designed to replace the wooden handloom; the Domestic is similar in construction to a power loom. It was introduced ca.1900 and the makers claimed that a speed of 160 picks per minute could be easily attained with from 2 to 8 shafts weaving a variety of fabrics.
Turned wooden mushroom figure from Asturias, Spain.
Wooden mushroom made out of turned wood, then electrified to create the lightning-like details. Made by a local artisan in Asturias, Spain.
Ceramic clay creamer from Asturias, Spain.
A group photo of the Cvetke Žiri Lacemaking Society. The Society is registered as the bearer of the Slovene lacemaking tradition in the national and UNESCO lists of intangible cultural heritage. © Cvetke Žiri.
Žiri. Photo by Matjaž Tavčar. © Turizem Škofja Loka.
The Poljanska Valley spreads along the Poljanska Sora River in the southeast of the Gorenjska region. It is surrounded by the Polhograjski, Škofjeloški, Cerkljanski and Rovtarski mountains. It has around 12.500 inhabitants who live in Gorenja vas, Poljane, Žiri, and smaller settlements or villages. The main employers are the shoe factory in Žiri and the marble quarry in Hotavlje. Inhabitants also work in agriculture (mainly cattle breeding and cheese production), tourism, and small business. The largest town is Žiri at the end of the valley. It has been known for its traditions of shoe- and lacemaking. The shoemaking tradition gave rise to the Alpina factory, which has made a name for itself around the world with sports footwear.
The Cvetke Žiri Lacemaking Society was founded in April 2004. It has more than 100 members from Žiri, its surroundings, and other regions. It focuses on education, organization of exhibitions, and promotion of bobbin lace. The Society is the main organizer of the annual Slovene Lacemaking Days in Žiri and the co-founder of the “Čipka dežele Kranjske” [“Lace of the Carniola region”] brand. The art of lacemaking has been preserved for almost 120 years by the Žiri Lacemaking School and promoted at the Slovene Lacemaking Days organized annualy in April by the Cvetke Žiri Lacemaking Society.
The doily is one of the handmade lace products made by crossing, twisting, and weaving linen threads attached to a bobbin. The process follows a pattern – a drawing on paper attached to a cylinder cushion in a wicker basket or on a wooden base. In addition to linen, which is used for the doily on display, the craftsmen make lace from cotton threads, silk, wool, artificial materials, metal threads, and even ropes. Lace is used to adorn clothing and fashion accessories, church and home textiles, and representative spaces. It is also an inspiration for artistic creations in fashion, contemporary visual arts, design, architecture, and culinary design. The lace used for the doily is called “Slovene lace”. This name began to be used during the World Wars for lace in which the traditional patterns were supplemented by the versions of Slovene folk ornamentation. Slovene lace was therefore also referred to as “lace with a national character”.
Creators & Keepers: Women Weaving Europe Collection
Art,Fashion,HISTORY,Industrial Heritage,INTANGABLE HERITAGE,PEOPLE,PLACES,SOCIAL HISTORY
Exhibition Curator: Llara Fuente Corripio Assistant curator: Yulia Ruzanova Exhibition setup: Llara Fuente Corripio, Yulia Ruzanova and Enrique Melendez Galan
Fashion,HISTORY,Industrial Heritage,INTANGABLE HERITAGE,PEOPLE,PLACES,SOCIAL HISTORY
In CULTURALITY we understand crafts as an indispensable identity element capable of characterising and highlighting a territory through its traditional culture and its links to the community that inhabits it. Crafts are inevitably linked to the territory because it conditions them from the inside out, for instance, through its specific needs and the raw materials that are available in the area: it determines their types, their shapes, their decorative motifs and, of course, their use. In turn, crafts can also influence the territory, creating unique cultural landscapes and distinctive social customs that form the basis of the local shared heritage. Thus, crafts are connected to the community because it shares relations with the oral traditions, verbally transmitted know-how(s) or peculiar ways of cooperation and interaction between its habitants. Through this exhibition, the first joint effort of the members of our international and interdisciplinary consortium takes shape, and it seeks to offer the public an introduction to the ideals that gave rise to this ambitious project. We present to you a true declaration of intent that covers, despite its limited length, several of the fundamental pillars on which our efforts will be based over the coming years. The team of representatives from each of the countries that make up our partnership carefully and sensibly chose the objects that they considered would most effectively transmit the values that we wish to disseminate through our first activity as a group. In the detailed explanations that will accompany the pieces in the catalogue the viewer will be