Surf craft : design and the culture of board riding
著者
書誌事項
Surf craft : design and the culture of board riding
Mingei International Museum , MIT Press, c2014
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Exhibition catalogue
"This book is published in conjunction with the exhibition Surf craft : design and the culture of board riding, presented at Mingei International Museum from June 21, 2014, to January 11, 2015"--T.p. verso
Includes bibliographical references
内容説明・目次
内容説明
The evolution of the surfboard, from traditional Hawaiian folk designs to masterpieces of mathematical engineering to mass-produced fiberglass.
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.
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