Supervisor: Christopher Hethrington

BA (Industrial Design)
Te h r a n U n i v e r s i t y , 2 0 1 2

Nasim Khosravi Farsani

Craft Engagement
for Environmental
Sustainability

CRAFT ENGAGEMENT FOR

ENVIRONMENTAL SUSTAINABILITY
N A S I M K H O S R AV I FA R S A N I
BA in Industrial Design
University of Tehran, 2012

Supervisor Christopher Hethrington

A CRITICAL AND PROCESS DOCUMENTATION PAPER SUBMITTED
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN

Emily Carr University of Art + Design
© Nasim Khosravi Farsani, 2018

Abstract
This research incorporates cultural and traditional Persian practices in order to
develop social engagement with environmental sustainability. Persian crafts and
rituals are utilized as the means of engagement in developing tangible practices that
nudge consciousness and lead to greater understanding of nature and ecology.

Keyword
Craft
Ritual
Environmental Sustainability
User Engagement
Social Innovation

Cultural rituals in Persian culture such as Nowrooz and Yalda inspired me to design
a service that supports and amplifies their connection to nature. In the development
of this service two facets of sustainability are explored: materiality and nature.
Craft opens up fascinating possibilities that address sustainability. Locality is the
remarkable aspect of Craft. Materials, methods of making and the meaning in a
craft artwork talk about the specific characteristic of the place that it comes from. It
helps us to identify the characteristics of our natural environment and understand
how to benefit from its capacities. In this service design, people participate in
traditional craft activities and learn how the materials and processes of these craft
artifacts are in tune with ecological systems. They then use the crafts that they have
created as artifacts for display in their own cultural rituals like Nowrooz and Yalda.
This service promotes consciousness about sustainability in participants during their
involvement with the practice. Key to the design is my belief that a viable service is
inviting and provides an atmosphere for people to play an active role in addressing
current ecological issues. This empowers citizens and helps to develop and nurture
the culture of environmental sustainability in Persian society.
By unlocking the roots and histories of traditional crafts in any given culture, and
then tapping into the creative possibilities of how they can be re-combined and
re-framed, a path to social innovation can be etched by applying the results to
contemporary issues of environmental sustainability.

i

Table of Contents
Abstract ........................................... i
Table of Contents.................................ii
List of Figures ............................................... iii
Acknowledgement ......................................... iv
Introduction ........................................................

2

1. Context and Framing
1.1

General Overview of Problem Space .......... 5

1.2

Problem Space in Iran ................................ 7

1.3

The Cultural Context of Study Area ............. 8

1.4

Research Goal and Objective ..................... 11

2. Areas and context of the research
2.1

Bottom up Changes .................................... 13

2.2

Research Areas ......................................... 14
a. Social Innovation and Craft .......................... 14
b. Craft and Design ..................................... 16
c. Cultural Ritual ......................................... 17

3. Methodology
3.1

Practice-led ................................................ 19

3.2

Observation and Interview ......................... 26

4. Research application and outcome
4.1

Proposed Service: Craft Connected.............. 29

4.2

An example of Craft Connected ................. 39

5. Scope and Limitation ....................................... 46
6. Conclusion ......................................................... 48
Reference............................................................... 50
Glossary ................................................................ 53

ii

List of Figures
Fig. 01: Blossom, 2017, Nasim Khosravifarsani
Fig. 02: Iranian Calendar, 2018, Nasim Khosravifarsani
Fig. 03: Research Areas, 2018, Nasim Khosravifarsani
Fig. 04: Relationship between maker, object, materials, and processes , 2018, Nasim Khosravifarsani
Fig. 05: Patterns of Nature , 2018, Nasim Khosravifarsani
Fig. 06: craft, cultural ritual, nature, 2018, Nasim Khosravifarsani
Fig. 07, 08, 09: Nowrooz Workshop , 2017, Desis Lab at Emily Carr University
Fig. 10, 11, 12: Material Collecting , 2017, Nasim Khosravifarsani
Fig. 13, 14, 15, 16: Patterns of Nature , 2017, Nasim Khosravifarsani
Fig. 17-28: shaping leaves , 2017, Nasim Khosravifarsani
Fig. 29-36 : an exploration on patterns, 2017, Nasim Khosravifarsani
Fig. 37: Mr.Zabolian, one of well-known craft artists in his shop: Isfahan, 2017, Nasim Khosravifarsani
Fig. 38-43: Craft market in Iran, 2017, Nasim Khosravifarsani
Fig. 44: User Journey, 2018, Nasim Khosravifarsani
Fig. 45: Service’s people, 2018, Nasim Khosravifarsani
Fig. 46: Craft connected in Ameriha Hotel, 2018, Nasim Khosravifarsani
Fig. 47: Craft Connected componnents mood-board, 2018, Nasim Khosravifarsani
Fig. 48: Life-cycle thinking, 2018, Nasim Khosravifarsani
Fig. 49: Ghalamkari, 2017, Nasim Khosravifarsani
Fig. 50, 51: Ghalamkari Tools, 2017, Nasim Khosravifarsani
Fig. 52and 55: Process of making a die, 2017, Nasim Khosravifarsani
Fig. 53: Ghalamkari, 2017, MehrNews Agency
Fig. 54, 56, 57: tools, 2017, www.zabolian.com (Photo removed due to copyright issues)
Fig. 58: Craft Artist, Zabolian.com (Photo removed due to copyright issues)
Fig. 59-61: Printing Process, 2017, Nasim Khosravifarsani
Fig. 62: Nowrooz display: set up by Ghalamkari fabric, Nasim Khosravifarsani
Fig. 63: Yalda display, Srayemeriha a Traditional Hotel in Iran 2017, Nasim Khosravifarsani
Fig. 64:Naqshe Jahan Square in Isfahan, welcometoiran.com (Photo removed due to copyright issues)

