Design through consequential Making- An engagement between Surrealism and DFM

Design through Consequential Making an engagement between Surrealism and Design for Manufacture

Student Dafni Theodora Georgoula Thesis Tutor Klass de Rycke Design Tutors Christopher Leung, Gary Edwards Design for Manufacture RC102 September 2018 _ The Bartlett School of Architecture _ UCL

Abstract A negotiation between different worlds and dissimilar philosophies, takes place in the contemporary manufacturing workshop. On the one hand Surrealism with its ambiguity, and from the other hand Design for Manufacture with its disciplines and materiality, become the testing ground of a polemical atmosphere.

To this end, the question is, ‘What could be the implications of the contemporary engagement of Surrealism and Design for Manufacture?’

To answer this query from the inside, the participants adapt and experience surrealism tactics and attitudes.

An internal investigation, emphasizing in inner psychology, distinctive experiences and aesthetics generate the basis for negotiation. To initiate such a dialogue, the outer world is perceived by approaching the unconscious.

In praxis the experiment is between two individuals, that will try to materialize their unconscious in multiple layers, within the framework of Design for Manufacture. Placing themselves in this disciplined environment, they will try to disrupt their internal safety net and perform their dialogue in the form of a choreography, in a theatrical set built within the magical walls of the workshop.

The experiment’s methodology is a hybrid process between Surrealism Automatism and Design Through Making, Theory through Praxis. The criterion that

constitutes the rules of this process, is the evaluation of the consequences of each layer of making, that brings and guides the making in the subsequent layers. The entire procedure can be described as a palimpsest, that carries the history of the making, demonstrating that actions cannot be erased but can only be transformed, especially in the world of manufacturing.

The findings of the experimentation process trigger several personal queries that intuitively emerge during the project’s investigation. Those inner expressions interpreted through manufacturing and vice versa become the project itself. Because of the intimate nature of these answers, the optimum way to communicate the entire experience is through a film, the Theatre of Consequential Making, that will perform the argument between two distinctive worlds of unconscious.

The value of this research is the attempt to draw the lines connecting humans with the unconscious, or else the product with design. In the creative industry, this process potentially can initiate conversations that give birth to innovative ideas, as those are usually the product of polemics. Inside the educational framework the deliberate choice of freedom from design restrictions, the careful listening of the the material and its form along with the expression of each person’s little surrealism becomes a new learning process. The one that refines internal restrictions and obsessions, develops design skills and is able to perform better within a collaboration, perceived simultaneously as a combat and an alliance.

Contents Introduction

page 5

Part One: Theoretical Background 1.Surrealism

1.1 History and Phases of Surrealism

page 8

1.2 Surrealism Expression in Architecture: Coop Himmelblau

page 9

2. Design for Manufacture

2.1 Definition and Elements

page 12

2.2 Sixteen *(makers)

page 13

Part Two: Methodology

3 .1 Theory through Praxis – A palimpsest of knowledge

3.2 Jean Tinguely

page 16 page 17

Part Three: Personal Experiments

4. Theatre of Consequential Making

4.1 An introduction

page 20

page 21

4.2 Methodology and Techniques

4.3 Phases 4.3.1 The Made Sketch

page 23

page 25

4.3.2 The Digital Drawing and Manufacturing

4.3.3 The Coupling

page 26

4.4 Traces through time

4.4.1 The Movie

page 26

4.4.2 Discussion

page 27

Conclusion

page 28

References

page 29

Introduction

design distinctive personalities and craft a union.

This union when materialised in any form, big or small, heavy or light, detailed or rough, pretty or ugly, functional or not, becomes the manifestation of the design.

This paper investigates the engagement of the methodologies of surrealism with design for manufacture. The contrast between these two concepts creates the framework for a stimulating negotiation between surrealism and manufacturing. The initial motive to explore this topic was to demonstrate that Design for Manufacture could accommodate ambiguous endeavours, it is to discuss and prove that DFM is not a narrow field that rationalizes creative ideas.

The design method of this experiment is a hybrid process between Surrealism Automatism and Design Through Making. Each layer of making, with its consequences is guiding the subsequent layer. The entire process can be seen as palimpsest, that carries in its design DNA all the previous making information. This palimpsest is constantly in making, a thought after a thought, and a shape after another. It is what drives the development of the design, because actions especially in the world of manufacturing cannot be erased but can only be additive. We learn through making and the product carries this knowledge in the form of a design heritage.

This paper amplifies a design proposal, the result of the collaboration with Mariya Li. Initially, both participants investigated Surrealism methodologies, and specifically Surrealism Automatism. Trying to adapt surrealist techniques and attitudes, the motivation became a personal conquest that matured for both participants individually. Each internal investigation emphasising in psychology, distinctive experiences and personal aesthetics, finds context when discussed as a whole. A whole that unites when fabricated but simultaneously is fragmented from its own nature.

The theoretical framework of this project lays between Surrealism and Design for Manufacture.

From the one hand, Surrealism was based on the desire to bring the clear consciousness to the world that is perceived by the senses. Andre Breton, in the Manifesto of Surrealism, 1924, defined Surrealism as the new form of pure expression.

