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.
Making Process: Handspun linen yarn with drop spindle/spinnrock
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.
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).
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.
Basket with a cubic shape and a lid attached with two hinges. A semicircular handle allows for comfortable transport. This type of basketry from Forcinas comes from one of the most important workshops, which employed over eighty artisans during the second half of the twentieth century, known for its high quality, design, and attention to trends
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,' which is due to the smoke used during the firing process.
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
The components that define the image of the traditional costume are the traiste (shoulder bags) and desagi (saddle bags). These items serve both a functional-utilitarian and an informational-aesthetic role. Their purpose and usability distinguish them as trăistuțe (small bags), traiște (larger shoulder bags), and desagi (saddle bags). The variation within this group of items was determined by criteria such as size, color, ornamentation, and the raw materials used. Based on the materials from which they were made, traiste and desagi could be crafted from hemp, wool, or finely woven wool (lâniță). The way these bags were carried also differed. Trăistuțele and traiștele were worn over the shoulder or diagonally, in a style called "arcește". Desagi, on the other hand, were carried bilaterally, either over the shoulder or across a saddle. They were most commonly made from a single integral piece of fabric. Trăistuțele and traiștele were complemented by baieră, brâu, or bată, which helped support and carry them over the shoulder . These straps could be made by twisting multiple threads together, weaving them with two heddles, or handpicking the patterns. Some trăistuțe and desagi featured pave (folded extensions) that made them more spacious. Trăistuțele were an essential accessory for children, especially for those attending school, as they were used to carry textbooks and other school supplies at the end of the 19th century and the beginning of the 20th century. According to field informants, trăistuțele were also used by children when they went Christmas carolling (colindatul) and New Year’s Eve wishing (uratul), where they collected the gifts offered by the householders as tokens of goodwill and prosperity.
One of the most important manifestations of traditional culture, the result of the creative effort of a whole community and a real brand of identity, is the traditional/popular costume. In Maramures, the most important piece of clothing and the element that establishes the genesis of the Romanian folk costume is the shirt, which synthesizes the most traditional elements and, at the same time, the most numerous artistic elements of ornamentation. For both man and women the belt is a defining part of the shirt, that beyond its functionality, simbolizes the magic protective circle. The women belt that in some areas of Maramures can have a length up to 4 meters it secures both the shirt and the skirt and protects the ones whom wears it from evil, ensuring prosperity and fertility.
.Săpânța is not a common village, precisely because it holds on its territory a rare treasure, hard to value in money or words – CIMITIRUL VESEL (THE MERRY CEMETERY). The Merry Cemetery of Săpânța – globally unique and world value monument, where tomb’s crosses are not only guarding the graves, but they are also explicitly speaking in words. The Merry Cemetery of Săpânța, where the epitaphs, unique in the word, show the richness and originality of the Romanian life philosophy and the Romanian mentality of thinking lively and authentically even about after-life things.
A decorative item used in household, it distinctive for the area of Săpânța, Maramureș.
A decorative item used in household, it is distinctive for the area of Săpânța, Maramureș, because of its decorative style and colors.The Cerga de Săpânța (Săpânța wool blanket) shrinks to its proper size only in the vâltoare (a traditional water-powered washing whirlpool), whereas other cergi (wool blankets) are further processed after vâltorare by being passed through a piuă (a fulling mechanism) that beats the fabric until it reaches a pănură (felt-like texture). The Cerga de Săpânța is woven using four heddles with a wool warp, while other cergi may also use cotton or hemp warp threads in addition to wool.
It is an open, elongated, geometrically shaped vessel. It has faceted walls and a white glaze on the outside with scattered coloured spots.
It is an open and geometrically shaped vessel. It has faceted walls and a pink engobe on the outside with scattered coloured spots.
Two-piece mould consisting of two hollow pieces that fit together. They are rigid and symmetrical pieces. It is made of plaster.
