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en:laura2019 [2019/07/05 15:03] hilda [Your vision of manufacturing in the future] |
en:laura2019 [2019/07/05 15:17] hilda |
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| Since graduating I have worked as a glass blower and studio assistant, as well as a glass blowing teacher in various studios around the world including Estonia, New York, and the UK. In 2017 I decided to continue my education by enrolling in a masters of arts in 3D Design Crafts in Plymouth College of Art in Devon, England. I am due to complete my studies here later this year in September. | Since graduating I have worked as a glass blower and studio assistant, as well as a glass blowing teacher in various studios around the world including Estonia, New York, and the UK. In 2017 I decided to continue my education by enrolling in a masters of arts in 3D Design Crafts in Plymouth College of Art in Devon, England. I am due to complete my studies here later this year in September. | ||
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| ===== Your vision of manufacturing in the future ===== | ===== Your vision of manufacturing in the future ===== | ||
| Throughout my relationship with glass I have felt frustrated with a key characteristic of the material; fragility. Glass is by its very nature difficult to bond to, the sheer ease by which it accumulates stress by processes such as drilling and cutting gives it a very finite working frame. Yet there are optical and material qualities that it offers which have fascinated mankind for centuries, and that is why I continue to work in this medium. | Throughout my relationship with glass I have felt frustrated with a key characteristic of the material; fragility. Glass is by its very nature difficult to bond to, the sheer ease by which it accumulates stress by processes such as drilling and cutting gives it a very finite working frame. Yet there are optical and material qualities that it offers which have fascinated mankind for centuries, and that is why I continue to work in this medium. | ||
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| In David Pye’s The Nature and Art of Workmanship the relationship between the handmade and machine made is discussed. Pye mentions how each making process can provide different strengths and weaknesses (Pye, 1968, p17). From my experience working in the glass blowing industry, I feel there is a disconnected discourse surrounding the relationship between the handmade and the machine made. The handmade offers a desirable, unique product which was made in the workmanship of risk, yet design companies often wish to combine these to machine made precision-based elements. The interface is not always well considered until after the object is formed, and often the solution to bring together components made in risk and certainty is to use glue. This for me is not well considered, it makes the separation of the components difficult, in a similar way that recycling packaging such as tetra pack is very difficult due to the entanglement of materials. So my research proposal has been to find a solution to this problem. A simple way to develop this interface in a way that maintains the integrity of the components and their materials, which will allow interchangeability and repair to take place if needed. And so, my master's research question was developed: | In David Pye’s The Nature and Art of Workmanship the relationship between the handmade and machine made is discussed. Pye mentions how each making process can provide different strengths and weaknesses (Pye, 1968, p17). From my experience working in the glass blowing industry, I feel there is a disconnected discourse surrounding the relationship between the handmade and the machine made. The handmade offers a desirable, unique product which was made in the workmanship of risk, yet design companies often wish to combine these to machine made precision-based elements. The interface is not always well considered until after the object is formed, and often the solution to bring together components made in risk and certainty is to use glue. This for me is not well considered, it makes the separation of the components difficult, in a similar way that recycling packaging such as tetra pack is very difficult due to the entanglement of materials. So my research proposal has been to find a solution to this problem. A simple way to develop this interface in a way that maintains the integrity of the components and their materials, which will allow interchangeability and repair to take place if needed. And so, my master's research question was developed: | ||
| 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? | ||
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| 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. | ||
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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 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). | + | 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. |
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