He claimed, that the word Surrealism contains an ambiguity, which encourages supernatural behaviour while in parallel aims to make deeper the

At this exact moment a negotiation between the two participants can arise. Due to the conflicting nature of the process the dialogue triggers new discoveries within our architectural sphere of knowledge. Manufacturing itself becomes the tool to accept each other’s inner obsessions or 5

foundations of the real world. (Breton, 1924) On the other hand, Design for manufacture can be described as a philosophy, in which the information for the fabrication process is being used from the initial stage of the design. The required information includes the cost of material and tools, fabrication and assembly times, human factors, such as safety and expertise. (Corrado, 2001). Consequently, the made pieces can be manufactured with lower costs and better quality.

In October 2013, Centre Pompidou presented the first large-scale exhibition, Le Surréalisme et l’objet (Surrealism and the Object), dedicated to Surrealist’s sculptures. This exhibition presented the materialisation of the Surrealist’s ideas. This exhibition included more than two hundred well-known artists such as Giacometti, Dali, Calder, Picasso, Miro, Max Ernst, Marcel Duchamp. It displayed a collection of diverse making methodologies. For example, it included Marcel Duchamp’s first readymade, the ‘Bottle Rack’, which represented the transformation of an everyday object to a work of art, and in parallel sculptures like the ‘Suspended Ball’, from Alberto Giacometti, 1930-1, that revealed a design with manufacturing information.

Figure 1: ‘Bottle Rack’, Marcel Duchamp, 1914

Figure 2: ‘Suspended Ball’, from Alberto Giacometti, 1930-1

The research is divided in three parts. The first part describes the theoretical background of the study. First, the idea and the origin of Surrealism will be introduced and then an example of Surrealism’s application in architecture, the practice of Coop Himmelblau, will be described. Afterwards, the term Design for Manufacture will be defined, and some technical requirements such as, knowledge of materials’ properties, decisions on tolerances and craftsman’s’ expertise, will be explained. Next, the successful adoption of DFM through two examples from 16 *(makers) will be described. Despite the totally different manufacturing processes used, the examples share similar principles, which can be seen as the result of De6

sign through Making.

In the second part, the methodology that this study aims to establish will be explained. A hybrid process that combines two ideas, from the one hand, theory through praxis, and from the other hand Surrealism Automatism. The way that these two notions coexist is through the inherent evaluation of former layers of making, this palimpsest that carries a library of various manufacturing processes. Then the narration of Jean Tinguely’s example, even with dissimilar methodologies, will set the foundation for the investigation in the consequential making. This project is an enormous inspiration throughout the establishment of the process.

In the third part of this paper a personal experiment that accompanied the design exploration will be extensively described. The ‘Theatre of Consequential Making’ is developed through the above-mentioned process. At this part, exactly the steps of production will be analysed. Initially the accomplishment of the internal conquest, then, the negotiation between different creative requests and last, the dialogue between various notions found throughout the exploration will be the sequence that crafts both the project and the arguments supported.

This explorative journey of inner, outer worlds and what lies in-between commences with the triggering question: What could be the implications of the contemporary engagement of Surrealism in Design for Manufacture?

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Part One: Theoretical Background

automatism that neglected associations and as a physic mechanism that could provide a solution for the problems of life.

1.Surrealism 1.1 History and Phases of Surrealism At the beginning of the 20th century, a coincident of events altered people’s minds. The outbreak of the First World War I and the Russian Revolution coupled with the transition into the Machine Age—with all its technological innovations—radically changed people’s awareness. To that effect, Surrealism—placing noticeable importance on the mental investigation—was introduced as the mean for the modern man and woman to come in contact with their unconscious.

“Surrealism: n, Psychic automatism in its pure state, by which one proposes to express – verbally, by means of a written word, or in any other manner – the actual functioning of thought.

Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.”

(Breton, 1924)

Surrealism was an avant-garde movement, a term that described a socio-politic and aesthetic position, that the modern artist should be aiming for. Surrealism initially launched in 1919, when a group of poets and artists started making collective creative experiments, tried to express their thoughts and inner views without any control in their minds. Surrealists believed that a socio-political awakening could be achieved through artistic innovation. They perceived the human nature as absurd and hoped to unravel the complexity of the human mind through psychoanalysis (Hopkins, 2014). Andre Breton, one of the pioneers of the movement, in his work the Manifesto of Surrealism (1924), defined Surrealism as psychic

Breton during the war got acquainted with Freud’s theories of the unconscious. In the early 1920s’, prioritizing the written word as a better medium for psychic automatism, rather the visual arts, (Hopkin 2014), he adopted the technique of automatic writing. Automatic writing was primarily used by Freud to his patients. Freud had his patients draw undirected, uncontrolled, without mental guidance imposed on the movements of their hands believing that through this process their unconscious could be unfolded.

Breton distinguished two epochs of the Surrealist movement with equal duration. The first, which started in 1919 and lasted until 1925, was 8

a purely intuitive epoch that involved the instinctive acting of combining ideas, words and images, the abolishment of inhibitions and the embracement of acting freely and with casual association.

