Traditional Handicraft and Urban Development_ARIADNI GUIDE_EQUAL

equal COMMUNITY INITIATIVE EQUAL Priority Axis 3: Adaptability Measure 3.2: Supporting the adaptability of firms and employees TRADITIONAL HANDICRAFT AND URBAN DEVELOPMENT: An Urban Network for the Preservation of Traditional Techniques and the Adaptation of Small Handicraft Businesses in the Modern Entrepreneurial Environment DEVELOPMENTAL PARTNERSHIP ARIADNI National Technical University of Athens (NTUA) SCHOOL OF ARCHITECTURE DEPARTMENT OF URBAN AND REGIONAL PLANNING EOMMEX Hellenic Organization of Small and Medium Sized Enterprises and Handicraft S.A. DIRECTORATE OF CRAFT AND AFFILIATED COMPANIES Guide Guide for the functional organizing and the architecture of internal handicraft Workshops ISBN: 978-960-88489-3-1 This document is co-funded 75% by the European Social Fund (ESF) and 25% by the Ministry of Labour and Social Security, in the framework of Community Initiative EQUAL RESEARCH TEAM of the National Technical University of Athens (NTUA) Sofia Avgerinou Kolonias, Professor NTUA, Scientific Responsible Eirini Klampatsea, Elená Konstantinidou, Sofia Nikolaidou, Panagiotis Stratakis, Ioanna Christodoulou CONTRIBUTORS TO THIS EDITION Scientific Responsible: Sofia Avgerinou Kolonias Architectural research: Elena Konstantinidou, Lecturer NTUA Research on good practices: Sofia Nikolaidou, Phd candidate NTUA Drawing by Aggeliki Konstantinidi Photography by Stamatis Laganis Creative by George Tsitoumis Translation in English by Christina Xanthopoulou EDITING EOMMEX ÁÅ, DIRECTORATE OF CRAFT AND AFFILIATED COMPANIES Co-ordination by: Ioanna Christodoulou Acknowledgments to Agapitos Poulkouras and to handicraft workshops: Myrsini Varitou Ourania Diamantidi Christodoulos Kosmas Eleni Maragkoudaki Maria Papazisi Gold/Silversmith - Nikos Gkekas - Apostolos Kalogerakos - Dimitris Michopoulos - Niki Alexaki Pottery/Ceramics - Kaiti Anastasaki - Maria Mortoglou Photographs from the handicrafts workshops: Nikos Gkekas Kaiti Anastasaki Maria Mortoglou Stratis Filippotis Marble carving - Stratis & Theologos Filippotis - Theologis Koutsoupas 2 Thanks are due to Maria-Eleni Vakadari, Panagiotis Tsapoga and Viki Boudi for their assistance with English terminology. GUIDE OF GOOD PRACTICES FOR THE CONFIGURATION AND THE ARCHITECTURAL LAY-OUT OF INTERNAL AREAS OF HANDICRAFT WORKSHOPS The inability of small and medium sized traditional handicraft enterprises to adapt to the competitive environment of contemporary markets, in particular, their organizational and operational inadequacies and, often, their family structure have led many among them to economic decline. The potential of three traditional craft sectors (Gold/Silversmiths, Pottery/Ceramics and Marble Carving) to adapt to the new economic and technological conditions and the contemporary business environment was explored in the framework of the Developmental Partnership EQUAL-ARIADNI (2005-2008). This adaptation is linked to the economic survival of traditional crafts as also to the preservation, projection and promotion of cultural heritage either in physical term, in regard to production facilities and locations, or in intangible terms, in regard to traditional know-hows. The problems of traditional crafts are immediately linked to the characteristics and problems of the urban areas where they have been historically located; as a result, any attempt to tackle their difficulties must be part of an integrated urban development combining many parameters: economic, social, cultural and spatialarchitectural-urbanistic. The Guide of Good Practices for the Operational Organization and Lay-out of Internal Areas of Craft Workshops proposed in the context of ARIADNI, Action 3, published in Greek and English, is addressed primarily to artisans in the traditional sectors of gold/silversmith, pottery/ceramics and marble carving. But it is equally addressed to policy-makers and to the associations of the social and economic partners. Its basic objective is to point out: the production potential provided by an efficient operational-architectural configuration of internal areas, the advantages arising from networking and their eventual operation as open workshops-museums for improving the commercialization of their output. The artisans who cooperated with the National Technical University of Athens offered a warm welcome to young researchers and collaborators and perceived the objectives of the project with perfect understanding. We thank them! We wish that the proposed Guide will be helpful to those who will adopt it and will lead to a real improvement