There are two types of pottery: black pottery, obtained by reducing iron-rich clay, which has been documented since the 11th century in various closed forms (puchero, barbón, penada, cider jug...), and glazed and enamelled pottery, which appears from the 13th century (escudilla, plate, jug, botijo...). The latter has the peculiarity of having two firings, the second one to fix the glaze and the paint, with geometric, vegetal and zoomorphic decorations, the most singular being the páxara, the most representative colours being green and yellow. The 18th century was the time of greatest splendour, with more than 70 potters. The arrival of earthenware would gradually lead to a decline in activity, until the only pottery workshop that has survived since the middle of the 20th century, making pieces in the same way as they were made in the Middle Ages.
Vessel to drain the whey from the cheese
Black ceramic vessel, made on a foot-powered wheel, with a smooth and blackened surface. It has a truncated-conical shape, with the base diameter smaller than the mouth, which is completely open. The walls and base feature circular perforations.
The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry
A circular pendant made of silver and jet. The central part of the jet features an ornamental circular design with a pattern associated with the Gothic rosette of the Oviedo cathedral
A unique piece where the carved and polished jet serves as the base, while the black opal set in silver hangs from its side, achieving a sophisticated and artisanal design.
Double-sided pendant in which a carved jet piece with a traditional Asturian design is set in a repoussé silver piece representing the Asturian mountains
The know-how about curating, harvesting and selecting the best parts of the sheep wool and different uses according to its natural properties: socks, sweaters, woven fabrics and felted wools. Different breeds will shed different wool textures. Banking on traditional knowledge, finding the best kinds of wool from different sheep breeds and applying it to modern uses comes from cycles of investigation and practice developed throughout the decades. The yarn is colored using natural dyes many of which have been used for centuries.
The know-how about curating, harvesting and selecting the best parts of the sheep wool and different uses according to its natural properties: socks, sweaters, woven fabrics and felted wools. Knitting has been a practiced traditionally carried out at home by women. Spinning, knitting and weaving was common knowledge un homes up until 100 years ago, when industrial production begun to take over home-made textiles. Knitting culture has survived in Lofoten to greater extends than in other European countries, and traditional pattern and techniques are still known. Every piece of clothing, being socks, sweaters, mittens or hats, requiere speceific knowledge about stitch density, patterning and wool texture. When industrial dyes were not widely available, local natural plants and likens would do the coloring. The knowledge about plant use was mostly orally transmitted for generations. Currently, some of said traditions can be found in crafting manuals and school education, all of which is used to produce unique sweaters in Lofoten wool.
Yarn skein made out of Gammalnorsk sheep breed from the Lofoten islands, raw color.
Yarn skein made out of Kvit Sau sheep breed from the Lofoten islands. It is dyed using local reinfann (Tanacetum vulgare). Double thread yarn, 315m pr. 100g.
A square-shapen woven shall made out of locally sourced wool from the Lofoten Islands, died with Indigo.
Sweater Islender Johannes Folgerø
Sweater Inspired by the historical photo of the North-Norwegian fisherman Johanner Folgerø. The pattern desing became popular from the charismatic photo of the fisherman. These photos were taken on the occasion of the fishing exhibition in Bodø in 1904. The organizers wanted a photograph of a typical northern Norwegian fisherman, for use in marketing. The photographer Louise Engen from Bodø took the photos with Johannes Folgerø from Sandnessjøen as a model. He was 52 years old at the time, a fisherman and a well-known seiner, originally from Finnås in Hordaland. Folgerø had probably moved to Helgeland around 1870, in connection with the rich herring fishery. After a period on Dønna, where he also married, the family settled in Sandnes in Sandnessjøen. Around 1893, Folgerø bought a seiner together with merchant Otto Koch in Bodø. The photos belong to the museum's Lillegaard collection. Lofoten wool has taken this traditional knitting pattern and transformed into its own design, giving a new ligth to the emblematic design. The origin of the pattern is probably from the Feroe islands, since it was from there where many Norwegian fisherman got their sweaters at the end of the 19th and beginning of the 20th centuries. The Faroe Islands where great exporters of knitted goods to Scandinavia, but the history of this sweater needs to be researched in depth, something Ranghild is looking forward to do.