iii

Acknowledgement
Primarily, I would like to thank my supervisor Christopher Hethrington. No part of
this thesis would have been possible without his invaluable guidance, direction,
encouragement and constant support, but also constructive criticism during my
research. I am enormously grateful to him for making all those valuable discussions
that we had and for his patience in listening and discovering my hidden thoughts.
I would specially like to express my deep gratitude to Louise St.Pierre for supporting
me in all my academic pursuits during my time at ECUAD and specifically for
sharing her rich knowledge with me during my research process, which create a
significant improvement in my project. I would also like to thank the Emily Carr
community and specifically to Hélène Day Fraser for her efforts in providing a space
with no boundaries to think; with respect for each of us to develop what comes from
our hearts. I also want to thank my editor and friend Scott Mallory, who spent his
time to hear my thought and helped me to pass the barriers. I was impressed by your
professional skills of communication and also an editor. Thanks to my dear friends ,
MDes 2018, for all the amazing moments of joy and support. My experience would
be different without you. Thanks to my dear smart brother, Khashayar, who always
brings up deep conversations that open new perspectives for me and lead me to
achieve a better understanding of those concepts; the same happened in this project.
Last but not least, thanks to Hesam, my best friend and partner in life, for always
supporting me, hearing me and giving me courage to move. This research would
have not been done without all your support and kindness. Words could not express
my gratitude for having you in my life.

iv

Introduction
In this research craft and cultural rituals are utilized as the means of engagement in
developing tangible practices that lead to nudging consciousness and perception towards
sustainability. I propose a service that empowers citizens and helps to develop and nurture the
culture of environmental sustainability. Key to this is my belief that a viable service is inviting
and provides an atmosphere for people to play an active role in addressing current ecological
issues.
Craft draws a relationship between
nature, culture, and sustainability
Environmental deterioration is a complex problem that includes a lack of understanding
about nature. Craft is a cultural bridge that at the basic level can help people understand
more about the sustainability of local materials and small scale craft production. At a deeper
level, in Persian culture, craft helps people connect to and relate to nature. These two facets
of sustainability are explored in the development of this service: materiality and nature. The
service proposes a model characterized by participation in craft-based practices to prepare
for the celebration of cultural rituals. Craft supplies resources and theoretical foundations
for developing the practices of the service. The Persian crafts and cultural rituals that I use
as models are inherently eco-friendly and harmonious with the natural systems of the Earth.
Citizens get involved in working with natural and local materials and learn the process and
methods of the craft. They then use these crafts to support the celebration of a cultural
ritual. These engagements make it more possible to perceive the values and meanings of the
environmental sustainability that exist in craft and ritual.
Inspiration and Motivation
It was an intuitive exploration that led me to find my focus area in the context of Persian
culture. It was the first year of my study in Vancouver and the first time that I was
experiencing our New Year, Nowrooz, outside the country, far from family and friends. It was
not easy to deal with my homesickness challenges. Our New Year happens on the first day

Introduction

2

of north hemisphere Spring, with the philosophy of change in nature
and environment. I was walking outside, while I saw the first buds and
blossoms on trees. This made me very excited and I felt a very deep
perception of what I was looking at. Although I was very far from my
country and culture, I could still feel that a new year was starting. I was
living my culture right there under cherry blossoms in Canada.
It does not matter where you are, as this celebration is about a change
in nature and the environment that I am living in. It was a “Eureka”
moment for me and was a pivotal point in my process.
This powerful feeling motivated me to focus on the cultural practices
that we Iranians do to celebrate this event with thousands of years of
experience and history behind us. Nowrooz is about bringing everyone
from any religion and culture together to celebrate the beginning of a
change in nature, as it is about the realities and facts of our planet earth,
the home of all human beings. The whole journey of this celebration,
from the beginning to the end, is full of activities that connect people
Fig. 01: Blossom, 2017, Nasim
Khosravifarsani

with nature as they draw attention toward the change in our natural
environment.
Having this potential in Persian culture led me to focus on the cultural
rituals that are based on our solar calendar. Nowrooz is not the only
ancient Persian tradition that has a relationship with the natural world.
There are others based on the solar calendar with scientific fundamentals
related to Earth’s position in orbit and are about celebrating the changing
of seasons. Another example is Yalda, the longest night of the year,
which marks the beginning of Winter. Nowrooz, Yalda, and other
Persian cultural rituals inspired me to design a service that supports and
amplifies their insights.

Introduction

3

1. Context and
Framing

4

1.1 General Overview of Problem Space
“There is not nature and then us;
We are part of nature.”
(Chick & Micklethwaite, 2011, p.79)

Nature is “the self-originating material/spiritual world, of which we are a part, including
the powers that sustain and govern it.” (Bonnett 2002) Growth of cities and moving from
country side to city, have detached people from nature. This destructive aspect of cities
has made us forget how our existence is dependent on earth’s natural resources. (Suzuki,
1999, p.24)
Lack of understanding about ecological issues has threatened the existence of many
natural systems. (St. Pierre 2014) The growing understanding of the seriousness of
environmental deterioration has made us aware of the need to rethink our attitudes
and reframe our approach to dealing with their root causes. There is a huge necessity
for improvements in creating intuitive awareness and knowledge about our ecological
responsibilities and the consciousness of our relationship to the environment. If people
fully understood how each element of nature is essential in sustaining the ecosystem,
we would not be witnessing the degree of ecological damage that we see today. In the
Green Imperative, Papanek states that “Our survival depends on an urgent attention to
environmental issues, but even now there still seems to be a lack of motivation, a paralysis
of will, to make the necessary radical changes” (1995, p.9).

Context and framing / General Overview of Problem Space

5

must be a spiritual underpinning to our ecological
“ …There
consciousness. …The present world-wide concern for the
environment cannot now be dismissed as a fashion, as
it was during early 1970, nor as a pure panic over the
sustainability of life on earth. …It is rather a great spiritual
rebirth or reawakening, a desire to re-establish closer links
between nature and humankind. Deeply embedded in
our collective unconscious is the intuitive awareness of our
relationship to the environment.
(Papanek, 1995, p.9)

To expound on Papanek’s perspective on how our relationship to the environment has
slipped away from us in recent history, I propose that there is in fact an innate connection
among humankind, and between us and nature. Something nearly ineffable that makes
us feel bound to all life forms, where we identify with them at the core, as what we do
have in common is the Earth itself, which is our most important possession. It begs to be
preserved.

