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

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Figure 72: A contemporary version of R. Krauss’s ‘Klein Group’ used to model the context within which the researcher’s practice is located. The conjunction of ‘product design’ and ‘building design’ suggests the activity undertaken by architecture firm Sharples Holden Pasquarelli’s (SHoP) on their Camera Obscura for Greenport, Long Island, New York. The architects claim this to be the first building to be entirely computer designed and CNC fabricated. The building consists of a kit of digitally designed, custom-made parts in a way more usually related to consumer product development. Other examples of this would be NIO Architecten’s ‘Amazing Whale Jaw’ bus station at Spaarne Hospital in Hoofddorp, The Netherlands. This structure was CNC machined from polystyrene. The various parts were assembled on-site, glued together and coated with polyester resin. Another so far unbuilt example would be Thomas Heatherwick Studio’s proposed temple for Kagoshima, Japan. The design of this structure was captured from a laser-scanned piece of fabric. These all represent examples of the development of a new order of object: ‘fabricated buildings’. These explore the potential of computer-based design and fabrication tools that might afford the implementation of new production paradigms, design vocabularies and methodologies. The use of computer numerically controlled (CNC) fabrication has created the ability to generate construction information directly from design information which has fundamentally changed the relationship between conception and production. - 271 -
The conjunction of ‘product design’ and ‘not product design’ could be interpreted in several ways. ‘Critical design’ (as defined by Anthony Dunne and Fiona Raby) and its variations (see section 2.9.7) is an alternative approach that results in objects which afford critical reflection on and expose assumptions of design practices. Critical design makes use of designed objects as a form of material commentary on consumer culture. This can involve the process of design, the object and the reception by an audience of such an object. By this means critical designers will often challenge expectations and preconceptions causing new ways of thinking about objects, how we use them, and how they might effect the environment. Critical designs may be fully realised and functioning or might act as a form of speculative design. However, Dunne and Raby’s most known work (Placebo, 2000-2001) is conventional in terms of how the objects were produced 129 . They utilise CAD as a means of sending design specifications to a traditional materials-based maker. The objects themselves were produced within a conventional production paradigm and design vocabulary: “The design process behind the objects was pretty traditional. Computers were used to make very simple drawings (plan, elevation, sections etc), and to source components and communicate, etc. They were all made by hand by a very skilled craftsman we often work with, he doesn't even have email!” (From an email regarding the creation of the Placebo project received 18/04/2005) Another example of critical design that makes more use of the computer as a tool for design and making would be Guinea Pig Design’s (Powell, 2005) ‘…inside the box’ project of prototype ‘conceptual electronica’. These are augmented objects that are designed to engage with parallel standards to the dominant values of established design discourse. This series of objects consists of a range of CNC laser-cut acrylic domestic items with embedded electronics whose sole function is to challenge conventional use. The use of computerbased design and fabrication tools to challenge expectations and preconceptions offers other possibilities for alternate cultural contexts for objects. For example, after Ito Morabito was kicked out of design school after only a year (Thompson, 2004, p.78-82), he decided to use renderings of ‘unreleased products’ as cultural interventions. His then-fictional company, Ora Ito designed fake 129 “Made MDF and usually one other specialist material, the objects are purposely diagrammatic and vaguely familiar.” (Dunne and Raby, 2001, p.75) - 272 -
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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
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3.0 Methodology This study fits wit
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the data: survey results, interview
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used for objects of differing scale
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These practitioners represent a spe
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team each selected their top six 50
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to survey existing works, explore f
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their experience and perceptions re
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digital voice recorder. Each partne
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There are many existing technology
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Survival Mastery Impact The introdu
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negative terms to their positives (
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work. The review indicated a need f
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service Preview Trend Direction 56
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(Image Source 58 ). An indication o
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The instance of Rashid’s ‘Garbo
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Figure 30: ‘D-tower’, 2004. Lar
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software to interpolate a curve thr
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industrial context. Most of the obj
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Figure 36: ‘Geo’, 2005. Keith B
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distinctions based on the means by
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Figure 41: ‘Sketch Furniture’,
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Category Image Result Title Holy Gh
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elationship is indicated and given
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Figure 44: Database categories in t
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Manglano-Ovalle’s ‘Cloud Protot
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Figure 46: Increasing ‘complexity
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21. Janne Kyttanen & Jiri Evenhuis
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Q3. When you see the term ‘3D com
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Q5. When did you first make use of
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Impact References New formal possib
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Relationship Response Percent Respo
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Figure 47: A map of exemplary pract
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The researcher continued developing
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were informed the Manchester Digita
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links to the community, educational
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Figure 50: A rendering of the glaze
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This exhibition will bring emerging
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able to participate and Driessens &
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We received forty-six submissions b
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4.5 A public exhibition and symposi
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27/06/2006 Additional practitioners
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Figure 52: ‘Holy Ghost’, 2006.
