서핑보드는 한때 나무를 이용해 손으로 직접 만들었고 문화적으로나 레크리에이션적으로도 중요한 물건이었다. 오늘날 대부분의 서핑 보드는 유리 섬유와 석유 화학 물질로 대량 생산되며, 운동 선수와 브랜드를 위한, 문화보다는 상업성이 강조되고 있다. 서프 크래프트(Surf Craft)는 이와같은 진화를 맵핑하여 150개의 컬러 이미지와 서프보드 디자인과 공예품을 통찰력 있게 조사했다.
∙ Pages - 192 pages
∙ Dimension - 262 x 287 x 23 mm
∙ Weight - 1.4 kg
∙ ISBN - 9780262027601
∙ Publisher - The MIT Press
Surfboards were once made of wood and shaped by hand, objects of both cultural and recreational significance. Today most surfboards are mass-produced with fiberglass and a stew of petrochemicals, moving (or floating) billboards for athletes and their brands, emphasizing the commercial rather than the cultural. Surf Craft maps this evolution, examining surfboard design and craft with 150 color images and an insightful text. From the ancient Hawaiian alaia, the traditional board of the common people, to the unadorned boards designed with mathematical precision (but built by hand) by Bob Simmons, to the store-bought longboards popularized by the 1959 surf-exploitation movie Gidget, board design reflects both aesthetics and history. The decline of traditional alaia board riding is not only an example of a lost art but also a metaphor for the disintegration of traditional culture after the Republic of Hawaii was overthrown and annexed in the 1890s. In his text, Richard Kenvin looks at the craft and design of surfboards from a historical and cultural perspective. He views board design as an exemplary model of mingei, or art of the people, and the craft philosophy of Soetsu Yanagi. Yanagi believed that a design's true beauty and purpose are revealed when it is put to its intended use. In its purest form, the craft of board building, along with the act of surfing itself, exemplifies mingei. Surf Craft pays particular attention to Bob Simmons's boards, which are striking examples of this kind of functional design, mirroring the work of postwar modern California designers. Surf Craft is published in conjunction with an exhibition at San Diego's Mingei International Museum. Richard Kenvin is Director of the Hydrodynamica Project. He writes for The Surfer's Journal and is the guest curator of the Surf Craft exhibition.
Surfboards were once made of wood and shaped by hand, objects of both cultural and recreational significance. Today most surfboards are mass-produced with fiberglass and a stew of petrochemicals, moving (or floating) billboards for athletes and their brands, emphasizing the commercial rather than the cultural. Surf Craft maps this evolution, examining surfboard design and craft with 150 color images and an insightful text. From the ancient Hawaiian alaia, the traditional board of the common people, to the unadorned boards designed with mathematical precision (but built by hand) by Bob Simmons, to the store-bought longboards popularized by the 1959 surf-exploitation movie Gidget, board design reflects both aesthetics and history. The decline of traditional alaia board riding is not only an example of a lost art but also a metaphor for the disintegration of traditional culture after the Republic of Hawaii was overthrown and annexed in the 1890s. In his text, Richard Kenvin looks at the craft and design of surfboards from a historical and cultural perspective. He views board design as an exemplary model of mingei, or art of the people, and the craft philosophy of Soetsu Yanagi. Yanagi believed that a design's true beauty and purpose are revealed when it is put to its intended use. In its purest form, the craft of board building, along with the act of surfing itself, exemplifies mingei. Surf Craft pays particular attention to Bob Simmons's boards, which are striking examples of this kind of functional design, mirroring the work of postwar modern California designers. Surf Craft is published in conjunction with an exhibition at San Diego's Mingei International Museum. Richard Kenvin is Director of the Hydrodynamica Project. He writes for The Surfer's Journal and is the guest curator of the Surf Craft exhibition.