of their professional activity. We also owe many thanks to our colleagues from Hellenic Organization of Small and Medium Sizes Enterprises and Handicraft and from Athens Municipality Development Agency. Besides, this is not the end of our research. Indeed, we feel confident that we will soon meet again in the framework of a common effort to safeguard our cultural heritage and revitalize our cities. Sofia Avgerinou-Kolonia Professor of National Technical University of Athens (NTUA) Athens, May 2008 3 The guide of good practices is based on the research carried out within the framework of EQUAL - ARIADNI, in particular, Action 9, “Study on the creation of model workshopsmuseums”. The guide proposes a model configuration that can be adopted in the architectural lay-out of internal areas of handicraft workshops in the sectors of: Gold/Silversmith Pottery/Ceramics Marble carving 4 REQUIREMENTS FOR AN OPTIMAL CONFIGURATION OF TRADITIONAL CRAFTS Other existing powerful poles of attraction in the urban fabric thematically connected with the sectors of gold/silversmith, pottery/ceramics and marble carving (e.g. thematic museums, folk art museums, archaeological sites, areas with traditional products, areas of wider tourist interest, museums, art galleries, historical quarters). LAY-OUT OF INTERNAL AREAS IN TERMS OF ARCHITECTURE Operation and configuration of these areas in accordance with the adopted architectural arrangements. USE OF TRADITIONAL METHODS & KNOW-HOW Specialized human resources with knowledge and know-how concerning the traditional production methods of gold/silversmith, pottery/ceramics or marble carving. OPTIMUM SIZE AND BUSINESS OPERATION Creation and operation of a market for traditional craft products throughout the year or for the better part of the year. INNOVATION & LEGAL FORM OF ENTERPRISES Pursue and acquire the required potential to integrate innovation in the production system and fabricate products of certified quality. LAY-OUT OF INTERNAL AREAS In addition to literature review and collection of experiences from good practices, this study was based first and foremost on primary data and conclusions from field research. A large number of prolonged visits to selected silver/goldsmith, pottery/ceramics and marble carving workshops in Athens led to the identification, recording and comprehension of their structure and spatial lay-out which, in turn, allowed an exploration of the criteria required for their eventual operation as open workshops-museums. It was mainly through this process that the conclusions on the model operational organization and the basic design principles for workshops were drawn. We would like to emphasize the point that the structure of the production process is what ultimately defines spatial needs. 5 GOLD/SILVERSMITH WORKSHOPS Areas C and E which involve machinery and “high” nuisance tasks can be arranged in a single area with immediate natural aeration. The premises must necessarily be fitted with a ventilation system to evacuate waste gases and a drainage system for waste liquid acids. A ventilation system is equally indispensable in the waxer area to evacuate the ensuing fumes. In general, the floor must be laid with a special plastic mesh to collect residual metal debris. The basic operational areas required for a Gold/Silversmith workshop (for all cases and methods of production) are the following: A. Showroom B. Creation area C. Metal fusing area D. Area for the fabrication of accessories E. Polishing, washing, metalcoating area F. Storerooms G. Utility areas 6 The creative process starts at the metal fusing area. Metal is liquefied in high temperatures in the furnace and mixed with the desired amount of silver, gold or copper in order to determine purity (carats). The metal is cast into the desired shape (plate or wire) in the foundry and worked into the appropriate thickness at the cylinder (rolling mill). In handmade processes, jewels are made by technicians in the “creation area”. This includes workbenches and a drawing table for re-working a particular form or special orders, etc. There is also waxcasting equipment to fabricate large numbers of copies (clones) from the handmade “master model”. The accessories fabrication area produces individual pieces to be used in handmade jewelry (but also in mass production). This area includes such devices as rolling mills, fret-saw frames, manual press, electrical press, a wiredrawing machine, furnace, etc. a vacuum It also usually includes a riveter’s bench to set gems in prepared jewels. In the final stage, jewelry returns to the workshop to be polished, metal-coated if required (e.g. platinum-coated, gold-coated etc) and cleaned in baths (chemical solutions to clean gold) or with ultrasounds or pressurized steam. When ready, jewels are moved to the area of the secretariat to be priced, have their guarantee fixed, archived and stored or exhibited in special showcases. 