During this first epoch, the Surrealist focused on the automatic thought and disengaged from moral or aesthetic preoccupations, avoiding to express their social or political attitude. Contrary, during the second epoch, which started in 1925 and lasted until 1934, Surrealists moved from absolute idealism to dialectical materialism—entering in this regard reasoning epoch. (Breton, 1934)

1.2 Surrealism Expression in Architecture: Coop Himmelblau A distinguished example of the adoption of surrealistic methodologies in architecture is Coop Himmelblau, an architectural firm that used surrealistic automatism as the first step in their design process. Coop Himmelblau, founded by Wolf D. Prix and Helmut Swiczinsky in 1960, followed the concepts of Surrealism in their attempt to escape the conventional approaches of architectural design and manufacture. Particularly, Wolf D. Prix in his Manifesto ‘Architecture must Blaze’, discarded the mainstream architectural trends envisioning architecture as an activity based on feedback mechanisms combined with instantaneity.

Crucially, Surrealism influenced various aspects of modern life, from arts and crafts to everyday language. Since the introduction of Surrealism, designers from various fields—art, architecture, poetry, literature, fashion—have been influenced by its concepts and, surrealistic automatism in particular.

Coop Himmelblau mainly focused at the initial stage of the design, adopting a design process which allowed them to express on their finished buildings, the architect’s creative gestures that shaped them, unravelling in a sense the whole de-

“We want architecture that has more. Architecture that bleeds, that exhausts, that whirls, and even breaks.

Architecture that lights up, stings, rips, and tears under stress.

Architecture has to be cavernous, fiery, smooth, hard, angular, brutal, round, delicate, colourful, obscene, lustful, dreamy, attracting, repelling, wet, dry, and throbbing. Alive or dead.

If cold, then cold as a block of ice.

If hot, then hot as a blazing wing.

Architecture must blaze”. (Wolf D. Prix, 1980)

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sign process by dismantling the architectural objects. (Ostwald, Chapman, 2009) Although they stayed focused on their distinctive style, most of the times their concept was poorly understood.

Sorkin, an American architect, believes that their goal was to combine automatism and complexity by unfolding the certainties for the traditional architectural prototypes. (Sorkin, 1991) The practice of Coop Himmelblau developed over three decades, simultaneously with magnificent changes in arts, science, literature and music.

Their design process was based on the embodiment of complexity and surrealism automatism by unravelling the uncertainties of their architectural prototypes. With the psychogram, their initial ideographic sketch, they aimed to communicate their primary design impulse, by creating

Figure 3: ‘Psychogram’, Coop Himmelblau, 1913-4

“In the last five to ten years we have begun to shorten the actual process of design, to condense it. [...] We try to define the feeling, the emotion that the space is later to radiate. And then suddenly we have a drawing, sometimes on a sheet of paper, sometimes on the table” (Coop Himmelblau, 1991).

an explosion that lasted a moment, to curate an instant event. According to the architects’ explanation, the ideographic sketch drives the design, captures the perfect, or unsullied, subconscious desire of the architect. Is “the first capturing of the feeling on paper” (Coop Himmelblau 1991).

Figure 4: ‘Dissolving the space’ Coop Himmelblau, 1913-4

Furthermore, they introduced a design proposal which developing around the original psychogram, in which, the initial ideographic sketch stayed until the end sacrosanct. Specifically, between 1990-2000, Coop Himmelblau formed their theoretical position entirely around the psychogram.

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The firm’s goal was to reduce as much as possible the time of the design process, which in turn, they described it as an explosion, in terms not only of duration but also of impact to their design trajectory.

A representative example of their design approach is the East Pavilion at Groningen Museum, 1993-1994. The first step of their design was the psychogram, where they tried instantly to dissolve space. The next step was to sketch the views from different angles and study the important sections.

They treated the whole sketch as a simultaneity of liquids and solids. In this connection they studied both natural and artificial light possibilities, they used local references in terms of materials and processes and layered their drawings, according to the circulation and centralization of the building. Afterwards, they created a model, based on the information that they already had and used it as a medium to unravel their design gestures and unfold the shell of the volumes creating randomly new shapes. Finally, they transferred this geometrical data to the digital drawing. (Coop Himmelblau, 2014) The interesting fact about the practice of Coop Himmelblau was that despite the barriers and difficulties they were confronted with, in the end they achieved to build the messy and abnormal shapes that were formed by the psychogram.

Figure 5: ‘Physical Model’, Coop Himmelblau, 1913-4 Figure 6: ‘Groningen Museum’, Coop Himmelblau, 1913-4

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2. Design for Manufacture

to become at the initial stages and eventually the production will be harmed in terms of costs and efficiency. (Corrado, 2001)

2.1 Definition and Elements Design for Manufacturing (DFM) is a mindset, it can be described as the design method that the information for the subsequent manufacturing process, is used from the initial stage of the design. DFMs’ aim is to achieve the optimum way of production. For this reason, designers consider from the initial stage factors such as the cost and properties of the tools and materials, the time that is required for production and assembly, the manufacturers’ capabilities and safety conditions during the making process, and the appropriate tolerances. (Corrado, 2001)

Many criticised this separation and examining the reasons that sometimes keep the designer apart from the making process, pointed it out as the consequence of this distance. Richard Sennett, suggested that CAD, despite the advantages that it brought to the design industry, sometimes drives apart the made from the drawing. He mentioned:

“Abuses of CAD illustrate how, when the head and the hand are separate, it is the head that suffers.” (Sennett, 1943)

On the other hand, designers, who do not consider the manufacturing process, normally start with an abstract drawing. This drawing through a series of activities transforms itself and becomes more detailed and finally becomes a complete information, on the basis of which manufacturing can be performed. The basic characteristic of DFM in the industry is this sequence: DFM starts from the primary idea, the idea then is expressed visually from the designers, then the engineers reviewing the work of the designers, approves the drawing or otherwise sends it back to the beginning, and finally they analyse it. After the analysis, the engineers send the drawing for tool and material specification, process design and production.

