The digitally 'Hand Made' object

This article will outline the author’s investigations of types of computer interfaces in practical three-dimensional design practice. The paper contains a description of two main projects in glass and ceramic tableware design, using a Microscribe G2L digitising arm as an interface to record three-dimensional spatial\ud design input.\ud \ud The article will provide critical reflections on the results of the investigations and will argue that new approaches in digital design interfaces could have relevance in developing design methods which incorporate more physical ‘human’ expressions in a three-dimensional design practice. The research builds on concepts indentified in traditional craft practice as foundations for constructing new types of creative practices based on the use of digital technologies, as outlined by McCullough (1996)

Tools for tooling: Digital fabrication technology as the innovation enabler

Abstract: This paper describes research concerning the creation of a novel sheet glass forming system based on the Reconfigurable Pin Tooling (RPT) principle. The paper will initially outline some of the theoretical and technical background for the research. These contexts particularly concern tools and innovation environments as well as a brief overview of the history of the RPT concept. A description of the development of the tooling systems through practice-based research is then provided followed by coverage of creative explorations with this new glass-forming method.Based on the results of the research, the author argues that digital fabrication technologies can provide the key toolsets for individual creative practitioners to successfully innovate through their own toolmaking projects. This argument is evidenced by artefacts (glass bowls) produced by the author using the RPT systems developed during the research; these glass bowls have been widely exhibited and received both critical as well as commercial acclaim. The article concludes with observations from this research and reflections on the findings

Glass Mould Innovation Through Collaborative Research- Combining Studio Glass Knowledge with New Approaches in Digital Fabrication

Intro/overview: This presentation will describe a research project developed at Falmouth University, UK, which has established a new method of creating glass casting molds directly from 3D computer drawings. Such an approach opens up new creative opportunities as well as eliminating the need for physical mold patterns. It also presents a number of distinctive advantages compared with conventional molding methods. The method developed is based on Additive Layer Manufacturing (ALM) technology, a process commonly known as “Rapid Prototyping” or “3D printing”. The process is based on a concept where the inner part of the mold is printed on a 3D printer and through a particular post-processing method achieves increased strength and refractory capabilities, The method is the result of collaborative research by Gayle Matthias and Tavs Jorgensen, and the project combines knowledge and skills established in studio glass practice with emerging digital fabrication technologies. Context: Over the last 5 years the creative use of digital fabrication technologies have developed dramatically. Although some of these processes (such as CNC water jet cutting) have been adopted by a number of glass artists, the field of creative glass in general has seen a relatively modest impact of these new technologies. In other creative sectors the use of 3D printing has seen a rapid growth with open source initiatives such as the RepRap project having a dramatic impact. Some methods for 3D printing in glass have been developed but these have so far had significant limitations in terms of the geometries, sizes and materials that can be used - and a commercial service for 3D printing in glass (which was available via the Shapeways Company) has recently been withdrawn. Research at University of Washington has also explored 3D printing with glass, both in terms of directly printed glass artifacts and also the production of printed refractory molds. However, all of the above mentioned projects differ from the method that we have developed. Project description and research approach: We initiated the project in early 2010 as part of our work at the Autonomatic research group, Falmouth University, UK. Matthias’ background for undertaking this work is her long career as a glass artist and university tutor in contemporary craft practice. During this career she has utilized a wide variety of kiln-formed glass techniques. In particular she has explored the ceramic shell molding technique in terms of glass casting - work that informed much of the early experiments of this project. Jorgensen initially trained as a craft potter before becoming a designer in the ceramic industry. Latterly Jorgensen has focused his practice on academic research into new digital design and fabrication tools and has become a specialist in this field, although he also maintains a very active creative practice. The project started as a series of open-ended creative explorations of the use of various 3D printing technologies in glass practice. Gradually the direction and focus of the project emerged from these initial experiments. The project was given added impetus when we received sponsorship from the leading 3D printing company ZCorporation (now part of 3D Systems), and also the glass supplier, Gaffer Glass (NZ) – following the publication of some of our early results. We view our position as creative practitioners undertaking research and innovation in an field that could previously have been seen as the preserve of specialist engineers, as one of the key element of the success of this project. We argue that this position enables us to contribute with different perspectives, knowledge bases and approaches in the innovation scenario. We consider that another key element in the development of this molding method is the combination of our specialist knowledge of studio glass and digital fabrication technology. Description of method and potential applications: The method that we have developed is based on the widely available ZCorporation 3D printing technology, using the standard build medium (the ZP 150 powder) to build thin ‘inner mold skins’ which is then strengthened by the application of additional refractory materials. This enables the resulting molds to gain structural integrity to withstand the temperatures needed for glass investment casting. The molds produced via this method are thin (6 - 12mm in total wall thickness) but very strong. Apart from eliminating the need for a physical mold pattern, the process has a number of other potential advantages compared with conventional molding approaches. In particular the much-reduced mold wall thickness means that lower firing temperatures and shorter firing cycles can be used. The potential for using lower kiln casting temperatures opens up the possibility that a wider range of glass types can be used, and we are currently undertaking a series of promising tests with recycled lime-soda based glass. Initially our main target sector for the method was the creative studio glass practitioners, but we have also received strong interest in the process from large-scale industrial glass producers. Equally, we are also currently exploring the potential of developing the technique for a particular medical application concerning the creation of glass moulds for growing human tissue for reconstructive surgery. This work is due to be undertaken in collaboration with one the UK’s leading research hospitals. We see this development as evidence that the knowledge developed creative glass practice can be highly valuable in a wider innovation scenario, and a strong argument for exploring increased collaboration with practitioners from a wide range of fields. Initial results from this project were been presented at the ‘Time Compression Technologies’ Conference and Expo in the Ricoh Arena, Coventry, UK in October 2010 and at the Victoria and Albert Museum, London, UK in January 2012