7 POTTERY/CERAMICS WORKSHOPS The basic areas required for the operation of a pottery workshop for either utility or “sculptural” items include the following categories: A. Showroom B. Creation area C. Mass production area D. Firing area E. Painting area F. Storerooms G. Utility areas 8 The Diagram illustrates the succession and articulation of areas in relation to the production process. The creative process starts at the creation area where the “master model” is designed and fabricated. Clay processing tools and machinery are used as, for instance, the spinneret, the extruder, the potter’s wheel, plaster or stone moulds. Next, the finished clay model and related drawings are forwarded to the “wheel-thrower” for the fabrication of large numbers of copies (mass production). Once the items are ready, they are placed inside the kilns for the first firing stage. The prepared clay items are stored and then painted with ceramic stains at the painting-wheel or spraydyed. The painted items are immersed in a bucket of liquid glass for a few seconds (enameling-glazing). There follows the second firing stage in the kiln (final firing). The finished products are stored until they are placed on the market or exhibited in the showroom. Special mobile shelves are used to move wares around during the processes described above until their final storage in storerooms. 9 MARBLE - STONE WORKSHOPS The production process is divided in 2 categories: A. Decorative marble carving B. Statuary A. DECORATIVE MARBLE CARVING The basic operational areas required for a modern “traditional”-type workshop of decorative marble carving are the following: A. Showroom B. Drawing area C. Winch area D. Marble cutting area E. Grinding area F. Assembly area G. Marble carving area H. Air compressor area J. Storerooms 10 The creative process starts with designing the item in the drawing room. Preliminary sketches are followed by final drawings to finalize the order of respective marble blocks. Upon delivery marble blocks are unloaded into the winch area and stored there. Marble blocks requiring “modelling” (into strips, capitals, etc.) are moved to the grinding area. Bigger and more geometrical blocks go directly from the winch area into the marble cutting area (transported in the cutter’s wagon which exits the cutting area and enters the winch area sliding on rails). Marble blocks are then transported on trolleys sliding on rails to the grinding area to be given their final form (cornices, capitals, bases, pillars, etc.). This area includes a lathe, a small winch and workbenches (to grind the marble with polishing pads, drum wheels, etc.). There is also an aspirator to evacuate marble dust. Then, in the assembly area, decorative patterns are transferred on marble blocks either with carbon paper (old method) or with more modern methods (such as printing the pattern on a specially cut-out adhesive strip and transferring it on marble with colour spray). When the colour spray dries, the adhesive strip is removed and the marble is moved to the carving area for finishing. In case of superficially bevelled and not perforated carving (an industrialized and more economic method) the pattern is printed on a special rubber surface which is glued on to the marble and the parts to be engraved are gouged off. Then, marble blocks are moved to the sandblasting area. The carving area is the biggest area of the workshop and the one with the best light; it is here that decorative marble carvings go through the finishing stage. 11 Â. STATUARY Marble workshops for statuary include: A. A clay workshop B. A plaster workshop C. A marble carving workshop 12 The creative process starts at the Clay Workshop where the sculptor “models” the work. The area contains eaves, benches and shelves. Once the sculpture is completed it is moved to the Plaster Workshop where a plaster cast is made with a mould. Moulds are placed outside in the open and washed. After they have dried they are coated with an insulating mix or with gum inside the workshop. A first plaster coat is placed on the insulation layer followed by a layer of Algerian fibre immersed in liquid plaster and then the final plaster coat. When the external mould is removed, the plaster cast is cleaned and transported to the marble carving workshop to be copied and transferred to marble with a block-and-tackle tool. When the transfer is completed follows the stage of final carving for maximum accuracy. Finished works are stored on the workshop’s eaves until the pedestals are made and the areas they will be exhibited in are arranged. 