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

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The introduction of CAD systems have been of great benefit to architects allowing changes to be made more quickly than could be done with hand drawn blueprints. In this sense, CAD was initially an assistive technology that enhanced the existing practices of architecture – an electronic replacement for pencil and paper. Nevertheless, 3D structures were still represented in 2D and there was still a translation process between the design process and the drawing process. However, with the development of more sophisticated 3D modelling applications architects have embraced these digital technologies to open up new investigations of form and volume. The use and customisation of CATIA (Computer-Aided Three-Dimensional Interactive Application - originally developed for the aerospace industry) by Gehry Partners to create buildings such as the Guggenheim Museum in Bilbao, Spain and the Walt Disney Concert Hall in Los Angeles, California is well documented. Gehry’s use of this software is however initially still a process of translation. The preliminary massing-model is still a handmade physical model which is digitised by a laser scanner that transmits coordinates to CATIA. This digital model can then be used to generate construction drawings, structural properties of components and schedules for the project completion. However, the use of this software allows for curvilinear shapes that would have been nightmarish if possible to implement before the arrival of CAD. This use of software is representative of a new approach to designing and making buildings termed ‘building information modelling’ (BIM) 16 in which blueprints and other 2D documents are replaced by digital 3D models. Each element of the design in these cases can have information about its physical properties (such as how much weight a steel beam will support) embedded parametrically to the digital component. In this way computer-based capabilities have transformed the nature of architectural practice. Drawing, modelling, performance simulations, design collaboration, construction management and building fabrication are now routinely performed using computer-based technologies. 16 The term Building Information Modelling (BIM) was coined by Autodesk to describe 3D object-oriented CAD. - 41 -
The computer is being used as a tool for design, but also for making. This opens the possibility of fabricated buildings such as the ‘Camera Obscura’ in Mitchell Park, Greenport, New York completed in 2005 by Sharples Holden Pasquarelli (SHoP). This structure is conceived, produced and assembled in much the same way that a consumer product would be. It is more like a conventional product development process than typical architecture. “The camera obscura is the first building to be 100 percent digitally designed and computer fabricated, SHoP's partners say. Every piece of wood, steel, and aluminum - 750 in total - is custom-made and completely unique…The firm has used this approach on parts of its other projects but never for an entire structure. That makes the $185,000 camera a modest but important showcase for the firm's ambitious process, which begins with 3-D modeling software and ends with construction workers assembling the laser-cut pieces into their finished form.” (Scanlon, 2004). Scanlon (2004) points out that this process is distinct from Gehry’s not only in that the process is digital from start to finish but that it is process-driven rather than shape-driven. This allows the architects to substantially reduce costs and means the building does not waste structural resources by creating functionless forms – a criticism that can be levelled at Gehry. However, SHoP must also assume greater liability for the finished construction since they are responsible for the building design and its fabrication. The scope of how these tools are being used has been extended beyond the pragmatic aspects of merely assistive technologies. Computer-based technologies are being used as autonomous, generative tools which increase the opportunity for new architectural production paradigms, design vocabularies and methodologies (e.g. biological simulation systems such as genetic evolution and emergence). Zellner (2000) and Rahim (2002) examine the work of experimental practitioners who use digital techniques and architectural methods beyond technique-driven experiments. Similarly, Couture and Rashid (2002) with their New York-based architectural design and research practice (Asymptote) present projects that are concerned as much with light, speed and the virtual as with physical geometries and building systems. Spiller (2002) provides an overview of projects that use computer-based technologies to explore the building as more than a static architectural object and terms this - 42 -
Page 1 and 2: OpenAIR@RGU The Open Access Institu
Page 3 and 4: Table of contents Table of contents
Page 5 and 6: Table of tables Table 1: Bruce Ster
Page 7 and 8: Image credits Figure 4: ‘Ridges O
Page 9 and 10: Keywords ART, DESIGN, DIGITAL, HYBR
Page 11 and 12: 1.0 Introduction This research is c
Page 13 and 14: Since 2002, the researcher has also
Page 15 and 16: The specific research questions to
Page 17 and 18: helping practitioners from many are
Page 19 and 20: synthetic or pluralist perspective
Page 21 and 22: Figure 1: A simple model of the com
Page 23 and 24: General Motors to begin developing
Page 25 and 26: introduction of feature-based param
Page 27 and 28: In 2005 the exhibition ‘Blobjects
Page 29 and 30: art. The theme of the exhibition wa
Page 31 and 32: technologies and not necessarily th
Page 33 and 34: executed by various technologies an
Page 35 and 36: purposely exploit computer-based te
Page 37 and 38: “…so much for automating tasks
Page 39 and 40: embodied in traditional craft pract
Page 41: Obviously it is necessary to look b
Page 45 and 46: the proliferation of ‘responsive
Page 47 and 48: Figure 11: ‘Amazing Whale Jaw’,
Page 49 and 50: Figure 14: ‘SLS® Dress’, 2005.