able to feel and understand the pride with which all the contributors speak about their very own artisanal traditions. CULTURALITY understands crafts, of course, our aim is to offer a leading role to the crafts as they deserve want to share the singularities and values of our own artisan traditions. Our greatest aspiration is that, through our work, traditional crafts are no longer considered a thing of the past, but rather a source of pride and sustainable development for both the present and the future. Firstly, of course, our aim is to offer crafts the leading role they deserve as containers of local traditions and ancient knowledge, regardless of their place of origin. Each of the participating countries has a rich legacy of artisans specialising in the production of pieces with particular characteristics, which makes them as interesting as they are representative of their homeland. However, when selecting a theme for a modest inaugural exhibition such as this one, we could not just work with a research field as broad and ambiguous as “crafts” in general. That is where the idea of narrowing it down first came from. We immediately realised that this would be a great opportunity to highlight the fundamental role that women have played as creators, artisans, and protectors of our textile heritage and all its associated knowledge. This is another of our commitments, both short and long term, and one of the ultimate goals of the project. It cannot be a coincidence that in all the geographical locations that take part in this joint exhibition, this type of woven heritage is so strongly linked to the popular wisdom of women; women who knew how to take this rather homely duty that was, most certainly, just matter-of- factly assigned to them and create wonderful things with it. Together we can find intertwined in the threads of this textile legacy not only a catalyst for the creativity of our ancestors, but also a testimony of their empowerment. Women from all places have been weaving a great collaborative patchwork piece for centuries, in which each culture has added its contribution, and it is the responsibility of our present-day creators to continue preserving and furthering this precious legacy. The underlying line of the chosen theme is based on this very concept: today’s modern designers have quite often, managed to take over from their artisan ancestors and reinterpret their know-how in ways that ignite a new appreciation for their tireless efforts. Therefore, some of the participating countries have chosen not only to show us a piece that directly represents their textile artisan heritage, but to also bring out a second item that reflects their influence on their high-quality, artisan-based contemporary design. This continuity, although scarce, should always be taken as a breath of fresh air in a sociocultural context like the one we live in right now, in which globalisation and mass production are gradually and effectively killing the interest in learning and preserving this ancestral knowledge. The peculiarities of characteristic traditional textiles linked to the folklore of a certain geographical area have also been known to act as a promoter of the sense of belonging and community among the inhabitants, carried time and time again as a banner of their pride. Where it seems that individuality is constantly being diluted in pursuit of an increasingly ubiquitous homogenization, the nods to tradition in these contemporary garments never fail to make a powerful statement. Both a well-preserved and respected past and a conscious present are indispensable parts of a future in which this knowledge is still valued and transmitted from generation to generation, as it has always been. That is what we hope to convey through this exhibition and, ultimately, one of our most ambitious goals.
A hand made white porcelain vessel decorated with inlaid coloured porcelain tree motifs in black and blue, with matt black glaze on the inside. Making Process: A thin slab of porcelain is rolled out and decorated with coloured porcelain that is inlaid into the top surface. While still soft the vessel is hand formed by wrapping the slab around a porcelain base. Black matt glaze is hand painted on the inner surface and the external unglazed porcelain is lightly polished.
Snowscape Vessel, a white porcelain ceramic vessel with porcelain inlay details in black and blue, with a matte black inside. Created by Clair Sinclair of Clair Sinclair Ceramics, Forfar Scotland.
Folktro och folkmedicin. Örtpedagogik och kulturarv.
Creators & Keepers: Women Weaving Europe
The exhibition contains pieces of traditional textile heritage in Europe, provided by members of the international consortium of the CULTURALITY European project. It is held as part of the introductory kick-off meeting.
INTANGABLE HERITAGE,PEOPLE,RECREATION AND TOURISM
The kick-off meeting for the Culturality project, bringing together all the partners to discuss the project and the activities taking place in the next four years.