13 OPERATION OF TRADITIONAL CRAFTS AS OPEN WORKSHOPS-MUSEUMS The operation of traditional crafts as open workshops-museums offers enterprises the possibility to better project their work. The prerequisites and specifications for an appropriate organization and operation of such facilities include: Reception areas, Workshops, Showrooms, Documentation room, Library, Sales. 14 SELECTED EUROPEAN AND INTERNATIONAL GOOD PRACTICES OF TRADITIONAL CRAFTS NETWORKING The recording of good practices and successful traditional crafts networks on the European and the international level can operate as a starting point to convert workshops into open workshops organized in a traditional crafts network. Examples of such museums include: Ôhe Economusee Network in Canada which extents over twelve districts in Québec, Canada. The basic objective is to capitalize on traditional professions and know-how by offering an alternative product of cultural tourism through the use of traditional production techniques.production techniques. [http//:www.economusees.com] Art Workshops in France, «ATELIERS D’ART DE FRANCE» which promote the development of the sector and the preservation of their professional rights. [http://www.ateliersdart.com] The open handicraft Workshopsin Vilnius, Lithuania (ÇANDICRAFT STUDIOS OR «LIVE MUSEUMS» IN VILNIUS) were created with the aim to revive traditional techniques in the areas of pottery/ceramics, gold/silversmith and glassmaking and to preserve old and set up new craft enterprises. [http://www.vilnius-tourism.lt] Eco-museums and museums of society in France (FEDERATION DES ECOMUSEES ET DES MUSEES DE SOCIETE), a cooperation network concerned with craft issues associated with the management and preservation of heritage. [http://www.fems.asso.fr] Innovation poles for Art Professions (LES POLES D’INNOVATION DANS LES METIERS D’ART) with regard to glass, stone, metal and architectural heritage 15 16 providing technological and consulting support to artisan enterprises aiming at research, development of enterprises and the diffusion of knowhow. [http://www.idverre.net] Ôhe center for the Study of Traditional Pottery, in Athens-Greece is a museum and a research and training organization dedicated to the study, the preservation and the promotion of later Greek traditional utility pottery (early XIX-mid XX century). [http://www.potterymuseum.gr] The museums of the Bank of Piraeus in Greece The Museums of the Cultural Foundation of the Bank of Piraeus Group are a successful example of projection of cultural and historical heritage and industrial tradition. Next follows a list of operating museums. [http://www.piop.gr] The Industrial Museum of «Tsalapatas-Brick and Tile Manufacturers» of Volos The former «Tsalapatas-Brick and Tile Manufacturers» is a rare example of preservation of an industrial complex in this sector, hence its conversion into an industrial museum also fitted with leisure and trade facilities. The Marble Carving Museum of Tinos The main goal in creating a museum of pre-industrial technology in Tinos is to salvage the island’s longstanding tradition in marble carving and the reputation of Tinian marble workers and carvers since the XVIII century. 17 18 equal ÊÏÉÍÏÔÉÊÇ ÐÑÙÔÏÂÏÕËÉÁ EQUAL ¢îïíáò Ðñïôåñáéüôçôáò 3: Ðñïóáñìïóôéêüôçôá ÌÝôñï 3.2.: ÕðïóôÞñéîç ôçò ðñïóáñìïóôéêüôçôáò ôùí åñãáæïìÝíùí êáé ôùí åôáéñåéþí ÐÁÑÁÄÏÓÉÁÊÇ ×ÅÉÑÏÔÅ×ÍÉÁ ÊÁÉ ÁÓÔÉÊÇ ÁÍÁÐÔÕÎÇ: Áóôéêü Äßêôõï ãéá ôçí ÄéÜóùóç Ðáñáäïóéáêþí Ôå÷íéêþí êáé ôçí ÐñïóáñìïãÞ ôùí ×åéñïôå÷íéêþí ÌïíÜäùí óôï Óýã÷ñïíï Åðé÷åéñçìáôéêü ÐåñéâÜëëïí ÁÍÁÐÔÕÎÉÁÊÇ ÓÕÌÐÑÁÎÇ ÁÑÉÁÄÍÇ ÅÈÍÉÊÏ ÌÅÔÓÏÂÉÏ ÐÏËÕÔÅ×ÍÅÉÏ Ó×ÏËÇ ÁÑ×ÉÔÅÊÔÏÍÙÍ ÌÇ×ÁÍÉÊÙÍ ÔÏÌÅÁÓ ÐÏËÅÏÄÏÌÉÁÓ ÊÁÉ ×ÙÑÏÔÁÎÉÁÓ EOMMEX Ä/íóç ×åéñïôå÷íßáò Ôáðçôïõñãßáò & Èõãáôñéêþí Ïäçãüò Êáëþí Ðñáêôéêþí ãéá ôç ëåéôïõñãéêÞ ïñãÜíùóç êáé ôçí áñ÷éôåêôïíéêÞ åóùôåñéêþí ÷þñùí âéïôå÷íéêþí åñãáóôçñßùí ISBN: 978-960-88489-3-1 Ôï Ýñãï ÷ñçìáôïäïôåßôáé êáôÜ 75% áðü ôï Åõñùðáúêü Êïéíïôéêü Ôáìåßï êáé êáôÜ 25% áðü ôï Õðïõñãåßï Áðáó÷üëçóçò êáé ÊïéíùíéêÞò Ðñïóôáóßáò, óôá ðëáßóéá ôçò ÊïéíïôéêÞò Ðñùôïâïõëßáò EQUAL ÅÑÅÕÍÇÔÉÊÇ ÏÌÁÄÁ ÅÌÐ Óïößá Áõãåñéíïý-Êïëþíéá, ÊáèçãÞôñéá ÅÌÐ, EðéóôçìïíéêÞ õðåýèõíç ÅéñÞíç ÊëáìðáôóÝá, ¸ëåíá Êùíóôáíôéíßäïõ, Óïößá Íéêïëáúäïõ, Ðáíáãéþôçò ÓôñáôÜêçò, ÉùÜííá ×ñéóôïäïýëïõ ÓÕÍÔÅËÅÓÔÅÓ ÔÅÕ×ÏÕÓ ÅðéóôçìïíéêÞ Õðåýèõíç: Óïößá Áõãåñéíïý-Êïëþíéá Áñ÷éôåêôïíéêÞ Ýñåõíá ¸ëåíá