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ISSN 2309-0103 www.archidoct.net
Vol. 7 (2) / February 2020
Many applications of avatar models (in cinema, gaming or VR art) focus on perfect, graphic ap- pearance and performance of avatars, which are rather idealized and can be created virtually. It is already possible to realistically represent virtually designed fashion and clothing items on a virtual model. Garment production methods, however, are based on analogous, conventional pattern creating approaches and methods. The established methods for the virtual development and segmentation of 3D-surfaces are based on visual realism. Thus, they are not realistic models in any physiological sense, but based on a representative visual level in a synthesized virtual sce- nario. The models are as such not based on real surfaces, but on virtually generated surfaces. Our approach comprises a virtual processing and segmentation method for modelling real, material and physical bodies (3D scan body data) by creating intersection lines for sewing patterns using virtual body topology. This body-centred method of producing sewing patterns makes no as- sumptions about analogue, conventional pattern creating approaches and methods. In contrast, our method highlights the transferability of virtual pattern development into reality.
Virtual processing of 3D surfaces, generated from human body scan data via a mobile app, will be used to create body-generated clothing. The result is a completely new pattern design technique and pattern design aesthetic. This considers the individual human body and enables creating fit- ting personalized clothes without distortions, pull lines and gapping. We achieve this by sewing experimentally through prototyping and by iteratively rethinking the manufacturing process. Think local, act global: our technique will support and transform local craftsmanship into a new era of digital craftsmanship 4.0. Our interdisciplinary, iterative and practice-based investigation spanning computer science, architecture, textile design and mathematics, algorithmic thinking and practical exploitation of pattern-form formation, we developed a sustainable approach to reducing waste consumption, among others, by striving to counteract the standardization of S to XL, by excluding disabilities and size-zero ideology (inclusive design) and by genderfying norms and rules.
By way of a brief outlook to a possible future scenario: This algorithmic approach to sewing pat- terns might not merely entail a symbiotic process between virtual modelling and real-world cut- ting. It might also involve other sets of data (e.g., digital avatar profiles of phantasy characters, heroes, or utopies, as illustrated by Björk`s recent album Vulnicura and her otherworldly virtual avatar). Thus, in our present context, this alternative conceptualization might contribute to gen- erating an innovative physical approach to pattern creation.
4.2 Summary
This paper has outlined my rhizomatic research framework and highlighted two aspects. First, our “panoptic” (Foucault, 1976) Biedermeier approach to technology has led to (3rd person) ab- straction, generalisation and a loss of resonance with the world. Second, the specific demands of capitalism, in particular its acceleration of optimization and consumerism, have created an ag- gressive human-world relationship, and thus the loss of resonance and meaning. In conclusion, we need a radical shift in thinking, in order to transcend determinism. Prevailing assembly-line thinking and action, as a historically derived, colonial conquest, does not seem well suited to attaining a sustainable future. I have instead argued for an ontological queer-paradigm, which I call the post-digital turn or Crafting 4.0.
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Inbetween – A Post-digital Turn – Craftmaking 4.0
Verena Ziegler