Context and framing / General Overview of Problem Space

6

1.2 Problem Space in Iran
As in other parts of the world environmental problems are expanding in Iran. According
to Shobeiri, Meiboudi, & Kamali (2014), Iran is encountering massive environmental issues
such as air pollution, deforestation, erosion, lake droughts and biodiversity loss. These threats
have led Iran’s government to initiate a comprehensive program to develop environmental
education and establish principles of sustainability in the country. By investigating the causes
and consequences of the current ecological issues there, I realized that one of the essential
aspects of achieving environmental sustainability lies in social and cultural behaviors
of human beings. According to Tehrantimes (2018), Renowned Iranian scientist and
environmental activist Kaveh Madani, states that “the environmental disasters remind us of
the fact that the environment matters, what needs to be changed to restore the environment
is the mindset, and unless we manage to modify the mindset the environment won’t be
saved.” (“We have made mistakes in protecting the environment”, 2018).

“The majority of today’s
environmental problems stem from
inadequate awareness and poor
outlook on the relationships between
humans and nature.”
(Shobeiri, Meiboudi, & Kamali, 2014)

Context and framing / General Overview of Problem Space

7

1.3 The Cultural Context of Study Area
Relationship between human and nature in Persian culture
Through the history of Iran, we see how in its geographically diverse regions, people
adapted to each circumstance and lived in harmony with nature. The Iranian worldview
often tends to emphasize our relationship to nature, and is reflected in architecture,
literature and other cultural elements such as crafts’ artwork and heritage rituals.
Architecture
Looking at the history of Persian architecture, it is very noticeable how its approach has
shaped the principles of designing a building. “…Iranian traditional courtyard houses
were designed based on a careful attention to climatic requirements in their socio-cultural
context, in order to provide both physical and mental comforts for residents.” (Soflaei,
Shokouhian, & Zhu, 2017). All elements of a building were designed by taking into
account the characteristics of nature, climate and socio-cultural need of a region. The
houses in humid and wet climates were designed completely differently from those in the
hot-arid ones. Materials, forms, structures, etc. were selected and designed in harmony
with their natural environment.
It is also mentioned that “the purpose of designing gardens in Persia, was not only limited
to providing green spaces for the inhabitants, but also creating the opportunity for further
interaction between the human and nature as well as creating various ranges of functions
and promoting Persian culture via various design elements.” (Mahmoudi Farahani,
Motamed, & Jamei, 2016)

Context and framing / The Cultural Context of Study Area

8

Literature and Poetry
In Persian literature and poetry, we see how writers and poets have often incorporated
elements of nature as symbols to convey their thoughts and beliefs. “By investigating
into the Persian poetry, we find out that the poets have used natural elements for various
purposes, such as describing, praising, criticizing, etc.” (Dezfoulian & Rashidi, 2013)
In the following there are some examples of Rumi’s poems translated by Reynold A.
Nicholson.
“What seed went down into the earth but it grew?
Why this doubt thine as regards the seed of man?”
(Nicholson, 2004, p.76)

“Welcome, soul-producing sun! when a single ray of thine hath appeared,
Thousands of human souls shoot forth from the black (barren) clay.”
(Nicholson, 2004, p.154)

“The seed of the spirit, sown beneath this water and clay (the body),
Becomes not a tree until it reaches Thy spring.”
(Nicholson, 2004, p.160)

“The blossom has opened its lips in pleasantry,
The lily has closed its mouth in coquetry.”
(Nicholson, 2004, p.162)

In these 13th century excerpts, Rumi chose images from nature to express his opinions.
They show how deeply Persian culture is connected to nature; the subtle nuances of
nature are noticed and then connected to Persian culture.

Context and framing / The Cultural Context of Study Area

9

Cultural Ritual
In Persian culture, the beliefs of green thinking and sustainable development have shaped
the philosophy behind many of the cultural rituals. Many of these are based on the solar
calendar and closely linked with the change of seasons. The Iranian calendar is a solar
one that is based on the Earth’s movements around the Sun. For example, new year
Nowrooz happens at the exact moment of the Spring equinox that marks the first day of
Iranian calendar. We Iranians also celebrate the longest night of the year as celebration
of beginning the Winter. People celebrate the change and rebirth of nature. These
cultural rituals are an important way for Iranians to connect to nature. In the designed
service of my research participants create an artifact for a cultural ritual. The anticipation
of creating an artifact for a cultural ritual entices participants to engage in a traditional
craft process.

Nowrooz

Tirgan

Yalda

Fig. 02: Iranian Calendar, 2018,
Nasim Khosravifarsani

Mehregan

Craft
The most essential attributes of crafts in Persian art and culture are associated with
natural materials. Persian crafts cannot be made from just any type of material. The
presence of plastics or any synthetic materials in making the artifacts does not have any
meaning in traditional craft. Materials with natural origins such as wood, clay, copper,
silver, gold, plant fibers, are compatible with the philosophies of Persian craft, and objects
must be made with these materials. No artifacts made by hand are considered as craft in
this context unless they have these essential attributes. Each region has its own specific
crafts that are tied to the requirements of that particular environment. Craftspeople in
this culture are known as artists and their works are very valuable yet inexpensive for
people to purchase. (Dadvar, Qaribpour, Rabnia, 2016)

Context and framing / The Cultural Context of Study Area

10

1.4 Research Goal and Objective

Research Question

How can craft practices support
awareness and action towards the
natural environment?

This research aims to incorporate cultural and traditional practices in order to develop
social engagement with environmental sustainability. The objective of these engagements
is to promote the consciousness about sustainability in participants during their
involvement with the practice. It looks at sustainability from the point of view of nature
and the materiality of the craft world. I hope the engagement with practices of crafts and
cultural rituals promotes user awareness and re-establishes closer relationships between
people and the natural environment. We need to achieve a deep understanding about the
concept of sustainability. This understanding shapes our behavior, values and worldview
to our natural living environment.

