A Collaborative Design 369
Curriculum for Reviving
Sheet Metal Handicraft
Patrick K. C. Chan
Abstract
Galvanised sheet metal was a popular and tives: the galvanised sheet metal handicraft
important material for producing handmade being appreciated and inherited, the anony-
home utensils in Hong Kong from the 1930s mous and forgotten blue-collar craftsmen being
onwards. It was gradually replaced by new recognised as professional artisans, the birth of
materials like stainless steel and plastic because innovative products employing the material and
similar goods made with these are cheaper, the craft, as well as new job opportunities and
more standardised, more durable and of much markets explored for the profession in the
better quality. The handicrafts behind sheet contemporary world. From a pedagogical
metal products are also phasing out because perspective, it also evaluates why the students
the machine-based production process has found it a satisfying learning experience. The
become the norm. Today sheet metal handi- significance of the study is that it suggests a
craftsmen in Hong Kong are facing a survival similar collaborative curriculum design could be
problem. This article is a case study on the applied to a broader scope of traditional handi-
design of a 14-week curriculum, an assignment crafts for cultural inheritance.
design and follow-up events aiming to preserve
and disseminate the knowledge and skills of the Keywords
craft to a younger generation of designers, who design education, collaborative curriculum,
typically lack hands-on design-and-make expe- interdisciplinary practices, sheet metal
rience since such hands are mostly replaced by handicraft, tacit knowledge inheritance,
computers. With the collaboration of a univer- master–apprentice
sity design school, an NGO and a practising
sheet metal handicraftsman, this design curric-
ulum managed to achieve multiple-level objec-
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370 Background installed. This created a mainstream job market
Patrick K. C. Chan Galvanised sheet metal consists of soft steel or for sheet metal workers to migrate from light
iron sheets coated with zinc. The zinc coating handicraft to ventilation ducts production. Later
helps to stop the sheet metal from corrosion or on, this job was further narrowed down to only
oxidisation as long as it remains on the sheet. assembling and installation, as most machine-
Before other metallic materials became popular, produced standardised duct modules could be
it was especially important for metal structures ordered from Mainland China at much cheaper
and products consumed in humid places like prices than those hand-produced locally. Today,
Hong Kong. Before machine-based production this sheet metal handicraft is only needed when
became the norm, sheet metal products were there is no standard module suitable for specific
handmade with tools like shears and hammers. linkage during installation at a construction site,
The handicraft of galvanised sheet metal mainly and so tailor-made modules need to be produced
employs the skill of cutting, hitting, folding by these craftsmen. With this significant change
and connecting flat metal sheets, and turning in job nature, the crafting skills of sheet metal
them into three-dimensional forms for various workers are becoming obsolete and even forgot-
purposes. Like many traditional handicrafts in ten when less tailor-made modules are needed.
Hong Kong, practitioners in the industry were Now it is assembling and installation skills that
usually from the grassroots, not well-educated are needed in Hong Kong, not craftsmanship.
and not recognised. Their knowledge and skills There is an urgent need for new exploration and
gained through decades of master–appren- development of this traditional handicraft and its
tice relationship and observe–imitate practice knowledge before they are forgotten. To achieve
remain tacit even until today. this we firstly need to understand this craft in
From the 1930s to the 1980s, galvanised a more systematic manner. Yet, other than the
sheet metal was widely used in Hong Kong tacit knowledge of galvanised sheet metal craft,
for producing domestic utensils. Water buck- visual and textual documentation are extremely
ets, mah-jong boxes and outdoor mailboxes rare. These craftsmen became our only source
are classic collective memories of Hong Kong to study this century-old knowledge and skills.