Êùíóôáíôéíßäïõ, ËÝêôïñáò ÅÌÐ ¸ñåõíá êáëþí ðñáêôéêþí Óïößá Íéêïëáúäïõ, Õð. ÄéäÜêôïñáò ÅÌÐ Ó÷åäßáóç ÁããåëéêÞ Êùíóôáíôéíßäç Öùôïãñáößá ÓôáìÜôçò ËáãÜíçò Äçìéïõñãéêü Ãéþñãïò Ôóéôïýìçò ÌåôÜöñáóç óôçí áããëéêÞ ãëþóóá ×ñéóôßíá Îáíèïðïýëïõ ÅÐÉÌÅËÅÉÁ ÔÅÕ×ÏÕÓ EOMMEX ÁÅ, Ä/íóç ×åéñïôå÷íßáò Ôáðçôïõñãßáò & Èõãáôñéêþí Óõíôïíéóìüò: ÉùÜííá ×ñéóôïäïýëïõ Åõ÷áñéóôßåò ãéá ôç óõíåñãáóßá ôïõò, ðñïò ôïí Áãáðçôü Ðïýëêïõñá êáé ðñïò ôá âéïôå÷íéêÜ åñãáóôÞñéá: Ìõñóßíç Âáñßôïõ Ïõñáíßá Äéáìáíôßäç ×ñéóôüäïõëïò ÊïóìÜò ÅëÝíç ÌáñáãêïõäÜêç Ìáñßá ÐáðáæÞóç áñãõñï÷ñõóï÷ïÀáò - Íßêïò ÃêÝêáò - Áðüóôïëïò ÊáëïãåñÜêïò - ÄçìÞôñçò Ìé÷üðïõëïò - Íßêç ÁëåîÜêç êåñáìéêÞò - Êáßôç ÁíáóôáóÜêç - Ìáñßá Ìüñôïãëïõ Öùôïãñáößåò áðü ôá åñãáóôÞñéá: Íßêïõ ÃêÝêá Êáßôçò ÁíáóôáóÜêç Ìáñßáò Ìüñôïãëïõ ÓôñáôÞ Öéëéððüôç ìáñìáñïãëõðôéêÞò - ÓôñáôÞò & Èåïëüãïò Öéëéððüôçò - Èåïëüãçò Êïýôóïõðáò 2 Åõ÷áñéóôßåò ðñïò ôïõò Ìáñßá-ÅëÝíç ÂáêáäÜñç, Ðáíáãéþôç Ôóáðüãá êáé Âßêõ Ìðïýíôç ãéá ôç óõìâïëÞ ôïõò óôçí áããëéêÞ ïñïëïãßá. ÏÄÇÃÏÓ ÊÁËÙÍ ÐÑÁÊÔÉÊÙÍ ÃÉÁ ÔÇ ËÅÉÔÏÕÑÃÉÊÇ ÏÑÃÁÍÙÓÇ ÊÁÉ ÔÇÍ ÁÑ×ÉÔÅÊÔÏÍÉÊÇ ÅÓÙÔÅÑÉÊÙÍ ×ÙÑÙÍ ÂÉÏÔÅ×ÍÉÊÙÍ ÅÑÃÁÓÔÇÑÉÙÍ Ç áäõíáìßá ôùí ìéêñïìåóáßùí ðáñáäïóéáêþí âéïôå÷íéþí íá ðñïóáñìïóôïýí óôá äåäïìÝíá ôïõ áíôáãùíéóôéêïý ðåñéâÜëëïíôïò ôçò óýã÷ñïíçò áãïñÜò êáé åéäéêüôåñá ç ïñãáíùôéêÞ êáé ëåéôïõñãéêÞ áíåðÜñêåéá êáèþò êáé ï ïéêïãåíåéáêüò, óõ÷íÜ, ÷áñáêôÞñáò, Ý÷ïõí ïäçãÞóåé Ýíá ìåãÜëï ìÝñïò ôïõò óå ïéêïíïìéêü ìáñáóìü. Óôá ðëáßóéá ôçò ÁíáðôõîéáêÞò Óýìðñáîçò EQUAL-ÁÑÉÁÄÍÇ (2005-2008) åñåõíÞèçêáí ïé äõíáôüôçôåò ðñïóáñìïãÞò ôñéþí ðáñáäïóéáêþí âéïôå÷íéêþí êëÜäùí (Áñãõñï÷ñõóï÷ïÀá, ÊåñáìéêÞ, Ìáñìáñïôå÷íßá) óôá íÝá ïéêïíïìéêÜ êáé ôå÷íïëïãéêÜ äåäïìÝíá êáé óôï óýã÷ñïíï åðé÷åéñçìáôéêü ðåñéâÜëëïí. Ç ðñïóáñìïãÞ áõôÞ óõíäÝåôáé ìå ôçí ïéêïíïìéêÞ åðéâßùóç ôùí ðáñáäïóéáêþí âéïôå÷íéþí, áëëÜ êáé ôç äéÜóùóç, ôçí ðñïâïëÞ êáé ôçí áíÜäåéîç ôçò ðïëéôéóôéêÞò êëçñïíïìéÜò, õëéêÞò, üóïí áöïñÜ óôïõò ÷þñïõò êáé ôïðïèåóßåò ðáñáãùãÞò êáé Üõëçò, üóïí áöïñÜ óôéò ðáñáäïóéáêÝò ôå÷íïãíùóßåò. Ôá ðñïâëÞìáôá ôùí ðáñáäïóéáêþí âéïôå÷íéþí óõíäÝïíôáé Üìåóá ìå ôá ÷áñáêôçñéóôéêÜ êáé ôá ðñïâëÞìáôá ôùí áóôéêþí ðåñéï÷þí, üðïõ áõôÝò åßíáé óõíÞèùò éóôïñéêÜ åãêáôåóôçìÝíåò êáé åðïìÝíùò ç áíôéìåôþðéóÞ ôïõò èá ðñÝðåé íá óõíäÝåôáé ìå ôç ëïãéêÞ ìéáò ïëïêëçñùìÝíçò áóôéêÞò áíÜðôõîçò, ç ïðïßá íá åìðåñéÝ÷åé óõíäõáóìÝíåò ðáñáìÝôñïõò: ïéêïíïìéêÝò, êïéíùíéêÝò, ðïëéôéóôéêÝò êáé ÷ùñéêÝòáñ÷éôåêôïíéêÝò-ðïëåïäïìéêÝò. Ï ðñïôåéíüìåíïò, óôá ðëáßóéá ôçò Ôñßôçò ÅíÝñãåéáò ôçò ÁÑÉÁÄÍÇÓ, Ïäçãüò Êáëþí Ðñáêôéêþí ãéá ôç ËåéôïõñãéêÞ ÏñãÜíùóç êáé ôçí Áñ÷éôåêôïíéêÞ Åóùôåñéêþí ÷þñùí âéïôå÷íéêþí Åñãáóôçñßùí, óôçí åëëçíéêÞ êáé áããëéêÞ ãëþóóá, áðåõèýíåôáé êáô’áñ÷Þí ðñïò ôïõò âéïôÝ÷íåò ôùí ðáñáäïóéáêþí êëÜäùí áñãõñï÷ñõóï÷ïÀáò, êåñáìéêÞò êáé ìáñìáñïôå÷íßáò. Áðåõèýíåôáé üìùò åðßóçò ðñïò ôïõò öïñåßò Üóêçóçò ðïëéôéêÞò êáèþò êáé ðñïò ôïõò öïñåßò êïéíùíéêþí êáé ïéêïíïìéêþí åôáßñùí. Âáóéêüò óêïðüò ôïõ åßíáé íá åðéóçìÜíåé: ôéò ðáñáãùãéêÝò äõíáôüôçôåò, ðïõ ðñïóöÝñåé ìéá áðïôåëåóìáôéêÞ ëåéôïõñãéêÞáñ÷éôåêôïíéêÞ ïñãÜíùóç åóùôåñéêþí ÷þñùí, ôá ðëåïíåêôÞìáôá ùò ðñïò ôç âåëôßùóç ôçò åìðïñéêüôçôáò ôçò ðáñáãùãÞò ôïõò, üðùò ðñïêýðôïõí áðü ôç äéêôýùóç êáé ôçí åíäå÷üìåíç ëåéôïõñãßá ôïõò ùò áíïéêôÜ åñãáóôÞñéá ìïõóåßá. Ïé âéïôÝ÷íåò ðáñáãùãïß ìå ôïõò ïðïßïõò óõíåñãÜóôçêå ôï ÅÌÐ, õðïäÝ÷èçêáí èåñìÜ ôïõò íÝïõò åñåõíçôÝò êáé óõíåñãÜôåò ìå áðüëõôç êáôáíüçóç ôùí óôü÷ùí ôïõ ðñïãñÜììáôïò. Ôïõò åõ÷áñéóôïýìå! Åõ÷üìáóôå ï ðñïôåéíüìåíïò Ïäçãüò íá âïçèÞóåé, üóïõò ôïí õéïèåôÞóïõí óå ìßá ïõóéáóôéêÞ áíáâÜèìéóç ôçò åðáããåëìáôéêÞò äñáóôçñéüôçôÜò ôïõò. Åõ÷áñéóôßåò ïöåßëïõìå åðßóçò óôïõò óõíáäÝëöïõò ôïõ ÅÏÌÌÅ× êáé ôçò ÁíáðôõîéáêÞò Åôáéñåßáò ôïõ ÄÞìïõ Áèçíáßùí. Ç ÝñåõíÜ ìáò áõôÞ äåí ðñüêåéôáé Üëëùóôå íá óôáìáôÞóåé. Ðéóôåýïõìå ìÜëéóôá üôé óýíôïìá èá óõíáíôçèïýìå êáé ðÜëé óôá ðëáßóéá ìéáò êïéíÞò ðñïóðÜèåéáò ãéá ôçí äéÜóùóç ôçò ðïëéôéóôéêÞò ìáò êëçñïíïìéÜò êáé ôçí áóôéêÞ áíáæùïãüíçóç. Óïößá Áõãåñéíïý Êïëþíéá, ÊáèçãÞôñéá ÅÌÐ ÁèÞíá, ÌÜéïò 2008 3 Ï ïäçãüò êáëþí ðñáêôéêþí âáóßæåôáé óôéò åñåõíçôéêÝò åñãáóßåò, ðïõ ðñáãìáôïðïéÞèçêáí óôá ðëáßóéá ôçò Äåýôåñçò ÅíÝñãåéáò ôïõ Ýñãïõ EQUAL ÁÑÉÁÄÍÇ êáé åéäéêüôåñá óôá ðëáßóéá ôçò ÄñÜóçò 9 «ÌåëÝôç ãéá ôç äçìéïõñãßá ðñüôõðùí åñãáóôçñßùí-ìïõóåßùí». ÌÝóá áðü ôïí ïäçãü áõôüí, ðñïôåßíåôáé ìéá ðñüôõðç ëåéôïõñãéêÞ ïñãÜíùóç, ç ïðïßá ìðïñåß íá õéïèåôåßôáé êáôÜ ôçí áñ÷éôåêôïíéêÞ äéáìüñöùóç ôùí åóùôåñéêþí ÷þñùí âéïôå÷íéêþí åñãáóôçñßùí: Áñãõñï÷ñõóï÷ïÀáò ÊåñáìéêÞò ÌáñìáñïãëõðôéêÞò 4 ÐÑÏÛÐÏÈÅÓÅÉÓ ÊÁËÇÓ ËÅÉÔÏÕÑÃÉÁÓ ÂÉÏÔÅ×ÍÉÊÙÍ ÅÑÃÁÓÔÇÑÉÙÍ ×ùñïèÝôçóç ôùí âéïôå÷íéêþí åðé÷åéñÞóåùí ¾ðáñîç Üëëùí éó÷õñþí õöéóôÜìåíùí ðüëùí óôïí áóôéêü éóôü ðïõ íá óõíäÝïíôáé èåìáôéêÜ êáé áíôßóôïé÷á ìå ôïõò êëÜäïõò áñãõñï÷ñõóï÷ïÀáò, êåñáìéêÞò êáé ìáñìáñïãëõðôéêÞò (ð.