Context and framing / Research Goal and Objective

11

2. Areas and

context of the
research

12

2.1 Bottom up Changes
We are living in a specific era in Earth’s history, witnessing the expansion of
environmental problems. People’s participation in environmental action is required more
than ever now. “In the sustainable perspective, in fact, people should be considered as an
active part in the process of caring about things, the public goods and the environment
in general.” (Manzini, 2008, p.33) Environmental challenges are complex problems
with multiple interconnected factors. One approach to address these huge issues is to
break down the whole into small parts and look into all the connections. “Real change
occurs from the bottom up; it occurs person to person, and it almost always occurs in
small groups in locals and then bubbles up and aggregates to larger vectors of change”
(Hawken,2007). Emergent community projects are an important avenue to environmental
sustainability.
I believe that in order to achieve the targets of environmental sustainability, a viable
avenue is for every society to build up the desired vision and culture. Sustainable
solutions to address lack of awareness about ecological issues should start from the heart
of a society, and changes in the people’s mindset. There are millions of environmental
organizations and activists around the world, each participating in a type of ecological
care. Accordingly, Hawken (2007) states that the emergence of these communities, is the
largest social movement in all of humankind history which is undertaken by ordinary
citizens everywhere, not by governments. (p.4) This shows promise for addressing
complicated and huge ecological problems such as global warming.

“Never doubt that a small group of
thoughtful, committed citizens can change
the world; indeed, it's the only thing that
ever has.”
Attributed to Margaret Mead

Areas and Context of the Research / Bottom Up Changes

13

2.2 Research Areas
This research is also an emergent community project supporting larger social and environmental
movements. Specifically, it leverages social engagement, craft and design in an effort to create social
innovation. The social engagements address themselves to sustainability by building greater awareness and
compassion for nature.

Fig. 03: Research Areas, 2018, Nasim Khosravifarsani

a. Social Innovation and Craft
“Social innovation is a process of change emerging from the creative re-combination
of existing assets.” (Manzini, 2014, p.57). According to Bofylatos (2017), Social
innovation is about how humans or societies reframe their existing situation to
change a problem space and create a desirable or new occasion.(p.229) By unlocking
the roots and histories of traditional crafts in any given culture, and then tapping
into the creative possibilities of how they can be re-combined and re-framed, a path
to social innovation can be etched by applying the results to contemporary issues
such as sustainability.

Areas and Context of the Research / Research Areas

14

“As environmental issues move into the
mainstream, a rising tide of concern
presents an opportunity for the crafts
movement to renew its engagement with
social, political and philosophical issues…”
(Hughes, 2011)

A service based on Persian craft brings in effective and particular advantages in designing
services of sustainability and social innovation. Craft plays a very important role in
representing the culture and traditions of any country or region. It is a substantial
medium to preserve rich traditional art, heritage, culture, traditional skills and talents
which are associated with people’s lifestyle and history. Arts and crafts movements are
less industrial and more about natural materials. The idea of traditional practices and
how they are not industrialized, not mass production and not mass consumed, are all
part of sustainability. Crafts open up fascinating possibilities that address sustainability.
Kadish and Dulic (2015) explain, “Crafting sustainability refers to the notion that we can
approach environmental problems from practices that are locally grounded but globally
connected and engage challenges deeply from a perspective of crafting”.
According to Bofylatos (2017) craft can substitute for the huge industrial production
that plays an essential role in modernity. He believes that changing mass production
to craft production solves environmental problems that are caused by extracting raw
materials, the pollution of manufacturing and the massive waste of disposal. (p.226) The
remarkable aspect of crafts is locality. They emerge from the heart of a society. They are
rooted in the social, natural and cultural components of that society. Crafts help us to
identify the characteristics of the nature around us and understand how to benefit from
its capacities. Materials, methods of making and the meaning in a craft artwork talk
about the specific characteristic of the place that it comes from. Because they are shaped
through centuries in a culture, from selecting materials to methods of making, they are
shaped based on climactic attributes and cultural context of their origin.

Areas and Context of the Research / Research Areas

15

b. Craft and Design

“…the world of ‘doing
and making’, is prior to
understanding.”
(Mäkelä, 2006, p.3)

How is craft incorporated in designing for sustainability?
“Both crafting and design thinking are practices that supply people with new ways
of examining and approaching complex problems and challenges” (Kadish & Dulic,
2015). Recently, craft has become an integral part in designing for sustainability. Craft’s
framework provides possibilities to develop valuable engagement with people and
motivates them to get involved in exploration practices. Tacit knowledge and materiality
aspects of craft provide an exclusive design approach. (Bofylatos, 2017, p.224) Craft is
“a dynamic process of learning and understanding through material experience” (Gra &
Burnett, 2009). This is how knowledge is made through making and practice. Interacting
with products and services form the doing and making, directly and also unconsciously
imply behaviors and knowledge of desired concepts.
“The Key to craft, however, is the fusion of
design and making and the ongoing dialogue
this establishes between maker, object, materials,
and processes” (Hughes, 2011). In the process of
craft-based practices, participants stand in role
of a maker; not to become a maker, but they
observe the materiality of natural world from the
lens of craft. This occasion makes users more
receptive to achieving the desirable knowledge
through making rather than the usual ways of
learning.
Fig. 04: Relationship between maker, object, materials, and
processes , 2018, Nasim Khosravifarsani

Areas and Context of the Research / Research Areas

16

c. Cultural Ritual
The incorporation of cultural rituals in designing the service of this research, creates
an inviting and familiar atmosphere which makes the new engagements tangible and
understandable for the participants. The Ritual Design lab at Stanford University, believes
“Rituals have a special power to bring people together and give them a sense of purpose,
values, and meaning. Ritual can provide the user with both the story and purpose
necessary to make behavior change work.” (Ozenc, 2016)
By engaging in celebrating a cultural ritual, people feel that they are part of a bigger
movement. The cultural rituals and traditional practices in the context of Persian culture
bring various groups of people together with common cultural purposes and the sense
of belonging to their community. The selected Persian rituals are considered as the
intangible heritage of Iran and provide a rich resource of contents for implementing
socio-cultural engagements.
In the Persian culture celebrating cultural rituals is intertwined with craft artworks.
Setting up a display is a common ritual in many Persian cultural celebrations. People set
up these displays by valuable and craft artworks such as pottery dishes and handmade
fabric/table cloth.

Areas and Context of the Research / Research Areas

17

3. Methodology

Fig. 05: Patterns of Nature , 2018, Nasim Khosravifarsani

23

The methodology for this research is founded on a combination of secondary research
and practice-led design research. During my research process I had a challenge to find a
direct relationship between what I was making and what I was pursuing in my research
overall. The outcome of my journey is developed from secondary research, in parallel
with primary research methods, practice-led, observation and interview.

