Lesson 1.

Principles of Indigenous Creative Crafts:

Principles of Indigenous Creative Crafts
- Definition of terms, background, overview, importance in the architecture & construction
industry

Objectives:
1. Define indigenous materials
2. Explain the importance of indigenous materials
3. Distinguish the kinds of tools and materials used in making indigenous creative crafts.

Throughout the history of the Philippines, craftsmanship in many forms has been prevalent.
Filipinos have a natural urge to create, exemplifying the state of being completely engaged in
their craft and taking delight in what they produce. The Filipino craftsman commits his life to his
craft and to telling the Philippines' story, giving the country's true essence -- its soul -- to the rest
of the world.

Blessed with natural resources, Filipino craftsmen are able to come-up with a magnificent
product that tells a million story not just about their lives but the culture of their place. Clearly,
this reflects Filipino crafts that magnify labors of love and patience. These are evident in the
products of their skillful hands and imaginative minds. Creative crafts in thePhilippines do not
only satisfy our senses, but each artwork speaks of the passion and activeinvolvement of the
artists in visualizing, connecting, and appreciating the culture and the creative manipulation of
the objects around.

Do you have what it takes to become a craftsman? In this chapter you will learn the brief
overview of Philippine Arts and Crafts and its significance and relationship to the
HospitalityCourse. It is then expected that you will be able to find yourself become an agent of
this culture-filled journey. As you will come to know more of these arts and crafts, be ready to
become your most creative self for you will be creating your own handicraft. This journey
transcends beyond“knowing” history or “applying” discussed topics, rather, it is an “awakening”
of your soul intaking responsibility to promote, conserve, and develop Philippine indigenous
creative crafts.

Indigenous
Oxford Dictionary: “To be born in a specific place”
Cunningham & Stanley, 2003: “Experiences shared by a group of people who have inhabited a
place for thousands or hundreds of years”
Indigenous people are inheritors and practitioners of distinct cultures and methods of interacting
with others and the environment. They have kept social, cultural, economic and political
qualities that differ from the dominant societies in which they dwell.

Indigenous People’s Light Act RA No. 8371

Indigenous people/indigenous cultural communities (IP/ICC) refer to a group of people sharing
common bonds of language, customs, traditions and other distinctive cultural traits, and who
have, under claims of ownership since time immemorial, occupied, possessed and utilized a
territory.

Importance of Indigenous Creative Crafts

1. Promotes Cultural Heritage through the use of indigenous materials thus it preserves
the culture of each indigenous community
2. Handicraft products show each indigenous community’s creativity and love the
imagination as well
3. Provides livelihood/employment for the Filipino people producers of raw materials who
will be encouraged to produce more, thus ascending employment. And in turn, the
income generated will contribute to the earnings of the country

Materials used in the certain or in the creation of the crafts

1. Abaka - One of the 5 fiber crops native to the Philippines. It’s known as the world’s
strongest natural fiber. Handbags, hats, shoes, slippers, laps, rugs, accessories,
decorations, apparel, furniture, wall coverings and textiles are only a few examples of
abaca crafts
2. Rattan - Yantok in tagalog. Is a tall thin climbing plant with sheaths protected by spines
that help maintain the rattan as it grows on other plants in the forest. Baskets, hats, wall
decor, ashtrays, picture frames, sofa sets, tv racks, cupboards and other goods and
furniture for home use are examples of rattan crafts.
3. Bamboo - Bamboo is used to make bahay kubo, furniture, home furnishings such as
hangers, trays, dividers, lampshades and a variety of other items
4. Coconut shell - After the coco fleshed is scrapped from the shells, it is cleaned and cut
into a variety of forms for usage in items like buttons, brushes, table lamps, dippers,
buckles, and other accessories
5. Buri - The buri palm is the most common palm in the Philippines. The buri palm’s most
important feature is its leaf. The petiole generates a fiber known as buntal which is used
to make huts, purses and even ornaments
6. Leather - Taxidermy or the technique of preparing, filling and mounting animal skins uses
the head and portion of the rear of the animal. Bags, sheets, jackes, coin purses, gloves,
belts, wallet.

Presentation of the Content

Arts and Crafts in the Philippines refer to the various forms of the arts that have developed and
accumulated in the Philippines from the beginning of civilization in the country up to the present
era. They reflect the range of artistic influences on the country's culture, including indigenous
forms of the arts, and how these influences have honed the country's arts.

The traditional arts in the Philippines encompass folk architecture, maritime transport, weaving,
carving, folk performing arts, folk (oral) literature, folk graphic and plastic arts, ornament, textile,
or fiber art, pottery, and other artistic expressions of traditional culture.
Maritime Transport
includes boat houses, boat-making, and maritime traditions. These structures, traditionally made
of wood chosen by elders and crafts folks, were used as the main vehicles of the people,
connecting one island to another, where the seas and rivers became the people's roads.
Although boats are believed to have been used in the archipelago for thousands of years since
the arrival of humans through water, the earliest evidence of boat-making and the usage of
boats in the country continues to be dated as 320 AD through the carbon-dating of the Butuan
boats that are identified as remains of a gigantic balangay.

Weaving
ancient art form that continues in the Philippines today, with each ethnic group having their
distinct weaving techniques. The weaving arts are composed of basket weaving, back-strap
loom weaving, headgear weaving, fishnet weaving, and other forms of weaving. Cloth and mat
weavingExpensive textiles are made through the intricate and difficult process called back-strap
looming. Fibers such asCotton,abaca, banana fiber, grass, and palm fiber are used in the
Filipino weaving arts.

Basketry
The fine art of basket weaving in the Philippines has developed intricate designs and forms
directed for specific purposes such as harvesting, rice storage, travel package,sword case, and
so on. The art is believed to have arrived in the archipelago due to human migration, where
those at the north were the first to learn the art form

Folk graphic and plastic arts

The fields under folk graphic and plastic arts are tattooing, folk writing, and folk drawing and
painting.Folk writing (calligraphy)The Philippines has numerous indigenous scripts collectively
called as suyat, each of which has their own forms and styles of calligraphy. Various
ethno-linguistic groups in the Philippines prior to Spanish colonization in the 16th century up to
the independence era in the 21st century have used the scripts with various mediums. By the
end of colonialism, only four of the suyat scripts survived and continue to be used by certain
communities in everyday life.

