Abstract
This article aims to discuss and explore how craft knowledge in the field of ceramics can be utilized through digital technologies. Based on a set of experiments, which led to the development of a computational system that negotiates between the movement of the designer’s hands and the 3d clay printing, we propose to leave thinking in diametric positions about technology and craft. Instead, we recommend to see technology as an enabling force and follow McCullough’s (1998) idea about a close connection between digital work and craft practice. We base this on similarities we find between the way custom digital design tools are developed and the way craftsmen in the field of ceramics are developing their material and tools for the making of ceramics. The communalities are especially centred on the experimental approach, pursued by both fields. Reflecting on these positions through our own work we identify different modes of experimenting, which are useful to drive design development and to develop the concept of digital crafting in the fields of ceramics. We explore how novel digital means can be utilized for a parametric setup that directly informs ornamentation through bodily engagement and discuss how craft knowledge in the field of ceramics can be utilized through digital technology.
Keywords
Ceramics; digital crafting; 3D digital interactive system; 3D printing; experiment; aware models
DOI
http://doi.org/10.21606/eksig2015.118
Citation
Hansen, F.T., Evers, H.,and Tamke, M.(2015) Digital Crafting in the Field of Ceramics, in Bang, A. L., Buur, J., Lønne, I. A., Nimkulrat, N. (eds.), EKSIG 2015: Tangible Means – Experiential Knowledge Through Materials, 25–26 November 2015, Kolding, Denmark. https://doi.org/10.21606/eksig2015.118
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Included in
Digital Crafting in the Field of Ceramics
This article aims to discuss and explore how craft knowledge in the field of ceramics can be utilized through digital technologies. Based on a set of experiments, which led to the development of a computational system that negotiates between the movement of the designer’s hands and the 3d clay printing, we propose to leave thinking in diametric positions about technology and craft. Instead, we recommend to see technology as an enabling force and follow McCullough’s (1998) idea about a close connection between digital work and craft practice. We base this on similarities we find between the way custom digital design tools are developed and the way craftsmen in the field of ceramics are developing their material and tools for the making of ceramics. The communalities are especially centred on the experimental approach, pursued by both fields. Reflecting on these positions through our own work we identify different modes of experimenting, which are useful to drive design development and to develop the concept of digital crafting in the fields of ceramics. We explore how novel digital means can be utilized for a parametric setup that directly informs ornamentation through bodily engagement and discuss how craft knowledge in the field of ceramics can be utilized through digital technology.