Page 88 - META

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ISSN 2309-0103 www.archidoct.net
Vol. 7 (2) / February 2020
the ego and material and digital engagements. This, in turn, integrates individuals and their ac- tions into a general process of experience and behaviour. Generative design can take a new step further into real-world engagement, by profiling, modifying and adapting designs to the lived milieu. It does so, among others, by inventing a new, internal structure and by completely insert- ing itself in a given situation - “solid and tangible in their particularity” (Barad, 2012; 80).
4 One example of project outcomes and resume
Based on the elaborated rhizomatic methodological framework, I have developed 10 interdis- ciplinary projects over the last three years and subsequently various interdisciplinary working methods in four different areas (figure 7): 1. research and development; 2. workshop format for experts and laypersons; 3. teaching format; 4. business concept.
Below is an example of how I adapted the rhizomatic research framework to different projects (fig. 8). I sketch one project and its manifold material, digital, technological and machinic inter- actions.
4.1 Project example “Parametric Sewing patterns”
The emerging field of computational fabrication is making new ways of designing and manu- facturing supported by generative design (parametric design) more and more accessible. These new manufacturing methods also allow exploring different algorithms, their differences and the generated results in physical space. The role of designers is therefore shifting. Today, designers need to embrace complexity and processes between different sources of intelligence (algo- rithms, material behaviour, aesthetics, sewing machine conditions). As a result, they adapt ob- jective initializations of parameters from their own perspective and reiterate these in a symbiotic process between virtual modelling and real-world cutting.
Cut-to-fit software, while state-of-the-art, has limitations as it is based on norms and rules dating from early sewing pattern developments (Butterick, 1871). The human body is not standardiz- able and has different shapes and aesthetic needs. Hence, surface cutting and parameterization through algorithmic parametrization enable handling doubly curved surfaces (the body) with low distortion on 2D (paper or fabric).
Starting from scratch, i.e. ignoring assumptions about the historical art and rules of sewing pat- terns, this project starts from an experimental body-centred approach to create individual sew- ing patterns using off-standard intersection lines. Instead of trying to adapt the body to stan- dardized norms, this project explores the beauty of imperfection, quirks and identity.
This project evolved from collaboration between a mathematician, computer scientist and my- self – an architect and textile designer. Using an architectural and mathematical approach to algorithmic, generative 3D modelling and mathematical segmentation, we placed section lines individually on each specific 3D body surface scan, to best subdivide the garment undistorted. Applying this innovative methodology means that the pattern designs are at first virtual spatial and mathematical surface simulations. These, however, need to be tested, adapted and reiterat- ed in a symbiotic process between virtual modelling and real-world cutting, sewing and fitting that also transforms the virtual fashion outcomes as an interactive ecology.
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Inbetween – A Post-digital Turn – Craftmaking 4.0
Verena Ziegler