(Corrado, 2001)

He strongly believed that designers should think like craftsmen and use technology only to support their designs.

Design for Manufacture aims to bring the designer closer to the manufacturer in order for the designer to be able to create design information, the material substance, and generate drawings that are practically feasible. It is important for the designer to realise the mechanical and physical properties of the materials, in order to decide the manufacturing tolerances, and to be able to recognise the craftsman capabilities.

Therefore, the DFM sequence involves so many different stages in between, which potentially results into the designer having no actual connection with the making process. In this respect, the designer without being able to offer any manufacturing input at the beginning, can create drawings that don’t accommodate any manufacturing information. As a result of that, the subsequent steps require greater adjustments from the engineers. The quality estimation of the whole manufacturing process won’t be possible

“You cannot make what you want to make, but what the material permits you to make.You cannot make out of marble what you would make out of wood, or out of wood what you would make out of stone.” (Pallasma, 2009) All the material properties should be taken into consideration not only for the function of the final product, but also for the decision of the man12

ufacturing process. For example, in machining, the thermal properties of the material are critical, to settle, for example, the speed of cutting, according to the materials temperature allowance.

During the assembly, with the knowledge of the metal coefficient, manufacturers can achieve super shrink fits with minimum tolerances, specifically if they heat the metal part, the size increases, and if they cooled it decreases allowing the shrink insertion into another component. (Corrado, 2001)

terests. (Corrado, 2001) Eventually, the designer ought to recognize each manufacturer’s capabilities and be able to communicate their design gestures.

Richard Sennett pointed out in ‘Craftsmen’ (1943), the existence of two conflicting points of view regarding craftsmen’s good-quality work.

On the one hand, the absolutists understand every imperfection as a failure, while on the other hand the practitioners view the obsession with perfection as a cause of failure. As a result of those two conflicting ideologies, the first group creates high-quality pieces of work with minimum tolerance and perfect finishing that won’t need any adjustments through the assembly while the second group disregards smaller details due to their confidence that they can always develop the required adjustments during the assembly. The first group can be characterised by the word practice, while the second by the word practical. Sennett in general, connects craftsmanship with skill, commitment and judgment. He focuses on the intimate connection of hand and head, through an enduring dialogue that evolves into sustaining habits that produce a relationship between problem finding and problem-solving. (Sennett, 1943)

Another important factor that the designer ought to have knowledge of, is the importance of tolerances. During the decision of each parts tolerance, it is crucial to understand that regardless of the manufacturing process the dimensions of the parts will always vary. On the one hand, the designers because of their prior experience and older reference drawings, set the tolerances to reach the functional requirements, on the other hand manufactures using state of the art machines achieve smaller tolerances with tighter fits. The decision of the dimensional tolerances and values should be based both on the technological and functional requirements and manufactures—following a negotiation between the will of the designers and the capabilities of the machines coupled with their technological knowledge for their operation- should set the tolerances and inform the designers.

Sennett, also explains the word craftsmanship as a constant, basic human impulse, which forces humans to do something well for its own sake. He recognizes that often because of specific economic and social conditions, the craftsmen have restrictions that affect their discipline and commitment.

These limitations vary, between the lack of tools provided by schools and workspaces, the lack of motivation from the institutions, the divergent understandings of what quality work means, etc.

(Sennett, 1943)

Occasionally, this negotiation is imperative, as the respective interests are in conflict. On the one side stand engineers who prefer tight tolerances to assure proper function, while on the other side rest manufactures who prefer loose tolerances to decrease the cost. However, the negotiation between the designer and the manufacturer should set the tolerances limits, to satisfy both sides’ in-

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2.2 Sixteen *(makers) Sixteen *(makers) is a collaborative group of academics and industry architects, with common interest in the design through making. The members include, Phil Ayres, Nick Callicott, Chris Leung, Emmanuel Vercrysse and Bob Sheil. Their practice and research include digital and analogue manufacturing, responsive systems, time-based realities, environmental behaviours and adaptive design. (Sheil, Callicott, Ayres, Sharpe, 2012) Bob Sheil in ‘Manufacturing the Bespoke: Making and Prototyping Architecture’ (2012), compares two design projects of sixteen *(makers), which adopt the same concept of design through making. It is interesting to see between these two projects, how the design strategies evolved simultaneously not only with the fabrication technology, but also with the designers’ practice.

Figure 7: ‘Bespoke Chair’, 16 *(makers), 1995

This first project was developed by Sheil and Callicott, when they were still students, in 1995.

They designed a chair that had to support everyday actions such as reading, typing, dining and relaxing.