people born in the 1950s. Yet since the introduc- Since the 1997 Handover of Hong Kong
tion of new materials like plastic and stainless back to China, there is a growing identity crisis
steel, as well as new machine-based manu- among Hong Kong people, enduring as China’s
facturing technologies like injection moulding, influence grows. The notion of ‘HongKong-
became more popular and advanced in Hong ness’ has emerged as a hot topic for public
Kong, the handmade tradition was gradu- debate and cultural studies (Erni 2001). People
ally replaced, since handmade products like are more interested in recalling from collective
sheet metal utensils were unable to compete memories their growth and lifestyles before
with standardised, more durable and cheaper 1997, and contrasting them with those after,
mass-produced goods. After the 1980s, the seeking to explore if those before 1997 could
economy of Hong Kong took flight, and sky- form part of the Hong Kong identity. Fundings
high modern office buildings with glass walls or are set up to encourage efforts to study and
mural-sized window panes replaced old office explore the preservation of declining social
blocks which accommodated conventional air cultures in Hong Kong. It was in this context that
conditioners. Big shopping malls also prevailed the author of this article, as a university design
over traditional stores and shops located at teacher and subject coordinator, collaborated
the ground level of residential buildings. These with an NGO which utilised funding to recruit a
modern office buildings and shopping malls practising craftsman in co-teaching two cohorts
typically employed centralised HVAC (heating, of a subject within a part-time undergraduate
ventilating and air conditioning) systems and programme in art and design education, aiming
hence needed to have a lot of ventilation ducts to mobilise a class of practising designers and
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Patrick K. C. Chan
art teachers to preserve, disseminate and even to write out those names. Most craftsmen
revive the handicraft of galvanised sheet metal. are unable to tell where these names came
To the subject coordinator and programme from, other than having been told them by
leader of the design institution, besides the their masters when they were apprentices. For
objective of preserving the knowledge and skills many kinds of traditional crafts in Hong Kong,
of the craft, its tacit nature and how it reflects it was the cultural historians who made efforts
an alternative approach in teaching and learn- to reconstruct history by researching from
ing that differentiates it from education in the word-of-mouth evidence and minimal and frag-
conventional classroom setting also attracted mented literature.
much interest and hence were justifications for Because this article is intended for an inter-
the course. national audience, the author chooses not to
This article is a case study elaborating how translate the terminologies from sheet metal
this 14-week curriculum, assignment design craft in an exact manner, but makes reference
and follow-up events not only provided the to their closest English parallels based on avail-
students with a satisfying learning experience, able publications (e.g. Industrial Centre, The
but also demonstrated the implementation of Hong Kong Polytechnic University 2012) and
a pragmatic vision that could be applied to a information on the Internet. Given that the
broader scope of traditional handicrafts in their author is not from the field of sheet metal craft,
inheritance and sustainable development. he has no intention to go deep into the origin
of these terminologies or to be able to explain
Limitations in sheet metal terminologies them in every detail. Rather than understand-
Like many other traditional handicrafts in Hong ing the craft itself, the article will focus on the
Kong, most of the Cantonese terminologies collaboration of different parties in formulating
of sheet metal craft are untraceable because a design curriculum, as well as its educational
its tradition and knowledge are mostly inher- significance and implications.
ited orally. Even today, the industry does not
This page:
have any proper documentation of its history Objectives, 14-week rundown and
and terminology. For instance, the names of assignment design Figure 1
The 14-week
many tools used by the craft are known in oral When the programme leader, subject coordi- rundown of the
Cantonese only. Craftsmen do not know how nator and two co-teachers sat down with the curriculum
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Patrick K. C. Chan
collaborating NGO to explore how to formulate when students were working on the two
the subject curriculum, there was a random assignments. In the light of Bloom’s taxonomy
list of objectives which were of each party’s (Bloom 1956), the teachers believed that these
concern. Obviously, the design teachers contents could put the curriculum encompass-
intended to position the subject contents from ing the three domains (cognitive, affective and
the perspective of teaching and learning; how psycho-motor) of education objectives in a
to provide the context for students to unfold good balance, and help the students’ cognitive
tacit knowledge from a craftsman’s mind, to learning to move smoothly from the lower to
develop observation and fact-finding skills in the higher (Anderson et al. 2000) (Figure 2).
ethnographic research, to experience learn-
ing by making and knowing as an interactive Visual Study (VS)
process, and of course exercise creativity with The VS required each group of students to
the handicraft learnt, and theorise from practice visually explain any specific area of their inter-
and experience for an alternative pedagogy. On est in galvanised sheet metal handicraft and
the other hand, the NGO was more concerned its culture: its history in Hong Kong, the prac-
about how to utilise the funding meaningfully titioners, the production of seams, the tools,
and effectively for cultural preservation. They the workplace and so on. Their target audience
wished to see the declining galvanised sheet would be laymen who have no knowledge
metal handicraft being preserved, appreciated of the craft. To complement another course
and inherited. Through their collaboration, both on information design that the students
parties would also like to create sustaining were taking concurrently, they were asked to
social value by exploring new developments present their study with infographics, instruc-
for the craftsmen’s endangered profession tional diagrams and photos, supported by a
through designing new sheet metal products small number of captions.