Artisan cloth made in Scotland. Bespoke lengths and limited edition production of handcrafted Saxony cloth for tailors, designers and small businesses.
Carol Sinclair is an artist and maker living and working in Forfar, Scotland. She creates one-off ceramics and up-cycled material installations for exhibitions. Her inspiration comes from the global issues, colours, textures and shapes in the world. She works with galleries and retail outlets to create one off pieces and limited edition collections. She also works as a consultant for arts organisations, undertaking creative projects at home and internationally.
Hand Knitted ‘Gansey Style’ Woollen Blanket
This beautifully hand-knitted blanket reflects the distinctive symbolic patterns of traditional fishermen’s jumpers or ganseys. Each distinct hand-knitted square depicts patterns from a particular port or harbour along the Moray Firth region, from Buckie in the southeast to Helmsdale and finally to Wick in the far north. The Timespan Knitting Group was formed in 2005 to keep this traditional knitting heritage connected to the sea alive and share these traditions with people of all ages. The group meets weekly at Timespan in Helmsdale, a once-thriving herring fishing port and one of the busiest in Scotland. Salted herring from Helmsdale was exported to the West Indies slave plantation, the Baltic, Ireland, and Europe and traded locally. The group has created this wonderful artisan blanket, each knitter contributing a square, creating a map of the patterns from the Moray Firth fishing district. The blanket can be displayed as a wall hanging with an accompanying annotated map with the port names.
Timespan is a cultural organisation in Helmsdale, a village in the very north east of the Scottish Highlands, with local, global and planetary ambitions to weaponise culture for social change. Timespan is a place for art, research, heritage, local history, future propositions and action. We believe that cultural institutions are a political and public space which belong to society, and as such, have a responsibility to shape a brighter new world based on principles of equality, emancipation and inclusion. Comprised of a local history museum, contemporary art programme, geology and herb gardens, shop, bakery and cafe, we take a holistic and integrated approach to our programme and organisation so all elements of what we do and are, service our civic and political agendas – to make art and heritage work meaningfully for our constituents and village and as tools for global cultural and social change.
Skäktefallstrådar - Rays of scutching tow
The necklace is woven out of 100% linen yarn in both warp and weft. The blue tones are a blend of newly produced Swedish yarn and leftover yarn form the local handweaving association. Process: Handwoven with the usage of the technique “pulled warp”, which forms a curvature of the warp. The material for the inlayed rays in the pattern is natural linen, hand spun out of the short fibres, the scutching tow. (See object Bobbin of scutching tow from Finnebäck). Has been shown in Arvika Konsthantverk, Sweden and at Univeristy of Oviedo, Spain (Creators & Keepers Women weaving Europe).
Making Process: Handspun linen yarn with drop spindle/spinnrock
A 2-ply skein of yarn, S-twist. Making Process: Handspun yarn using spinning-wheel. The wool used are from Carl-Joahns own sheep, which are of an older local breed of sheep “Värmalndsfår”. These particular sheep produce a varying wool spanning for qualities used for tapestry to yarn for felting cloth. Apart from the sheering of the sheep, Carl-Johan has done all the prework such as washing, carding, to the spinning, to the finishing treatment.
A 3D model of a skein of wool, or härva av ullgarn in Swedish.
A hand made white porcelain bottle decorated with inlaid coloured porcelain in blue, grey and orange. Making Process: A series of thin slabs of porcelain are rolled out and decorated with bands of coloured porcelain that is inlaid into the top surface. The pattern is then cut into smaller sections and the slabs are reformed into the shape of the bottle. While still soft the bottle is hand formed by wrapping the slab around a porcelain base.
Centre for Promotion and Conservation of the Traditional Culture
The County Centre for Conservation and Promotion of the Traditional Culture Dolj is a public cultural institution with legal personality, subordinated to Dolj County Council, specialized in researching, collecting, archiving, transmitting and promoting the traditional culture in Dolj County, as well as highlighting the potential of the contemporary crafts in our county. Objectives: - Ethnological and anthropological research; - Conservation (archiving) of the traditions and perennial values ​​of folk culture, their defense against pollution and degradation trends -Developing traditions in contemporary times, encouraging the process of folk creation in all artistic genres, promoting through the media and prints the creators and performers of authentic folk tradition and creation -Initiating, organizing and developing annually cultural - artistic manifestations specific to traditional culture (Commune days, competitions, local festivals, etc.).