Folk paintings Folk paintings, like folk drawings, are works of art that usually include depictions
of folk culture. Evidence suggests that the people of the archipelago have been painting and
glazing their potteries for thousands of years. Pigments used in paintings range from gold,
yellow, reddish purple, green, white, blue-green, to blue.
Carving
The art of carving in the Philippines focuses on wood carving and folk
non-claysculptures.WoodcarvingIndigenous wood carving is one of the most notable traditional
arts in thePhilippines, with some crafts in various ethnic groups date back prior to Hispanic
arrival with perhaps the oldest surviving today are fragments of a wooden boat dating to 320
AD.
Milwaukee Public Museum. (n.d.). Basketry Techniques & Materials. Retrieved from
https://www.mpm.edu/research-collections/anthropology/online-collections-research/philippine-b
asketry-collection-2
Ouano, B. (2018). Traditional Folk Arts in the Philippines. Retrieved from
https://www.slideshare.net/chocolatelover02/traditional-folk-arts-in-the-philippines
The Manila Times. (2019). Suyat calligraphy. Retrieved from
https://www.manilatimes.net/2019/02/17/the-sunday-times/cover-story/suyat-calligraphy/512687

Stone, ivory, and other carvings

Stone carving is a priced art form in the Philippines, even prior to the arrival of Western
colonizers, as seen in the stone likha and larawan or tao-tao crafts of the natives.These items
usually represents either an ancestor or a deity who aids the spirit of a loved one to go into the
afterlife properly.
A likha portraying a god, one of only two likha that survived Spanish persecution and destruction

Ornament, textile, or fiber art

includes a variety of fields, ranging from hat-making, mask-making, accessory-making, to
ornamental metal crafts, and many others.Hat-making, mask-making, and related
artsHat-making is a fine art in many communities throughout the country, with the gourd-based
tabungao of Abra and Ilocos being one of the most prized. IndigenousFilipino hats were widely
used in the daily lives of the people until the 20th century when they were replaced by
Western-style hats. They are currently worn during certain occasions, such as festivals, rituals,
or in theatreThe art of mask creation is both an indigenous and imported tradition, as certain
communities have mask-making practices prior to colonization, while some mask-making
traditions were introduced through trade from parts of Asia and the West. Today, these masks
are worn mostly during festivals, Moriones Festival, and MassKara Festival.

Pottery
The art of pottery, categorized into ceramic making, clay pot-making, and folk clay sculpture,
has long been a part of various cultures in the Philippines, with evidence pointing to a pottery
culture dating around 3,500 years ago.

Palayok - these pieces of pottery represent an ancient art form dating back to
pre-historic times. In Pampanga, the municipality of Santo Tomas is most famous for
pottery works, with many traditional potters selling their wares along Quirino Street.

Folk Architecture
differ significantly per ethnic group, where the structures can be made of bamboo, wood, rock,
coral, rattan, grass, and other materials.These abodes can range from the hut-style bahay kubo
which utilizes vernacular mediums in construction, the highland houses called bale that may
have four to eight sides, depending on the ethnic association.

Importance in the Architecture and Construction

Arkitektong Pilipino
- Reflection of the country's historical and cultural heritage.
- Most prominent historic structures in the archipelago are based on a mix of indigenous
Austronesian, Chinese, American, and Spanish influences.

Philippines
- melting pot of various cultures not just from its Western colonizers but even from its
neighbors in Asia even before the Spaniards came.
- Our country’s history produced a conglomeration of architectural design which still exists
at present.

Pre- Conquest
- Earliest records: rock shelters and caves in Palawan
- Early Filipinos are nomadic; constantly searching for food through hunting or fishing.
- Early Filipinos mainly relied on nature when creating shelter and did not need to build
permanent structures.
- With the development of tools, tent-like shelters and tree houses were also created to
serve as their abode.

Rock cave & shelter

Major Characteristics
- Adherence to the Tawhid and other Islamic beliefs
- Influence of folk (non-Muslim) and indigenous practices persists as well.
- Ukkil/okir decorations canbe found in Tausug and Sama houses, traditional
boats,weapons, sunduk orgravemarkers, musical instruments, and in textiles.
Key Features
- Luhul or canopy
- Features motifs from the Tree of Life.
- The forms are so repetitive and elaborate that they seem to distract us from the actual
natural elements from which they were derived.
- Sakili observed that many of the Islamic forms are inclined to project, grow, or have an
upward orientation, in tune with the regard for heaven and to veer from the “material
earth.”
- We can see this upward orientation of design elements in the panolong, an elaborately
carved protrusion akin to a wing attached to the royal house of the Maranao (torogan)

Global practices of indigenous creative crafts

I. North America
A. Eastern Woodland
1. Dreamcatchers
 - The Algonquian Indians hung dreamcatchers from cradleboards to
protect their children. They believed that the dreamcatcher would
catch bad dreams and allow good dreams to pass through the
web.
2. Iroquois Mask
- The False Face Society wore masks carved from wood.
3. Bowl Game
- The Iroquois Indians played the Sacred Bowl Game during the
“Ceremonial of Midwinter” at the end of the year.
- The wooden bowl was decorated with four clan symbols: the Bear,
wolf, turtle, and deer.
B. Southwest
1. Kachina Doll
- The Pueblos held religious festivals and ceremonies in which they
asked the Kachinas to bring rain and make their crops grow.
2. Weaving
- Around 1600, the Navajo women began to spin and weave wool.
- The first rughs the Navajo made were dyed with leaves, berries,
and insects.
- The rugs or blanket were never finished or perfected because the
Navajos believed it would offend the spirits.
3. Baskets
- The Apache women created baskets that were made from
different plants, reeds, and herbs. They mainly used yucca leaves,
willow reeds, or juniper bark.
C. Northwest Coast
The tribes living in the coastal areas are conveying their linguistics through
woodcarving. Famous examples include the following:
1. Totem poles
- These are the monumental carvings, usually poles, posts or pillars
that are carved with symbols or figures.
- The carvings may symbolize or commemorate ancestors, cultural
beliefs about legends and notable events.
2. Transformation mask
- A type of mask used in ritual dance and generally use them in
Potlatch (a gift-giving feast) to illustrate myths.
D. Western
1. Parfleche
- It was used by the Plains Indians to carry their possessions and
was made from a buffalo hide.
2. Peace Pipe
- Some of the pipes were made of wood and others were made of a
special kind of stone that were decorated with carvings.
 - Two types of Pipe: the peace pipe could be carried across enemy
territory and would assure safe passage for the carrier and the war
pipe had red feathers signifying blood and was passed around
smoked before a battle was to take place.
Sources: Native American Crafts - Eastern Woodland (bookunitsteacher.com)
Native American Crafts - Southwest (bookunitsteacher.com)
Native American Crafts - Southwest (bookunitsteacher.com)
Visual arts by indigenous peoples of the Americas - Wikipedia