Afterwards they sanded the joint, and because it became shiny, they reheated the surface with an oxy-acetylene torch to make it black again. This first part was used as the base, which set the rules for the rest. Both the front legs of the chair were made from the same materials with the same processes. When the first made sketch was completed, all the dimensions and alignments were tested and adjusted through a fitting with the client.

They simulated all the possible movements and postures and they took notes with chalk on the piece. The same process with the fitting and the adjustments, was used twice, until the chair took its final shape. (Sheil, 2012)

At the beginning of the project they conducted a survey and took the measurements of their client. They shortly combined all these information with research on the shape of other chairs and stools. In this way, they easily narrowed down their likes and dislikes in terms of function and form and they decided their basic objectives.Then they explored the design’s purpose and role in relation of comfort and restraint. Afterwards— having already a reference palette formed by their previous experiments on materials—they tested more materials in order to evaluate them in terms of performance and appearance regarding their processes and tangible properties. When they concluded this research process, they started the design from a small short section of T-bar in mild steel. At the central part of the T-bar they arc welded a flat bar with the same thickness.

Almost 15 years later, in 2009, sixteen *(makers) collaborated with the factory Stahlbogen GmbH, in Blankenburg, to create the 55/02, that is located in Cock Stoor, Lakeside Water and Forest Park. This work demonstrates the strong relationship between design and make, as the design was constantly updated from data that were extracted from the made pieces. In each phase, 14

test prototypes were made which informed the digital drawings. The adaptation of CAD/ CAM made this loop easier, as this software connected the digital drawings with the fabrication processes. (Sheil, Callicott, Ayres, Sharpe, 2012) For the architects, this project represented the demonstration of this immediate connection between design and make, a discipline that interested them all, for many years.

Figure 8: ‘55/02, The First Assembly’, 16 *(makers), 2009

The architects had to take some important decisions related to their limited budget. As one of the team’s member was running a factory, the Stahlbogen GmbH in Blankenburg, which was specialized in steel fabrication, they decided to fabricate the entire project there. For that reason, they had to consider the factories capacities in terms of tools, machines and materials, as they had no budget to invest in new machines and tools. They decided to use sheet steel in order to achieve minimum wastage of material. Moreover, they had to consider all the limitations of the available combination material-processes. Because they decided to use Stahlbogen’ s CNC press, they had to understand completely the physical limitations of this machine, the variable options for fold radius, and the standard of a flat plate. The first full-scale prototype was catalytic, the geometry changed after this first prototype, as the difference between the drawings and the made piece was obvious they had to make adjustments to their design. The unfolded surfaces looked empty, so they decided to add more folds. The press limited to the sequence of the folds and the geometry had to follow the press rules. Finally, they had to minimize the welding connections in each tank. Therefore, it is clear, all these restrictions forced them to use six to ten folds on each tank. Consequently, the number of the tanks increased, and their size reduced.

give a conclusion to the performance of making.

The factory space during the whole fabrication became a theatrical stage and the components, the machines and the makers were the performers. It was noticeable that this project demonstrated tacit knowledge of both the designers and the craftsmen, developed through a constant negotiation between design and make and it included excessive digital preparation that was informed from craftsmen’ intuitive making. (Sheil, 2009) According to Bob Sheil, the chair represented the work of the 19th-century artisan, although the shelter represented the practice of the contemporary professional. Both examples though were based on the exploration of the materials and processes and expressed the idea that built architecture is not created by digital drawing elements, such as vectors and points, it is rather synthesized by materials with specific properties and by spatial factors that create complex situations.

(Sheil, 2012) Figure 9: ‘55/02’, 16 *(makers), 2009

When all the parts were ready, they decided to conduct a test assembly in the factory, not only because they wanted to be sure that everything is well prepared, but also because they wanted to 15

Part Two: Methodology

back to their world, for their subsequent performances. (Glanville, 2014)

3 .1 Theory through Praxis – A palimpsest of knowledge

Similarly, in the manufacturing, the design through making can help the designers understand the constraints of the making process through probing and testing each step, in terms of materials, processes, tolerances and quality of making.

In design through making, the making procedures can function as the main instruments for speculating. This process can be described as the haptic connection between the maker and the material, the maker forms the material and the material guides the maker. The control passes from the one to the other and the whole process creates a negotiation through action and feedback. (Sheil, Callicott, Ayres, Sharpe, 2012)

According to Aristotle, Theory ought to be superior to Practice. He defined Phronesis as the knowledge for acting and Sophia as the knowledge of understanding and he believed that Sophia is superior to Phronesis. But Aristotle also supported that although Sophia might come from Phronesis, it goes back to Phronesis for probing and testing. Similarly, Hannah Arendt believed that humans live in two dimensions, the first is the dimension of making things and the second begins when people stop making things and start to discuss and judge. The first dimension answers the question How? and the other answers the question Why?

