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- Title of Abstract:
Deconstructing the Digital (Ref #167)
- Date:
- 06-10-2006 11:17:12
- Status:
-
Accepted with revisions
- Rating:
- 6
-
Details:
- Conference themes: Craft and digital process
Keywords: craft, digital technology, Computer Aided Design, Computer Aided Manufacture
The project discussed in this paper has been conducted as part of the Autonomatic research cluster based at University College Falmouth. The cluster is focused on research projects that explore the use of digital technologies within the context of designer maker and craft practice.
My project is concerned with developing more direct control of processes that are typically automated by CAD software and CAM tools. I believe the use of these standardised tools limits the ability of the maker to create unique visual vocabularies.
It is possible to view the aesthetic qualities emerging in the new genre of ?digital craft? - such as the use of triangulation and the quality of line produced by generic preset machine parameters - as a temporary phase in the digital craft timeline. As more makers adopt digital technologies, rather than being understood as unique, we may discover that these visual aesthetic qualities are more attributable to the technology than the maker. It is therefore important for makers wishing to further their practice in this field to seek ways in which they can gain greater control over the processes and tools they are using.
This paper presents research that explores ways in which programmed mathematical elements in 3D CAD can be deconstructed and manipulated throughout the design and production phases. Employing an iterative designing and making process I have used this ?hand? manipulated CAD data to drive CNC machine tools in highly specified ways. This has lead to an indepth understanding of the inter-relationship between CAD and CAM as intrinsic to the development of unique aesthetic qualities. The development of a dialogue between CAD code and CNC tooling has resulted in a greater level of control enabling the realisation of complex and completely controlled patterning on 3D forms that go beyond the restrictions of standard toolsets.
This research has resulted in a range of 3D aluminium sample pieces that I have used to create a visual knowledge bank which documents the relationship between software input, machine parameters and their effects on the visual form. This knowledge has been applied to my working digital design practice enabling me to create aluminium platters and beakers that counter the affects of automation.
This paper aims to offer other makers methods which allow the potential for 'hacking' into code in order to expand the possibilities for control and creative engagement with digital tools and thereby offering more unique opportunities for developing visual vocabularies than using standard toolsets alone.
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