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For this assignment we made two different cuts, and then used one side from each cut to (attempt to) make two different casts our intention was to have them be able to fit together to explore wholeness. We were interested in thinness and perceived materiality in our casts, so we attempted to cast as thin a block as we could. Pictures to come!
Puzzle Casts
This displays the process that came with our attempt to separate our foam pieces and reconnect with the other cuts in our cast. Unfortunately one of the iterations of the cast leaked, but it developed into an interesting display of our process!
Situated Knowledge
In this text the author discusses and analyzes objectivity and its influence in our point of view. Haraway begins to discuss how the definition of objectivity is problematic because it comes from the point of view of those who are not objectified. The Marked Body and the Unmarked body act as the two different points of views. The Unmarked as the rich white male, and the Marked as every other community member who is objectified to some regard.
Haraway suggests to combat the power of objectivity, we must further give Situated Knowledge, which is to understand the context which surrounds these Marked Bodies. No longer leaving the Unmarked Body to see the individual and nothing else. Situated knowledge would allow for a more complete view as well create a stronger connection between the Unmarked Body and the Marked body.
Through the lens of this course, this text can be connected in interesting ways. It poses the question of what is the Marked Body of digital fabrication? The tools of our trade no longer lie in a vacuum. While we still use simple tools like pencils, pens, and erasers, we have begun to use far more complex tools to create what we desire to create. For example, the process of milling an object out of a block of wood seems a simple enough process, but it is actually a network of tools combing their specialties. While the only obvious tool is the drill bit, that drill bit is connected to the CNC machine which is connected to the computer. We cannot simply see one tool as the answer to our problem when they are all connected. Is our objectivity related more to architectural theory? The avant-garde being seen as the Marked Body?
Today we attempted to create a Kuka program which would investigate the relationship between a curved spline and a straight line. We are super excited to see what sort of surface will be created from the rigid wire cutting through the foam! We expect the surface to look similar to the rendering, however, also different because of the straight line of the foam cutter.
Crawford Readings
In The Jig reading, Crawford investigates the world we live in and how we live in a way that is detached from the physical world around us. We have begun a movement from the skilled practice towards the world of representation. We use tools to help with complex tasks. Our attention toward representation benefits the corporate and political interests of capitalism.
In Agency vs Autonomy, the author discusses how we have lost the “dirt under the fingernails” that comes along with agency. Through the development of technology and the use of the technological process we have furthered the process of autonomy. Crawford criticizes the way we have become to become more reliant on the process of autonomy because of the continual mindless consumption.
It is interesting to think about how technology has changed our everyday lives and our lives as designers. We are in an era where dependence on technology has taken over our every day lives. We need it to communicate to one another, to find knowledge to do tasks, and to stay updates about the world around us. Have we become to reliant? Or are we still in the Goldilocks zone of technological reliance?
Exercise 6
Our group chose the America curve to use for the second part of exercise six. Originally, we chose the red light to conduct the actual exercise, and then altered the colors in Photoshop to produce a red, white, and blue effect. While conducting the exercise, our group experimented with different speeds of the robot as well as shutter speeds to alter the line weight of the curve being drawn.
Robot Technology Fundamentals
This text discusses the difference between robotics and automation by showing the different types of robots and their function. Through describing the possibilities of robotics in industrial avenues, the author discusses how robots can complete menial and repetitive tasks with very little breaks. This allows for human workers to do more complex and fulfilling working. It is interesting to think of a world without low-skill manufacturing jobs completely replaced with robotics. It is the future and to think otherwise is short sighted but what does this mean for society and architecture. Will robots begin to replace construction jobs as well? This brings up the question of is human intuition in construction better than the precision that robots could preform? At what point does the total replacement of humans, with robots, become a problem? Humanity could reach great heights even the stars if the repetitive, complex, grueling tasks were completed by robots and allowed for universal high education and technological advancement, but is this truly possible? Do we still need jobs for the uneducated or simply need to educate the uneducated?
Exercise 6: Beginning of the Light Show
Today we played with curves and different curve lengths in order to create a path for the robot to run.
The finished product of our surface. We ended up leaving out a couple of pieces our envelope for a unique pattern and a chance to see the surface within the wrapping. The most difficult part of the project was to get the surface wrapped in the polystyrene material. It ended up creating some interesting effects with shadow.