3.1 Practice-led
According to Makela (2007), “In conventional research, making is generally regarded as
consequent to thinking – at least in theory. Thus, a series of experiments, for example,
is carried out in order to test a certain assumption, i.e. to solve a problem or answer a
question. In the field of practice-led research, praxis has a more essential role: making
is conceived as the driving force behind the research and in certain modes of practice
also the creator of ideas”. (2007, p.3) Practice-led research is a method about knowing
through making. It is a conceptual framework that allows a researcher to implement
their creative practice, methods and output into the research design and as a part of the
research output. (Sheridan, n.d.) “Practice-led research is characterized by a focus on
issues, concerns, and interests that are explored and manifested through the production of
creative artifacts. This implies that, as an object of experience, the creative product is as
important as any knowledge embodied in it” (Mäkelä, 2007, p.3).
Through my process of making, I realized that my approach might best be found through
closer connections to material making, and this led me to think about the relationship
between craft and tradition in Iran.
With this in mind, I returned to Iran to conduct some local investigations, discussions
with craftspeople and reviews of the secondary resources regarding crafts in this society.
The solution was indeed in making, and it was in the sharing of knowledge through the
process of making.

Methodology / Practice-led

19

When culture touches nature
The practice-based activities that I have done during this research, were an exploration
between craft, ritual and nature. In the early phases, research was full of broad and
ambiguous keywords. My first questions were looking for possibilities in cultural activities
to create engagements with environmental and sustainable actions. Focusing on crafts and
rituals arose from practice-led research.
Parts of the studio practices were natural material-based. Below are a number of
significant studio practices for this research:
01. Nowrooz Gift making workshop
02. Collecting Natural Materials
03. Crafting materials
04. Exploration of traditional designs

Fig. 06: craft, cultural ritual, nature, 2018, Nasim Khosravifarsani

Methodology / Practice-led

20

01
Gift Gift
making
workshop
01.Nowrooz
Nowrooz
making
workshop

This was a workshop that I ran in collaboration with Desis Lab at Emily Carr University,
on Spring 2017. In this workshop, participants made seed gift packages, all the while
talking about the ancient Iranian ritual of growing seeds and plants as gifts during the
Nowruz festival. This was related to the Gift Economy and Eco-centric design versus
Anthropocentric design. This workshop was conducted to explore ideas for expanding
the culture of sustainability in Iran. I linked underlying philosophies of green thinking
and notions of sustainable development to rituals that have been part of Persian culture
throughout history. In Persian culture, the new year Nowrooz, there are many activities
that people do to celebrate this event such as seed growing, planting, gift giving and
connecting with family and friends.
The focus of the Nowrooz Gift Making Workshop was to explore the concepts of planting
and gift giving. At the end of the workshop participants talked about their experience and
shared their stories in a round of discussions. Many creative works, deep thoughts and
ideas around seed planting and gift making were collected to inspire my thesis work.

07

08

09

Fig. 07, 08, 09: Nowrooz Workshop at Desis Lab , 2017, Nasim Khosravifarsani

Methodology / Practice-led

21

02

Collecting Natural Materials

During the material explorations I spent a lot of time in nature in local areas to observe
and collect materials. This made it a personal journey to be in touch with nature and
collect natural materials such as different kinds of leaves, pebbles and woods. I was
collecting and making with materials without seeing a direct connection between the
practices and the purpose of my research. But gradually an insight was developed
through the practice of materially working which made it apparent to me that “making
for its own sake” helped me to discover a deep understanding of the value in crafts and its
connectedness to cultural rituals in Iranian culture.

10

11

12

Fig. 10, 11, 12: Material Collecting , 2017, Nasim Khosravifarsani

Methodology / Practice-led

22

03

Crafting Materials

• Making with natural collected materials and combining them with crafts
• I implemented related techniques on new materials to explore how I could carry the
symbolic meaning in patterns forward. For example I drew them on pebbles, put them in
various places in nature.

13

14

15

16

Fig. 13, 14, 15, 16: Patterns of Nature , 2017, Nasim Khosravifarsani

• Then I expanded my repertoire of craft making with the natural collected materials. I
made various combinations that included sewing them, coating them, preserving them
and making them stronger for forming, weaving and combining them with metal.

Methodology / Practice-led

23

17

18

19

20

21

22

23

24

25

26

27

28

Fig. 17-28: shaping leaves , 2017, Nasim Khosravifarsani

Methodology / Practice-led

24

04

Exploration of traditional designs

In this practice I made forms with traditional and cultural patterns and designs
and worked on them from a different perspective and made new compositions.

29

30

31

32

33

34

35
36
Fig. 29-36 : an exploration on patterns, 2017, Nasim Khosravifarsani
Methodology / Practice-led

25

3.2 Observation and Interview
The pivotal moment in this project was my trip to Iran, where I
observed a number of craft practices and interviewed the craft
artists. They gave me a good picture and perception of that context
and its specific opportunities.
I documented the process of fabric printing in one of these craft
shops. They explained to me about the materials they use and the
techniques of making.
Their products are made locally and the whole production process
is environmentally friendly. It was very intriguing for me to hear
how these producers are committed to utilizing the natural
resources of their local environment.
These markets have a thirst for any collaboration that would lead
to growth, as they are currently not as productive as they used to be
and are concerned for their future.
I talked to one of the fabric print producers, and they are willing
to provide the material component of my service. For example,
making the block prints, providing fabric, making natural colors
and teaching fabric printing techniques.
Fig. 37: Mr.Zabolian, one of well-known craft artists in his shop:
Isfahan, 2017, Nasim Khosravifarsani

Methodology / Observation and Interview

26

38

41
Fig. 38-43: Craft market in Iran, 2017, Nasim Khosravifarsani

39

42

40

43
Methodology / Observation and Interview

27

4. Research
application
and outcome

28

4.1 Proposed Service

I realized, through my research, that I would need to develop some form of social
innovation service in order to connect people with nature. Specifically, the integration of
cultural ritual and the user engagement in craft practices was deemed most appropriate
for my study area, Iran. The developed service is craft-based and I’ve called it Craft
Connected.
The focus of Craft Connected in this service is on integrating and synthesizing the
elements of craft in Persian culture. This is a service that involves people working and
making with the craft community. There are several types of Persian crafts such as
weaving, pottery, textile and fabric printing that are suitable to be implemented in this
service. This service attempts to open conversations about the natural environment
through the acts of doing and making.
How does Craft Connected motivate people to engage?
While designing this service, I was wondering whether the craft-making practices should
happen at any particular time or occasion? How can these engagements encourage people
to participate and reach their highest level of effectiveness? I believe craft-making practices
for a cultural ritual will motivate users to participate in designing and making a handmade
artwork for celebrating their cultural heritage ritual. From what I experienced in my
material-based practices, making for a purpose makes that practice more meaningful. For
example, they could design and make a hand-printed fabric for setting up the cultural
ritual’s table that is the main part of many Persian cultural celebrations.