II. South America

1. Textiles
A. Andean textiles
- Using an ancient backstrap loom, Andeans wove their textiles by leaning
back and forth to create and release tension on the loom.
- Made from Alpaca wool and cotton, the textiles were then dyed with
vibrant colors that were unusually preserved due to the area's dry
weather conditions.
B. Chimu mantle textile
- The Chimu, an ancient South American culture originating from the
location of present-day Peru, were expert textile makers who used a
spindle to create their work.
- Spinning a long thread that would later be interwoven into complex
combinations, artists would embellish their work with brocades,
embroidery, and painted fabrics.
- Similar to the Andean culture, the Chimu used natural dyes created from
plants and minerals to color their materials.
C. Shipibo-Conibo textiles (Peru)
- The Shipibo are known for labyrinthine geometric designs that reflect their
culture and their cosmology.
- The designs are traditionally drawn with natural huito berry pigments on
hand-woven cotton fabrics that are worn as wrap-around skirts.
- The fabric is either natural or dyed with a red-brown dye made from
mahogany bark.

2. Metalworks
A. Sican Gold Beaker Cups
- For the Sican or Lambayeque culture, metalsmithing became their way of
life wherein large workshops bloomed with the work of native artists
featuring the large-scale practice of smelting and metal.
- Produced for a Sicán high-ranking individual, this gold beaker resembles
a typical Andean ceramic goblet, wooden quero (qero, kero) or metal
aquilla.
 - Sicán goldsmiths favored the use of sheet metal consisting of a
gold-copper alloy; the copper provided for increased strength in sheet
metal production.

3. Jewelry
A. Golden Muisca Bracelets
- The Muisca, civilization of Colombia, was famous for their exquisite work
with gold, although it could only be obtained by trading along the
Magdalena River.
B. Chavin Gold Crown
- People from the ancient Chavin culture were also talented in the realm of
precious metalwork.
- Only the elite adorned themselves in exotic jewelry, they wore their
jewelry with pride and had a preference for beautiful sea shells and
intricate gold pieces.

4. Ceramics
A. Paracas Ceramics
- Many ceramics of the Paracas have been found in tombs, particularly in
the Paracas Cavernas.
- The associated ceramics include incised polychrome (whereby the
surface has been incised with a sharp tool and painted multiple colors),
"negative" resist decoration (pottery is covered in material then painted
and uncovered to reveal a pattern of negative and positive space), and
other techniques of the Paracas tradition.
B. Nazca Ceramics
- The Nazca culture is characterized by its beautiful polychrome pottery,
painted with at least fifteen distinct colors.
- The shift from post-fire resin painting to pre-fire slip painting marked the
end of Paracas-style pottery and the beginning of Nazca-style pottery.
- They have realistic subject matter such as fruits, plants, people, and
animals to motifs that include abstract elements as part of the design and
geometric iconography.
C. Moche Ceramics
- Important social activities are documented in Moche pottery, including
war, sex, metalwork, and weaving.
- Moche ceramics vary widely in shape and theme and are not generally
uniform, although the use of mold technology did enable for mass
production.
- uses a limited palette, relying primarily on red and white, fine line painting,
fully modeled clay, naturalistic figures, and stirrup spouts

5. Beadworks
 A. Beaded Huichol art (Mexico)
- The Huichols are indigenous people who live in mountainous areas north
of Jalisco and much of Nayarit in central Mexico.
- They adhere beads, one by one, to a surface, such as wood or a gourd,
with a mixture of resin and beeswax.

Sources:
https://design.tutsplus.com/articles/art-history-indigenous-south-america--cms-28629
https://www.amnh.org/exhibitions/permanent/south-american-peoples
https://courses.lumenlearning.com/boundless-arthistory/chapter/south-america/

III. Africa
A. West Africa
1. Kente
- A traditional, multi-coloured, hand woven, quilted cloth made of
silk and cotton texture made with interlaced cloth strips.
- The cloth is traditionally used to be worn as a warp around both
men and women.
- Worn by every Ghanaian tribe member.

2. Masks
a. Maiden Spirit
- Found in the 9th century. The masks are similar to the
Fang ones, being white and black in about the same parts.
b. Kanaga Mask
- Traditionally used by members of the Awa Society, especially
during the ceremonies of the cult of the dead Various animal
subjects were present : the kommolo tebu (a bird), the lizard,
the iguana, the barâmkamza dullogu (a water insect), the
hand of God or the female spirit of the trees (gyinu ya).
c. N'tomo Mask
- Used by the Bambara people and represents the legendary
ancestor of the Bambara, a symbol of protection and used at
agricultural festivities and to prevent illness
- Made of wood and covered in shells, seeds or brass.

3. Pottery
- A long custom in Nigeria since 100 B.C.
 - Suleja, Abuja and Ilorin are viewed as significant figures of
customary ceramics.
- Potters are female, and a practice to be passed through families.

4. Nok Terracotta
- Preserved in the form of scattered fragments and usually made
from alluvial mud, in terrain made by the erosion of water.
- The terracotta figures are hollow, coil built, nearly life-sized human
heads and bodies.

B. East Africa
1. Makonde Wood Carving
- The Makonde are best known for wood carvings of household
objects, figures and masks for ritual use made of blackwood.
- After the 1930s, these wood carvings became an important part of
the Contemporary art of Africa.

2. Tunic
- For the body reaching from the shoulders to a length somewhere
between the hips and the knees.

C. Central Africa
1. Rafia
- The men do the weaving, and the women do the embroidery and
applied work to their textiles.
- Used for ceremonial skirts, ‘velvet’ tribute cloths, headdresses and
basketry.

2. Kuba Masquerade
- The potential for masked performers to become aggressive is a
fundamental part of Kuba masquerade, and it is a reflection of the
influence of the unpredictable nature of ngesh on Kuba masked
dancers.
3. Punu-Lumbo
- A tribal mask native to the Ogooué River basin in Gabon.
- The masks are extremely valuable to collectors of African crafts, and
have been sold for over $400,000.
- The mask is oval in shape, with narrowed eyes, arched eyebrows and
small ears.

