Augmented Fauna and Glass Mutations: A dialogue Between Material and Technique in Glassblowing and 3D Printing





Author(s):




Exhibition:


SIGGRAPH 2018: Original Narratives

Category:


Paper

Abstract/Summary/Introduction:

3D printing allows unprecedented freedom in the design and manufacturing of even the most geometric complex forms—seemingly through a simple click of a button. In comparison, the making of glass is an analogue craftsmanship, coordinating an intricate interplay of individual tools and personal skills, giving shape to a material during the short time of its temperature-based plasticity. The two artworks discussed in this article, Augmented Fauna and Glass Mutations, were created during the artist’s residence at the Pilchuck Glass School and articulate a synthesis between digital work ows and traditional craft processes to establish a digital craftsmanship.

[View PDF]

References:

  1. R. Sennett, e Craftsman (New Haven, CT: Yale Univ. Press, 2008).
  2. M. McCullough, Abstracting Craft: e Practiced Digital Hand (Cambridge, MA: MIT Press, 1998).
  3. M. Heidegger, “ e Question Concerning Technology,” in C. Hanks, ed., Technology and Values: EssentialReadings (Wiley-Blackwell, 2009) p. 113.
  4. C. Calhoun, R. Sennett and H. Shapira, “Poiesis Means Making,” Public Culture 25, No. 2, 195–200 (2013).
  5. P. Anders, Envisioning Cyberspace: Designing 3D Electronic Spaces (New York: McGraw-Hill Professional, 1998)pp. 193–196.
  6. T. Klein, “Digital Craftsmanship,” in Proceedings of International Conference of Design, User Experience, andUsability (Springer, August 2015) pp. 643–654.
  7. N. Oxman, Material-Based Design Computation (Cambridge, MA: MIT Press, 2010).
  8. M. Hansmeyer, Subdivided Columns—A New Order (2010): <www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1> (accessed on 28 March 2018).
  9. M. Hansmeyer, Digital Grotesque II (2017): <www.michael-hansmeyer.com/projects/digital_grotesque_2.html?screenSize=1&color=1> (accessed on 28 March 2018).
  10. B. Dillenburger and M. Hansmeyer, “ e Resolution of Architecture in the Digital Age,” in Proceedings ofInternational Conference on Computer-Aided Architectural Design Futures (Springer, 2013) pp. 347–357.
  11. L. Johnson, Digital Handmade: Craftsmanship in the New Industrial Revolution (New York: ames & Hudson,2015).
  12. 3DScanExpert, HP 3D Structured Light Scanner Pro S3: <https://3dscanexpert.com/hp-3d-scanner-pro-s3-david-sls-3-review/> (accessed on 11 January 2018).
  13. Autodesk Knowledge Network, 3DS Max—Knowledge Overview: <https://knowledge.autodesk.com/support/3ds-max> (accessed on 28 March 2018).
  14. 3DEngr.com, Flashforge Creator Pro 3D Printer: <www.3dengr.com/ ashforge-creator-pro-review.html/>(accessed on 11 January 2018).
  15. M. Rodrigues and M. Kormann, “3D Scanning of Highly Re ective Surfaces: Issues in Scanning the MuseumsShe eld Metalwork Collection,” in Proceedings of Conference on 3D Scanning and Documentation (Univ. ofCambridge, 2012): <http://shura.shu.ac.uk/6778/> (accessed on 27 March 2018).
  16. H.T.K. Tse, W.M. Weaver and D. Di Carlo, “Increased Asymmetric and Multi-Daughter Cell Division inMechanically Con ned Microenvironments,” PloS one 7, No. 6, e38986 (2012).
  17. E. Haeckel, Die Radiolarien (1862).

page7image29584