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

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Very individual. You could show me two projects and I could make examples. There are certain cases, in computer-aided car design for example, you can really see where people who are using these tools really understand how the surface is going to look in reality. Obviously they work in clay afterwards to get the last problems solved. There is a certain complexity about how to get surfaces looking good. And good car design needs very high sophistication in knowing how to use these tools. Most tools, as far as I know, they don’t offer this simplicity from the beginning; you really need to know how to get here. So more clean, more simple, more natural, to me, looks more sophisticated than something which obviously shows what you can do with the technology. Rather then using repetition just for the sake of it. You can pare this kind of quality down to very simple transitions from one point to anther, but you can see if someone really adds something or really know how to shape and define the transition. In the end there is not a major difference, but if look close and you know how to construct these details then you can see the result. 34. What does the term ‘3D computer technologies’ mean to you? The moment where things get into the third dimension on your screen that you add in Illustrator or Photoshop. Where there is a real third dimension defined in the application. 35. Name up to 5 practitioners that you would identify as exemplary users of 3D computer technologies. American design agency like IDEO or Fitch – they all use these technologies with sophistication, they all know what they’re doing very well, whether you like the design or not. Individuals? Ora Ito for instance, he has his direction when using the technologies he really uses them very well. Mark Newson has a different angle, he uses it for visualising his ideas and within product design I like how much energy he puts in to get his pieces to look as they do. Meanwhile, most successful, up to date designers use computer technology in some way. All of them in their portfolio have at least one project where the use of these technologies is very substantial and leads to very special results. Some people use them very often, but everyone uses it to some extent. 36. In terms of discipline where do you do you locate your practice? - 399 -
I’ve just started to define myself as an individual designer, but I use the term ‘designer’, I’m not an artist in that sense. For me what’s going to, probably [laughs], define me in the future is the blur between art and design where these disciplines mix. It’s a really new field that is just about to be explored and hopefully I’ll be one of the people who define what that is going to mean in the future. I am sure I’ll be a designer in that field while others will come from the artistic side and maybe also do design, but still be an artist. I’m sure I’ll be a designer getting closer to what is defined as art, but using my knowledge from a design background. 37. How would you identify the community of practice or discipline that you most closely relate to? There isn’t that much work yet. Within the next few years, if I can afford to, I’ll try to stretch the area within different extremes. Hopefully I’ll be able to cover a wide range of things and during that process there’ll be a direction that is going to be more important to me than others. It’s a bit too early for me to answer that question. The new problems and possibilities that relate to globalisation, what’s happening in the east in terms of production, how markets are falling apart more and more, or get so small because they are too fractured – I want to be part of what’s happening right now, so my work will relate to these conditions. 38. How would you define the relationship between your work and its audience? For now it’s going to be both, clients, companies, individuals I can reach through galleries or my website and obviously, if you go through a company with a product it’s the people buying it in the end. 39. Do you think there is a trend towards an emerging, hybrid discipline? It’s the whole range and it’ll probably stay like that because while I’ll be able to do more properly designed product, the inspiration I get from doing individual conceptual work, at the same time I’ll be able to do bigger or even more - 400 -
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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
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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
Page 349 and 350: they sit in a specific location alw
Page 351 and 352: cut the day before that has been sc
Page 353 and 354: Pass at the end of August for ten d
Page 355 and 356: what functional use they might be t
Page 357 and 358: of ornament and the fact that a lot
Page 359 and 360: might be done with rapid prototypin
Page 361 and 362: prototyping. Materialise started of
Page 363 and 364: off with twenty two. I think that c
Page 365 and 366: finished that was necessary because
Page 367 and 368: go inside those kitchens and really
Page 369 and 370: www.whatscookinggrandma.net MC: It
Page 371 and 372: and it wasn’t quite the same thin
Page 373 and 374: Paul Rodgers: Well, he wouldn’t.
Page 375 and 376: sort of urban scape art projects. I
Page 377 and 378: described - the tools that you are
Page 379 and 380: about the make up of the cloth that
Page 381 and 382: From the floor: I'm just wondering
Page 383 and 384: well. So it’s not just changing t
Page 385 and 386: 10.0 Appendix II: Practitioner 1 in
Page 387 and 388: 12. In your opinion, what was the w
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Page 391 and 392: 33. What do you consider constitute
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Page 397 and 398: It had a nice feeling about it. I d
Page 399: 29. How have computer technologies
Page 403 and 404: 12.0 Appendix IV: Practitioner 3 in
Page 405 and 406: 14. Did you think the exhibition wa
Page 407 and 408: 26. When did you first make use of
Page 409 and 410: 13.0 Appendix V: Practitioner 4 int
Page 411 and 412: smaller things like lamps as well a
Page 413 and 414: I suppose diversity within each pra
Page 415 and 416: 24. Would you be interested in bein
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Page 419 and 420: It’s a very central role and it
Page 421 and 422: 5. Who did you expect to be in the
Page 423 and 424: Especially the windows as well. You
Page 425 and 426: It’s pretty strong to my heart, b
Page 427 and 428: 28. How would you describe how you
Page 429 and 430: how it’ll trace, leaving a trace
Page 431 and 432: 36. In terms of discipline where do
Page 433 and 434: 15.0 Appendix VII: Practitioner 6 i
Page 435 and 436: 18. Many visitors to the exhibition
Page 437 and 438: It could mean a variety of things,
Page 439 and 440: 16.0 Appendix VIII: Creative Direct
Page 441 and 442: I think it was an interesting role,
Page 443 and 444: 10. Did the exhibition live up to y
Page 445 and 446: which was Ben’s work which for me
Page 447 and 448: that should be in London. So there
Page 449 and 450: 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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