÷. èåìáôéêÜ ìïõóåßá, ìïõóåßá ëáúêÞò ðáñÜäïóçò, áñ÷áéïëïãéêïß ÷þñïé, ðåñéï÷Ýò ðáñáäïóéáêþí ðñïúüíôùí, ðåñéï÷Ýò ìå åõñýôåñï ôïõñéóôéêü åíäéáöÝñïí, ôïðùíýìéá, ìïõóåßá, ãêáëåñß, éóôïñéêÝò ãåéôïíéÝò) Áñ÷éôåêôïíéêÞ äéáìüñöùóç åóùôåñéêþí ÷þñùí Ëåéôïõñãßá êáé ïñãÜíùóç áõôþí óýìöùíá ìå ôçí ðñïôåéíüìåíç áñ÷éôåêôïíéêÞ äéáìüñöùóç ×ñÞóç ðáñáäïóéáêþí ìåèüäùí & ôå÷íïãíùóßáò ÅîåéäéêåõìÝíï áíèñþðéíï äõíáìéêü, ôï ïðïßï íá äéáèÝôåé ãíþóåéò êáé ôå÷íïãíùóßåò áíáöïñéêÜ ìå ôéò ðáñáäïóéáêÝò ìåèüäïõò ðáñáãùãÞò ðñïúüíôùí áñãõñï÷ñõóï÷ïÀáò, êåñáìéêÞò Þ ìáñìáñïãëõðôéêÞò ÅíäåäåéãìÝíï ìÝãåèïò êáé ëåéôïõñãßá ôùí åðé÷åéñÞóåùí Äçìéïõñãßá êáé ëåéôïõñãßá áãïñÜò ðáñáäïóéáêþí ÷åéñïôå÷íéêþí ðñïúüíôùí êáè’ üëç Þ êáôÜ ôç ìåãáëýôåñç äéÜñêåéá ôïõ ÷ñüíïõ Êáéíïôïìßá & íïìéêÞ ìïñöÞ ôùí åðé÷åéñÞóåùí Íá åðéèõìïýí êáé íá Ý÷ïõí ôéò áðáñáßôçôåò äõíáôüôçôåò ãéá åíóùìÜôùóç ôçò êáéíïôïìßáò óôï ðáñáãùãéêü ôïõò óýóôçìá êáèþò êáé ôçí ðáñáãùãÞ ðñïúüíôùí ðéóôïðïéçìÝíçò ðïéüôçôáò ÁÑ×ÉÔÅÊÔÏÍÉÊÇ ÄÉÁÌÏÑÖÙÓÇ ÅÓÙÔÅÑÉÊÙÍ ×ÙÑÙÍ Ãéá ôçí ðáñïýóá ìåëÝôç, åêôüò áðü ôç âéâëéïãñáöéêÞ Ýñåõíá êáé ôçí óõëëïãÞ ðáñáäåéãìÜôùí åìðåéñéþí åðéôõ÷çìÝíùí ðñáêôéêþí, åíóùìáôþèçêáí ðñùôïãåíåßò ðëçñïöïñßåò êáé ôá óõìðåñÜóìáôá, ðïõ ðñïÝêõøáí áðü ôçí Ýñåõíá ðåäßïõ. ÌÝóù ðïëëáðëþí êáé ðïëýùñùí åðéóêÝøåùí óå åðéëåãìÝíá åñãáóôÞñéá áñãõñï÷ñõóï÷ïÀáò, êåñáìéêÞò êáé ìáñìÜñïõ-ðÝôñáò óôçí ÁèÞíá, áíáãíùñßóôçêå, áðïôõðþèçêå êáé êáôáíïÞèçêå ç äïìÞ êáé ïñãÜíùóç ôùí ÷þñùí ôùí åñãáóôçñßùí, êáèéóôþíôáò äõíáôÞ ôç äéåñåýíçóç ôùí áðáñáßôçôùí êñéôçñßùí ãéá ôçí åíäå÷üìåíç ëåéôïõñãßá ôïõò ùò áíïé÷ôÜ åñãáóôÞñéá - ìïõóåßá. Ôá óõìðåñÜóìáôá ðïõ áöïñïýí ôçí ðñüôõðç ëåéôïõñãéêÞ ïñãÜíùóç êáé ôéò âáóéêÝò áñ÷Ýò ó÷åäéáóìïý ôùí åñãáóôçñßùí ðñïÝêõøáí êõñßùò ìÝóá áðü áõôÞ ôçí äéáäéêáóßá. Åðéóçìáßíåôáé üôé, óå ó÷Ýóç ìå ôïí ôñüðï, ðïõ áíáðôýóóåôáé ç ðáñáãùãéêÞ äéáäéêáóßá ðñïêýðôïõí ôåëéêÜ êáé ïé áíÜãêåò óå ÷þñïõò . 5 ÅÑÃÁÓÔÇÑÉÁ ÁÑÃÕÑÏ×ÑÕÓÏ×ÏÚÁÓ Ïé ÷þñïé Ã, Å ðïõ óõãêåíôñþíïõí ìç÷áíÞìáôá êáé ÷ñÞóåéò «õøçëÞò» ü÷ëçóçò, èá ìðïñïýóáí íá áíáðôýóóïíôáé óå åíéáßï ÷þñï ìå äõíáôüôçôá áðïìüíùóçò áðü ôï õðüëïéðï åñãáóôÞñéï, ìå Üìåóï öõóéêü áåñéóìü. Áðáñáßôçôï óôïé÷åßï ãéá ôç ëåéôïõñãßá ôùí ÷þñùí áðïôåëåß ï åîáåñéóìüò ôùí áðüâëçôùí áåñßùí êáèþò êáé ç áðï÷Ýôåõóç ôùí áðüâëçôùí õãñþí ïîÝùí. Áðáñáßôçôïò åßíáé åðßóçò ï åîáåñéóìüò óôï ÷þñï ôçò êåñéÝñáò, ëüãùí ôùí áíáèõìéÜóåùí ðïõ äçìéïõñãïýíôáé. Ãåíéêüôåñá, ôï äÜðåäï ôïõ åñãáóôçñßïõ åðéóôñþíåôáé ìå åéäéêü äéÜôñçôï ðëáóôéêü õëéêü ãéá ôçí óõãêÝíôñùóç ôùí õðïëåéðïìÝíùí êïììáôéþí ìåôÜëëïõ. Ïé âáóéêïß êáé áðáñáßôçôïé ÷þñïé ëåéôïõñãßáò åíüò Åñãáóôçñßïõ Áñãõñï÷ñõóï÷ïÀáò (óå êÜèå ðåñßðôùóç êáé ìÝèïäï ðáñáãùãÞò) åßíáé ïé åîÞò: Á. Â. Ã. Ä. Å. Åêèåóéáêüò ÷þñïò Äçìéïõñãéêüò ÷þñïò ×þñïò ëéùóßìáôïò ôïõ ìåôÜëëïõ ×þñïò êáôáóêåõÞò åîáñôçìÜôùí ×þñïò ëïõóôñáñßóìáôïò, ðëõóßìáôïò, åðéìåôáëëþóåùí Æ.. Áðïèçêåõôéêïß ÷þñïé Ç. Âïçèçôéêïß ÷þñïé 6 Ç äéáäéêáóßá äçìéïõñãßáò îåêéíÜ áðü ôï ÷þñï ëéùóßìáôïò ôïõ ìåôÜëëïõ. Ôï ìÝôáëëï ñåõóôïðïéåßôáé óå õøçëÞ èåñìïêñáóßá óôï êáìßíé êáé áíáìéãíýåôáé ìå ôçí åðéèõìçôÞ ðïóüóôùóç óå áóÞìé, ÷ñõóü, ÷áëêü Þ ìðñïýôæï ðñïêåéìÝíïõ íá êáèïñéóôïýí ïé âáèìïß ôïõ (êáñÜôéá). Óôï ÷õôÞñéï ôï ìÝôáëëï ðáßñíåé ôï âáóéêü åðéèõìçôü ó÷Þìá (ðëÜêá Þ óýñìá), åíþ óôïí êýëéíäñï (ìç÷Üíçìá åîÝëáóçò) äßäåôáé ôï êáôÜëëçëï ðÜ÷ïò. Óôç ÷åéñïðïßçôç äéáäéêáóßá, ôá êïóìÞìáôá êáôáóêåõÜæïíôáé áðü ôïõò ôå÷íßôåò, óôï «äçìéïõñãéêü» ÷þñï. Ï ÷þñïò ðåñéëáìâÜíåé ðÜãêïõò åñãáóßáò êáé ó÷åäéáóôÞñéï ðïõ ÷ñçóéìïðïéåßôáé óå ðåñéðôþóåéò áíáäçìéïõñãßáò óõãêåêñéìÝíçò ìïñöÞò, åéäéêÝò ðáñáããåëßåò êëð. Åðßóçò, óôï ÷þñï õðÜñ÷åé êáé ç êåñéÝñá ðïõ ÷ñçóéìïðïéåßôáé óôçí êáôáóêåõÞ ìåãÜëïõ áñéèìïý áíôéãñÜöùí (êëþíùí), áðü ôï «ìïíôÝëï» ðïõ Ý÷åé ðáñá÷èåß ÷åéñïðïßçôá. Óôï ÷þñï êáôáóêåõÞò åîáñôçìÜôùí ðáñÜãïíôáé åðéìÝñïõò êïììÜôéá ðïõ ÷ñçóéìïðïéïýíôáé óôá ÷åéñïðïßçôá êïóìÞìáôá (áëëÜ êáé ãéá ìáæéêÞ ðáñáãùãÞ). Ï ÷þñïò ðåñéëáìâÜíåé ìç÷áíÞìáôá üðùò Ýëáóôñïí, «óÝãá», ðñÝóá ÷åéñïêßíçôç, ðñÝóá çëåêôñéêÞ, óõñìáôéÝñá, öïýñíï óå êåíü áÝñïò êëð. Óôï ÷þñï áõôü óõíÞèùò õðÜñ÷åé åðßóçò êáé ï ðÜãêïò ôïõ êáñöùôÞ, ï ïðïßïò ôïðïèåôåß ðïëýôéìåò ðÝôñåò óôá Ýôïéìá êïóìÞìáôá. Óôçí ôåëéêÞ öÜóç ôá êïóìÞìáôá åðáíÝñ÷ïíôáé óôï ÷þñï ôïõ åñãáóôçñßïõ üðïõ ãßíåôáé ôï ëïõóôñÜñéóìá, ïé áðáñáßôçôåò åðéìåôáëëþóåéò (ð÷ ðëáôßíùìá, ÷ñýóùìá êëð) êáé ï êáèáñéóìüò óå ìðÜíéá (÷çìéêÜ äéáëýìáôá êáèáñéóìïý ôïõ ÷ñõóïý), õðÝñç÷ïõò êáé áôìü õðü ðßåóç. Ôá Ýôïéìá êïóìÞìáôá ìåôáöÝñïíôáé óôï ÷þñï ôçò ãñáììáôåßáò üðïõ êïóôïëïãïýíôáé, ïñßæåôáé ç åããýçóç ôïõò, áñ÷åéïèåôïýíôáé êáé áðïèçêåýïíôáé Þ åêôßèåíôáé óå åéäéêÝò ðñïèÞêåò - âéôñßíåò. 