Challenging Craft

Challenging Craft
(http://www.challengingcraft.org/ accessed 13/12/08)

Challenging Craft was a three day conference held at Gray's School of Art, the website contains papers that discuss contemporary craft. I have chosen a few of the papers that I felt were relevant to my critical review.

‘Something Old/Something New - The Marriage of Digital-Craft’
Stephen Bottomley and David Goodwin

In the introduction Stephen Bottomley and David Goodwin write that computers have provided designer-makers with new ways of seeing and making the world. They briefly discuss Malcolm McCullough’s book ‘Abstracting Craft’ published in 1996, in which the author looks as the CAD/CAM vs. craft debate. Bottomley and Goodwin argue that this debate is now history. The technology is available and being widely used. They think that now we can look at how CAD/CAM is being used and examine the ‘new hybrid practice’.

In his chapter Bottomley discusses rapid prototyping. He writes that it “turns intangible digital data into physical objects, the virtual to the real”. It is more than just speeding up the process, the designer-maker can use it to explore forms and make alterations easily. He observes that objects that are not CAD designed can have a ‘CAD aura’ by which he means a geometric, mathematically inspired form, which has become associated with digital design.

Goodwin begins his chapter by writing,

“I would not have been able to visualize my ideas as clearly as I have done if I was not working within a 3D environment. Designing on paper did not convey the quantity and clarity of information that working with 3D modelling could.”

He talks about how the limitations of the computer software he uses influences his work, “It is good to have some boundaries to design within.”

The paper then goes on to look at artists using digital technologies. Peter Musson uses CNC milling to develop ideas rapidly, creating forms that would not be possible using only hand techniques. He states

“Within my design I use the language of mass production, at the same time I aim to give my objects a more human quality through imparting individual touches upon them. I use industrial methods of production yet distort the perfect form to give the objects individuality; I achieve this by using craftsmanship ideals which I believe create an emotional connection to the user through the object.”

The paper concludes

“The choice of many contemporary makers to work with new and emerging technologies is not specific to our time - but a tradition to our craft.”
“If indeed the digital revolution is over and the technology is no longer something new but something old, this is a situation that is unlikely to change - indeed on day it may be considered a traditional craft in its own right.”


‘Splines, Nurbs and Boolean Curves - The Poetics of Virtual Form Made Flesh’
Richard Hooper

Hooper discusses the history of CAD/CAM, how digital technology has changed his work, and different CAD/CAM methodologies.

‘Craft and New Technologies, Implications for Practice: a Match Made in Heaven’
Gilbert Riedelbauch

Gilbert Riedelbauch explains his practice based research into the application of rapid prototyping within silversmithing. He writes that

“creative integration of limitations and idiosyncrasies of digital technologies and processes can lead to new work able to extend the boundaries of craft”

“I have experienced that new technologies paired with craft practice can be a match made in heaven - once the craft practitioner is put in control of these technologies”

He discusses Computer Aided Design (CAD), Fuse Deposition Modelling (FDM) and Rapid Prototyping (RP). He also dedicates a chapter to defining contemporary craft, this could be useful for me to do.

The next chapter looks at processes and outcomes. Discussing rapid prototyping he writes that

“every output device will leave its marks, traces of the process, on the produced part. Inherent to rapid prototyping technologies is stair-stepping, these real surface features are artefacts created by the build process.”

He argues that

“To successfully apply these process features one needs to understand the interaction of software and hardware and the build processes as well as being in control of every aspect of it. It is this knowledge of the process or its limitations, which could be used in a creative way by the maker”

He comments how settings on the RP machine, and the orientation and scale of the form can be used to influence the appearance of the surface.

‘Re-reading the Functional - A New Position for Contemporary Craft’
Louise Manzanti

Manzanti writes that

“conceptual craft is positioned between the functional sphere of design and the critical potential of art. This position is highly interesting”

“a central characteristic for craft skill is a position between art and life”