Coded Ornament: Contemporary Plasterwork and the Use of Digital Technologies

– The European Conference on Arts, Design and Education 2022 Official Conference Proceedings

“…Regarding the intervention with digital technologies in the case of the cantilever wall, the researchers, after observing the traditional technique and empathizing with expert masons, managed to take part of the tacit knowledge of the masters to build a parametric CAD model that guides the construction of a wall similar to the one built conventionally, also with a 3axis CNC machine they carved the bricks, resembling the traditional carving they do in the conventional technique (Stevens, Kamath, & Sharma, 2017). About the other three techniques, their technological intervention was also given by observation and exploration with craft-based processes, and they focused on developing molds designed in CAD software and prototyped in laser cutting machines (Marshall, 2007) (Karanastasi, et al , 2013).…”

“…In this area, we find different techniques for applications in architecture such as the traditional construction of cantilevered walls, in which an expert mason positions rows of bricks to achieve a curved effect on the wall without it taking over, also for this technique the expert modifies the bricks by carving them by hand (Stevens, Kamath, & Sharma, 2017). On the other hand, the ability to manufacture casting molds in various techniques such as the manufacture of plaster ornaments (Marshall, 2007), lattice modules in concrete (Karanastasi, et al, 2013), and prefabricated ferrocement ( Peinovich & Fernandez, 2012). As well as manual skills for the construction of tessellations, or geometric compositions (Marshall, 2007) (Karanastasi, et al, 2013), and knowledge of the material to achieve an adequate mix of components.…”

“…On the other hand, the ability to manufacture casting molds in various techniques such as the manufacture of plaster ornaments (Marshall, 2007), lattice modules in concrete (Karanastasi, et al, 2013), and prefabricated ferrocement ( Peinovich & Fernandez, 2012). As well as manual skills for the construction of tessellations, or geometric compositions (Marshall, 2007) (Karanastasi, et al, 2013), and knowledge of the material to achieve an adequate mix of components.…”

An exploratory investigation into the role of a research and development programme on future craft practice

“…The nature and meaning of craft has evolved, from its early vernacular status to more recent aesthetic appreciation of the craft product (Kristeller 1951;Dean 1994) and strategic appreciation as a radical, innovative process (Yair et al 2001;Marshall 2007;Adamson 2010). Its present connotations draw from a variety of disciplines, including philosophy, aesthetics and technology.…”

“…A second challenge posed by this informal business model means it is increasingly difficult for a craft practitioner to invest in research and development, which in turn restricts product innovation and business growth (Marshall 2007). A third contribution to crafts' downfall in the marketplace has been its tendency to take itself overtly seriously and limit itself to an exclusive customer base.…”