Hot and warm forging of a bird form by hand, and machanical hammer
Forging is working with iron, and other metals.Warm and hot forming requires a forge to warm up the metals, The hot and warm metals can be formed into shapes with the help of hammers, anvil, pliers and other tools. The different warming, temperatures and cooling methodes give different reults and properties to the finished products.
Sitting small cormonrant with brass colour
Metal sculpture of a cormorant, a native seabird in Lofoten. The bird is sitting on a naturally rounded stone, looking upwards with its peek towards the sky. The sculpture has a brass shine, by brushing brass ontot the hot surface. The form is an alternative to the well-known king cormorant sculpture, that is a "signiture" product from the Blacksmith in Sund, and is one of the oldest hand crafted memorabilia still in producation from Lofoten. That version is very like the famous cormorant sculpture, King Olav V. recieved in 1963 from the previous blachsmiht of Sund.
Metal sculpture of a sea eagle, a predatory seabird native to Lofoten. The bird stands on a naturally rounded base stone, holding a fish in its talons. The object has a golden sheen, which is the result of brushing brass to a hot surface. The object is signed and marked with a year of making on the buttom of the base stone.
A human figure, designed and created by Tor-Vegard. A dynamic and minimalistic interpretation of a walking human figure, with long limbs and simple facial features. The figure stands on a rectangular foot, that is marked with the practitioners stample.
"King Cormonrant", Great cormorant with spread wings
Metal sculpture of a great cormorant, a native seabird, with it´s wings spread. The bird is looking towards the sky and spreads it´s wings. The bird sits on a naturally rounded and grinded stone. The sculpture has a brass shine effect, that is a resutl of brushing brass onto the hot surface. The "King Cormorant" or "Kongeskarven" is the signature product of the practitioner and the Forge in Sund. The object is signed and dated on the buttom. (see attached media)
Metal sculpture of a gret cormorant, with a less detailed wing. The bird is looking towards the sky and opens up its wings.
Entrelac is a knitting technique that is strongly reminicent of woven/braided birch back, which is traditionally made and used in the area. See RV_CP_01(01)
Pattern knitted mitten in entrelac and stockinette stitch with cable knitted collar in two colors of rauma (company name) fine wool yarn. The pattern depicts a reindeer.
Knitted gloves in entrelac, stockinette and purl stitch in white made with rauma (company name) lambs wool yarn and enbroided with flowers in a salmon pink for decorations using leftover yarn. The gloves also bear the emblem "Utmärkt värmländsk slöjd" which translates to "craft from Värmland of extraordinaty quality", awarded to toptier quality by a jury of the local regional crafts association.
A wool mitten entirely knitted in entrelac. It's composed with two different grey yarns, with red details and embroidery with grey yarns.
Knitted hat with brim in entrelac technique in orange, yellow, grey and black with two felted wool pompoms
Mitten knitted in entrelac that is shaped to fit the wrist and flair out towards the arm. White, black and salmon. Pattern is knitted in a pattern of stars/eight petal rose.
Felting is a technique of joining fibers together. It can be done dry or wet, and Carina Haglund uses wet felting. In Swedish there are two different words usually used for felting: “tovning” which is most used, or “filtning”. “Tovning” can also be translated to roughly “tangling [of fibers]”, whereas “filtning” has the same etymology root as “felt” in English. Filtning (or felting in English) is done wet, and Haglund expresses that she rather presents what she makes in her studio as filtning, rather than tovning.
A felted pot that's wet felted with a glas cylinder placed inside, so it can function as a water tight pot for e.g. a plant or a flower arrangement.
A felted seat cushion in 100% wool in a checkered pattern of a mustad yellow and burnt sierra orange on top of grey wool (peaking through in cracks of colour). At two ends there's a elastic ribbon and a coresponding wooden button.
A felted cushion - mustard yellow, black and white. The cushion's case is made of wool and is adorned in the shape of a stylized sun. The pillow inside is made of feathers.
A lampshade in white merino wool. As a interior decoration either for ceilings or mounted on a lamp on foot.
