The term ‘Digital Craft’ is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in Computer Numeric Control (CNC) making? This article takes the position that craft practice is rooted in the relationship between materials, tools and techniques as an intricate workflow. We suggest that the workflow can be considered as autopoietic in nature, in that it is both self-referential and self-making, at the same time as continuously designing. Through this, digital fabrication can be seen as a practice that co-evolves technology and material systems. The first author took a step back and reconsidered David Pye’s theory of making in relationship to digital craft practice. This is later cross-examined with a series of semi-structured interviews with contemporary craft practitioners, to devise a systematic approach to the analysis of craft practices. This research stems from the first author’s background in architecture, whose design practice is craft based using digital fabrication technology. Through this research, we examined making as a means of generating design knowledge in the process. The article suggests that the authenticity of craft lies within the deeper structure of the practice: the formation of repertoire where its social and cultural meaning is derived through coupling the practice with other systems.

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Casting is one of the most widely used construction techniques. Complex geometries produced via computational design processes are not readily achievable through traditional rigid formwork and are subject to increased material waste. More suitable casting techniques are required to represent digital design output efficiently. This article presents a variable fabric formwork developed to work in conjunction with a 6-axis robotic arm for casting doubly curved panels based on hyperbolic paraboloid geometry. The variable formwork is designed to be extendable in length and width so that it can produce a wide range of outcomes within a single formwork. The interface established in the workflow allows the physical formwork and digital design to influence each other. The article concludes by discussing a verification method used to confirm the accuracy of the outcome. This variable fabric form-work reduces construction waste and is a more sustainable method for casting complex geometries. Highlights Robotic arm used to manipulate a bespoke mould for fabric formwork casting. Constraints of mould design used to inform robotic arm of its fabrication limits. Workflow allows the physical formwork and digital design to influence each other. Verification of result reveals future area of research.

With the wide spread adaptation of digital technology in the design discipline, there is a need to understand the role of technology in design teaching. In this chapter, we will examine the role of technology as probes, prototype, and toolkits and ask how this facilitates a more holistic learning process. "Design problem" is by its nature multi-facetted and open ended. The difficulty faced by most educators in the design discipline is that of encouraging students to develop critical thinking and approach the open-ended nature of their subject. We will explore making as a critical investigation of the design problem with two projects taught in an architectural design studio environment, at both undergraduate and graduate levels as case studies. By reviewing experiential learning through making, we can develop a more integrated means of teaching technology within a broader trans-disciplinary design context.

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