Independent innovation through digital fabrication focusing on explorations in reconfigurable pin tooling

This research investigates how new manufacturing concepts can be developed by individual practitioners and small manufacturing companies facilitated by an increased diffusion of digital fabrication tools and knowledge resources. Within this innovation scenario the study is particularly focused on exploring the early stages of research and development, rather than phases concerning product testing and marketing. This thesis provides data from a practice-based study with a technical focus on the development of fabrication concepts based on an underutilised fabrication concept known as Reconfigurable Pin Tooling (RPT). This manufacturing idea has also been described as ‘universal’ or ‘ideal’ tooling and has attracted interest from a number of researchers and inventors since the mid nineteen century (Munro and Walczyk, 2007). Although presenting potential advantages compared with conventional production systems, the concept has only been used in very few practical and commercial applications. Developments in digital technologies are now providing the technical foundations for developing new RPT systems and applications. The practice element of this study features two strands of enquiry. One concerns the development of an RPT system for the production of glass bowls within the researchers' own creative practice. The other practice strand was guided by interaction with a local furniture company, MARK Product, and focussed on the development of an RPT system for shaping upholstery foam. In combination, the two practice elements served to investigate tools, factors, and approaches that are involved when independent practitioners engage in innovation in the context of digital fabrication. Results from both investigations provide new insights into the independent innovation in this field. Original knowledge contributions from this research include the development of two novel RPT applications with a number of new technical solutions also having been established as a result of this study. Equally, the exploration of the glass RPT concept led to the productions of original artistic output, which is presented as evidence for the creative potential of this RPT concept. Furthermore, the study resulted in the development of a new approach for recording research data in rich II media format via an IOS database template. Conceptual knowledge contributions concern concepts and aspects that are relevant to independent innovators operating in the context of digital fabrication, building on the work of Smith and Von Hipple (2005; 2005). Reflections of this study in relation to S-curve theory (Christensen, 1997; Foster, 1986) are also included. The insights from this research have resulted in a concluding argument which proposes that an innovation toolset, which is combined by several facilitating aspects, can be seen as enabling individual practitioners to shift from operating within an individual innovation sphere to a position where they are able to make a valuable contribution in sectors beyond their own practice

