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The Nature and Art of Workmanship, by David Pye
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This is one of the classic books on craftsmanship and design. In
it, David Pye explores the meaning of skill and its relationship to
design and manufacture. Cutting through a century of fuzzy
thinking, he proposes a new theory of making based on the concept of
good workmanship and shows how it imparts all-important diversity to
our visual environment.
- Sales Rank: #347698 in Books
- Published on: 2007-07-03
- Released on: 2007-07-03
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x .31" w x 8.25" l, 1.16 pounds
- Binding: Paperback
- 144 pages
About the Author
David Pye, who died in 1993, was an architect, industrial designer andcraftsman. For many years he was also Professor of FurnitureDesign at the Royal College of Art, London. He is also the authorof Ships and The Nature and Aesthetics of Design.
Most helpful customer reviews
46 of 49 people found the following review helpful.
Workmanship as a personal statement
By wiredweird
Pye knows that understanding comes in two steps. The second presents the new knowledge, but the first step clears out old fallacies to make way for the new facts. To do that, he starts this book by thoroughly confusing the question of what is hand work, and what is done by machine. Once that is shown irrelevant, he starts on the points that truly matter.
First, the terms "craft" and "craftsmanship" have been co-opted and corrupted by so many authors that, with regret, he abandons them. Instead, he defines new terms. The first opposed pairs are the workmanship of risk and the workmanship of certainty. Certainty is knowledge that a piece of work will surely complete in the way intended, as is typical in mass manufacture. Risk is the chance that any workpiece could be damaged or destroyed at any step in its handling - a chisel could clip, a hammer could damage the surface, a saw cut might be placed wrong. It doesn't matter whether the tool is a simple hammer or a complex milling machine: either a reliable process or a fallible workman defines the result.
Pye's second distinction is "regulated" versus "free" or "rough" fabrication. Regulated work meets fine tolerances, has precise geometries and surfaces. Free work allows the workman to vary the workpiece somewhat. Free workmanship allows expressive notes, perhaps tool textures or subtle changes of shape. Rough workmanship goes farther. A wood fence, for example, may be straight and strong enough, with coarse shapes, knots in the wood, and even some checking.
None of that distinguishes good workmanship from bad. Good workmanship carries out the practical and esthetic intent of a design, or improves on them. Bad workmanship detracts from the design's usefulness or beauty. In something like a rural stone wall, excessively regulated work might even be considered bad, if it's the one exact geometry in a generally relaxed environment. A rough-hewn bench may be just as good, in its way, as an inlaid Victorian table.
Pye ends this wise book by reviewing what Ruskin and Morris had to say about craft. I won't repeat his arguments, but he points out the reams of nonsense they interleaved between pages of meaningful thought. As with everything he analyzes, he carefully highlights the worthwhile, and elegantly tears up the romantic silliness.
Pye is truly dedicated to workmanship and to dedicated workmen (and, implicitly, women). I recommend this book to anyone who creates anything, whether professionally or for the personal reward in the act of making.
//wiredweird
16 of 16 people found the following review helpful.
Excellent book for anyone interested in craftmanship and the aesthetics of everyday objects
By Bruce S.
This book was recommended as a supplemental reading in a pottery course. The author of the book primarily worked with wood and there are many examples of furniture and turned wood objects in the book.
The real value of this book is in articulating the aesthetics of hand made objects and what makes them special and wonderful as compared to machine made objects. It's an excellent read for anyone who makes things with their hands.
18 of 21 people found the following review helpful.
Lucid, practical, a classic
By George Oliver
I love this book. Pye, in concise and often beautiful language, defines the idea of workmanship as he sees it -- its history, its implications, how it might develop. He gives interesting commentary on the Arts & Crafts movement vis-a-vis Ruskin and Morris as well.
Pye really is a master of the old school, and I would encourage anyone to buy this book for both its own ideas and for a look at a wonderful mind. A great companion to Krenov.
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