John James Marshall thesis.pdf - OpenAIR @ RGU - Robert Gordon ...

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4.3 A survey of international practitioners The researcher gathered data from a survey of practitioners that use computerbased design and fabrication tools from across the 3D disciplines of art and design. The purpose of this survey was to develop an understanding of the current use of these technologies in art and design. Also, to establish how practitioners think about and engage with these technologies and generate an understanding of how practitioners engage with other art and design disciplines. These practitioners represent a spectrum of practices from across disciplines and from a wide range of approaches to their use of computer-based design and fabrication technologies. Q1. Your Name? First Name Relationship Status 1. Anne Hayes Unknown (Fast-uk) Responded 2. Anthony Padgett Unknown (Fast-uk) Responded 3. Ben Langlands & Nikki Bell Exemplar (DesignArt) No Response 4. Bathsheba Grossman Unknown (Intersculpt) Responded 5. Brian Adams Unknown (CALM) Responded 6. Brit Bunkley (PBB) Known (Fast-uk) Responded 7. Bruce Beasley Unknown (IRPSE) Responded 8. Arik Levy (PBB) Exemplar (.MGX) No Response 9. Jonathan Chertok Known (Fast-uk) Responded 10. Craig Kalpakjian Exemplar (010101) Responded 11. Dan Collins Unknown (Telesculpture) Responded 12. Drummond Masterton Known (Fast-uk) Responded 13. Elona Van Gent Unknown (Intersculpt) Responded 14. Fiona Raby Exemplar (Critical Design) No Response 15. Gordon Burnett Known (Gray’s) No Response 16. George Hart Unknown (Telesculpture) Responded 17. Glenn Davidson Unknown (Fast-uk) No Response 18. Human Beans (PBB) Exemplar (Critical Responded 19. Ian Gwilt 20. Lise Anne Couture & Hani Rashid Design) Unknown (Intersculpt) Exemplar (4Dspace) No Response No Response - 155 -
21. Janne Kyttanen & Jiri Evenhuis Exemplar (.MGX) Declined 22. Miam Miam Exemplar (Critical Design) No Response 23. Lars Spuybroek Exemplar (4Dspace) Responded 24. Simon Goldin, Jakob Senneby & Unknown Ben Reece (DesignArt) No Response 25. Ora Ito Exemplar (DesignArt) No Response 26. sixteen*(makers) Exemplar (4Dspace) No Response 27. Vogt + Weizenegger Exemplar (DesignArt) No Response 28. Keith Brown Known (Fast-uk) Responded 29. Jon Pengelly Known (Gray’s) No Response 30. Justin Marshall (PBB) Known (Autonomatic) Responded 31. Katie Bunnell Known (Autonomatic) Responded 32. Sulan Kolatan Exemplar (4Dspace) No Response 33. Lionel Dean (PBB) Known Declined (Autonomatic) 34. William MacDonald Exemplar (4Dspace) No Response 35. Thomas Heatherwick Exemplar (Fabricated Responded Buildings) 36. Karin Sander Exemplar (DesignArt) No Response 37. O. Makai Smith Unknown (IRPSE) Responded 38. Mary Bates Neubauer Unknown (Intersculpt) Responded 39. Nobumichi Tosa (Maywa Denki) Exemplar (Device Art) No Response 40. Maurice Nio (PBB) Exemplar (Fabricated No Response Buildings) 41. Greg Lynn Exemplar (4Dspace) Responded 42. Erwin Driessens & Maria Exemplar Verstappen (DesignArt) Responded 43. Ken Rinaldo Known (OSU) Responded 44. Rob Price Known (Critical Design) No Response 45. Ron Arad Exemplar (DesignArt) No Response 46. Robert Michael Smith Known (Intersculpt) Responded 47. Todd Slaughter Known (OSU) Responded 48. Robert Lazzarini Exemplar (BitStreams) No Response 49. SHoP Architects Exemplar (Fabricated Buildings) Responded - 156 -
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OpenAIR@RGU The Open Access Institu
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Table of contents Table of contents
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Table of tables Table 1: Bruce Ster
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Image credits Figure 4: ‘Ridges O
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Keywords ART, DESIGN, DIGITAL, HYBR
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1.0 Introduction This research is c
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Since 2002, the researcher has also
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The specific research questions to
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helping practitioners from many are
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synthetic or pluralist perspective
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Figure 1: A simple model of the com
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General Motors to begin developing
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introduction of feature-based param
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In 2005 the exhibition ‘Blobjects
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art. The theme of the exhibition wa
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technologies and not necessarily th
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executed by various technologies an
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purposely exploit computer-based te
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“…so much for automating tasks
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embodied in traditional craft pract
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Obviously it is necessary to look b
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The computer is being used as a too
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the proliferation of ‘responsive
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Figure 11: ‘Amazing Whale Jaw’,
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Figure 14: ‘SLS® Dress’, 2005.
