The evolution of the surfboard, from conventional Hawaiian people designs to masterpieces of mathematical engineering to mass-produced fiberglass.
Surfboards had been as soon as manufactured from wooden and formed by hand, objects of each cultural and leisure significance. At the moment most surfboards are mass-produced with fiberglass and a stew of petrochemicals, transferring (or floating) billboards for athletes and their manufacturers, emphasizing the industrial reasonably than the cultural. Surf Craft maps this evolution, inspecting surfboard design and craft with 150 colour pictures and an insightful textual content. From the traditional Hawaiian alaia, the normal board of the widespread folks, to the unadorned boards designed with mathematical precision (however constructed by hand) by Bob Simmons, to the store-bought longboards popularized by the 1959 surf-exploitation film Gidget, board design displays each aesthetics and historical past. The decline of conventional alaia board driving is just not solely an instance of a misplaced artwork but additionally a metaphor for the disintegration of conventional tradition after the Republic of Hawaii was overthrown and annexed within the 1890s.
In his textual content, Richard Kenvin seems on the craft and design of surfboards from a historic and cultural perspective. He views board design as an exemplary mannequin of mingei, or artwork of the folks, and the craft philosophy of Soetsu Yanagi. Yanagi believed {that a} design’s true magnificence and objective are revealed when it’s put to its supposed use. In its purest type, the craft of board constructing, together with the act of browsing itself, exemplifies mingei. Surf Craft pays specific consideration to Bob Simmons’s boards, that are hanging examples of this type of purposeful design, mirroring the work of postwar fashionable California designers.
Surf Craft is printed along side an exhibition at San Diego’s Mingei Worldwide Museum.
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