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Figure 54: ‘What’s Cooking Gran
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The architects initially proposed t
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and in newsletters and on blogs. Th
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Figure 60: ‘Light Sensitive Disk
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Some visitors to the exhibition see
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Figure 65: ‘Penrose Strapping 1
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The texts have titles such as ‘A
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Open Call 9. ‘Warp’ by London-b
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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
Page 221 and 222: The inverse of the previous questio
Page 223 and 224: 20. Have you received any new oppor
Page 225 and 226: 23. Has being in the exhibition had
Page 227 and 228: 27. What formal training have you h
Page 229 and 230: 30. What (for you) is the key benef
Page 231 and 232: 32. What is most important to you t
Page 233 and 234: 34. What does the term ‘3D comput
Page 235 and 236: practice was contingent on the cont
Page 237 and 238: 39. Do you think there is a trend t
Page 239 and 240: hybrid disciplines. Also 1 (17%) pr
Page 241 and 242: (4%) strongly disagreed with this s
Page 243 and 244: the exhibition ‘felt a bit steril
Page 245 and 246: The Exhibition (expectations) The r
Page 247 and 248: Programme Manager I am pleased that
Page 249 and 250: The partners were asked what kind o
Page 251 and 252: Programme Manager We weren’t tryi
Page 253 and 254: 13. What would you do differently i
Page 255 and 256: 15. In your opinion, what was the w
Page 257 and 258: 18. How would you sum up the core t
Page 259 and 260: The Exhibition (aftermath) The rese
Page 261 and 262: 23. What feedback from funders did
Page 263 and 264: Programme Manager I’m not really
Page 265 and 266: Programme Manager I know that we ha
Page 267 and 268: Date What Where Who Communities 28/
Page 269 and 270: 4.5.8 Summary of public exhibition
Page 271: etween them. Professor Krauss respo
Page 275 and 276: art is a form of media art that int
Page 277 and 278: Practitioner Title Category Type of
Page 279 and 280: 5.0 Discussion This thesis has exam
Page 281 and 282: much part of the discourse of ‘di
Page 283 and 284: From the responses received slightl
Page 285 and 286: 5.5 A public exhibition and symposi
Page 287 and 288: now faced in the design-related fie
Page 289 and 290: the exhibition primarily as a means
Page 291 and 292: Four visitors indicated the diversi
Page 293 and 294: model rather than the service provi
Page 295 and 296: interest around the field of enquir
Page 297 and 298: technologies into their practice an
Page 299 and 300: 6.0 Conclusions This study came abo
Page 301 and 302: the form of surveys and interviews
Page 303 and 304: From To Reference Expensive Technol
Page 305 and 306: increased capacity for a transdisci
Page 307 and 308: 6.5 Outcomes This research project
Page 309 and 310: underpin computer-based or hybrid p
Page 311 and 312: Selective Laser Sintering (SLS®) 1
Page 313 and 314: 8.0 References 3D SYSTEMS, 2007. 3D
Page 315 and 316: BEAMAN, J., 1997. The early roots o
Page 317 and 318: COLES, A., 2005a. DesignArt. London
Page 319 and 320: EVIL MAD SCIENTIST LABORATORIES, 20
Page 321 and 322: 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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12. In your opinion, what was the w
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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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15. In your opinion, what was the w
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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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