Research Application and Outcome/ Proposed Service

29

Craft Connected process
The process of engaging in this service, involves an initial introduction. In the journey
that each participant experiences, first, they learn about that particular craft, its
materiality and its production process. They understand that the materials they utilize in
each step of the making process are extracted from nature without depleting any natural
resources. All the materials are supplied from local resources in the region they are living
in. Certain areas with typical and identical types of natural materials have meaning for
people in those areas. Furthermore, they learn how craft benefits from the geography,
nature and also the natural energy of their environment. For example, for many centuries
craft makers have been utilizing a special kind of wood for making fabric block prints in
the city of Isfahan; a tree local to that region, has specific characteristics that have made it
the best choice for print making.
Then they design what they want to make. For example, for a fabric printing they choose
the patterns and colors and make a quick sketch of the printing plan. Next, they choose
and/or make the required materials. For example, a participant might make natural color
and then learn about its making process. This fosters the opportunity for people to make
their own personalized craft object while learning a lot about this valuable element of
their culture. This shifts their role from passive consumer to active user. Then with the
guidance of a craft person they would create artifacts. Eventually they can use this artifact
to set up the table for their cultural ritual or they might share it with friends and families
as the new year gift.

Fig. 44: User Journey, 2018, Nasim Khosravifarsani
Research Application and Outcome/ Proposed Service

30

Craft Connected components

1. What are practices of the service?
The craft used in this example of Craft Connected is Block printing, which is known as
Ghalamkari in Iran.
2. When does this happen?
Individuals participate in the making of an artifact from this craft activity that supports
cultural rituals. There are certain celebrations in Persian culture that happen at different
times of year based on the seasonal changes. This service creates opportunities to take
any other rituals throughout the seasons that embrace nature.
3. Who are involved in this service?
Individuals of all ages (e.g. a family group), with the guidance of skillful people from the
local craft community, can design and make their own personalized artifact. The craft
community supplies the tools and the materials. They also share their knowledge of
making with participants and help them in making an artifact.

+
Craft Community

Participants

Fig. 45: Service’s people, 2018, Nasim Khosravifarsani

Research Application and Outcome/ Proposed Service

31

Craft Connected components

5. Where does Craft Connected happen?
Each city of Iran has unique and different types of crafts. The selected craft of the service
should be local to the city in which it takes place. It is ideal to hold Craft Connected in
cultural heritage locations in each city, such as historical places, because of how past
Persian architecture was in direct relation to the climate requirements of its own region.

Fig. 46: Craft connected in Ameriha Hotel, 2018, Nasim Khosravifarsani

Research Application and Outcome/ Proposed Service

32

Fig. 47: Craft Connected components mood-board, 2018, Nasim Khosravifarsani
Research Application and Outcome/ Proposed Service

33

Craft Connected characteristics
a.

Life-cycle thinking

b.

Durability and values

c.

Experiential learning

e.

Tangibile: tacit knowledge

a. Understanding the product life-cycle thinking
In this service, participants are part of all phases of producing and designing an
environmentally attuned artifact. They participate in making, then will use it or
even share it as a gift with family and friends. They know how to take care of it and
dispose of it later. (fig. 48)
“Ecodesign considers environmental impacts during the whole product life cycle,
from extraction of raw materials, to product manufacture, to product use and finally
to treatment at end-of-life.” (Chick & Micklethwaite, 2011, p. 107). It does not only
focus on one aspect of a product’s environmental impact, but also considers the
entire product life cycle. (p.106) Users will get a sense of understanding of all phases
and life cycle of the product: its origin, each material’s characteristics, how it is
made, its usability, and how to dispose of it.

Research Application and Outcome/ Proposed Service

34

“The ways in which we think
about our material culture,
conceive it, produce it, use it and
dispose of it are fundamentally
connected to matters of
environmental care…”
(Walker, 2014, p.119)

resources

making

composting

repair and use
through generations
Fig. 48: Life-cycle thinking, 2018, Nasim Khosravifarsani

Research Application and Outcome/ Proposed Service

35

b. Durability and values
Hughes (2011) states that “Durable Design is an approach that seeks to prevent
redundancy not through mere physical durability that has proven ineffective, but by
designing objects whose lives are prolonged because people become emotionally attached
to them. Craft, with its inbuilt material, process and personal narratives and unique
objects have a powerful resonance with this concept” (p.16). Persian craft artifacts are
considered as creative, artistic and valuable objects among Iranians. They usually know
how to repair and maintain an object and rarely throw it away. They are well maintained,
preserved and usually transferred from one generation to the next.
Creating personalized designs is an addition that brings people into this practice. For
example, users select several numbers of patterns, and design their fabric in various
combinations and print on it with different colors. Making with other people in a group
to celebrate cultural heritage also motivates people to participate and create objects that
carry the memories and stories of their experience.
According to Chapman (2015) “the consumption of material artefacts is largely motivated
by the need to designate one’s own particular being – matter serves to illustrate our
values, beliefs and choices as an individual.” By connecting people to ancient traditional
crafts and ancient traditional rituals Craft Connected supports the transformation of this
concept towards more widespread contemporary adaption.

