Search results

Highly sophisticated digital technologies have distanced architects and designers from intimate and immediate hand-drawing practices. Meanwhile the changes they rapidly bring come with undetected changes in cultural and social norms regarding the built environment. The growing dependence on computers calls for a more holistic, socially inclusive and place-responsive design practice. This paper aims to shed light on what we are losing in the design process as we rapidly transition to communicate architecture using digital media. The authors contemplate the paradigms in which the human body and physical objects still play an important role in today's design environment.

The paper looks at current trends in developing and establishing “computer imaging” within architectural education, and the architectural profession through parametric design and the area of sustainability. In order to reveal novel and hybrid ways of architectural image-making, it also looks into art forms that already experiment with bodily practices in design by taking an artisanal animation project as a case study.

The renewed longing for craft, haptic environments, tactile experiences and hand-crafted artifacts and artworks that engage the senses can be exemplified with the success of the documentary Last Dance on the Main, an animated film on the endangered layers of human presence in one of Montreal's downtown neighborhoods. The open possibilities for creative hybridizations between the handmade and the digital in architecture practice and education are exposed.

The influence of film on the perception and consequent design of cities is well documented. There is little literature, however, on how the materiality and process of artisanal film animation can provide alternative, if not additional, insights on how to communicate various aspects of the built environment, particularly those rooted in the human body. Furthermore, handmade film explores a broader understanding of sustainability, which includes considerations for social and cultural contexts.

This paper aims to identify and describe the determinants of consumer attitudes towards artisanal cheeses within the speciality cheese market and the reasons behind the growing interest in this premium value sector as evinced by two surveys of specialist food retailers and artisanal cheese consumers. The survey results obtained are presented in the context of a changing consumption culture and the concept of an emerging “postmodern” consumerism. Artisanal cheese consumers focus on the unique characteristics of the products and their distinctive character in relation to mass produced industrial cheeses. Price and functional properties of artisanal cheeses are less important in the consumer purchase decision. Artisanal cheese consumers are characterised by “variety seeking” behaviour. This is stimulated by the broad range of available flavours, tastes and cheese types and suggests a low degree of brand or even cheese‐type loyalty among such consumers. The “plural” nature of the “speciality” cheese market accommodates well the highly individual and fragmented requirements of consumers of artisanal cheeses.

This study aimed to assess if an Italian artisanal pasta filata cheese, named Provolone del Monaco, is perceived by consumers as typical or not and if any variability exists among cheeses made by different dairies.

Two experiments were performed. In the first experiment, two artisanal Provolone del Monaco having different ripening times and two industrial Provolone cheeses were evaluated. A total of 95 subjects, divided into three homogeneous groups, first rated the samples in blind condition, then, after having received information about typicality; price, and both sets of information. In the second experiment, the quantitative descriptive profiles of eight Provolone del Monaco samples aged six months and made by different dairies were compared with the quantitative descriptive profiles of the same cheese aged ten months and provolone cheeses made by industrial dairies.

Consumer results revealed that consumers knowing typicality information gave a better score to cheeses markedly different. The price together with typicality information, represented a quality indicator. Cluster analysis of descriptive scores revealed homogeneity between the equally aged Provolone del Monaco samples. Moreover descriptive data showed that cheese was characterized by several specific attributes, that the consumer, probably, recognized as typical.

It must be noticed that once it was performed in Campania, the results extrapolation to other regions or countries should not be made unless similar results are found.

This study will contribute to better addressing consumer needs and enhancing the competitiveness of traditional foods.

The purpose of this study is to identify the key criteria from the perspective of handmade, authenticity and sustainability for purchasing craft items by Indian consumers.

An exploratory qualitative research was conducted on the buying behaviour of Assamese muga mekhela chador (MMC). Data were collected using purposive sampling and video-recorded focus group discussions (FGDs). Output transcripts were content-analysed using the R package RQDI.

Indian consumers largely define crafts as handmade. Results indicate the crucial role of craft design and price. Craft authenticity, craft knowledge and social identity evolved as the key criteria for buying crafts. State intervention in craft certification is demanded. Indian craft consumers lack awareness about sustainable consumption.

India is home to millions of craftspeople and craft buyers. Most of the earlier craft studies focused on the problems of craft production in India. This study contributes to the consumption literature, from the standpoints of authenticity and sustainability, which are often limited to Western consumers. Understanding its own domestic craft market will help Indian policymakers and organisations to reduce export dependency and to tap potential local craft demand.

As one of the United Nations Educational, Scientific and Cultural Organization initiatives, the creative cities network (CCN) declares the cities that are creative in the contexts of music, gastronomy, design, etc., with the aim of promoting cooperation amongst the member cities and maintaining sustainable urban development. This study aims to identify the destination food image of Gaziantep in Turkey, which is a member gastronomy city of the CCN since 2015. Identified destination food image elements were connected to the common targets of the CCN to show how the city may contribute to the network objectives.

A two-stage research process was used in the study. First, qualitative approach was adopted for the clarification of projected and perceived destination food image elements. Projected image elements were derived from a content analysis performed on a totally 113 official, semi-official and unofficial online documents in Turkish and English. Perceived destination food image elements were identified by face-to-face interviews, conducted on 10 participants. As a result, 18 projected and 20 perceived destination food image elements were obtained. These were then grouped under 4 main and 22 sub-categories. At the second stage, destination food image elements were matched with common targets of the CCN.