for the contemporary market. After the subject orientation at the begin-
The teachers decided to anchor the 14-week ning of the first session, two case studies on
curriculum with two group assignments: the other forms of traditional crafts, one by each
Visual Study assignment (VS) and the Design & co-teacher, were introduced to the class, so
Make assignment (D&M). The former lasted for as to give them an idea of how the VS could
four weeks and the latter seven weeks. Figure be conducted. The co-teachers shared their
1 shows the 14-week rundown of the subject insights on the differences between handicraft
in which two case studies, two sheet metal products and machine-produced goods. They
workshop sessions, a field visit to the crafts- also shared their experience on how to get to
man’s own studio, a lecture and a lot of tutorials know the craftsmen, gaining trust from them
were inserted throughout the weekly sessions before being able to move on to collecting
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data or co-designing with them. The class experience. They would seek to reconstruct 373
thus learned about how to work and commu- their understandings in a systematic manner, Patrick K. C. Chan
nicate with local craftsmen, who usually came and transform the craftsman’s tacit knowledge
from the grassroots and might not possess into explicit forms.
communication and interpersonal skills like Between the two workshop sessions, a field
those from the well-educated middle class. visit to the craftsman’s studio was arranged.
They also gained ideas about how their teach- This helped the students to get a truer picture
ers observed, collected data both in visual and of how a sheet metal craftsman actually works
oral forms, analysed the data in reference to its in a real setting. Students could observe, ask
historical and industrial context, deconstructed curious questions, take photos and videos and
its tacit logic and finally organised and explained collect data like ethnographers. At his studio,
their findings visually and systematically in the not only did the craftsman feel it easier to
form of a publication (Sham Shui Po District express his views; he could also demonstrate
Council 2007). using hand tools and machines (for example,
After the first session, the students started a Pittsburgh sheet metal lockforming machine,
working on the VS by conducting a simple pilot sheet metal folder or spot welder) that were
research into galvanised sheet metal craft, not found in the school’s workshop, as well as
most probably through secondary sources simple tools that were invented by the artisan
like the Internet. Then they spent a total of six himself to optimise his work efficiency. After
hours in two weekly sessions in the school’s trying out these tools and machines as well
workshop to learn the handicraft. The school as immersing themselves in the environment,
and NGO had invited a craftsman who had sensitive students might discover how some
30 years of experience in this craft to teach of the craftsman’s day-to-day work practices
and demonstrate to the students the basic were shaped by certain settings and condi-
skills – that is, using hand tools like shears tions in the studio. For example, while students
and hammers for cutting, hitting and folding, learned hitting sheet metal on workbench
then utilising these skills to build three-dimen- tops, the craftsman actually squatted down to
sional forms and fixtures by connecting flat do it on the floor and not on a table top. This
sheet metal with seams/locks (including the ethnographic approach in visual study, though
double-sided grooved flat lock seam, cap strip brief, helped the students to not only gain
seam, standing seam and Pittsburgh seam), insights about its tacit nature, but also build
and finally curling the hem with a wire to form an empathic perspective to research about
a rolled edge. Besides visually documenting the craft, so that they would be more sensitive
the artisan’s demonstration with photos and to the craftsman’s considerations in produc-
videos, the students were given an opportunity tion when they design new products in future
to perform all of what the artisan had demon- (Bichard & Gheerawo 2010).
strated. This was intended to reconstruct the After the workshop sessions and field visit,
master–apprentice scenario in which most all groups of students then revisited the visual
teaching and learning was undertaken in an data they had collected and the interview
observe–imitate manner. Even when questions transcripts, as well as workshop experience.
were asked, the craftsman might not be able to Through the tutorial provided by the subject
provide good explanations of all the rationale coordinator and co-teachers, they analysed
behind his practice or procedures, especially in and discussed to make sense out of their frag- Opposite page:
regards to the origins and history of tools and mented information and tried to put in explicit Figure 2
terminologies. For issues without an answer, terms the hidden logics behind the craft. In Education and
students were forced to reflect and analyse Week 7 each group presented and submitted assignment
objectives mapped
from their observations during the crafts- their VS, with the sheet metal artisan invited to onto Bloom's
man’s demonstration and their own try-out comment if their articulation of the craft made taxonomy.