Page 51 and 52: with sensors which were activated b
Page 53 and 54: These designer-makers are exploring
Page 55 and 56: ackground, providing just another p
Page 57 and 58: Type of object Description Requirem
Page 59 and 60: 2.7 Ontologies of production: 21 st
Page 61 and 62: design and fabrication facilities,
Page 63 and 64: “Unfortunately, the ability to ma
Page 65 and 66: information about these on their we
Page 67 and 68: have now are the needs other users
Page 69 and 70: As the use of computer-based design
Page 71 and 72: cross-disciplinary problem solving
Page 73 and 74: hybridization of cultural categorie
Page 75 and 76: “Boundary objects are both plasti
Page 77 and 78: association with function (Fairs, 2
Page 79 and 80: “…excludes the mind (the exclus
Page 81 and 82: causing a loss of this ‘aura’.
Page 83 and 84: “…the creative act is not perfo
Page 85 and 86: Figure 22: ‘The Treason of Images
Page 87 and 88: these have often served the covert
Page 89 and 90: highly developed collaborative skil
Page 91 and 92: plastic arts. However, media theori
Page 93 and 94:
explores the work of artists 39 act
Page 95 and 96:
elationships for hybrid art and des
Page 97 and 98:
to reimagine the cultural role of d
Page 99 and 100:
knobs, materials and mechanisms - i
Page 101 and 102:
From the contextual review we can s
Page 103 and 104:
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
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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 and 156:
Figure 46: Increasing ‘complexity
Page 157 and 158:
21. Janne Kyttanen & Jiri Evenhuis
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
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Figure 65: ‘Penrose Strapping 1
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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
Page 209 and 210:
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
Page 215 and 216:
9. Were you happy with the way your
Page 217 and 218:
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
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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 and 272:
etween them. Professor Krauss respo
Page 273 and 274:
The conjunction of ‘product desig
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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
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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
Page 323 and 324:
JENKINS, I., 2003. Art for art's sa
Page 325 and 326:
LUPTON, E., 1998. Design and produc
Page 327 and 328:
MILLER, D., ed. 1998. Material cult
Page 329 and 330:
RENDELL, J. 2006. Art and Architect
Page 331 and 332:
STORKERSON, P., 1997. Defining desi
Page 333 and 334:
9.0 Appendix I: Transcript of sympo
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interdisciplinary design practice.
Page 337 and 338:
viewed as a bridge between technolo
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John this morning through the show
Page 341 and 342:
the detriment of the latter. As tut
Page 343 and 344:
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
Page 353 and 354:
Pass at the end of August for ten d
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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
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prototyping. Materialise started of
Page 363 and 364:
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
Page 373 and 374:
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
Page 387 and 388:
Page 389 and 390:
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,
Page 443 and 444:
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
Page 459 and 460:
Page 461 and 462:
things could have felt quite differ
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potential energy that could be crea
Page 465 and 466:
28. Has being involved in PBB had a
Page 467:
Of course and we did extend an invi
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