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with sensors which were activated b
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These designer-makers are exploring
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ackground, providing just another p
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Type of object Description Requirem
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2.7 Ontologies of production: 21 st
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design and fabrication facilities,
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“Unfortunately, the ability to ma
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information about these on their we
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have now are the needs other users
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As the use of computer-based design
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cross-disciplinary problem solving
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hybridization of cultural categorie
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“Boundary objects are both plasti
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association with function (Fairs, 2
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“…excludes the mind (the exclus
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causing a loss of this ‘aura’.
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“…the creative act is not perfo
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Figure 22: ‘The Treason of Images
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these have often served the covert
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highly developed collaborative skil
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plastic arts. However, media theori
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explores the work of artists 39 act
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elationships for hybrid art and des
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to reimagine the cultural role of d
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knobs, materials and mechanisms - i
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From the contextual review we can s
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used by architects (and others) as
Page 105 and 106: 3.0 Methodology This study fits wit
Page 107 and 108: the data: survey results, interview
Page 109 and 110: used for objects of differing scale
Page 111 and 112: These practitioners represent a spe
Page 113 and 114: team each selected their top six 50
Page 115 and 116: to survey existing works, explore f
Page 117 and 118: their experience and perceptions re
Page 119 and 120: digital voice recorder. Each partne
Page 121 and 122: There are many existing technology
Page 123 and 124: Survival Mastery Impact The introdu
Page 125 and 126: negative terms to their positives (
Page 127 and 128: work. The review indicated a need f
Page 129 and 130: service Preview Trend Direction 56
Page 131 and 132: (Image Source 58 ). An indication o
Page 133 and 134: The instance of Rashid’s ‘Garbo
Page 135 and 136: Figure 30: ‘D-tower’, 2004. Lar
Page 137 and 138: software to interpolate a curve thr
Page 139 and 140: industrial context. Most of the obj
Page 141 and 142: Figure 36: ‘Geo’, 2005. Keith B
Page 143 and 144: distinctions based on the means by
Page 145 and 146: Figure 41: ‘Sketch Furniture’,
Page 147 and 148: Category Image Result Title Holy Gh
Page 149 and 150: elationship is indicated and given
Page 151 and 152: Figure 44: Database categories in t
Page 153 and 154: Manglano-Ovalle’s ‘Cloud Protot
Page 155: Figure 46: Increasing ‘complexity
Page 159 and 160: Q3. When you see the term ‘3D com
Page 161 and 162: Q5. When did you first make use of
Page 163 and 164: Impact References New formal possib
Page 165 and 166: Relationship Response Percent Respo
Page 167 and 168: Figure 47: A map of exemplary pract
Page 169 and 170: The researcher continued developing
Page 171 and 172: were informed the Manchester Digita
Page 173 and 174: links to the community, educational
Page 175 and 176: Figure 50: A rendering of the glaze
Page 177 and 178: This exhibition will bring emerging
Page 179 and 180: able to participate and Driessens &
Page 181 and 182: We received forty-six submissions b
Page 183 and 184: 4.5 A public exhibition and symposi
Page 185 and 186: 27/06/2006 Additional practitioners
Page 187 and 188: Figure 52: ‘Holy Ghost’, 2006.