Twisting Clay

This paper details practice-based research exploring new creative possibilities involving the ceramic extru­sion process. The paper begins by providing a short overview of the extrusion technique, its cha­rac­teristics and some contextual coverage of the process. The paper then describes how both tacit know­ledge and theoretical material understanding have been used to overcome technical challenges through ite­ra­tive research cycles and how, ultimately, the aesthetic qualities of the extrusion process have been used to develop a body of creative work. A key theme of the research is how digital fabrication tech­no­log­ies can be used in toolmaking scenarios to deliver innovation with a process that has long been used in craft ceramics but has remained somewhat underutilised

New approaches in glass investment casting: Creative practitioners researching and innovating in the field of digital fabrication

© 2014, BLOOMSBURY PUBLISHING PLC. This paper describes a research project aimed at delivering innovation in a combined sphere of digital fabrication and glass investment casting. The project has established an entirely new method for creating glass casting moulds directly from three-dimensional computer files without the need for a physical mould pattern, by using a moulding approach based on Additive Layer Manufacturing (ALM) technology. While the paper includes a narrative of the development of the moulding process, the central argument of the paper is rooted in the project’s research/innovation methodology. This argument concerns our profile as creative practitioners and the impact this position has on the research/ innovation scenario. Also central in this argument is the use of ‘emergent methodologies’ and ‘reflective practice’. A new type of rich media enabled research journal to aid the use of these methodologies was developed as a part of this project and is also presented in this paper

SCIRIA Openmind seminar series, autonomatic

SCIRIA ‘OpenMind’ was a regular seminar series for University of the Arts London staff, MA and PhD students and the public. The seminars were hosted at Camberwell College of Arts and Chelsea College of Art and Design. The footage, audio and flyers offer an insight into the research processes and activities of SCIRIA members, associates and external speakers

The digitally 'Hand Made' object

This article will outline the author’s investigations of types of computer interfaces in practical three-dimensional design practice. The paper contains a description of two main projects in glass and ceramic tableware design, using a Microscribe G2L digitising arm as an interface to record three-dimensional spatial design input. The article will provide critical reflections on the results of the investigations and will argue that new approaches in digital design interfaces could have relevance in developing design methods which incorporate more physical ‘human’ expressions in a three-dimensional design practice. The research builds on concepts indentified in traditional craft practice as foundations for constructing new types of creative practices based on the use of digital technologies, as outlined by McCullough (1996)

Conducting Form

This paper, which describes the initial findings of an on-going research project, was presented to an international audience at the Design Enquiries conference in Stockholm in May 2007. This project investigates use of motion capture (Mocap) technology as an interface with conventional three-dimensional CAD (Computer Aided Design) programs. The research builds of the work of Schkolne et al (2001) and Matsumiya et al (2000), but specifically explores the use of newly developed fibre-optic based Mocap equipment with an aim to establish user-friendly systems that can be applied to a wide range of creative applications. Furthermore the research aims to combine these systems with conventional as well as digital manufacturing methods in order to develop complete artefacts creation techniques. This project is the first to investigate the potential of Mocap based human-computer interaction (HCI) within the concept of a traditional craft practice. The project is located in the broad context of developing human oriented interfaces with digital design tools. Within this wide context it is specifically concerned with creating design objects that are derived from digitally recording human gesture and carry the individual character of those gestures into the finished artefact. This interest in the ’evidence of the human hand’ in an artefact and a desire for a more direct and intuitive interaction with technology can be identified as a pre-occupation of crafts practitioners in particular and this research contributes to the area of digital craft practices as defined by McCullough (1996)