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Patrick K. C. Chan
sense to him, while the design teachers would that enabled them to have a solid foundation
critique it from the perspective of graphic for brainstorming for product ideas. Many just
communication and information design. started to think about a conventional piece
of home accessory or furniture, only replac-
Design & make (D&M) ing the original material with galvanised sheet
Following the VS, D&M required each group of metal. Many considered a modular approach,
students to utilise the galvanised sheet metal but they overlooked the fact that these hand-
handicraft they acquired in the first few weeks, made galvanised sheet metal modules will
combining the art and design knowledge and never possess the same standardised joints of
skills they already possessed to design and machine-produced furniture. When they tried to
prototype a new sheet metal product for the generate product ideas, they thought about the
contemporary market. functions of the products without considering
When the assignment was briefed to the how the structure and the seams contributed
class, a lecture immediately followed to provide a unique outlook to sheet metal products. They
them some perspectives on how to choose failed to understand that the people who would
what galvanised sheet metal products to design be interested in these products nowadays are
and make. As students from this programme in concerned not with their functions but actually
art and design education were not just product with the nostalgic look and feel that brings back
designers but came from a diverse spectrum their memories.
of backgrounds and design specialisms, it set a To provide the students some perspectives
good multi-disciplinary mix among the groups from which to formulate a proper strategy in
so that creative thinking could be stimulated generating concepts instead of randomly brain-
more easily. However, many of the students did storming for ideas, the subject coordinator
not possess a basic product design knowledge gave a lecture introducing some basic concepts
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in product analysis and value creation. The sheet metal handicraft. Together they formed 375
lecture refreshed the students’ understanding a comprehensive source for laymen to under- Patrick K. C. Chan
on design not just as a cosmetic tool but also as stand and learn about the craft. A series of
a strategic weapon to add and create value for prototypes with diverse functions and styles
products and services. Then it elaborated on were also produced (Figure 3). They provided
how those values could be analysed in terms of an impressive picture of how creative and
usability (form), usefulness (function) and desir- contemporary sheet metal craft could be.
ability (fantasy), and could also be affected by The craftsman who taught the students the
time and context. The case of galvanised sheet skills said during the final presentation that he
metal handicraft products is a good example of himself had never imagined such kinds of galva-
how their original functional value in the 1960s nised sheet metal products. He was then more
becomes mostly irrelevant today, but people motivated to continue his collaboration with
are still buying them for other reasons. Students institutions in conducting similar workshops.
were challenged to analyse what attributes and To further leverage the impact of the
values they would keep in their designs, what outcomes, the school and the collaborating
new values they were adding into it and if all NGO consolidated the students’ VS work by
these would help to differentiate their products publishing a small booklet. It covered historical
from their competitors. development, the hand tools and machines
The lecture moved on to provide them more used in galvanised sheet metal handicraft, the
analytical frameworks for analysing the value seams taught in the subject, interviews with five
of a product, including Cagan & Vogel’s unique retiring elderly craftsmen, as well as design
Value Opportunity Analysis that deconstructs prototypes by the students (Chan 2014). The
product value into seven specific attributes booklet was distributed freely to future cohorts,
(namely emotion, aesthetics, identity, impact, to participants of sheet metal handicraft work-
ergonomics, quality and core technology) and shops held by the NGO, as well as to the general
Part Differentiation Matrix that helps to under- public. Along with other projects on traditional
stand how consumers prioritise the seven handicrafts, the NGO also organised exhibitions
attributes at the point of purchase (Cagan & to promote the crafts. Craftsmen who contrib-
Vogel 2002). With these tools students were uted in the collaboration were given recognition.
able to judge for themselves and not just follow The design outcomes by the students were also
the teachers’ advice on which of their brain- exhibited to the general public.