“Our attachment is not to the
thing. It is to the relationship to the
meanings and feelings the thing
represents.”
(Donolad Norman, as cited in White, St Pierre, Belletire, 2013)

Research Application and Outcome/ Proposed Service

36

c. experiential learning
This is a collaborative practice; people make with crafts artists. They are informed
about the instructions of making new artifacts, and all the materials are provided by
craftspeople. The participants make under supervision of craft artist. They teach the
required techniques to the participants and help them to design and make their artifact.
It is not a traditional way of teaching, and they are free to make and design. They learn
to make in an experiential process of education. Depending on the type of selected craft,
participants collaborate in specific steps of designing and making. They do not need to
have any special skill. What they learn is very simple and easy to implement. The focus is
on the freedom of exploring materials and hands-on making.
From a sustainability point of view, Manzini (2008) explains that people as active part
of a society have the ability and eagerness to get involved in producing and designing a
production-consumption system that is related to them. (Manzini, 2008, p.33)
This collaborative making is bringing the user to stands in the role of a maker. As
according to Faud-luke (2009) this process is about the evolution of the customer to
become a person who creates.

Research Application and Outcome/ Proposed Service

37

e.

Tangible: Tacit knowledge

In this service, the participant will be informed about who manufactures and ships the
goods and materials and how, who distributes the products, the reasons behind the
methods and process of making, and how their participation in this process is beneficial
for themselves and their society. In other words, making in craft goes beyond process.
Touching materials and involvement in the process of making makes understanding all
the concepts tangible for them.
Fry emphasizes that (1994) “the qualification of craft practice is neither predicated upon
established hand working, machine-based skills nor new methods which employ advanced
technology but rather on the articulated relation between hand and mind in making
which secures a direct human presence, as the loci of power and knowledge, in the made”
(Bofylatos, 2017, p.8)

Craft Connected criteria
• Craft’s materials must not be harmful to the natural environment
• Craft’s materials must be natural and provided from local resources
• The collaborative practices must be easy and do not need any special skills
• Bring local craft makers in the system, they provide required materials, tools, and premade objects.

Craft Connected side benefits
• Craft community will become more familiar with the visions and ideas of their
audience.
• The practices support craftsmanship and bring awareness and recognition about them.
• These interactions also have positive impacts on the preservation of cultural and
traditional heritage.

Research Application and Outcome/ Proposed Service

38

4.2 An example of Craft Connected
Craft: Ghalamkari (Block Printing)
Cultural Ritual: Nowrooz and Yalda (celebrations of spring and winter)
Location: City of Isfahan, the original area of Ghalamkari
It is recommended to hold this practice in historical places such as cultural heritage
houses and Persian Gardens. ( read section 1.3/architecture)

Participants Journey of fabric printing

1. Introduction About the craft and process of making
2. Select the patterns and design the fabric
3. Select fabric size
4. Select colors
5. Print on fabric
6. Color Fixation: After printing on the fabrics, they must boil it in a mixture of hot water
and pomegranate skin to fixate the color.
7. Dry: Then they place the fabric outdoor under the sun to dry.
8. Making Natural Color: During the drying period, they make natural colors with

Research Application and Outcome / An Example of the Proposed Service

39

a. CRAFT:
GHALAMKARI

Fig. 49: Ghalamkari, 2012, Nasim Khosravifarsani

The art of printing and drawing patterns on cotton fabrics is called Ghalamkari. It
is a Persian name, combined of the words Ghalam (pen / brush) and Kari (making),
which literally means “making with brush.” The art of print making is local to the city
of Isfahan in Iran. The whole process of making in this art is dependent on the natural
resources that are supplied locally, from making the print blocks (die) to coloring fabric.
They use wooden dies, natural colors and natural fabrics for printing. In the interview I
conducted with one of the artisans, he mentioned that based on the defined standards of
the Iran Cultural Heritage, Handicrafts and Tourism Organization, craft producers are
not allowed to use any synthetic fabrics, chemical colors, processed wood and must not
carve the dyes’ patterns with CNC machines. They should also only provide the materials
from local resources. It is worth mentioning that one of the well-known Ghalamkar
producers has won the Award of Excellence for handicrafts in West-Central Asia
programme of UNESCO in 2010. In this award it is mentioned that: “The international
2010 Jury acknowledges that this handicraft product conforms to the rigorous standards
set by the Award of Excellence Programme. The criterion looks at excellence in
production, cultural authenticity innovation features or techniques, the potential for the
world market, eco-friendly materials and processes in terms of fairness and equity in the
production process.”

Research Application and Outcome / An Example of the Proposed Service

40

Ghalamkari Tools
Die: Where natural forms and motifs are tied
together
Pear wood is used for making the dies and carving
patterns on them. This wood, with its fine pores,
has a delicate texture that makes it a very good
choice for carving and fine work in wood. It is a
local material in the Isfahan province. They also
immerse the wooden piece in animal fat to make
a smooth surface for easier carving and fine prints.
Some of the dies that you see in this image are very
old from centuries ago and still are functional.
50

Fabric
The fabrics are 100% cotton and woven in the local
factories in the city of Isfahan.
Natural Colors
In Ghamkari, four colors are used and all of them are
made naturally. Black, Blue, Yellow and Red.
Brush
Brushes are made of goat’s wool and hair. They
utilize the wool for making brush handles, as it is
water proof and does not get wet while working with

51

color.

Fig. 50, 51: Ghalamkari Tools, 2017, Nasim Khosravifarsani

Research Application and Outcome / An Example of the Proposed Service

41

Die Making Process

52

53
46

54

56

55

57

Fig. 52 and 55: Process of making a die, 2017, Nasim Khosravifarsani
Fig. 53: Ghalamkari, 2017, MehrNews Agency (Photo removed due to copyright issues)
Fig. 54, 56, 57: tools, 2012, Fariborz Alagheband (Photo removed due to copyright issues)
Research Application and Outcome / An Example of the Proposed Service

42

Printing Process
58

59

60

61

Fig. 58: Craft Artisan, Zabolian.com (Photo
removed due to copyright issues)
Fig. 59-61: Printing Process, 2017, Nasim
Khosravifarsani

Research Application and Outcome / An Example of the Proposed Service

43

b. Cultural Ritual: Nowrooz and Yalda
Ghalamkari printing practices can be used in making artifacts for
both Nowrooz and Yalda .

Nowrooz: Persian New Year
Nowruz, Persian new year happens on the first day of
Spring and is the most important Persian cultural event
in Iran. The philosophy and notion of Nowrooz are
about the rebirth of nature and renewal in all aspects
of life. Rituals and practices for celebrating this cultural
event are the ways to reconnect humans with their
nature, environment, and community.
The concept behind rituals of Nowrooz is basically to
strengthen the relationship between human-kind and
nature. Nowrooz is a way to reinforce that connection to
nature with participants and restatement new ways56of
understanding about environment and sustainability.