Sometimes, a manufactured piece carries a history, the sequence of various processes. This sequence can be seen as palimpsest, that carries all the previous manufacturing information. This palimpsest develops constantly in making, layer after layer, process after process, no action can be erased without leaving its traces, especially in the world of manufacturing. As a result, each layer of making, with its consequences is guiding the subsequent layer. The term Palimpsest origins from the Latin word palimpsestus and means ‘scratched again’ or ‘scraped again’. It is the reused parchment that carries traces of the previous texts. The

On the contrary, Ranulph Glanville accuses these two statements as the origin of the untruths that trapped him in the past, and sometimes they still do. He mentioned that Jean Piaget made him escape this fallacy. Piaget believed that people develop an understanding through acting, through exploration, they create their first understandings. He supported his opinion, explaining that new-borns learn to see through touching while looking. The same way that babies act before understanding, grownups build their understanding through acting and they use these understandings 16

parchment at the seventh century was made from animal skin, they used to scrap them, and most manuscripts were reused. (Verheij, 2015) The allegory that connects this term with these methodologies can be interpreted by the various manufacturing information that transformed a piece of material in its pure form, to a product.

imented with the found object art, and was the first to explore infinite possibilities of interactive installations.

Tinguely wasn’t sketching his designs in advance, his machines were drawn intuitively in space with their own materials. He was testing their function separately, he was probing their capabilities by smashing them, he was reassembling them using other materials. However, he used to draw his installations, or better he was drawing an abstract representation of his installations. He used these drawings either as an introduction for his design gestures, or as visual material, complementary to his actual works, which he called a continuity. In these sketches he represented the machines as silhouettes and the sounds by arrows or notes.

3.2 Jean Tinguely The Swiss artist Jean Tinguely (1925-1991), worked within the concept of consequential making, investigated the analogy between physics and metaphysics and created trivial machines with significant artistic value.

His work was influenced by his environment and by all the radical believes that surrounded him. During the war he met Dadaists artists that were hiding in Switzerland. During 1944 he attended classes in the Arts and Crafts School in Basel, at that time, he was influenced by Dada, he created anarchic and satirical works, and he became a member of the communist party. When he moved to Paris in 1955, his work transformed and from creating joyous, lively, noisy sculptures he started making serious, dark, silent ones. He was living in the centre of Pop and Nouveau Realism, between happenings, dance and performances, he witnessed the birth of electronic music, the development of Junk Art and Lettrism, Fluxus and Dada...

Tinguely, in 1960, when he traveled for an exhibition in Stampfli Gallery in New York was influenced by Richard Stankiewicz, who introduced to him the ‘scrap’ as a new kind of found object, he taught him how to use electric welder and how to assemble metal pieces easily like connecting paper pieces with glue. Tinguely after this trip started working intuitively, without any idea of what he was making, he started creating machines, only by following his instincts. Through these works he was ironic towards the primary purpose or function of the machines, he was disregarding their

Influenced by this environment, he started revealing his political position through his works, he became open to sound (using them as materials) and electronics but mostly he was intrigued by the obsolescence of the machine when the end of the machine was near. Tinguely started collecting the old useless machines -video games, consoles and appliances the people of Paris were throwing in the streets, and created installations to inhabit and traverse them, in this respect he was oscillating between industry and DIY (do it yourself). While he was evolving in this environment, he exper-

Figure 10: ‘Sketch of Homage to New York’, Jean Tinguely, 1960

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demands on precision, reliability and order, his only aim was the mechanical irregularity. The machines that he created was driven only by chance, without any prior technical research. Sometimes he was combining the non – functional machine with the one that was still working, he confronted the machines as instruments that allowed him to be poetic, to be joyous and free.

Distinguishable art piece in Jean Tinguely’ s work was the ‘Homage to New York’ (March 17, 1960), his first self- destructive machine and one of his first works where he combined old machines and found objects. His friend Billy Kluver, observed and helped him in this experiment and described his making process and the performance in ‘The Garden Party’.

Figure 11: ‘Homage to New York’, Jean Tinguely, 1960

old rusty wheels, a child’s potty and bassinet, baby carriages, a drum from a washing machine, a cable drum, American flags, a rusty oil can. He asked his friend Billy Kluver to find him the inside parts of a piano. Kluver was lucky and found an entire piano. Tinguely bought an Addressograph from the Museum.

The performance in front of the audience lasted half an hour and took place in the Sculpture Garden of Modern Art Museum, but the performance of the making process lasted three weeks and took place in the Buckminster Fuller dome of the Museum.

He combined all the junk and he created meta-matic machines, he positioned the weather balloon above the assembly and he transformed the Addressograph into percussion machine. He positioned the piano on the structure, two feet above the ground. The last two days he assembled two small carriages, the one transformed too into percussion machine and the other one was supposed to commit suicide by falling into the museum’s pool.

Initially Tinguely had the idea to create a self-destructive machine, which first would perform a variety of od things and afterwards would destroy itself. His initial sketches showed little resemblance to the final piece. He wanted to include meta – matic machines that during the event would create paintings with various techniques.

He wanted to present these paintings on a rolling paper, that would constantly roll and unroll. He wanted the noise to be tremendous.

At this point he started planning the destruction elements. He decided that the first metFigure 12: ‘Suicidal Carriage’, Jean Tinguely, 1960

First, he went to buy ready-mades from the shops in the bizarre Canal. In his first excursion he found the motors, a weather balloon and smoke signals that didn’t work. He had to make the supporting structure for the whole assembly, so he went to find steel tube and tools. He wanted some pulleys, but they were expensive, so he decided to go in the junkyards to see what he can find there. After all his excursions, he collected 18

matic machine will collapse first, then the piano will fall backwards on the top of the collapsed machine. Afterwards, the second meta-matic machine and the support of the weather balloon will fall on the piano and so on. He wanted nothing to be touched through the whole performance. He was planning to set a delay time for each function.