7 ÅÑÃÁÓÔÇÑÉÁ ÊÅÑÁÌÉÊÇÓ Ïé âáóéêïß êáé áðáñáßôçôïé ÷þñïé ëåéôïõñãßáò åíüò åñãáóôçñßïõ êåñáìéêÞò, åßôå ðñüêåéôáé ãéá ÷ñçóôéêü Þ ãéá «ãëõðôéêü» áíôéêåßìåíï, ðåñéëáìâÜíïõí ôéò åîÞò êáôçãïñßåò ÷þñùí : Á. Åêèåóéáêü ÷þñï Â. Äçìéïõñãéêü ÷þñï Ã. ×þñï ìáæéêÞò ðáñáãùãÞò Ä. ×þñïò øçóßìáôïò Å. ×þñï âáøßìáôïò Æ. Áðïèçêåõôéêïß ÷þñïé Ç. Âïçèçôéêïß ÷þñïé Óôï ÷þñï øçóßìáôïò áðáñáßôçôç åßíáé ç ðáñïõóßá áåñáãùãïý ãéá ôçí áðïññüöçóç ôùí ðáñáãüìåíùí áåñßùí, åíþ ãåíéêÜ óôï äÜðåäï ôïõ åñãáóôçñßïõ èá ðñÝðåé íá ðñïâëåöèåß óýóôçìá áðïññïÞò ôùí õðïëåéììÜôùí ôïõ ðçëïý 8 Óôï äéÜãñáììá ðáñïõóéÜæåôáé ç äéáäï÷Þ êáé óõó÷Ýôéóç ôùí ÷þñùí óå ó÷Ýóç ìå ôçí ðáñáãùãéêÞ äéáäéêáóßá. Ç äéáäéêáóßá äçìéïõñãßáò îåêéíÜ áðü ôïí äçìéïõñãéêü ÷þñï, ìå ôï ó÷åäéáóìü êáé óôç óõíÝ÷åéá ôçí êáôáóêåõÞ ôïõ «ðñüôõðïõ» áíôéêåéìÝíïõ. ×ñçóéìïðïéïýíôáé åñãáëåßá êáé ìç÷áíÞìáôá åðåîåñãáóßáò ôïõ ðçëïý üðùò ç öéëéÝñá, ôï extrudor, ï êåñáìéêüò ôñï÷üò, ãýøéíá Þ ðÝôñéíá êáëïýðéá. Óôç óõíÝ÷åéá, ôï Ýôïéìï êåñáìéêü ìáæß ìå ôï äéáêïóìçôéêü ó÷Ýäéï äßäïíôáé óôïí «ôñï÷áôæÞ» ãéá ôçí êáôáóêåõÞ ìåãÜëïõ áñéèìïý áíôéãñÜöùí (ìáæéêÞ ðáñáãùãÞ). ¼ôáí ôá áíôéêåßìåíá åôïéìáóôïýí èá ìåôáöåñèïýí óôá êáìßíéá, ãéá ôçí ðñþôç öÜóç øçóßìáôïò. Ôá Ýôïéìá áíôéêåßìåíá áðïèçêåýïíôáé êáé óôçí óõíÝ÷åéá åðéæùãñáößæïíôáé, ìå ôç ÷ñÞóç ðõñï÷ñùìÜôùí êáé ôç âïÞèåéá ôïõ ôñï÷ïý æùãñáöéêÞò Þ âÜöïíôáé ìå óðñÝé. Ôá æùãñáöéóìÝíá áíôéêåßìåíá ôïðïèåôïýíôáé, ãéá åëÜ÷éóôá äåõôåñüëåðôá, óå êïõâÜ ìå ãõáëß óå ñåõóôÞ ìïñöÞ (óìÜëôùìá - õÜëùìá), åíþ áêïëïõèåß ç äåýôåñç öÜóç øçóßìáôïò óôï öïýñíï - êáìßíé (ôåëéêü øÞóéìï). Ôï ôåëéêü ðñïúüí áðïèçêåýåôáé , Ýùò üôïõ äéáôåèåß óôçí áãïñÜ Þ ìåôáöåñèåß óôïí åêèåóéáêü ÷þñï ôïõ åñãáóôçñßïõ. Óçìåéþíåôáé üôé, ôá êåñáìéêÜ ôïðïèåôïýíôáé óå åéäéêÝò êéíçôÝò ñáöéÝñåò êáé êéíïýíôáé óôïõò åðéìÝñïõò ÷þñïõò, áêïëïõèþíôáò ôçí äéáäéêáóßá ðïõ ðåñéãñÜöåôáé ìÝ÷ñé íá ìåôáöåñèïýí ôåëéêÜ óôï ÷þñï áðïèÞêåõóçò. 9 ÅÑÃÁÓÔÇÑÉÁ ÌÁÑÌÁÑÏÕ - ÐÅÔÑÁÓ Ç ðáñáãùãéêÞ äéáäéêáóßá äéáñèñþíåôáé óå 2 êáôçãïñßåò: Á. Ìáñìáñüãëõðôá äéáêïóìçôéêÜ Ýñãá, Â. ÁãÜëìáôá, ðñïôïìÝò, áíäñéÜíôåò Á. ÌÁÑÌÁÑÏÃËÕÐÔÁ ÄÉÁÊÏÓÌÇÔÉÊÁ ÅÑÃÁ Ïé âáóéêïß êáé áðáñáßôçôïé ÷þñïé ëåéôïõñãßáò åíüò óýã÷ñïíïõ, «ðáñáäïóéáêïý» ôýðïõ åñãáóôçñßïõ äçìéïõñãßáò ìáñìáñüãëõðôùí äéáêïóìçôéêþí Ýñãùí åßíáé ïé åîÞò : Á. Åêèåóéáêüò ÷þñïò Â. ×þñïò ó÷åäéáóôçñßïõ Ã. ×þñïò âáñïýëêïõ Ä. ×þñïò êïðÞò ìáñìÜñùí Å. ×þñïò ëåéüôñéøçò Æ. ×þñïò óõíáñìïëüãçóçò Ç. ÅñãáóôÞñéï ìáñìáñïãëõðôéêÞò È. ×þñïò Áåñïóõìðéåóôþí É. Áðïèçêåõôéêïß ÷þñïé Ê. Âïçèçôéêïß ÷þñïé 10 Ç äéáäéêáóßá äçìéïõñãßáò îåêéíÜ ìå ôï ó÷åäéáóìü ôïõ áíôéêåéìÝíïõ, óôï ÷þñï ó÷åäéáóôçñßïõ. ÌåôÜ ôï ðñþôï óêßôóï, ãßíåôáé ôï ôåëéêü ó÷Ýäéï, ðñïêåéìÝíïõ íá ïñéóôéêïðïéçèåß ç ðáñáããåëßá ôùí áíôßóôïé÷ùí êïììáôéþí ìáñìÜñïõ. ¼ôáí ç ðáñáããåëßá åôïéìáóôåß, îåöïñôþíïíôáé óôï ÷þñï ôïõ âáñïýëêïõ üðïõ êáé áðïèçêåýïíôáé. Ôá êïììÜôéá ìáñìÜñïõ ðïõ ÷ñåéÜæïíôáé «ìüñöùóç» (óå êõìÜôéá, êéïíüêñáíá êëð) ìåôáöÝñïíôáé óôï ÷þñï ëåéüôñéøçò. Ôá ìåãáëýôåñá êáé ðéï ãåùìåôñéêÜ êïììÜôéá ìåôáöÝñïíôáé êáôåõèåßáí áðü ôï âáñïýëêï óôï ÷þñï êïðÞò ìáñìÜñùí (áöïý ôïðïèåôçèïýí óôï âáãüíé ôïõ êüöôç ôï ïðïßï åîÝñ÷åôáé áðü ôï ÷þñï êïðÞò ðñïò ôï ÷þñï âáñïýëêïõ êéíïýìåíï óå ñÜãåò). Óôç óõíÝ÷åéá, ôá êïììÜôéá ìáñìÜñïõ ìåôáöÝñïíôáé, ìÝóù öïñåßïõ ðïõ êéíåßôáé óå ñÜãåò, óôï åñãáóôÞñéï ëåéüôñéøçò, üðïõ ðáßñíïõí ôï áêñéâÝò ó÷Þìá ôïõò (êïñíéæþìáôá, êéïíüêñáíá, âÜóåéò, êïëþíåò êëð). Óôï ÷þñï õðÜñ÷åé ôüñíïò, ìéêñü âáñïýëêï, êáèþò êáé ðÜãêïé åñãáóßáò (ãéá ôï ôñßøéìï ôùí ìáñìÜñùí ìå óâïõñÜêéá, êïöôÜêéá êëð). ÕðÜñ÷åé åðßóçò éó÷õñüò áðïññïöçôÞñáò ãéá óõëëïãÞ ôçò óêüíçò. Óôç óõíÝ÷åéá, óôï ÷þñï óõíáñìïëüãçóçò, ôá äéáêïóìçôéêÜ ó÷Ýäéá áðïôõðþíïíôáé ðÜíù óôï ìÜñìáñï, åßôå ìå ôç ÷ñÞóç êáñìðüí (ðáëáéÜ ìÝèïäïò) Þ ìå ðéï óýã÷ñïíåò ìåèüäïõò (üðùò ç åêôýðùóç ôïõ ó÷åäßïõ óå åéäéêÜ ÷áñáãìÝíç áõôïêüëëçôç öüñìá êáé ç áðïôýðùóç ôïõ óôï ìÜñìáñï ìå ÷ñùìáôéóôü óðñÝé). Áöïý ôï óðñÝé óôåãíþóåé, áöáéñåßôáé ç áõôïêüëëçôç ôáéíßá êáé ôï ìÜñìáñï ìåôáêéíåßôáé óôï åñãáóôÞñéï ìáñìáñïãëõðôéêÞò üðïõ èá õðïóôåß ôçí ôåëéêÞ åðåîåñãáóßá. ¼ôáí ðñüêåéôáé ãéá åðéöáíåéáêü ëïîüôìçôï êáé ü÷é äéÜôñçôï óêÜëéóìá (âéïìç÷áíïðïéçìÝíç êáé ðéï ïéêïíïìéêÞ ìÝèïäïò), ôï ó÷Ýäéï áðïôõðþíåôáé óå åéäéêÞ ëáóôé÷Ýíéá åðéöÜíåéá, ôïðïèåôåßôáé ìå êüëëá óôï ìÜñìáñï êáé áöáéñïýíôáé ôá êïììÜôéá ðïõ ðñÝðåé íá óêáëéóôïýí. Óôç óõíÝ÷åéá, ôï ìÜñìáñï ìåôáöÝñåôáé óôï ÷þñï áììïâïëÞò. Ôï åñãáóôÞñéï ìáñìáñïãëõðôéêÞò åßíáé ï ìåãáëýôåñïò êáé ðéï öùôåéíüò ÷þñïò ôïõ åñãáóôçñßïõ, ï ÷þñïò ôçò ôåëéêÞò åðåîåñãáóßáò ôùí ìáñìáñïãëõðôþí äéáêïóìçôéêþí. Óôï ÷þñï õðÜñ÷ïõí ðÜãêïé êáé êáâáëÝôá åñãáóßáò. Ïé ìáñìáñïôå÷íßôåò, ìå ôç ÷ñÞóç 11 ðáñáäïóéáêþí åñãáëåßùí üðùò êáëÝìéá, ìáíôñáêÜäåò, ôñõðÜíéá, áåñïåñãáëåßá, êñïõóôéêÜ, óêáëßæïõí êáé åðåîåñãÜæïíôáé ôá êïììÜôéá ìáñìÜñïõ, ðñïêåéìÝíïõ íá áðïäþóïõí ôçí ôåëéêÞ ìïñöÞ ôïõò. Åðßóçò, óôï ÷þñï êáôáëÞãïõí êáé ôá êïììÜôéá ðïõ Ý÷ïõí õðïóôåß ôç âéïìç÷áíïðïéçìÝíç åðåîåñãáóßá ôçò áììïâïëÞò, ãéá ôç äéáìüñöùóç ôùí íåýñùí ôïõ äéáêïóìçôéêïý, ôï ñåôïõóÜñéóìá êáé ôï öéíßñéóìá. Â. ÁÃÁËÌÁÔÁ, ÐÑÏÔÏÌÅÓ, ÁÍÄÑÉÁÍÔÅÓ ¼óïí áöïñÜ óôç äçìéïõñãßá áãáëìÜôùí, ðñïôïìþí, áíäñéÜíôùí, ôá åñãáóôÞñéá ìáñìáñïãëõðôéêÞò ðåñéëáìâÜíïõí : Á. ÅñãáóôÞñéï ðçëïý Â. ÅñãáóôÞñéï ãõøïôå÷íßáò Ã. ÅñãáóôÞñéï ìáñìáñïãëõðôéêÞò 12 Ç äéáäéêáóßá äçìéïõñãßáò îåêéíÜ áðü ôï ÅñãáóôÞñéï Ðçëïý üðïõ ï ãëýðôçò «óìéëåýåé» ôï Ýñãï. Óôï ÷þñï õðÜñ÷ïõí êáâáëÝôá, ðÜãêïé êáé ñÜöéá. ¼ôáí ôï ãëõðôü ïëïêëçñùèåß, ìåôáöÝñåôáé óôï ÅñãáóôÞñéï Ãõøïôå÷íßáò, üðïõ ãßíåôáé ç áíôéãñáöÞ ôïõ ìå êáëïýðé óå ãýøéíï ðñüðëáóìá. Ôá êáëïýðéá ìåôáöÝñïíôáé óôïí åîùôåñéêü õðáßèñéï ÷þñï üðïõ ðëÝíïíôáé êáé üôáí óôåãíþóïõí åðáëåßöïíôáé óôï åñãáóôÞñéï ìå ìïíùôéêü ìåßãìá Þ ãïìïëÜêá. ÌåôÜ ôç ìüíùóç ôïðïèåôåßôáé ôï ðñþôï óôñþìá ãýøïõ, óôç óõíÝ÷åéá ôæßâá âïõôçãìÝíç óå ñåõóôü ãýøï êáé áðü ðÜíù ôï ôåëéêü óôñþìá ãýøïõ. ÌåôÜ ôçí áöáßñåóç ôïõ åîùôåñéêïý êáëïõðéïý, ôï ãýøéíï ðñüðëáóìá êáèáñßæåôáé êáé ìåôáöÝñåôáé óôï åñãáóôÞñéï ìáñìáñïãëõðôéêÞò ðñïêåéìÝíïõ íá áíôéãñáöåß êáé íá ìåôáöåñèåß óôï ìÜñìáñï, ìå ôç ÷ñÞóç ðïëýóðáóôïõ åñãáëåßïõ, ôïõ «ðïíôá-äüñïõ». ¼ôáí ïëïêëçñùèåß ç «ìåôáöïñÜ», ãßíåôáé ôï ôåëéêü óêÜëéóìá ðñïêåéìÝíïõ íá áðïäïèåß ìå ôç ìÝãéóôç äõíáôÞ áêñßâåéá ç ìïñöÞ. Ôá ôåëåéùìÝíá Ýñãá áðïèçêåýïíôáé óôá êáâáëÝôá ôùí åñãáóôçñßùí ìÝ÷ñéò üôïõ ãßíïõí ôá âÜèñá êáé ç äéáìüñöùóç ôïõ ÷þñïõ üðïõ èá ôïðïèåôçèïýí. 13 ËÅÉÔÏÕÑÃÉÁ ÐÁÑÁÄÏÓÉÁÊÙÍ ÂÉÏÔÅ×ÍÉÙÍ ÙÓ ÁÍÏÉ×ÔÁ ÅÑÃÁÓÔÇÑÉÁ - ÌÏÕÓÅÉÁ Ç ëåéôïõñãßá ôùí ðáñáäïóéáêþí âéïôå÷íéþí ùò áíïé÷ôÜ åñãáóôÞñéá ìïõóåßá, áðïôåëåß ìéá äõíáôüôçôá ðñïêåéìÝíïõ íá ðñïâÜëëåôáé åýóôï÷á ç ðáñáãùãÞ ôïõò. Áðáñáßôçôç ðñïûðüèåóç êáé ðñïäéáãñáöÝò ãéá ôçí óùóôÞ ïñãÜíùóç êáé ëåéôïõñãßá ôùí ÷þñùí áõôþí ôùí âéïôå÷íéêþí åñãáóôçñßùí åßíáé íá ðåñéëáìâÜíïõí: ×þñïõò õðïäï÷Þò, ÅñãáóôÞñéá, Åêèåóéáêïýò ÷þñïõò, Áßèïõóá ôåêìçñßùóçò, ÂéâëéïèÞêç, ÐùëçôÞñéá 14 ÅÐÉËÅÃÌÅÍÅÓ ÊÁËÅÓ ÅÕÑÙÐÁÚÊÅÓ ÊÁÉ ÄÉÅÈÍÅÉÓ ÐÑÁÊÔÉÊÅÓ. ÄÉÊÔÕÙÓÇ ÁÍÏÉÊÔÙÍ ÅÑÃÁÓÔÇÑÉÙÍ - ÌÏÕÓÅÉÙÍ Ç êáôáãñáöÞ êáëþí ðñáêôéêþí êáé åðéôõ÷çìÝíùí äéêôýùí âéïôå÷íéêþí åñãáóôçñßùí óå åõñùðáúêü êáé äéåèíÝò åðßðåäï óõìâÜëëåé óôç äéáìüñöùóç áíïéêôþí åñãáóôçñßùí, ðïõ èá óõãêñïôÞóïõí äßêôõï ðáñáäïóéáêþí âéïôå÷íéþí. Ðñïôåßíïíôáé ôá áêüëïõèá ðáñáäåßãìáôá: Ôï äßêôõï Economusee óôïí ÊáíáäÜ, ôï ïðïßï åðåêôåßíåôáé óå äþäåêá ðåñéï÷Ýò ôïõ Québec óôïí ÊáíáäÜ, âáóéêüò óôü÷ïò ôïõ ïðïßïõ åßíáé ç áîéïðïßçóç ôùí ðáñáäïóéáêþí åðáããåëìÜôùí êáé ôå÷íïãíùóéþí ìÝóù ôçò ðñïóöïñÜò åíüò åíáëëáêôéêïý ðñïúüíôïò ðïëéôéóôéêïý ôïõñéóìïý, ìÝóá áðü ôç ÷ñÞóç ðáñáäïóéáêþí ôå÷íéêþí ðáñáãùãÞò. [http//:www.economusees.com] Ôá ÅñãáóôÞñéá ÔÝ÷íçò óôç Ãáëëßá, «ATELIERS D’ART DE FRANCE», ôá ïðïßá ðñïùèïýí ôçí áíÜðôõîç ôïõ êëÜäïõ êáé ôç äéáöýëáîç ôùí åðáããåëìáôéêþí ôïõò äéêáéùìÜôùí. [http://www.ateliersdart.com] Ôá áíïé÷ôÜ ÷åéñïôå÷íéêÜ åñãáóôÞñéá óôï Vilnius ôçò Ëéèïõáíßáò (ÇANDICRAFT STUDIOS OR “LIVE MUSEUMS” IN VILNIUS) äçìéïõñãÞèçêáí ìå óêïðü ôçí áíáâßùóç ðáñáäïóéáêþí ôå÷íéêþí óôïõò êëÜäïõò êåñáìéêÞò, áñãõñï÷ñõóï÷ïÀáò, ãõáëéïý êáé ôç äéáôÞñçóç ðáëáéþí êáé äçìéïõñãßá íÝùí âéïôå÷íéêþí åðé÷åéñÞóåùí [http://www.vilnius-tourism.lt] Ïéêï-ìïõóåßá êáé Ìïõóåßá ôçò êïéíùíßáò óôç Ãáëëßá (FEDERATION DES ECOMUSEES ET DES MUSEES DE SOCIETE) åßíáé Ýíá äßêôõï óõíåñãáóßáò ðïõ ðñïâëçìáôßæåôáé ìå èÝìáôá åðáããåëìÜôùí, ó÷åôéæüìåíá ìå ôç äéá÷åßñéóç êáé ðñïóôáóßá ôçò êëçñïíïìéÜò. [http://www.fems.asso.fr] Ðüëïé êáéíïôïìßáò ãéá ôá åðáããÝëìáôá ôçò ôÝ÷íçò (LES POLES D’INNOVATION DANS LES METIERS D’ART) óå ó÷Ýóç ìå ôï ãõáëß, ôçí ðÝôñá, ôï ìÝôáëëï, ôçí áñ÷éôåêôïíéêÞ êëçñïíïìéÜ ðïõ ðáñÝ÷ïõí ôå÷íïëïãéêÞ êáé óõìâïõëåõôéêÞ õðïóôÞñéîç óôéò âéïôå÷íéêÝò åðé÷åéñÞóåéò ìå óôü÷ï ôçí Ýñåõíá êáé 15 16 áíÜðôõîç ôùí åðé÷åéñÞóåùí êáé ôç ìåôÜäïóç ôçò ôå÷íïãíùóßáò. [http://www.idverre.net] Ôï ÊÝíôñï ÌåëÝôçò Íåþôåñçò ÊåñáìéêÞò óôçí ÁèÞíá åßíáé Ýíáò ìïõóåéáêüò, åñåõíçôéêüò êáé åêðáéäåõôéêüò ïñãáíéóìüò áöéåñùìÝíïò óôç ìåëÝôç, ôç äéáöýëáîç êáé ôçí ðñïâïëÞ ôçò åëëçíéêÞò ðáñáäïóéáêÞò ÷ñçóôéêÞò êåñáìéêÞò ôùí íåùôÝñùí ÷ñüíùí (áñ÷Ýò 19ïõ - ìÝóá 20ïý áéþíá). [http://www.potterymuseum.gr] Ôá ìïõóåßá ôçò ôñÜðåæáò Ðåéñáéþò óôçí ÅëëÜäá. Ôá Ìïõóåßá ôïõ Ðïëéôéóôéêïý Éäñýìáôïò ôïõ Ïìßëïõ ôçò ÔñÜðåæáò Ðåéñáéþò áðïôåëïýí åðéôõ÷çìÝíï ðáñÜäåéãìá áíÜäåéîçò ôçò ðïëéôéóôéêÞò êáé éóôïñéêÞò êëçñïíïìéÜò êáé ôçò âéïìç÷áíéêÞò ðáñÜäïóçò. ÐáñáêÜôù ðáñïõóéÜæïíôáé ôá ó÷åôéêÜ ìïõóåßá ðïõ Ý÷ïõí Þäç äçìéïõñãçèåß êáé ëåéôïõñãïýí. [http://www.piop.gr] Âéïìç÷áíéêü Ìïõóåßï Ðëéíèïêåñáìïðïéåßïõ ÔóáëáðÜôá óôï Âüëï Ôï ðñþçí «Ðëéíèïêåñáìïðïéåßï ÔóáëáðÜôá» áðïôåëåß óðÜíéï äåßãìá äéáôÞñçóçò âéïìç÷áíéêïý óõãêñïôÞìáôïò óå áõôüí ôïí êëÜäï êáé ãé’ áõôü áîéïðïéÞèçêå ìå ôç ëåéôïõñãßá ôïõ âéïìç÷áíéêïý ìïõóåßïõ, üðïõ Ý÷ïõí äéáìïñöùèåß êáé ÷þñïé øõ÷áãùãéêþí êé åìðïñéêþí äñáóôçñéïôÞôùí. Ìïõóåßï Ìáñìáñïôå÷íßáò óôçí ÔÞíï Êýñéïò óêïðüò ôçò äçìéïõñãßáò åíüò ìïõóåßïõ ðñïâéïìç÷áíéêÞò ôå÷íïëïãßáò óôçí ÔÞíïõ åßíáé ç äéÜóùóç ôçò ìáêñï÷ñüíéáò ðáñÜäïóçò ôïõ íçóéïý óôç ìáñìáñïôå÷íßá êáé ôçò öÞìçò ôùí ôçíéáêþí ìáñìáñÜäùí êáé ãëõðôþí áðü ôï 18ï áé. 17 18