A carpet with pattern in needle punched felt, sturdy enough for being used as a floor carpet. It can also be hung on walls. The carpet has both warming and sound damping qualities.
Henner handweaves using a loom or a heddle. A loom can be of different sizes, ranging from smaller ones on a table and larger ones that fill smaller rooms. Henner's loom is a hand weaving looom, where she dones all the preperations and weaving herself. She uses natural fibers and traditional patterns and techniques. In this document there's a mixture about information about the hobbyist and the professionals perspectives.
Rölakan Pillow, "Autumnal coziness"
Pillow with handwoven front in tapestry type weave "rölakan". Woven in plant dyed yarns and bought acid dyed yarns. The inside pillow is made of feathers. The back is made of broadcloth.
A light fixture for a hanging lamp with a woven lampshade in 100 % linen. The lamp fixture is lathed in birch.
Scarf naturally dyed with rose madder and with eco-print patterns made of beach rose.
Textile necklace in several strands and in various colours of green and blue.
Square pillow in rose path and tabby pattern in un-bleached linen and red yarn, with red tassels at the corners.
Piece made of maple wood. It is a closed, rounded, and flattened container with a small mouth at the top. It has no lid and is completely hollow inside. The upper part is decorated with a series of rings inscribed with geometric motifs (oblique lines, triangles, etc.), which have been created on the lathe using texturing tools. The decorated area has been colored with white and black enamel.
Piece made of maple wood. It is a wooden bowl with an open shape. It has a wide, flat upper rim. The piece is varnished with oils to enhance the wood grain, which includes knots and highlighted black streaks.
Pieces made of fruit tree wood. These are artistic and decorative pieces. They can be the finials of a piece of furniture or a clock. They have a base on which to stand, and consist of long wooden spindles, where the craftsman explores and improves his technique. The use of various woods is combined.
Pieces made of beech wood. This is a children's toy, a spinning top. It consists of two pieces, a wooden handle with which the spinning top is held before throwing it, and the spinning top itself. When you hold it by the handle and pull hard on the string, the spinning top spins quickly and the handle can be detached. Both the spinning top and the handle are decorated with decorative bands made with a texturing gouge (forming a series of triangles and oblique lines), and painted in black, yellow, white and green)
Pieces made from fruitwood. This is a small cylindrical box consisting of two parts: a cylindrical container and a round lid that fits on top, made from the same wood. The piece is finished with oil in a darker tone, and the lid is decorated on the top with concentric rings, into which geometric motifs are carved using a texturing gouge.
By definition, the zgărdan is a narrow band adorned with multicolored beads, either woven or braided, worn by girls around the neck or by men on their hats.
A one-handle jug that starts from the neck and ends at the widest part of the body. It has a trilobate lip, with a wide neck that narrows as it joins the globular body. The body tapers down to a circular base. This piece is made using a slow wheel and is glazed in white with yellow and green painted decoration. It features a yellow band flanked by green lines around the edge and lower part of the body. In the central area of the body, three identical representations of the Bird-Fish are painted.
Object designed by the artist in which molded ceramics techniques are combined with basketry work.
Norwegian knit sweater "Field Crop"
Sweater made out of local wool, using raw color yarn, and plant-dyed yarns.
Landscape model of the historical town of Rombaksbotn, with buildings, river, road and figurines.
Landscape model with houses, river, figurines
Traditional Boat Building: Copper Roving
One type of tradtional wooden fishing vessel is a ‘Sgoth’ or ‘Sgoth Niseach’ – a traditional type of clinker-built skiff with a dipping lug rig and a Lateen style sail, built mainly in Ness in the Western Isles of Scotland. These boats were used for line fishing during the 19th century but as this industry died out in the Western Isles, the number of Sgoths being built reduced. In 1935 ‘Jubilee,’ built by the late John Finlay Macleod, was launched and is the last original working ‘Sgoth.’ (Falamadair, 2025). Mark Stockl is a traditional boat builder based in Ullapool and has worked extensively with Falamadair _ The North Lewis Maritime Trust, in the restoration of Sgoths for which they are the guardians. He has also built replica Sgoths for private clients (see AAS_AR_06) and restored other Ness built clinkers (see AAS_AR_10). The full process of designing and building a traditional wooden ‘clinker’ boat is described in AAS_PR_002. The Cultural practice documented in this input focuses on the method of ‘Copper Roving’ (fixing the copper rivets through the planks to hold them in place) during the repair of AAS_AR_10. This artefact was in Mark’s workshop on the day of the interview.