This machine included more than a hundred different operations. It was the result of the combination of electrical and mechanical control.

Before the performance they moved the machine from the dome to the garden, but a lot of things broke during the transfer. When the audience arrived, Tinguely was still assembling and repairing the machine. The performance started, but the damages from the transportation changed the scenes, but still the performance could be described as a spectacle. The truth is that if it was a functional machine, everything should work according to the plan, but now, as a piece of art, functionality wasn’t the primary aim.

After the performance, some of the parts survived, but the machine was destroyed. The only thing that was left was memories and pictures.

Figure 13: ‘Homage to New York’, Jean Tinguely, 1960

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Part Three: Personal Experiments

identification process, the participants had to explore innumerable things for themselves.

4. Theatre of Consequential Making

After the pure intuitive phase of the experiment, the negotiation and exchange between the two inner worlds began. Both realized that the inner individuality was essential, to be able to perceive the outer world. The one approach was related to the evaluation of each intuitive expression, through observing the consequences of each layer of making. The other approach that will be examined in Mariya Li’s research is related to the critical paranoia method. The interesting contradiction between the two approaches juxtaposed in the form of a dialogue. The main topic dialogue is about the observation and understanding of the way that other people express and materialise completely differently even under parallel design constrains. This, simultaneously results in a revaluation of the process and a better internal understanding.

4.1 An introduction Theatre of Consequential Making is a group project with Mariya Li, taking place at the contemporary manufacturing workshop. Created in the form of an experiment, as a dialogue between surrealism and Design for Manufacture and as a negotiation between two individuals coming from diverse backgrounds and education. Theatre of Consequential Making conceived within this research, influenced differently from each example and found substance in the BMade workshop, of Bartlett School of Architecture, in Here East.

The research initiated as a personal internal investigation. It was an experiment that took place in between the limits of surrealism and design for manufacture. The first days at the workshop were tormenting, a constant pressure to empty the brain from the thought, to act from the unconscious without any logic without any preparation, following the surrealism automatism prescription. These first explorations were setting up the personal and intimate nature of the project that was about to follow. At that point, it was clear that it wasn’t possible for two different individuals to contribute in one common expression, as the main drive was intuition. During this internal

This endeavour was not only personal, but there was also an undermined need to advocate that design for manufacture can accommodate creative ambiguous ventures. That DFM is not a narrow field, that requires concrete ideas, precision drawings and polished manufacturing products. This experiment is located in between surrealism and DFM, but potentially it could be applied to any conceptual approach or manufac20

turing techniques.

4.2 Methodology and Techniques

Despite the aim of this exploration to act completely intuitively, without any constraints deriving from the logic, there were two factors that set some rules for this game. On the one hand the cultural background, the personal visual preferences shaped by the previous education, and the experience, established some unwritten rules. For example, the rhythm of an element, or the geometry specification of a part, produced norms such as repetition, centricity, and linearity. On the other hand, the environment, that this experiment took place, the BMade workshop, prescribed the manufacturing possibilities and constrains. The available machines, tools and the materials were specific, and they generated the framework of this research. Potentially the exact same experiment in a different environment would have a totally different visual outcome.

The methodology of this exploration is the amalgamation of different theories translated in the making. Surrealism Automatism drives the initial steps, the first lines on the sketch arise from an internal conquest. This initial step consists of the first layer of making, this layer is being evaluated and their consequences inform the subsequent layers. Each step is evaluated individually, as a union of the previous steps and not as a sequence. The same process is being repeated until intuitively each individual decides that the piece is finished. The piece can be perceived as a palimpsest of making. Each layer exists up to the point that the next layer comes to take place and then again it creates a new whole. An important clarification is that even though all the previous layers disappear, they always leave their traces on the manuscript. So, the consequences of the previous making, created the vocabulary for the subsequent making. The steps follow the reverse from the usual design and make method, by the sequence from Praxis towards Theory. According to Aristotle, from Phronesis towards Sophia.

The result of this process is the Made Sketch, a term that was created in the framework of this experiment and replaces the initial designers’ drawing on paper. Initially, the Made Sketch is the outcome of internal exploration, but at the same time it could be a prop for the investigation of manufacturing processes and materials. As a prop, the aim is the qualitative understanding of the scale and the properties of the materials, the examination of the results and the collection of all the critical information that indicate the consequences of the upcoming steps.

Figure 14: ‘The unconscious’, Author’s own image

Particularly, the manufacturing methodologies that were examined, were welding and subsequently manual milling and lathe.

The reason that the first experiments were conducted with welding came from an ambigu21

ous personal association between welding and drawing. The way that the TIG (Gas Tungsten Arc) nozzle reaches the metal surface could be described as an imitation of the way that a pencil or a paintbrush approaches the surface of a paper. Despite this resemblance though, during the welding there were various technical restrictions that should be considered.