Fig. 62: Nowrooz display: set up by Ghalamkari fabric, Nasim
Khosravifarsani

Yalda
Yalda means birth. Based on our solar
calendar it is the longest night of the year
that marks the beginning of the Winter. At
this night family members gather around,
set up a display of nuts, pomegranate,
watermelon, sit around it and read poems
and tell stories.

Fig. 63: Yalda display, 2017, Nasim Khosravifarsani

Research Application and Outcome / An Example of the Pproposed Service

44

c. Location
There is a remarkable and productive opportunity in the city of Isfahan, the most
historical and cultural city of Iran. This environment is ready to develop a variety of
cultural engagements by employing the local and eco-friendly crafts and traditions.
Naqsh-e-Jahan Square ( image of the world) in Esfahan is the center of craft
making, which is designated by UNESCO as a universal heritage site.
Under each arch there is a store, where artists are making, drawing and painting in
a diverse range of fields such as metal works, fabric printing, Persian Enamel and
many others.
It is ideal to hold the service in this historical place or the similar ones, as it is the
hub for the craft community. The place itself makes minds ready for becoming a
part of this collaborative act of making.

Fig. 64:Naqshe Jahan Square in Isfahan,
welcomtoiran.com (Photo removed due to
copyright issues)

Pattern
Each of the patterns and motifs in Persian cultur has symbolic meanings and stories. There
is a huge potential in storytelling by utilizing them. Participants can select various patterns
and combine them to design a fabric that has a story. Besides the original patterns of this
traditional craft other motifs also can be carved on dies since there is an infinite resource of
motifs in Persian arts and crafts.
1. Original Classic Motifs of Ghalamkari
2. Motifs from other arts: for example, from rugs, potteries, textiles

Research Application and Outcome / An Example of the Pproposed Service

45

5. Scope and
Limitation

46

The scope of this study is limited to Persian heritage and culture. Persian craft is an
integral part of its culture and is intertwined with all cultural-traditional practices. This
resourceful and rich context with diversity in crafts, rituals, and traditions provides many
possibilities for designing the components of services and social communications.
One example of the service that is presented here, focuses on one area in Iran, the city of
Isfahan. This framework can then be applied to other areas in Iran and also any culture
around the world that have the required characteristics of the service.
In addition, not all the crafts are the focus of this research. Its focus is only on crafts that
cover the criteria of an environmentally sustainable production. They must have the
following items:
• They must utilize eco-friendly and local materials.
• Techniques and processes of making have to be compatible with nature and
must not
cause any harmful impacts on the environment.
• The rituals should have the notions of embracing nature.
It is also worth to mention that the activities of this service are not directly replacing the
traditional ways of celebrating the ritual practices. In addition, the newly made objects,
and the process of making them are not going to substitute for existing artifacts and
current craft practices.

Scope and Limitation

47

6. Conclusion

48

This research has resulted in the formulation of a model for a service that engages citizens in
making Persian crafts. Through making, people come to understand more deeply the connection
that every activity has to the natural world. This service can be integrated into a variety of cultures
throughout the world. The entire service has the flexibility to be adapted to any cultural rituals that
are related to nature and have similar characteristics to those involved in this project.
I have demonstrated that Iran offers a viable model for how local rituals can give people a
stake in engaging with meaningful craft. The physical engagement with craft and interpersonal
engagement through the learning involved with the process develops a deep connection with
the process itself and therefore the subject matter embedded in that process. In this case,
environmental sustainability. This re-positioning of cultural heritage and practice establishes itself
as a form of social innovation, adapting historical contexts to recent natural phenomena and
global issues.
Each part of the service is designed to instil awareness in people about the value of craft traditions.
This is a very tangible mode of communication. Craft practices raise awareness of how we engage
with our environment, the material, production and consumption. Incorporating craft practices
for designing and proposing user engagements in the socio-cultural context of Iran supplies the
research outcome with a rich resource of assets.
The craft-based activities of the service help users to observe the concepts of nature and
sustainability through this lens. They navigate through the practices of selecting materials, tools,
designs and finally make an artifact with the guidance of skillful artisans. Generally, they will gain
an understanding of the worldview behind each step and the benefits of the materials, process
of making and the knowledge that each element of the system pertains to. These aspects of
the service are deliberate and intentional, while other aspects such as engaging more with local
practices are side benefits.
The primary intent is a change in perception over time through these practices. This system
encourages passive users, who only purchase and consume, to change and become active users who
make. I hope this proposed service shifts peoples’ mindset by doing and making, deliberately and
publicly creating a connection to the environment and honoring the importance of Sustainability.

Conclusion

49

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St. Pierre, Louise. 2014. “Nature’s Systems.” In the Routledge Handbook of
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Glossary
Ecology
Relating to or concerned with the relation of living organisms to one another and to their
physical surroundings. (Oxford dictionaries)
Eco-awareness
Designs that raise the users’ awareness of ecological and/or sociological issues. (FuadLuke, 2009, p.324)
Active Citizen Participation
Designs that encourage citizens to become proactive in dealing with challenging
contemporary social, environmental, economic and/or political issues. (Fuad-Luke, 2009,
324)
Nowrooz
The Persian New Year is celebrated as the beginning of the new year by more than 300
million people all around the world and has been celebrated for over 3000 years. Nowrooz
marks the first day of spring in northern hemisphere and is celebrated on the day of the
astronomical vernal equinox, which usually occurs on 20/21 of March. There are many
things that people do to celebrate this cultural event, such as visiting family and friends,
planting, spring home cleaning, gift giving and many other social communications.
Yalda
Yalda means birth. It is celebrated on the eve of the first day of the winter (December
21-22) in the Iranian solar calendar, which falls on the Winter Solstice. Based on this
calendar, last day of fall has the longest night of the year and marks the beginning
of the Winter. At this night family members gather around, set up a display of nuts,
pomegranate, watermelon, sit around it and read poems and tell stories.

53

MASTER OF DESIGN

Emily Carr University of Art + Design
© Nasim Khosravi Farsani, 2018