D. Southern Africa
1. Meputo
- A beaded apron discovered in in 19th to 20th century
- Made of hide, glass beads, metal beads, and straw
 2. Ndebele House painting
- The Southern Ndebele women are famous for the way they paint their
houses.
- Distinct geometric forms against stark, contrasting colours
encompassed everything from the architecture, clothing and tools of
the people.
- The pink patterns are one of the most important aspects in their
communication through painting.

E. North Africa
1. Maghreb Jewelry
- The ornamental designs engraved into Maghreb jewelry often
evoke the natural environment, suggesting interwoven flowers,
vines, animal tracks, the lapping of sea waves, or the rippling of
fields of grain.
- Has symbolic, magical meanings extraneous to its ornamental
function, and the objects are used as charms and talismans to
protect against evil eyes.

https://en.wikipedia.org/wiki/African_art#West_Africa
https://hyperallergic.com/318418/the-pulsing-patterns-of-traditional-north-african-jewelry/

IV. Australia

1. Boomerangs
- a curved throwing stick used chiefly by the Aboriginals of Australia for hunting
and warfare
- has been used by Indigenous peoples from many parts of Australia for over ten
thousand years
- famous for its ability to spin around and return to the thrower
2. Didgeridoo
- a traditional instrument of Indigenous Australians from northern Australia
- made from the wood of trees attacked by termites
- used to accompany ceremonies, and this purpose continues to this day
3. Possum skin cloaks
- made with possum pelts and stitched together with animal sinew
- worn by Indigenous peoples who lived in the south-east of Australia
- extremely significant to the wearer, as intricate designs made by incisions and
ochre symbolised their life, family history and achievements
4. Bush jewelry
- the main function of these items has changed from personal use to being an item
made to sell
 - materials are often a main indicator of the uniqueness of the object to a specific
place
- a variety of processes are employed to make the holes in the objects from
burning with hot wire to piercing shells with a needle
5. Eel traps
- made of river reeds and spear grass to regulate and trap the eels according to
weight and size
- used to carry the eels, which fed and sustained the lives of Gunditjmara for many
generations
6. Dilly bags
- used for gathering food and could be hung around the neck in order to leave the
hands free
- mainly designed and used by women to gather food but are also sometimes used
by men in ceremonies
- commonly found in the northern parts of Australia
7. Water bags
- made from the skin of a wallaby, used to transport liters of water
- its base is permanently sealed with knotted twine and tanned with resin to
prevent water from escaping when the skin is carried upright
- the neck is tied with twine, which would have been untied for access to the water
8. Emu egg carvings
- commemorate, depict and tell stories of Australian traditions, adventure and
environment
- reinforce connections to other animals, and especially the emu
- pictures are created by scratching, scraping and carving away the outer layers of
shell
9. Carved shell jewelry
- used by women to trade with foods and clothes to support their families
- making is an opportunity for women of all ages to get together and share stories,
pass knowledge to younger generations and continue to affirm their culture
10. Wood carvings
- made with sharp stones, wire, and fire.
- traded to foreigners in exchange for foreign goods or luxuries
- made to help tell their dreaming stories and pass on their group's lore and
essential information about their country and customs

https://www.makeheritagefun.com/crafts-indigenous-australia/
https://wccaustralia.org.au/what-are-australian-crafts/

V. Europe
A. Northern Europe
> Hvetevefting (Wheat Weaving)
- braided wheat into different patterns and shapes for decorating the house and
Christmas tree
 > Cookie Stamps
- Early in the sixteenth-century Swedish cookie stamps were custom made
- out of clay or carved wood
- To create these in clay, you need a kiln, clay, linoleum cutting tools, and simple
but creative design ideas
> Dalahast (Dala Horse)
- traditional Swedish toy/decoration made in the Dalarna province
- They have a unique shape, thick horses without tails.
- The horses were originally carved to be toys for children.
- traditionally carved from one piece of wood with their body painted a red-orange
color with additional floral and bridle details added
- kurbits painting technique
> Felting
- a tradition in which wool is made into felt
- into craft objects, purses, shoes, slippers, or jewelry
- Anne Einset (Vickrey) Evans

B. Eastern Europe
> Matryoshkas
- Russian nesting dolls
- most well-known symbols of the country
- a favorite souvenir for tourists
> Gzhel ceramics
- the trademark blue painting on white background
- Handmade and hand painted in a small town outside Moscow
- Beginning in the early 19th century, Gzhel artisans began producing tableware
and sculptures
> Dymka toys
- one of the oldest crafts in Russia
- Red clay provides the possibility to ‘glue’ all the details together.
- Anna Mezrina: Dymka master who sculpted the toys according to tradition
> Easter Eggs
- using real hen’s eggs
- batik dye method
- typical tie-dye method
- Materials used include bee’s wax, straw, and watercolors

C. Southern Europe
> Lace
- one of the most precious of traditions
- used as a fashion accessory for nobles, used for gloves and on clothing
> Weaving
- One of the oldest crafts in Malta
 - Every family had a weaving loom in those days, and they made their own clothing
and bedding
- used natural fibers such as cotton, wool, and silk
- weaved clothes, rugs, and blankets
> Filigree
- consisting of threads of silver or gold woven together
- delicate motifs
- Local artisans made the eight-pointed cross a prominent motif with gemstones,
gold or silver
> Tiles
- The patterned tiles are made of cement infused with color
- The patterns have developed through the years
- traditional patterned tiles are still in demand
> Basketware
- Wicker, bamboo, and reeds are the materials in basket-making
- the old craft developed for fishing and agriculture
- known for its strength and durability

D. Western Europe
> Brienz Wood-Carving
- Christian Fischer from Brienz
- carved in wood to create decorations
> Peasant-style ceramics
- Thun-Heimberg-Langnau is the Swiss region known for the handmade ceramics
- Farmers used to create pots for their use, hence the name
Sources:
https://www.daughtersofnorway.org/heritage/crafts/#:~:text=%20Crafts%20%201%20Nordic%20
Paper%20Crafts.%20Scandinavians,out%20of%20clay%20or%20carved%20wood.%20More%
20
https://www.rbth.com/arts/326619-russian-handicrafts
https://allmaltaonline.com/magazine/european-traditional-crafts/#:~:text=%20Maltese%20Traditi
onal%20Crafts%20%201%20Lace.%20Lace,consisting%20of%20threads%20of%20silver%20o
r...%20More%20
https://studyinginswitzerland.com/swiss-culture-traditions-heidi-yodeling-muesli/
https://forestwoodfolkart.wordpress.com/2016/03/20/easter-eggs-traditional-art/