Destination food image elements, obtained by two qualitative studies, are grouped under 4 main and 22 sub-categories as follows: gastronomic identity (with sub-categories of destination’s identity and local culinary culture); diversity of the destination (with sub-categories of attractiveness of the local food, ease of promotion and high brand value); gastronomic attractions (with sub-categories of restaurants and cafes, culinary museums, farmer markets, orchards, gastronomy tours, gastronomy events (e.g. festivals, competitions), culinary education, books on gastronomy, certification systems, organizations, street foods and vendors and handmade or homemade foods); and qualified workforce and stakeholders (with sub-categories of expert chefs and cooks, specialist suppliers, service personnel, locals and local authorities). These are then connected to the common CCN targets (e.g. cuisine, tourism and festivals; extension of the creative value chain; fostering cultural creativity; and sustainability).

This is one of the early research attempts in examining a member gastronomy city’s food image elements and the role that they played in the success of the CCN’s common targets. Moreover, the study contributes to the literature on the identification of (projected and perceived) destination food image by using content analysis.

This paper aims to identify and analyze the barriers to the implementation of the United Nations Industrial Development Organization’s programxk for export consortia in the Iranian handmade carpet industry.

To accomplish its objectives, the study relied on a mixed (qualitative and quantitative) research method. Primarily, unstructured interviews were conducted to identify the effective barriers. Then, the validity of the barriers identified was evaluated through content validity ratio analysis. Finally, the interrelationships between the barriers were determined using the rough decision-making trial and evaluation laboratory technique (DEMATEL).

Results revealed that “a lack of leadership,” “a traditional business environment” and “a lack of awareness of consortium benefits” were the most significant causal barriers. Meanwhile, the most important effect barriers were “a lack of long-term vision,” “a lack of business ethics” and “a lack of motivation.”

The findings and results could help the stakeholders of the handmade carpet industry in Iran to improve existing export consortium programs, increasing the country’s share in the global markets in this industry.

This investigation seeks to fill an existing gap in the literature on export consortium formation in the handmade carpet industry by providing a network of barriers for the first time.

This study examines handmade clothing consumption as a means of self-expression by exploring the interrelationships between consumers' self-expression, brand love and word of mouth.

Using a descriptive research design, data were collected from 295 respondents in South Africa who posted about fashion on social media and who had bought handmade clothing in the 6 months prior to data collection. Structural equation modelling was used to examine the interrelationships between consumers' self-expression, brand love and word of mouth.

Brand love intervenes between consumers' self-brand connections and word of mouth about handmade clothing. More specifically, brand love strengthens positive word of mouth online and mitigates negative word-of-mouth intentions following a handmade clothing product failure scenario.

The study enlightens scholarly understanding of consumers' self-expression motivations for using ready-made handmade clothing that results in brand love and positive word of mouth.

Handmade clothing marketers who tap into consumers' self-expression and who can establish brand love among consumers can similarly create beneficial consumer–brand relationships.

Consumers often use handmade clothing for the purpose of self-expression, which provides subsequent spin-offs for brands in the form of brand love and positive word of mouth. Objective self-awareness theory provides a parsimonious lens to reveal the important role that brand love plays as a mechanism to explain the linkage of consumers' self-brand connections to word of mouth about handmade clothing.

The handmade bicycle industry has grown exponentially over the past decade. Although existing for decades in much smaller numbers, the popularity and credibility of framebuilder entrepreneurship–custom, handmade bike frames–has increased significantly in the past 10 years. The companies that specialize in custom-producing bicycle frames vary in size, scope, reputation, profitability, and even building materials.

The purpose of this study is uncovering the connotative and symbolic meaning of “luxury-lite brands” [轻奢].

Applying mixed methods, this study conducted two studies: (1) a semiotic analysis of a focus group discussion and 10 interviews on luxury-lite brands and (2) a content analysis of 248 Weiblog posts from 10 luxury-lite brands in a two-month period.

Study 1 showed that luxury-lite brands are interpreted as foreign brands that serve people's needs for social presence, and symbolize youthfulness, tastefulness, and aspirations. Other descriptors of luxury-lite brands included unique design, and less than the best quality offered by luxury brand. Study 2 suggested brands are missing out on a wide range of stories that resonate with their core segments in their social media advertising.

Based on the definition of luxury-lite brands in the context of China proposed by the researchers, we recommend that managers broaden topics of stories, make more effort to create desirable symbolic brand meaning, and use social media to excite these young crowds.

Luxury-lite brands have been a cultural sign in the Chinese market projected to grow into an over 90 billion USD business by 2025. Therefore, an insightful understanding of the masstige market of China is a must for any Western masstige brand to be successful and competitive.

This study aims to establish a relationship between creative tourism and experiences in the traditional handicrafts of Barcelos (Portugal). Based on a qualitative approach, it also aims at analyzing the failures and absences from the tourist market by creating new proposals and responses to the demand. The conceptual framework of this study develops three proposals: first, to present new concepts and opportunities for the tourism market; second, to establish a direct relationship between the local traditional handicrafts, creative tourism and experiences; and finally, to promote traditions that add value to the local development.

This study uses an ethnographic case analysis research design to investigate the propositions (ten in-depth interviews with technicians and artisans in Barcelos, Portugal). The key constructs are drawn from empirical research among handicraftsmen in which data analysis was carried out based on a qualitative analysis.

The results suggest the experience, knowledge and importance of learning this dynamic in an entrepreneurship tourism perspective. Creative tourism and experiences are growing and strengthening the territories and consumer satisfaction in specific artisan, cultural and tourism entrepreneurship contexts.

This study fills a large gap in the territorial market, associating the knowledge of new concepts with the success of the tourism entrepreneurship. The findings provide solutions for helping handicraftsmen to improve their decision-making logic and increase the speed of market growth. There has been an increased emphasis on local and handmade goods that are linked to the culture and tourism of specific destinations.

Tourism managers and artisan entrepreneurs can use the outcome of this study to gain in-depth understanding of customer experiences (i.e. consumers of local handicrafts) and develop effective marketing strategies and further stage the operational environment that can maximize customers’ perceived experiential value.