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

Table of tables
Table 1: Bruce Sterling’s evolution of objects (after Sterling, 2005).............................................56
Table 2: Three types of research beyond standard disciplinarity (after Gibbons et al, 1994) ......70
Table 3: Fundamental differences in the ways that knowledge is produced (after Gibbons et al,
1994) ............................................................................................................................................... 71
Table 4: The ACOT Model (after Dwyer, Ringstaff, and Sandholtz, 1990) ..................................121
Table 5: The ACOT phases presented as 3 general stages (after Sandholtz, Ringstaff and Dwyer,
1990) ............................................................................................................................................. 122
Table 6: A model of the phases that practitioners go through when integrating computer-based
tools into their practice................................................................................................................. 123
Table 7: A coded indication of the object's source .......................................................................130
Table 8: The stage in the production cycle within which the use of digital design and fabrication
tools are integrated into the process ............................................................................................ 133
Table 9: The phases of technological integration ........................................................................ 135
Table 10: Three types of user-object relationship........................................................................ 139
Table 11: Six broad categories of designed object ........................................................................ 142
Table 12: A sample of the information stored in the object database ......................................... 146
Table 13: Practitioners selected for commissions........................................................................ 176
Table 14: Curatorial panel process results ................................................................................... 179
Table 15: List of key milestones in curatorial process .................................................................184
Table 16: List of press citations ....................................................................................................267
Table 17: An indication of the relative categories applied to objects from the ‘Perimeters,
Boundaries and Borders’ exhibition ............................................................................................276
Table 18: Which works were most cited and by which discourse communities .........................292
Table 19: Observed trends from conventional models of practice towards characteristics of a
‘technology-led practice’.............................................................................................................. 302
Table of figures
Figure 1: A simple model of the complex of histories ‘through’ and ‘against’ which objects in the
field of enquiry emerge (after Lister, Dovey, Giddings, Grant and Kelly (2003) with the new
contribution marked in gray) .........................................................................................................20
Figure 2: ‘Splines’ are long, flexible battens used in conjunction with spline weights to draw fair
curves while drawing a boat’s lines and during the lofting process .............................................. 21
Figure 3: ‘NURBS’ (non-uniform, rational Bézier-splines) are mathematical models commonly
used in computer graphics for generating and representing curves and surfaces........................22
Figure 4: ‘Ridges Over Time’, 1968. Charles Csuri ........................................................................26
Figure 5: ‘SCUMAK’ (Auto Sculpture Maker), 1998. Roxy Paine..................................................30
Figure 6: ‘Gordon Tapper 1:10, 3D body scan of the living person’, 1999. Karin Sander ............. 31
Figure 7: ‘Corridor’, 1997 (left) and ‘HVAC’, 1999 (right). Craig Kalpakjian ................................32
Figure 8: ‘Skull’ (Distortion#2 of 4), 2000. Robert Lazzarini.......................................................32
Figure 9: ‘Ajna Series’ (detail), 1998-2000. Michael Rees ............................................................33
Figure 10: ‘Camera Obscura’, 2005. SHoP ....................................................................................45
Figure 11: ‘Amazing Whale Jaw’, 2003. NIO Architecten..............................................................46
Figure 12: ‘Sinterchair®’, 2002. Vogt + Weizenegger...................................................................46
Figure 13: ‘Tuber’, 2003. FutureFactories .....................................................................................47
Figure 14: ‘SLS® Dress’, 2005. Freedom of Creation ...................................................................48
Figure 15: ‘Kagoshima Temple’, 2005. Thomas Heatherwick.......................................................48
Figure 16: ‘Alessi Tea and Coffee Piazza’, 2000. Greg Lynn..........................................................49
Figure 17: ‘FluxSpace 1.0’, 2000. Asymptote.................................................................................49
Figure 18: ‘Tessagon Bowl’, 2006. Drummond Masterton............................................................ 51
Figure 19: ‘Airborne Snotty Vase’, 2001. Marcel Wanders............................................................ 51
Figure 20: ‘Bicycle Wheel’, 1913 (left) and ‘Fountain’, 1917 (right). Marcel Duchamp................. 81
Figure 21: 'This Is a Lamp', 2001. Tobi Wong ...............................................................................83
Figure 22: ‘The Treason of Images’, 1928. René Magritte.............................................................84
Figure 23: ‘Pushed Washtub’, 1996. Hella Jongerius ....................................................................87
Figure 24: ‘Guggenheim Museum Bilbao’, 1997. Frank Gehry....................................................108
Figure 25: ‘Garbo’ polypropylene trash can for Umbra, 1996. Karim Rashid.............................109
Figure 26: Rogers technology adoption model............................................................................120
Figure 27: ‘Klein group’ model from ‘Sculpture in the Expanded Field’ (Krauss, 1979) ............ 124
Figure 28: ‘Blur Building’, 2002. Diller + Scofidio.......................................................................131
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