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| Les deux révisions précédentes Révision précédente | Prochaine révision Les deux révisions suivantes | ||
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en:laura2019 [2019/07/05 14:32] hilda |
en:laura2019 [2019/07/05 15:03] hilda [Your vision of manufacturing in the future] |
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| How can we improve the interface between handmade glass and other materials to create a sustainable and authentic handmade object in the production setting? | How can we improve the interface between handmade glass and other materials to create a sustainable and authentic handmade object in the production setting? | ||
| To begin to answer this question I examined mechanical joints and connections and looked to the certainty that they provided. After a lot of failed material testing, it happened almost naturally that I turned to the on-site FabLab in Plymouth College of Art for their ability to rapid prototype items made in the workmanship of certainty, that could work with the variables that handmade glass, made in the workmanship of risk, provides. | To begin to answer this question I examined mechanical joints and connections and looked to the certainty that they provided. After a lot of failed material testing, it happened almost naturally that I turned to the on-site FabLab in Plymouth College of Art for their ability to rapid prototype items made in the workmanship of certainty, that could work with the variables that handmade glass, made in the workmanship of risk, provides. | ||
| - | Sustainability: process, vision, engagement | + | |
| + | ===== Sustainability: process, vision, engagement ===== | ||
| So why is sustainability important to integrate into designing my making practice? It might seem like an obvious answer, but for someone who is eco-aware, and makes the effort to be environmentally friendly in my personal life, it has been a hard pill to swallow that my glass blowing practice may, in fact, be unsustainable. As a maker I want to create more stuff...but as a designer, I can’t help see that the creation of ‘stuff’ is what has contributed greatly to our current environmental crisis. | So why is sustainability important to integrate into designing my making practice? It might seem like an obvious answer, but for someone who is eco-aware, and makes the effort to be environmentally friendly in my personal life, it has been a hard pill to swallow that my glass blowing practice may, in fact, be unsustainable. As a maker I want to create more stuff...but as a designer, I can’t help see that the creation of ‘stuff’ is what has contributed greatly to our current environmental crisis. | ||
| There is now a moral obligation that as designers, what we make should have a positive environmental impact, in some way. The obvious solutions that are now wrapped up in a moral frenzy in popular news would suggest using biodegradable materials, recycled materials, carbon neutral making processes, are the solution. But I am afraid the answer is not so simple as that, and partially I believe, it is because the cause is not as simple as that. I believe the biggest change we can make to a product comes from looking at the engagement humans have with it throughout its lifespan. | There is now a moral obligation that as designers, what we make should have a positive environmental impact, in some way. The obvious solutions that are now wrapped up in a moral frenzy in popular news would suggest using biodegradable materials, recycled materials, carbon neutral making processes, are the solution. But I am afraid the answer is not so simple as that, and partially I believe, it is because the cause is not as simple as that. I believe the biggest change we can make to a product comes from looking at the engagement humans have with it throughout its lifespan. | ||
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| Cameron Tonkenwise discusses in his essay Design Away that “heirlooming” can be used as an effective strategy for sustainable design: | Cameron Tonkenwise discusses in his essay Design Away that “heirlooming” can be used as an effective strategy for sustainable design: | ||
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| ‘It combines engineering expertise (in terms of design for reliability, maintainability, reparability, upgradability) and socio-psychological expertise (understanding “product attachment” how and why people value a product enough to sustain its use).” (Tonkinwise, 2014, p209). | ‘It combines engineering expertise (in terms of design for reliability, maintainability, reparability, upgradability) and socio-psychological expertise (understanding “product attachment” how and why people value a product enough to sustain its use).” (Tonkinwise, 2014, p209). | ||
| - | It is through this process that I aim to create more sustainably designed glass objects. By using co-designing methods with my clients through rapid prototyping computer programmes such as Rhino, the emotional investment between the user and the object already begins to exist. Computer-aided design drawings renders and 3D printing prototypes mean that the design can be easily adjusted before a single glass object is made using energy-guzzling glass melting kilns- therefore decreasing the likelihood of multiple remakes before the client is happy with the result. (See Figure 1+2). | + | |
| + | It is through this process that I aim to create more sustainably designed glass objects. By using co-designing methods with my clients through rapid prototyping computer programmes such as Rhino, the emotional investment between the user and the object already begins to exist. Computer-aided design drawings render and 3D printing prototypes mean that the design can be easily adjusted before a single glass object is made using energy-guzzling glass melting kilns- therefore decreasing the likelihood of multiple remakes before the client is happy with the result. (See Figure 1+2). | ||
