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

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Figure 18: ‘Tessagon Bowl’, 2006. Drummond Masterton 3D digital objects are commonly saved as tessellated meshes in the Standard Triangulation Language (.STL file format). However, usually these triangles or facets are not visible in the finished object because of setting the export resolution or by sanding and finishing the object produced. However, craftmaker Drummond Masterton has been exploring (through the process of CNC milling) a method that exploits and reasserts this triangulation which can be painstakingly designed and controlled (Bates, 2007, p.41). Masterton claims that through this process his one-off dishes and bowls (Figure 18) achieve a level of uniqueness that comes from the maker rather than the software (Masterton, 2004 and Follett, Moir and Valentine, 2007, p.28). Figure 19: ‘Airborne Snotty Vase’, 2001. Marcel Wanders The shape of Marcel Wanders’ ‘Airborne Snotty Vases’ captures the form of mucus particles expelled during a sneeze with 3D digital scanning. The series consists of five vases named after five different illnesses: ‘ozaena’, ‘pollinosis’, ‘coryza’ (Figure 19), ‘influenza’ and ‘sinusitis’ which are built in polyamide by the SLS® process. The vases are commercially available from Cappellini, Italy. - 51 -
These designer-makers are exploring how the manufacturing process can be transformed into a ‘making’ process. The objects discussed above have been made to exploit computer-based design and fabrication tools and this presents the opportunity to reframe the activities, methods and knowledge of the makers that produced them. These contemplative, functional and interactive objects engage with innovative production syntaxes. The practitioners are actively investigating and exploiting computer technologies to achieve innovation in terms of both the conceptual design process and the designed objects produced. By engaging with new sets of technologically driven, creative, cultural and economic conditions they are stimulating intriguing alternative forms of enquiry. The potential implications of this for current professional and academic models are significant. 2.6.1 From productivity tools to opportunities for design experimentation As we have seen with the application of computer-based design and fabrication tools, some practitioners are focusing on the exploitation of the unique features of these technologies. Nonstandard means of manufacturing and new material processes allow for the development of new skill sets and design methodologies. This presents an exciting array of opportunities. However, it raises questions for practitioners about the objects we are able to make and whether we should do so merely because we can. Our industrialised culture is closely intertwined with the production of commodities that have been designed and manufactured. Computing technologies are rapidly proliferating and under these developments many conceptual dichotomies like form/function lose their significance. The challenge we are facing is not what shape an object should be or how we are to make it but why would we want to make it in the first place and what are the consequences of its making? If we have the capacity to deliver incredible productivity, but are at loss to understand what to make and why (Thackara, 2005, p.189) we must look at the broader contexts of design and production to better understand the things we choose to make. The conventional use of these technologies within a commercial, industrial context is concerned with the pragmatic aspect of increased speed and productivity. The implementation of CAD/CAM in mass-manufacturing has - 52 -
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 and 42: Obviously it is necessary to look b
Page 43 and 44: The computer is being used as a too
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: with sensors which were activated b
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
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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
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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
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
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Manglano-Ovalle’s ‘Cloud Protot
Page 155 and 156:
Figure 46: Increasing ‘complexity
Page 157 and 158:
21. Janne Kyttanen & Jiri Evenhuis
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Q3. When you see the term ‘3D com
Page 161 and 162:
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
Page 167 and 168:
Figure 47: A map of exemplary pract
Page 169 and 170:
The researcher continued developing
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were informed the Manchester Digita
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links to the community, educational
Page 175 and 176:
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 &
Page 181 and 182:
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
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
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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
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
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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
Page 257 and 258:
18. How would you sum up the core t
Page 259 and 260:
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
Page 267 and 268:
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
Page 283 and 284:
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
Page 291 and 292:
Four visitors indicated the diversi
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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
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GRAHAM, B., 2005. Taxonomies of new
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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
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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
Page 467:
Of course and we did extend an invi
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