Towards defining 'Process': a rereading of CAD methods within sculptural practice
|Keywords:||Sculpture; CAD; Grasshopper 3d; 3D printing; Maurice van Cooten|
|Full text PDF:||http://hdl.handle.net/10292/7465|
In what ways does Computer Aided Design (CAD) software and manufacture affect ‘material’1 and process in sculptural methods as evidenced in outcomes? For this paper the dual reading of materiality is taken. The word matter “came into English from the old French materie,” referring to “a building material usually timber” (Hong, 2003). Material however is not solely defined as being made of matter; it can be, for example, information used for writing a book. The latter terminology applies to digital artefacts substantially being information. Leonardi writes about “digital artefacts as having ‘material’ properties, aspects, or features, we might safely say that what makes them 'material' is that they provide capabilities that afford or constrain action.” He further proposes, “in the case of digital artefacts, what may matter most about 'materiality' is that artefacts and their consequences are created and shaped through interaction" (Leonardi, 2010). This research aims to investigate processes through utilising CAD and Computer Aided Manufacture (CAM) to inform specific historical sculptural methods based upon traditional sculptural processes (reductive, additive, fusion of material and reproduction) such as those of carving wood, modelling in clay, joining of metals, mould making and casting for reproducing form.