Asian Practices of Indigenous Creative Crafts

I. East Asia
1. Lacquerware
- East Asian lacquer is an art of decorating wood, bamboo, metal or other
surfaces, with a hard, resinous, colourful finish, made from the resin of the
 Toxicodendron vernicifluum, known as the Lacquer Tree, which is native
to the area and a close relative of poison ivy.
- Raw lacquer is collected annually by extracting the viscous sap through
notches cut into the trees. It is gently heated to remove excess moisture
and impurities. In essence, lacquer is a natural plastic.
- Lacquerware includes small or large containers, tableware, a variety of
small objects carried by people, and larger objects such as furniture and
even coffins.
- The Ryukyu Islands (Okinawa Prefecture of Japan) continue to create
traditional lacquerwares.
2. Yachimun (Pottery and Ceramics)
- Made by Ryūkyūans; An Okinawan pottery influenced by Chinese
ceramics around the middle of the 14th century.
- Yachimun products are mainly plates, sake bottles, vases, flowerpots,
incense burners, light shades and coffee cups.
- Local clay, ceramic glaze, dyes, and other natural materials are used in
pottery making.
- Potters produce quality pieces by employing traditional methods and at
the same time promote the development of new techniques.
- A number of young and innovative potters are actively practicing
Yachimun.
3. Nibutani Attushi (Cloth Weaving)
- Cloth made by weaving thread made from the inner bark of Saru River
Basin elm and linden trees, nettle fibers, salmon and trout skins, deer,
seal, and bear pelts, and even tufted puffin feathers.
- The term Nibutani originates from niputai which is an Ainu (indigenous
people of north Japan) language word that means "a land where the trees
grow thickly". Ainu people in the region still produce traditional crafts to
maintain their cultural practices. The cloth has good breathability, water
resistance, durability, and a distinctive texture.
4. Miao Embroidery
- A unique art of Miao from Xijiang Miao Village in Kaili, southwest of
China.
- The Miao do not have their own written language; their embroidery takes
the role of documenting their history, and culture.
- They use silk, cotton thread, as well as horsehair to embroider cuffs,
sleeves, collars, and tunic fronts with designs of mythical animals,
ordinary insects, fish, and flowers.
- Vibrant colors are frequently used.
5. Woodcarving
a) Bagua
- The bagua mirror is an ancient feng shui cure that consists of a
round mirror framed in the octagonal shape of the bagua.
 - To protect against, and counteract, bad luck caused by arrows of
sha.
- An ancient Chinese arrangement of eight binary symbols
comprised of solid or straight (yang) lines and broken (yin) lines
that represents the unity of Heaven and Earth and the blessings
that acrue from alignment with natural virtue
b) Tal Masks
- These tal are used for shamanist or religious ceremonies, dances
(called talnori) and dramas (talchum).
- The original sense was "to let something go" or "to be free."
- The masks offered freedom for performers to anonymously
express their criticisms of powerful local people, such as members
of the aristocracy or the Buddhist monastic hierarchy.
c) Paiwan Woodcarving
- The Paiwan group of aborigines, found in the mountains of
southern Taiwan, consist of the Paiwan, the Rukai and the
Puyuma.
- Paiwan nobles decorate their houses and most of their household
utensils with carved designs.
- Motifs used in Paiwan woodcarving are mainly human figures,
human heads, snakes and deer.
- Geometrical patterns, fre­quently found in border decorations, may
be considered evolving from human head and snake designs.
Sources:
https://www.britannica.com/art/East-Asian-arts
http://www.visual-arts-cork.com/ancient-art/asian.htm
https://www.oki-islandguide.com/arts-and-crafts/pottery

II. Central Asia

1. Silk
- Margilan silk is featherweight, great for dyeing, fiber art, and lining of felt
garments.
- Margilan town in Ferghana Valley is the heart of silk production, often
called the Silk capital of Uzbekistan.
- Local craftsmen and women use the ancient techniques of silk production.
- Stages of silk making: cultivating silkworms on mulberry trees, extracting
fibers, manufacturing silk and sewing various silk items.
2. Prayer Rug
- This is a prayer rug woven by the Baluch tribes of Central Asia. When
used for prayer, the rug is placed on the ground with the mihrab or arch
pointing towards Mecca. Octagons containing stars cover the field of the
rug and the mihrab arch is capped with the ram's horns motif, which is
indicative of power and fertility.
3. Pottery and Ceramics
 - The town of Rishtan in Uzbekistan is located in the region with very good
clay that has been widely used by local ceramists since ancient times.
- Made of the local red clay, while the blue glaze, ishkur, is produced from
mineral colourants mixed with ashes obtained through burning of certain
kinds of plants (masters often keep components, proportions and
technologies secret).
- Nowadays there are quite a large number of families in Rishtan where
skills and secrets are passed from father to son for many generations.
4. Yurt
- Yurts are one of the most essential parts of Kyrgyz and Kazakh culture,
and are more than just dwellings.
- Yurts are made of cupola birch poles tied to a latticework that forms the
vertical walls. The outside is made of felt and wool, which is water
repellent and warm, and can be easily patched as needed.
- Men and their apprentices make the wooden frames by hand, along with
wooden, leather, bone and metal details.
- Women make the interior decorations and exterior coverings, ornamented
with traditional zoomorphic, vegetative or geometric patterns.
- Traditionally, knowledge and skills are transmitted within families or from
teachers to apprentices. All festivities, ceremonies, births, weddings and
funeral rituals are held in a yurt. As such, the yurt remains a symbol of
family, traditional hospitality and craftsmanship, fundamental to the
identity of the Kazakh and Kyrgyz peoples.

