The overall field of this research is about integration of digital technology in the field of 3D designing, especially in fields rooted in arts and craft such as ceramics. In this research it is about how experiential knowledge of craftsmen is transformed and utilized in the use of digital technologies. Specifically, the research focuses on the development and exploration of digital interactive design tools that involve the body in the input and 3D physical form as output by rapid prototyping.
Firstly, this concept implies the study of the interaction between the designer and a real time dynamic and responding 3D graphics. Secondly, it focuses on the output in 3D physical form, i.e. actual and real, a form that can be viewed, touched, and thus examined from different angles. This part is done with digital-based 3D printing in order to obtain ceramic items from the digital tool. The project distinguishes itself exactly by the combination of interaction and 3D tangible form.
The approach is driven by a desire to “humanize” the use of digital technology in the field of design. By humanizing I mean that the involvement of the body is being exploited in the use of digital technology—and that is reflected in the product. It can be hand gestures, body movement, or the voice, which forms the basis for an interaction through digital technology. This approach builds on Malcolm McCollough's idea about a close connection between digital work and a craft practice, and that the hand and brain activities related to computer technology may be analogous to practical activities where tacit knowledge, according to Polanyi is involved. McCollough’s research is based on studies of craft; design processes and tools related to fundamental human activities. The results of these studies are related to the artist Bernard Leach's idea about crafting and execution as a unity that is intuitive and humanistic - One Hand, One Brain. Thus McCollough suggests that computer systems should be developed much more from the user's perspective (here, the designer) to utilize tacit knowledge.
The Voice.
This part of the research focus on the exploration of a digital interactive design tool that uses voice as input and 3D physical form as output by rapid prototyping, in a coolaboration with lector Kristoffer Jensen, Department of Architecture, Design and Media Technology (ad:mt),
The project, which we call SoundShaping, is a system to create ceramics from the human voice. Based on a generic audio feature extraction system, and the principal component analysis to ensure that the pertinent information in the voice is used, a 3D shape is created using simple geometric rules. This shape is output to a 3D printer to make ceramic results. The system demonstrates the close connection between digital technology and craft practice.
GUI
GUI including curve parameterization and
PCA variable order options
3d ceramic print
The hand.
A cooperation with the programmer and designer Marcin Ignac. The experiment made use of the programming language Processing and a wii remote as a device to capture 3d motions. By the wii remote the movement of the hand is tracked in a 3d virtual space. The dynamic and generative system is defined by emerging 3d geometries which respond to speed. The size of geometry and the distance between the geometries reflects the speed of the movement of the hand with the wii remote. Furthermore the emerged geometries can either increase or decrease and be affected by the following movements of the hand by being repelled or attracted. The emerged geometries provide a trace of the movement in the interactive dynamic system, which may be captured at any time. The captured movement forms the basis for a 3D physical model produced by the use of Rapid Protyping, which express the captured movement in physical form.
3d plastic print
porcelain - in colloration with Souvenix.
