Computational Personalization through Physical and Aesthetic Featured Digital Fabrication

Thesis (Master of Science in Informatics)--University of Tsukuba, no. 41269, 2019.3.2

Anime for Architects: A new Perspective on Architecture

The primary argument of this study is that the medium of anime and manga, Japanese cartoons and comics, has the potential to offer a new perspective on the representation of architectural space. This might come as a surprise due to a preconceived notion that cartoons and comics are an immature art form without any value outside of the entertainment realm. Hence it is the goal of this dissertation to reveal how the methodology of manga, in particular, has the ability to enhance architectural representations in terms of the multi-sensory and space-time perception of architecture through characteristics of manga, such as narrative, portrayal of the invisible realm and the expression of both space and time by panel arrangements. To do this, a foundation with the beginnings, development, and basic visual vocabulary and grammar of comics is described and compared to other art forms. Through this comparison, the communicative power of comics is assessed by its combination of picture and word, ability to make visible the invisible through iconic images, and closure, which creates sequencing and narrative. Next, a comparison is made to show how manga is unique and visually distinctive from Western comics. Manga is found to make more use of the “masking” effect, aspectto- aspect and moment-to-moment panel transitions, length, hyper-stylization, and minimalist art. In order to argue that these manga differences have a better relationship in representing architectural space, important characteristics of architectural space are identified. These characteristics are the built environments presence in a multi-sensory world, space-time, and its association with experiential and lived space. These are then examined in relationship to the ability manga methodology has in representing these three characteristics. Finally, manga is compared to the current methods of representing architectural space such as conventional architectural drawings and writings, 3d architectural animations, virtual reality, and film. It can be concluded that manga is a more complete way of representing architectural space. As a demonstration of this, a sample manga that focuses on one particular area in Tokyo, Ikebukuro, is drawn to illustrate how this method can work utilizing the characteristics of manga, such as narrative, portrayal of the invisible realm and expression of both space and time by panel arrangements

Design revolutions: IASDR 2019 Conference Proceedings. Volume 2: Living, Making, Value

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 2 includes papers from Living, Making and Value tracks of the conference

3D-modeling and 3D-printing explorations on Japanese tea ceremony utensils

\u3cp\u3eIn this paper, we inquire aesthetical aspects of the Japanese tea ceremony, described as the aesthetics in the imperfection, based on novel fabrication technologies: 3D-modeling and 3D-printing. To do so, 3D-printed utensils (chashaku and chasen) were iteratively designed for the ceremony and were evaluated using constructivist interviews, eliciting personal construct of a tea master on the beauty of these utensils. Our findings suggest that (1) beauty in the imperfection is feasible with 3D-printers, (2) such beauty can be created at the mechanical limits of the printer and of the material, creating uncontrolled yet beautiful irregularities, (3) further research can be made on the dialogue between the designer and the machine, leaving space for beautiful mechanical uncertainty. We invite designers and design researchers (1) to look at the potential of new technologies beyond what is classically expected, (2) to consider other cultural perspectives on aesthetics and on making, leading to potential novel practices in design.\u3c/p\u3

Crafting Sustainability:A Study of Traditional Craft Practices in Central China

Today, traditional handmade crafts with a particularly local provenance are being appreciated and valued by consumers around the world. Noticeably, many designers have been involved in the re-examination and reassessment about the contemporary value and contribution of traditional craft practices and craft objects or artefacts. In China, in response to the UNESCO (the United Nations Educational, Scientific and Cultural Organisation) Convention for the Safeguarding of ICH (Intangible Culture Heritage), China has implemented a mechanism characterised as a combination of central initiative and local participation to create its own ICH and ICH Inheritors lists at multiple levels. Although much traditional heritage craft has been officially recognised as ICH, this does not necessarily mean that they are well-developed. This research aims to determine the relationship of traditional craft practices to sustainability in the Chinese context, to investigate and delineate the role of design in relation to Chinese craft revival activities, to identify sustainability-related issues, and to identify areas in which design can contribute to the long-term continuation of traditional craft practices. It draws upon the fields of craft and sustainability studies to provide a theoretical base for the research. The concept of ‘crafting sustainability’ is proposed, and four research propositions are formulated to explain the relationship of craft traditions to sustainability. Constructive methods are used in this research, including in-depth observations and thirty- two semi-structured interviews with a range of experts in craft fields. Primary data collected in three provinces of central China were coded and analysed. Analysis of the research helps validate the four research propositions developed from the literature. Also, their connections to place and people, significant values and ways in which craftspeople take their practices and conduct their businesses, and existing design interventions are interpreted from results. Overall, this study identifies 1) a variety of heritage making practices within the Chinese context; 2) a range of top-down support mechanisms provided by the Chinese government; 3) the relationships of craft makers and their practices/businesses to sustainability; 4) significant values that influence craft makers’ practices and their business; and 5) design opportunities for sustainability and viability