Page 189 and 190: Figure 54: ‘What’s Cooking Gran
Page 191 and 192: The architects initially proposed t
Page 193 and 194: and in newsletters and on blogs. Th
Page 195 and 196: Figure 60: ‘Light Sensitive Disk
Page 197 and 198: Some visitors to the exhibition see
Page 199 and 200: Figure 65: ‘Penrose Strapping 1
Page 201 and 202: The texts have titles such as ‘A
Page 203 and 204: Open Call 9. ‘Warp’ by London-b
Page 205 and 206: These were decided based on the con
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How would you rate the quality of i
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1. Where did you see the call for P
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4. What did you expect to get out o
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6. Was there someone you expected t
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9. Were you happy with the way your
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These practitioners considered that
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15. How would you sum up the core t
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The inverse of the previous questio
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20. Have you received any new oppor
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23. Has being in the exhibition had
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27. What formal training have you h
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30. What (for you) is the key benef
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32. What is most important to you t
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34. What does the term ‘3D comput
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practice was contingent on the cont
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39. Do you think there is a trend t
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hybrid disciplines. Also 1 (17%) pr
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(4%) strongly disagreed with this s
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the exhibition ‘felt a bit steril
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The Exhibition (expectations) The r
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Programme Manager I am pleased that
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The partners were asked what kind o
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Programme Manager We weren’t tryi
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13. What would you do differently i
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15. In your opinion, what was the w
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18. How would you sum up the core t
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The Exhibition (aftermath) The rese
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23. What feedback from funders did
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Programme Manager I’m not really
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Programme Manager I know that we ha
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Date What Where Who Communities 28/
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4.5.8 Summary of public exhibition
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etween them. Professor Krauss respo
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The conjunction of ‘product desig
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art is a form of media art that int
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Practitioner Title Category Type of
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5.0 Discussion This thesis has exam
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much part of the discourse of ‘di
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From the responses received slightl
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5.5 A public exhibition and symposi
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now faced in the design-related fie
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the exhibition primarily as a means
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Four visitors indicated the diversi
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model rather than the service provi
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interest around the field of enquir
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technologies into their practice an
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6.0 Conclusions This study came abo
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the form of surveys and interviews
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From To Reference Expensive Technol
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increased capacity for a transdisci
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6.5 Outcomes This research project
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underpin computer-based or hybrid p
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Selective Laser Sintering (SLS®) 1
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8.0 References 3D SYSTEMS, 2007. 3D
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BEAMAN, J., 1997. The early roots o
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COLES, A., 2005a. DesignArt. London
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EVIL MAD SCIENTIST LABORATORIES, 20
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GRAHAM, B., 2005. Taxonomies of new
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JENKINS, I., 2003. Art for art's sa
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LUPTON, E., 1998. Design and produc
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MILLER, D., ed. 1998. Material cult
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RENDELL, J. 2006. Art and Architect
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STORKERSON, P., 1997. Defining desi
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9.0 Appendix I: Transcript of sympo
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interdisciplinary design practice.
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viewed as a bridge between technolo
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John this morning through the show
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the detriment of the latter. As tut
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mainly used in the animation indust
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uses the physical nature of the gla
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avoiding using a pen and paper soun
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they sit in a specific location alw
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cut the day before that has been sc
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Pass at the end of August for ten d
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what functional use they might be t
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of ornament and the fact that a lot
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might be done with rapid prototypin
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prototyping. Materialise started of
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off with twenty two. I think that c
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finished that was necessary because
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go inside those kitchens and really
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www.whatscookinggrandma.net MC: It
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and it wasn’t quite the same thin
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Paul Rodgers: Well, he wouldn’t.
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sort of urban scape art projects. I
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described - the tools that you are
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about the make up of the cloth that
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From the floor: I'm just wondering
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well. So it’s not just changing t
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10.0 Appendix II: Practitioner 1 in
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looped animation and implying that
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33. What do you consider constitute
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digitally and have someone mould it
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innovation within technology, not i
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It had a nice feeling about it. I d
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29. How have computer technologies
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I’ve just started to define mysel
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12.0 Appendix IV: Practitioner 3 in
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14. Did you think the exhibition wa
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26. When did you first make use of
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13.0 Appendix V: Practitioner 4 int
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smaller things like lamps as well a
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I suppose diversity within each pra
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24. Would you be interested in bein
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nicer than seeing something at the
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It’s a very central role and it
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5. Who did you expect to be in the
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Especially the windows as well. You
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It’s pretty strong to my heart, b
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28. How would you describe how you
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how it’ll trace, leaving a trace
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36. In terms of discipline where do
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15.0 Appendix VII: Practitioner 6 i
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18. Many visitors to the exhibition
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It could mean a variety of things,
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16.0 Appendix VIII: Creative Direct
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I think it was an interesting role,
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10. Did the exhibition live up to y
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which was Ben’s work which for me
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that should be in London. So there
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Obviously all of the artists that w
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Yes, actually one of the things tha
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key element of that. It’s not jus
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original proposal which felt like a
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I think that we were very fortunate
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things could have felt quite differ
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potential energy that could be crea
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28. Has being involved in PBB had a
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Of course and we did extend an invi
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