Router working hard on our surface. It took about an hour and a half to get the surface cut
“Degenerative Effects” & “Metals” by Carr, Smith
Carr begins to discuss how automation has affected the skills we develop in our everyday lives and in our professions. Through the development of technology and automation, we have become completely reliant on the speed and abilities of technologies to the point where once it fails we no longer have the ability to produce. We have no skills that enable us to adapt and create new skills, “The effortless absorption experience by the practiced artist at work on a difficult project always is premise upon earlier mastery of a complex body of skills”(85). In order to be able to adapt to new projects we must have previously learned how to do other skills, these previous skills are being replaced by automation.
In Smith’s chapter he looks a series of metallic objects with the goals of investigating their visual and historical relevance. These items show the articulation of the practice of metal working. This can be related to our course because it investigates the relation between the artist and its creation. Metal working requires constant contact with the eye, hands, and tools. We have lost this with automation for we only now maintain a relationship between eye and result. The tool is distant to ourselves yet connected to our work.
Iwamota Response
Throughout this essay there is a discussion of the section and how it can be used through the digital fabrication process. The processes listed throughout this essay help to show how digital fabrication can help aid in creating complex organic forms. Life sized models can be created allowing for complex experiential concepts to come to life in a cheap efficient manner. This allows for quick assembly and quick testing. These processes can also be translated in many different materials using the same files. Meaning it is possible to bring fully usable structures using digital means.
Sadly the Fabrication Lab decided not to follow the reservations this week and chose to give away slots without telling us about it. So for a conciliation this week I worked through a series of renderings of what our MDF could have been if we had not been unable to mill. A rough MDF core made of ‘quads’ with a triangulated envelope wrapping the exterior, reacting to the original surface. The process of rendering also allowed for experimentation with different sorts of materials and seeing how they react visually to one another.
Valley Of Wandering
Manufacturing Material Effects
This essay discusses the way digital making can be understood as a craft and we carry with us the same associations as craftsman of old. The reason for the association with digital; making as a craft is because of the continuous design process where the designer is constantly in control of both the design as well as the manufacturing. The design process is becoming increasingly more efficient. This is an interesting concept, digital design as craftsmanship. Traditionally crafts include sculpture, woodworking, metalworking, etc. All of these require and afford for constant shaping and design, but with digital design there is the ability to create faster as well as reduce improper creation. Is this always a good thing? Is the loss of these happy accidents a problem to the digital craft? We design through a screen and our product is created through machines. While this affords for fast reproduction and iteration, we lose the chances of getting it right the first time, with our hands.
In this exercise we discovered and learned ways of creating and sculpting forms from the use of an algorithm. We had control over the number of side, tab design, curve design, and much more, yet the computer was still doing it for us in a way. This was interesting because although the computer was doing the hard work we still had free control to create in any way possible.
The Use of the Genetic Algorithm, DeLanda & The Alphabet and the Algorithm, Carpo
The history of architecture has developed vastly over the whole of human existence. From a simple hut to incredible and crazy forms that tower into the skies. Throughout this history we have developed systems which aid the way we design and these systems often have rules which dictate how our designs will come to be in the hope that it will create a pleasurable and worthwhile experience. Both of these readings address a new sort of system that our era is currently trying to tackle, algorithmic design.
The fear of allowing a simple or complex algorithm to control our design is scary to most and should be to a point. Architecture is created for humans and there should always be a human component to its design. However, there is a strong similarity between the system of Greek orders and Algorithmic design. Both of rules and ways of working that dictate the possible design. The difference is that we do not fully understand the way these algorithms are working as we understand the ways proportions and the Greek orders work. Should we call for an order of algorithmic design? Or is that the beauty of the process, its ability to create endless and potentially beautiful architecture?
No longer does the architect create like we once did as a craftsman, but we still have a level of control. We dictate what goes through and what does not. We now can see nearly every aspect of a design and choose what needs to be changed or adjusted. We may loss a bit of authorship in the design but we still have the control of yes or no, more or less.
In our exercises, we control the algorithm to produce something that is envisioned previously or simply whatever looks best. No longer must we create from scratch but adjust numbers to create what we want. But is this really that different from using an architectural system with rules and methodologies?