Wooden, Diping-Lug Sailing Boat (replica build)
This replica build Sgoth was commission by Alasdair Smith and built by Mark Stockl (AAS_PR_002). The Sgoth is based on measurements taken from Callicvol, (a Sgoth built by John Murdo Macleod in the 1970’s) but has been lengthened by a foot to create a proportional balance similar to the Jubilee (another Sgoth, renovated by Mark Stockl and used for lesiure sailing by Falmadair).
A wood working chisel with dark wooden handle and steel chisel.
Watering can made with galvanised sheet metal
This artefact is like a spoon. Used to pick up grains to put in a bag or to weigh them. Artifact used in commercial establishments selling bulk grains and/or flours.
A funnel is used to transfer liquids from one container to another, preventing spills and simplifying the process.
It is a container with two handles. It is used to store and transport liquids. It can be used for water, wine, milk or any other liquid that you want to store or transport.
Handcrafted sheet metal work (working with zinc sheets).
Traditional practice of working with zinc sheet metal to produce utensils (e.g. gutters, grain measuring troughs, funnels, pitchers). Today, tinsmithing is merely a residual activity, reminiscent of other crafts that were once more prominent. The municipality of Tondela is no exception. It is therefore important to learn about this art form, which is almost extinct, and to understand the whole range of objects that tinsmiths used to make in the past, now struggling against competition from equivalent items made from other materials, mainly plastic.
A small object wind instrument that produces a shrill sound.
A lamp inspired by the shape of a Portuguese cruet. It features holes in different positions, allowing it to be hung on the wall in a variety of ways.
Monika Hint, an student of the University of Tartu Viljandi Culture Academy, runs her own studio, Koordikamber, in Koordi farm in Viljandi county. Collaborating with fellow artisans, local farmers, and hunters, she uses bone, horn, leather, wool, and other natural, often recycled materials to create products that build on and develop further traditional technologies. Koordikamber also offers courses and workshops. Tanning and tawing are traditional leather processing methods in Estonia. While tanning requires vegetables or flour, alum and salt are used in tawing. Until the beginning of the 20th century, these skills were widely practised domestically, though there also existed village tanners. During the 17–19th centuries leather pouches made of ram’s scrotums were used as money bags and tobacco pouches. They were tanned along with the skins and decorated with applique, beads, copper rings and fabric. Nowadays the pouch is suitable for coins, cellphone, pipe, dice, tobacco, talisman etc
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
Pre-industrial glazed pottery painted with blue motifs that contrast with the white background of the piece. The decoration features lines of varying thicknesses—both vertical and horizontal—which cover the body, the mouth of the jar, and the foot. Originating in the 18th century, this type of pottery was known as “del Rayu” (“from El Rayu”), as most of the workshops were established in that part of the city.
A clay jar like this was commonly used in traditional cider-drinking culture. The pottery workshop in Faro was one of the most renowned places for crafting household ceramics.
Glazed pottery used as part of household ware. Made of pink clay, the interior is coated with a white glaze and decorated with a triskelion motif.
The large number of pots found in the Asturian region highlights the importance of “pucheros” and legumes in Asturian gastronomy. This particular piece was made at the Faro pottery workshop and features the traditional black finish characteristic of the area.
A clay jug used to transport water, with two handles and vertical decorative motifs on the body of the piece. These lines are carved, and this is the only part of the object that preserves the original burnishing. This type of pottery, produced in this workshop, had a strong influence in northern Spain.
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.
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 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.
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 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.
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.
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.
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.
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.
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]
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.
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.
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.