The West Highland Museum was founded in 1922 by a group of Lochaber folk who wished to create a museum for the West Highlands, second to none in Scotland.
The Museu del Disseny de Barcelona (Catalan, English: "Barcelona Design Museum"), is a center for Barcelona's Institute of Culture, which works to promote better understanding and good use of the design world, acting as a museum and laboratory. It focuses on 4 branches of design disciplines: space design, product design, information design and fashion.
Câmara Municipal da Pampilhosa da Serra
Pampilhosa da Serra is a town and a municipality in the Coimbra District, in Portugal. The population in 2011 was 4,481, in an area of 396.46 km².
Maramures Tourism Management Organization
The Public Institute Ribnica Handicraft Centre brings together three well-established organizations – the Museum of Ribnica, the Miklova Hiša Gallery and the Museum Shop – as well as a new area, which was likewise developed from the long-standing tradition of Ribnica and its surrounding area: handicrafts (Handicrafts Section). The range of products and services offered by the Institute is extensive and diverse and suitable for different target groups, for both pre-school and school groups, as well as other visitors, researchers, curious individuals and creators.
The Design Circle nourishes and spreads the culture of design, helping to strengthen the local design system and promoting connections between design skills and the productive, social and cultural world.
Estonian Folk Art and Craft Union is a non-profit organisation that brings together regional folk art and craft organisations as well as individual craftsmen and craftswomen.
A hand made white porcelain vase decorated with inlaid coloured porcelain in blue, grey and orange. Created by Carol Sinclair of Carol Sinclair Ceramics, Forfar Scotland.
I’m an artist and maker based in Forfar, Scotland. Since graduating from Grays School of Art in Aberdeen, I’ve developed my practice from tile making to creating forms and vessels with porcelain and paper clay. All of my work is hand built using slabs of clay which are rolled, cut or shaped around forms. This process allows me to create any shape within the limits of the materials while giving me the flexibility to inlay colours using well practised techniques.
The museum has a ‘Feis Room’ as a learning and performing art space for Gaelic culture including music, drama, art and storytelling. There’s also an open-access archive containing maps, documents and photographs telling South Uist’s story. This archive contains material provenanced to Margaret Fay Shaw, a prolific collector of Gaelic culture. Kildonan Museum is run by a partnership between Comann Eachdraidh Uibhist a Deas (South Uist Historical Society) and Urras Eachdraidh Uibhist a Deas (South Uist Historical Trust) (SC016426).
LABoral Art and Industrial Creation Centre
LABoral Centro de Arte y Creación Industrial (Art and Industrial Creation Centre) is an exhibition centre in Gijón, Spain, for art, science, technology and advanced visual industries. It is also a venue for artistic and technological production, research investigation and training; and for the dissemination of new forms of art and industrial creation.
Maramureș is a unique location in the geographical heartland of Europe, land of wooden churches, mythological richness, impressive landscapes, carefully preserving the culture, traditions, and lifestyle of immemorial peasant past. With more than 500 monuments, museums and collections, part of the local cultural heritage, including a newly set up circuit of wooden churches with 8 of them part of the UNESCO World Heritage Patrimony, Maramureș is proudly emerging as a region where traditions and religion are part of the everyday life.
Applied Arts Scotland is a membership organisation run ‘by makers for makers‘ in Scotland. We nurture the creative heart and soul of making practice, celebrate expertise, and facilitate practical opportunities for creative and professional development.
The University of Tartu (UT; Estonian: Tartu Ülikool; Latin: Universitas Tartuensis) is a public research university located in the city of Tartu, Estonia. It is the national university of Estonia.[2] It is the largest and oldest university in the country.[3] The university was founded under the name of Academia Gustaviana in 1632 by Baron Johan Skytte, the Governor-General of Swedish Livonia, Ingria, and Karelia, with the required ratification provided by King Gustavus Adolphus, shortly before the king's death on 6 November in the Battle of Lützen (1632).[4][5]
La Ponte is an ecomuseum and research space on diverse topics such as history, archaeology, cultural and heritage studies that was promoted by people linked to the territory.