Sources:
http://www.stour-uz.com/outstanding-crafts/
https://factsanddetails.com/central-asia/
https://www.alesouk.com/arts-and-crafts-in-uzbekistan/

III. SOUTHEAST AND SOUTH ASIA

Southeast asia

Malaysia (Wau Kite)

- Wau Kite in Malay is a uniquely designed Malaysian kite called ‘Wau‘. Its wings are
similar to an Arabic letter (pronounced “wow”). This kite-making tradition comes naturally
to Malaysian people, especially in the Eastern States of the Malayan Peninsula.
- Farmers used kites as scarecrows in the fields and as a means to lull their children to
sleep, so they could work with little interruption.
- In making a wau, bamboo is used for the frame. The bamboo is split and soaked in mud
for two weeks.
 - the sound created or dengung as it is called, depends on the force of the wind. The
higher the kite flies and the faster the wind, the higher the pitch, making the sound ...
w-a-u-u-u, w-a-u-u-u.

Indonesia (Wayang Kulit)

- Shadow Puppetry is famous in Indonesia.

- Wayang, in modern Indonesian language means “show” or “perform”.
- Kulit means “skin”, a reference to the leather material that the figures are carved out of.
Others say that wayang is also attributed to the Indonesian word bayang which means
“shadow”

Laos (Paper)

- In this country, they make paper by hand in the wider region for over 700 years using the
bark of the local saa or mulberry tree.
- The bark is crushed and soaked in water until it dissolves into a paste. The liquid is then
scooped out, poured through a bamboo sieve and finally placed in a thin layer on a
bamboo bed and dried in the sun

Philippines (basket weaving)

- Philippines baskets are constructed from bamboo and rattan and often a combination of
the two.
- Plaiting and twining produces a wide range of sizes and forms. Filipinos use baskets for
transportation and farm work, food service and storage, fishing and trapping, clothing,
and to carry personal items.

SOUTH ASIA
Puppetry (Rajasthan)
- Also known as kathputli, the string puppet theatre native to the Rajasthan is one of the
most famous forms of the Indian puppetry and Indian wooden handicrafts.
- the puppets are controlled by a single string that passes from the head of the puppet.
- The puppets are made entirely out of wood, which is why they are called kathputli.
- However, it is also made from cotton cloth and metal wires. Some Rajasthani
communities have been performing this show from the ancient times, making this form of
art an eternal part of the unique Rajasthani culture and tradition.
- Historically, the shows made people aware of the problems in society and provided
social and moral education.

The Art of the Warlis (Maharashtra and Gujarat)

- The Varlis or the Warlis are a tribe living in the coastal as well as the mountainous areas
of Gujarat and Maharashtra.
- The tradition of the artistic expression of the Warlis is said to stretch back to 2500 or
3000 BCE.
- The wall paintings created by the Warlis are very basic graphic such as a triangle, a
square, and a circle.

- The triangle and the circle come from the artist’s observation of nature with the circle
representing the moon and the sun, the triangle representing the pointed trees and
mountains.
- The central motif is the square in each ritual painting. This is known as “chauk” or
“chaukat”.

https://parenting.firstcry.com/articles/magazine-famous-indian-handicrafts-that-carry-the-taste-of
-our-culture/
https://jackcosglori.wordpress.com/what-to-know/lesson-2-arts-and-crafts/

III. West Asia

1.
2.

5 Detailed Case Studies, comparisons, advantages and disadvantages of ICC vs

Traditional Building Materials
Coconut Shell and Traditional Coarse Aggregate (Capangpangan)

1. Abstract
The utilization of concrete is increasing at a higher rate due to development in
infrastructure and construction activities all around the world. Moreover, the cost of construction
materials is increasing abundantly every single day. Therefore, the use of waste material plays
an important role in lowering the construction cost and solid waste.

One of the waste materials that may be utilized in concrete is the coconut shell, which
comes from coconut trees that are considered indigenous material. Due to the high durability
and accessibility of coconut shell, it is a lightweight aggregate that is more appropriate for small
building construction. Generally, coconut shells are used in traditional concrete in the form of
viz., coconut shell aggregate, and coconut shell fiber.

2. Test and Result

 3. Discussion
Coconut shell
Disadvantages Advantages

More suitable only for less important Can help in waste reduction and pollution
constructions such as small huts, farm reduction.
houses, and other small residential
structures.

It cannot be used in large proportion in It can be used in rural areas and places
concrete. where coconut is abundant.

Coconut shell is not useful for high rise Total cost of concrete is reduced by
buildings. replacement of coarse aggregate to coconut
shells.

The water absorption capacity is lower than Coconut shells are more resistant towards
the actual sand aggregate. crushing, impact and abrasion.

Easy production of light weight concrete.

Coarse Aggregates

Disadvantages Advantages

Continuous extensive extraction of aggregate Make concrete mixes more compact.

from natural resources will lead to its
depletion.

Issues such as ecological imbalance will Lower the consumption of concrete of water.
occur because of mining.

Makes the concrete expensive. Add to the mechanical strength of the

concrete.
4. Conclusion
● The compressive strength of the concrete decreased as the percentage shell substitution
increased.
● The workability of concrete is increased than traditional concrete as percentage
replacement is increased.
● The volume of concrete is also increased as replacement is increased, hence, the total
quantity of concrete required is getting reduced and the cost is again getting reduced.
● In normal construction work, 10% aggregate replacement is allowed, while 20% and
30% aggregate replacement is only permitted for less important construction works.
● By replacing 10%, 20%, and 30% of aggregate, respectively, the overall weight of
concrete is lowered than the traditional concrete while the quantity of material is raised
by 4%, 7%, and 15%.
Reference:
Kumbhar, V. P., & Pawar, S. S. (2018). Invention Journal of Research Technology in Engineering
& Management (IJRTEM). Comparative Analysis of Coconut Shell Concrete to Traditional
Concrete, 2(6), PP 107–113.
https://www.researchgate.net/publication/326176441_Comparative_Analysis_of_Coconut_shell
_Concrete_to_Traditional_Concrete

Coir Bricks and Conventional Bricks - Manahan

Space allotment for wastes has been increasing due to the recent progression of
humankind. Moreover, this has been a major problem for countries all around the world.
The need to reuse wastes from human activities and material production has been
heavily valued and considered in recent studies in construction and engineering.

The studies for indigenous [crafted] materials and its potential in construction can be put
through the lens for further development of reusable resources. In a study made by
Khanna & Dhanalkshmi (2018), agricultural wastes were used and tested to be
materials for production of building bricks- specifically, coconut fibers or coir. Coir [from
coconut fibers] is the fibrous material found between the hard, internal shell and the
outer coat of a coconut, and is a material often gathered from agricultural wastes, more
known to be used in production of crafty materials like house decor and accessories.
Bricks, on the other hand, is a classic building material used for pavements and walls of
structures. It is produced from clay and sand, with numerous chemical components
such as iron compounds.

