Rosa Tolnov Clausen - Böcker

The study consists of three parts. The first part establishes the research methodology and defines the concrete methods used for inquiry, documentation and analysis. Building on the existing methods of Donna Haraway’s “visiting” (2016), Vikki Bell’s “photo-elicitation” (2012), and Mona Livholts’s “memory work” (2020), the approaches of “having visits,” photo-elicitation, and written memory work are developed. The second part of the thesis discusses four aspects of the study’s context. The first establishes the meaning of “free time” for the context of this thesis, and examines different conceptions of free time craft. The popular conception of free time craft activities as being of socially marginal significance is discussed, and problematized in view to recent scholarship that demonstrates both individual and societal benefits arise from free time craft practices. Secondly, the current situation of hand-weaving in Nordic urban centers is addressed. Findings here indicate that textile craft has been enjoying an increase in popularity, and that craft-related offerings are increasingly varied, appearing in unconventional shapes and adapting to contemporary urban lifestyles. A third contextual aspect is given by the historical development of small, mobile looms which paralleled the processes of industrialization and urbanization in Northern Europe. Their evolution shows that the field of free time hand-weaving has been developing continuously in response to evolving social arrangements since the late 19th century. Lastly, prevalent contemporary organizational models for weaving spaces in Sweden, Denmark and Finland are presented. These models reveal the variety of contemporary offerings and offer examples of relevant support structures for hand-weaving currently available in the three countries. The third part of this study analyzes the practical aspects of the Weaving Kiosk project (February 2017 – present). The eleven iterations of this itinerant hand-weaving workshop are discussed from three perspectives: Space, Craft, and People. The section Space considers the practical development of the Weaving Kiosk in regard to spatial design, choices of location, contextual settings, and accessibility. The practice-led inquiry of the Kiosk is evaluated with consideration of the project’s ambition to create a mobile, urban and technically accessible weaving space. The section Craft describes the main findings from the development and realization of the eleven Weaving Kiosks that relate to the material and technical dimensions of the weaving and sewing processes involved. It shows how material choices have been significant factors for making the experience of the hand-weaving process an accessible and satisfactory introduction. Lastly, the section People reviews observations regarding the Weaving Kiosks’ participant demography and evaluates how these weaving spaces were interpreted differently by young urban adults.