stormed ideas were the ones worth developing
and finally be selected for prototyping. Significance, reflections and looking ahead
Throughout this stage, the subject coordi- As mentioned earlier, the balance of objectives
nator and co-teachers continued to provide and contents encompassing the cognitive,
tutorials to each group of students every week affective and psycho-motor domains did help
on the product details, while the craftsman was to give the students a holistic and satisfy-
also there to assist and consult with them on ing learning experience. Students who were
the technical aspects, and sometimes even lent laymen to the craft now actually utilised their
a helping hand to produce parts that demanded acquired knowledge and skills to design and
a higher level of crafting skill. produce their own creative works. In their
reflective essays, many said that they began to
Opposite page:
Design outcomes and follow-up appreciate and be interested in not just sheet
Figure 3
After 14 weeks of hard work, the design metal craft but many other traditional handi- Creative galvanised
outcomes from the students were substantial crafts as well. The teachers noted that female sheet metal
and interesting. Each group of students had students who were usually not keen on such handicrafts
designed and
produced a set of visual documentation and kinds of craft were highly engaged throughout prototyped by
explanation on specific aspects of galvanised the 14 weeks, and for two cohorts it was the students
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376 girls who performed better and thus got higher other materials like wood, leather or formica.
Patrick K. C. Chan marks than the boys. This cross-over design approach in the use
While the middle-class students took an of materials employed by the students has
ethnographic and empathic approach in under- actually made the artisans hesitent to explore
standing the handicraft and the grassroots opportunities for mass production. Besides,
craftsman, the author also saw the craftsman proper branding with a complementary busi-
being motivated to learn communication with ness model for how the NGO sells these new
the younger generation, like forcing himself products are still lacking. The NGO is currently
to slow down when demonstrating the use of selling these handmade galvanised sheet metal
tools and production of seams, though he might products at its retail outlet, which is more like
not be aware that his explanation still needed a museum of local culture than a lifestyle and
a lot of additional commentary (especially on home accessory store, and so will not help to
the possible rationale behind the craftsman’s generate many sales. For the next, third, cohort
practice) from the co-teachers in order to make of this collaborative curriculum, the programme
it understandable to laymen. After having leader and the design teachers are fine-tuning
conducted two cohorts of this curriculum, the the assignment design to tackle these issues,
author believes that his role in facilitating the and look forward to the true inheritance of this
communication between the craftsman and the galvanised sheet metal handicraft and success
students is critical in enriching their learning. of its products in the mass market.
The subject successfully helped to preserve
and disseminate the knowledge and skills of Patrick K. C. Chan holds an MA in Design with
galvanised sheet metal handicraft to the younger distinction and is currently a lecturer in the
generation of designers and fans. The once School of Professional Education and Executive
anonymous craftspeople were now known and Development, Hong Kong Polytechnic
recognised. Their blood-and-sweat routine University. In the past 10 years of serving in
hitting of sheet metal, which used to be seen as different design institutions and conducting
cheap blue-collar labour, is now respected as the projects in both Hong Kong and Mainland
work of professional artisans by educated China, his research and teaching interests have
middle-class designers as well as the public. spanned from graphic communication basics
While both the school and the NGO have like typography, identity and information design
seen great possibilities in replicating this to utilising design research methodologies,
collaborative curriculum for other declining design thinking and skills to drive innovation
traditional handicrafts in Hong Kong for preser- and entrepreneurship, as well as creative and
vation and dissemination, there are still issues experimental education. This article concludes
to be solved to complete its ultimate objective Patrick’s reflection on coordinating the subject
of true inheritance. The prototypes produced ‘Teaching & Learning Methods in Art & Design
by the students in the last two cohorts did Education’ for two cohorts from 2013 to 2014.
not make their way to the mass market even This year he continues to coordinate the
in small quantity production. Although the subject for the third time and is still seeking to
students’ designs are innovative, there are polish it for higher feasibility and bigger social
still a lot of fabrication issues to be dealt with impact. Contact address: School of
before they can compete in a real-world home Professional Education and Executive
accessory or furniture market. For decades, Development, The Hong Kong Polytechnic
sheet metal artisans in Hong Kong have been University, 8 Hung Lok Road, Hung Hom,
working only with galvanised sheet metal and Kowloon, Hong Kong. Email: kcpchan@speed-
seldom produced works that contained a mix [Link]
with other materials. Hence they are not confi-
dent or ready to produce new products that use
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References
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