1. Comparisons Based on Properties

Coir was investigated by many researchers for different purposes. It is
said to contain properties that are inconsistent and difficult to be determined, such as
the size of the diameter of the fiber with direct proportion to its tensile strength. Inclined
with this, the density of the coconut fibers seemed unrealistic, as it has 0.67-10.0
g/cm3, which is far from the standard density rates of 0.67-1.00 g/cm3. If taken upon its
chemical properties, coconut fibers are the best option for plant-based construction
brick, as it has better water resistance performance and strength than other agricultural
wastes.
On the other hand, components of bricks have standard rates and
classifications for physical, mechanical, and chemical properties. Hence, it is easier to
comprehend for materials of mass
production.

2. Methods for
Analysis of Properties
Several tests were done to
determine the differences of coir
brick and conventional brick in
terms of quality. The tests were
the Water Absorption Test, and
the Compressive Strength Test.

Shown in the table is the standard

percentages of water absorption
qualities.

Table shown is the result of the

Water absorption Test. Based on
this data, Coir brick had an
absorption value, which is the
lowest percentage among the
materials for bricks. While all
maintain a good performance in resisting water absorption, coir is may be a
strong material for brick production.

For the Compressive Strength Test results, coir had a decent strength
value, close to values of another brick material.

The results of these tests show that coir bricks have a potential to be used as bricks in
construction.
 3. Advantages and Disadvantages

Coir Bricks
● Advantages of this material include: (1) Cost-efficient,; (2) Environment-friendly,;
(3) Great quality of material,; (4) Potential material for rural area buildings.
● Disadvantages include: (1) Unavailability of material production process,; (2)
Material not suitable for high buildings,; (3) Unstable data of standards for quality
control
Conventional Bricks
● Advantages include: (1) Convenience of supply and production to mass
population,; (2) Can be used for heavier and high-rise buildings,; (3) Has
available standard rates for quality control.
● Disadvantages include: (1) Causes pollution and more wastes in production and
application,; (2) Non-innovative.
4. Conclusion
Coir has the potential to be used for construction materials if the goal is to
minimize agricultural and construction wastes.There is a tremendous scope for setting
up secondary industries for recycling and using such huge quantities of solid wastes as
minerals or resources in the production of construction materials. Environment-friendly,
energy-efficient, and cost-effective alternative materials produced from solid wastes will
show a good market potential to fulfill people’s needs in rural and urban areas.

The incorporation of coconut fiber in brick production leads to a new method of wastes
disposal and is found to be an environmental eco-friendly recycling process in brick
industries.

5. Reference:
Kanna, G. V., & Dhanalakshmi, G. (2018). Experimental Investigations on Bricks with
the replacement of Coconut Fibre. International Research Journal of Engineering and
Technology (IRJET), 5(2), 199–204.
https://www.irjet.net/archives/V5/i2/IRJET-V5I248.pdf.

Bamboo vs Steel as a reinforcement - Montemayor

COMPARATIVE ANALYSIS OF STEEL REINFORCED AND BAMBOO REINFORCED

BEAMS

1. ABSTRACT/AIM:

The main aim is to find out the applicability of bamboo reinforced concrete beams
against steel reinforced concrete beams in developing countries wherein bamboo is
easily available as compared to steel reinforcement bars.

2. INTRODUCTION:
In most countries, concrete is widely used as the foundation for the infrastructure.
Concrete is used largely because it is economical and has suitable building properties
such as its ability to support large compressive loads. However, the use of concrete is
limited because it has low tensile strength. For this reason, it is reinforced, and one of
the more popular reinforcing bars (rebar) is steel. Scientists and engineers are
constantly seeking for new materials for structural systems; the idea of using bamboo
as possible reinforcement has gained popularity.

3. EXPERIMENTAL MODEL:

a. Steel Reinforced Beams

This set of beams will be eight (8) in number. In this group, one set of beams will
have two (2) longitudinal bars at tension side and six (6) at compression side of
8mm. The transverse bars will be of 6mm@150 for one set and 6mm@300 for
another set. This set of beams will be used as the control beams. For each set of
beams, concrete strength of 20MPa and 30MPa will be used respectively. The
details are given in

b.. Bamboo Reinforced Beams

This set of beams will be sixteen in number. In this group of beams the number
of transverse reinforcements will remain the same as in the steel beams (the only
change being that those will be replaced by bamboo instead). This set of bamboo to
be used as reinforcement will be treated with Sikadur to improve its qualities like
bond strength and help improve durability as well.

Bending test is going to be done on all sets of beams. The beams are all going to be
simply supported at both ends. After beam specimens have been put in place, there will
be fixation of the devices for measuring different parameters of the specimen.. Then the
hydraulic jack is fixed to ensure uniform load application.

4. RESULT
 5. CONCLUSION:

From the research we can see that steel reinforced beams are more ductile than
bamboo reinforced beams for the simple of the higher ductility of steel than bamboo.
Also, the strength of concrete had little effect on the behavior leading to failure of the
beams. It can be concluded that bamboo is still a possibility to replace steel as
reinforcement but only in cases where there aren't a lot of loads coming on the
structure.

REFERENCE:
Sipil, S. (2019). Comparative Analysis of Steel Reinforced and Bamboo Reinforced
Beams. 13(2):105-109. DOI:10.21776/ub.rekayasasipil.2019.013.02.
Link:
https://www.researchgate.net/publication/336612021_Comparative_Analysis_of_Steel_
Reinforced_and_Bamboo_Reinforced_Beams

Straw Bale and Traditional Brick

A COMPARATIVE STUDY OF BRICK AND STRAW BALE WALL SYSTEMS FROM

ENVIRONMENTAL, ECONOMICAL AND ENERGY PERSPECTIVES
1. ABSTRACT
The aim of this study is to compare brick and straw bale wall systems from
environmental, economic and energy perspectives. Brick plays an important role in
building materials however, straw is also available and has many good properties.
Therefore, considering this as a good alternative to brick may help the surroundings.

2. INTRODUCTION
Ecological, environmentally friendly, and healthy buildings demand balance in
many different aspects of building design. The selection of the main material often plays
an important role in the building process. Natural materials have been shown to have low
impact on the environment, their primary benefit being their organic origin, renewability,
and low embodied energy, and they usually offer favorable living conditions to its
dwellers/users.