Desde agosto del 2021, Espacio Tormaleo S.L. está intentando llevar a cabo un proyecto de regeneración para el entorno de la mina a cielo abierto de Tormaleo (Ibias) a través del desarrollo de actividades culturales y la potenciación del turismo cultural sostenible en todo el entorno. El ámbito de actuación del proyecto es principalmente los municipios de Ibias y Degaña, en el suroccidente de Asturias.
Region Värmland has arranged and facilitated regional and international events to develop technological innovations, based upon virtual reality for example and other hybrid forms of storytelling. Our experience and expertise is an asset for the project, as we have knowledge of initiating and managing projects that benefit from both commercial, as well as cultural values, for entrepreneurs in the cultural sector. The region has a long tradition of business support and business innovation.
Museum Nord is a Norwegian museum consortium for the northern part of Nordland county, including the districts of Lofoten, Vesterålen, and Ofoten. The museum is set up as a foundation and was established on December 13, 2002. It opened in 2004 and it is one of three museum consortia in Nordland; the other two are the Helgeland Museum and the Nordland Museum.
The University of Aveiro (Portuguese: Universidade de Aveiro) is a public university, in addition to providing polytechnic education, located in the Portuguese city of Aveiro. Founded in 1973, it has a student population of approximately 12,500, distributed among 58 graduate, 40 Masters of Science and 25 PhD programs, distributed by departments and autonomous sections, with specialized faculties. It is a Research & Development university, with research departments developing programmes in fundamental and applied mathematics, physics, chemistry, telecommunications, robotics, bioinformatics, sea sciences, materials, design, business administration and industrial engineering.
Scientific Research Centre of Slovenian Academy of Sciences and Arts
The Research Centre of the Slovenian Academy of Sciences and Arts (ZRC SAZU) is the leading research institute in Slovenia for the humanities, social sciences, and selected disciplines of the natural sciences. It comprises eighteen institutes where more than 250 researchers engage in basic research and applied projects. Its publishing house, Založba ZRC, publishes academic and non-academic books and a substantial number of academic journals. It operates the Azil Bookshop, which specializes in literature in the fields of the humanities and social sciences. ZRC Atrij is an indoor event space hosting conferences, conversations, round tables, and cultural or artistic programs. ZRC SAZU is also active on interactive digital platforms and publishes digital scientific publications Alternator (in collaboration with other national research institutes) and Heriskop (focusing on heritage on the margins). ZRC SAZU’s Institute of Slovenian Ethnology, which recently celebrated its 70th anniversary, is one of the central institutions for ethnology, anthropology and folklore research in Slovenia. It maintains extensive collections of archival material, sound and visual documentation, material on current research projects, and a large ethnological library. It also hosts an Audiovisual Laboratory with extensive visual documentation and film material and runs a blog on ethnological findings titled Vsakdanjik.
The University of St Andrews is a world class center for excellence in teaching and research. Open Virtual Worlds is an interdisciplinary group of researchers bringing together expertise in computing, digital design, history and museology. The research group works closely with experts and communities in the creation and deployment of cultural heritage content. With 10 years experience in 3D and immersive technologies, focusing on system engineering and the relationship between quality of service and experience this partner will contribute data management systems and content production to the project.
The Polytechnic University of Turin (Italian: Politecnico di Torino, abbreviated as PoliTO) is the oldest Italian public technical university. The university offers several courses in the fields of Engineering, Architecture, Urban Planning and Industrial Design, and is consistently ranked as one of the best universities in Italy and in Europe. As of 2023 , it is ranked( QS World University Rankings ) 26th worldwide for Mechanical Engineering, 15th for Petroleum Engineering, 28th for Architecture and is among the top 50 (#45th) engineering universities in the world.
The University of Oviedo (Spanish: Universidad de Oviedo, Asturian: Universidá d'Uviéu) is a public university in Asturias (Spain). It is the only university in the region. It has three campus and research centres, located in Oviedo, Gijón and Mieres.