Straw is a side product created when growing cereal grains such as wheat, oats,
barley, rye, rice and others. It is practically unlimited in amount and is assured annually.
It has been used as a building material for thousands of years either as a reinforcing
additive to clay or mud building techniques or as a layer in the form of thatch. However,
Clay is a raw material for brick production. It is composed of loam, sand, water and a few
other ingredients.

Building with bricks is taken for granted in many parts of the world. It presents a
relatively economical and safe choice regarding its tradition, availability and general
properties. In the past few years, however, interest in straw (especially straw bales) as a
building material has increased, primarily due to the rising attention on environmentally
friendly buildings. The ecological component to planning and building is becoming more
significant.

The choice of basic building materials is an important part of each project and is
usually based on professional judgment. Brick is the most commonly used building
material worldwide; whereas straw, though widely available and having many
advantageous properties, is still poorly exploited. This study showed that, considering
environmental, economic and energy values, the use of straw bales is a good alternative
to brick.

3. METHODOLOGY
In this study, wall compositions of both materials were examined assuming passive
building standards. Three values - Global Warming Potential (GWP), Primary Energy
Input (PEI) and Acidification Potential (AP) - of environmental impact were calculated.

Primary Energy Input is the amount of energetic resources required to manufacture a

product or perform a service is defined as the primary energy content.
 Acidification is mainly caused by interaction of nitrogen oxide (NOx) and sulfur dioxide
(SO2) with air components. The acidification can lead to the movement of heavy metals,
can affect water, animals and plants and can cause the corrosion of buildings.

Global Warming Potential is a measurement that establishes the relative climate effects
of greenhouse gases. It is a number that refers to the amount of global warming caused by
a substance.

Figure 1: PEI value comparison Figure 2: AP value comparison by layers for

by layers for researched walls. researched walls.

Figure 3: Wall thickness - straw wall vs brick wall.

4. RESULT

Figure 1. This represents approximately 4.15 times higher efficiency with the straw bale
wall construction. Moreover, by comparing the global warming potential GWP, the straw
bale wall has a negative value and brick wall construction has positive value.

Figure 2. Acidification potential (AI) shows that the final value of the straw bale wall
layers is lower than the brick wall.
 Figure 3. In practice that means that there would be approximately 3% more space on
the same size floor plan area of 100 m2 , if the walls were constructed with straw bales.

Overall, the impact on the environment of the brick wall is higher . The total mass of the
straw bale wall is 147.25 kg, and the brick wall weighs 270.45 kg.

5. CONCLUSIONS

The choice of the main building material is dependent on many aspects, not only
environmental or economic - although they are arguably the most important ones. Materials
used in the straw wall system are all natural and completely recyclable, which results in lower
energy input in all aspects compared to the brick system.

The differences found and emphasized in this article were mainly concentrated in terms
of their impact on the environment during material production, construction and
decommissioning. The researchers’ findings show that straw is a good alternative to brick
considering economic and environmental factors.

SOURCES:
https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.1047.9509&rep=rep1&type=pdf

Rice husk ash as a partial replacement of cement in high strength concrete

containing micro silica: Evaluating durability and mechanical properties

1. Abstract
This paper presents benefits resulted from various ratios of rice husk ash(RHA)
on concrete indicators through 5 mixture plans with proportions of 5, 10, 15, 20
and 25% RHA by weight of cement in addition to 10% micro- silica (MS) to be
compared with a reference mixture with 100% Portland cement.

2. Introduction

Concrete technology has entered broad-based areas of activities to enhance

concrete performance by introduction of self-compacting concrete (SCC), high
strength concrete (HSC) or maybe ultra-high strength concrete (UHSC). “HSCs
are known to have a higher amount of cement binder in the mix design properties
with low w/b ratio”. However, the high mass of cement content produces
substantial heat liberation in the concrete due to the reaction between cement
and water, which can lead to cracking.
 HSC is indeed important in high rise buildings to reduce columns both in number
and size to provide ambient space, to be used in bridge constructions, marine
foundations, and heavy industrial floors. High strength concrete achieved by
incorporation of superplasticizers embedded to prevent segregation, lower ratios
of c/w and water/binder, and strength effective degrees at the hardened state.
Combination of minerals leads to low permeability based on the slight interface
remaining between paste and coarse aggregates to be filled and more dense
concrete.

3. Test and results

Compressive strength

In the case of compressive strength and chloride permeation properties, standard

practice of curing for 28 days is found to be adequate. Prolonged curing up to 90
days is found to be beneficial only from the point of view of improving the
resistance to water absorption.

Partially due to the pozzolanic reaction it increased in strength as reported by

many researchers and partially due to high specific surface area and the presence
of reactive silica in RHA.
Indirect tensile strength

The same trend was observed for the tensile strength most increased up to 6.8%
RHA.

Water absorption test

The mixtures with 25% RHA showed the lowest ratios of water absorption by
about 4.8% at 7 days and 3% at 28 d of cuing respectively.
 Permeability test

Replacement with 25% rice husk ash resulted in drastic enhancement of the
permeability properties.

4. Conclusion

Performance-based investigations on concrete by different additives entered

extensive areas of test methods. It is generally thought that the utility of additives
to cement can serve to create mechanical and pro- mechanical aspects that can be
a source of economical and biological benefits, higher levels of slump flow,
cohesion of fresh mixture, and strength during hardened state.

From the study conducted, the following results obtained:

● Prevention from environmental interferences and reduction of pollutants are

issues attributed to cementitious replacements leads to more comprehensive
framework to environmental- based issues.
● Incorporating of RHA to cement contributes to low ratios of chloride ion
penetrations up to 928 Coulombs by 25% RHA replacement.
● The performance of rice husk ash in concrete is of factors influencing the amount
of silica added. This is because rice husk ash contains 85% to 95% weight percent
of amorphous silica. Rice husk ash as a pozzolanic reactive material can be used
to improve surface area of transition zone between the microscopic structure of
cement paste and aggregate in the high-performance concrete.
● These results drastically benefits durability and resistance of concrete
constructions and their service life.
SOURCE: Zareei, S. A., Ameri, F., Dorostkar, F., & Ahmadi, M. (2017, May 17). Rice husk ash
as a partial replacement of cement in high strength concrete containing micro silica: Evaluating
durability and mechanical properties. Case Studies in Construction Materials. Retrieved October
11, 2021, from https://www.sciencedirect.com/science/article/pii/S2214509516300924.