The necessary precautions in arc welding are the protection at the operator’s hand and face because of the intensity of heat and the light rays that are exposed from the electric arc. The essential criteria for welding are related to the thermal properties of the metal, the approach of the welding point from the nozzle, the clearness of the welding surface and the geometry and thickness of the joined parts.

Figure 15: ‘Automatic Making’, Author’s own image

Welding scrap metals from the recycle bin turned to be extremely challenging. Despite the fact that all the chosen parts were steel, the variation regarding the geometry, the thickness and the making history that they were carrying, limited the intuition. The geometry limited the ways that the piece could be mounted on the welding table, the variation in thickness of the two joined parts, required different amperage (measurement of electricity), and the prior treatment of the pieces required cleaning and filling the outer surface of the metal.

the material properties, the diameter of the tool and thickness on the part, are specific feeds and speeds of the spindle, specific cutting steps that influence the quality and the safety through milling. At the lathe, similar requirements are essential, but instead of having only the spindle rotating, the workpiece is rotating around a horizontal axis and the tool is moving towards the piece.

The explorations on these methodologies could be described as a rehearsal of the fabrication process. This rehearsal not only sets the manufacturing constraints, but also establishes the vocabulary of the design.

The other technique that was examined subsequently, was the manual milling and lathe. The interest to explore this methodology came later, when the Made Sketch required more precision in some critical points and joints. The milling was explored mostly on flat surfaces, though the lathe mostly on rounded symmetrical parts. The precautions and the technical knowledge that these operations required weren’t as demanding as these in welding, but still required knowledge about the material properties and safety rules were essential. In manual milling, according to

The sequence to reach the knowledge, according to Aristotle was from Phronesis – Acting, towards Sophia – Understanding, which followed an evaluation of this knowledge and guided a research in various references. For example, after the initial understanding of the basic principles of the lathe, specific research on the angular lathe techniques was conducted, in order to meet the specific requirement of the design.

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4.3 Phases 4.3.1 The Made Sketch The initial idea for the made sketch was to create a kinetic wave machine, a mechanism that depends on the simultaneous motion of several wires, connected in such way that their endings imitate a wave movement. (Art et al., 2018) The first step was to make the circle.The available materials and machines in the workshop suggested to roll a box section of metal, using the rolling machine and afterwards, weld the connection point. The next step was to find a way to position the circle in space. From the found metal pieces, one in T shape seemed the most appropriate to fit. Due to its shape and weight, the piece was able to hold the circle vertical in space.

The connection of the two pieces conducted the new layer of making that would suggest the subsequent moves. As the new layer caused new intentions, the initial idea of the wave machine was less relevant at this point. Specifically, the scrap from the recycling bin, with its geometry seemed incomplete, the rectangular sections on the sides created a path, a way that something could slide in. Simultaneously, the circle, with its centricity, seemed that it would be better perceived if uplifted at the height of the eyes. To accomplish that the entire structure had to be raised about half a meter.

Figure 16: ‘The Made Sketch’, Author’s own image

By combining these two guidelines, a rectangular frame with half-meter height was positioned inside the T shape base of the circle. The consequence of this layer of making was that the piece was no longer stable; it required some horizontal elements to support the additional weight.

As a result at this point, the piece was no longer easily transportable. The placement of wheels on the bottom of the piece was essential to be able to move daily in and out of the workshop. The made sketch, required a last layer of making to express that the circle was the main character in its per-

Figure 17: ‘Consequently Making – Story Board’, Author’s own image

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formativity. A ratchet mechanism was positioned at the centre of the circle, making it the basic elements of the entire composition. This layer of making required more precision that couldn’t be achieved in the framework of the Made Sketch.

4.3.2 The Digital Drawing and Manufacturing The next step was to measure all the essential elements of the Made Sketch and transfer them into the solid modelling software fusion 360. In the software the evaluation of the made sketch was more precise and the design quality was examined. Particularly the ratchet mechanism was examined for its mechanical functionality and fabrication methodology.The central points of the joints were designed, and the linkages were tested in Fusion 360. The materials and fabrication techniques that were decided, was to waterjet the ratchet surfaces in 3 mm steel and to lathe the circular tube that will hold them in position. The entire mechanism required the combination of readymade parts, such as ball bearings and shafts with the essential bespoke parts that will hold each part of the mechanism in place. The first iteration was conducted with mild steel, the hardness of the steel during the lathe and the weight of the entire composition suggested the next iteration to be made from aluminium.

Figure 18: ‘Digital Drawing – Theatre of Consequential Making’, Author’s own image

Figure 19: ‘CNC milling’, Author’s own image

The first trials conducted on the manual lathe, but when the process was clear, the required toolpaths were generated in the CAM section of Fusion 360 and the rest of the pieces were machined at the CNC milling. During these operations the manufacturing tolerances of the components were of essential importance. Tolerance generally known as the range between the maximum and minimum limit of the size, it describes the two extreme affordable sizes of a component. (Corrado, 2001) During the assembly of the ratchet, the tolerances of all parts had to be simultaneously decided to achieve fits in all the critical connec25

tion points. In some parts of the ratchet though, there was a difference between the diameter of the shaft and the diameter of the hole -a clearance - and particularly the hole was greater than the shaft, which allowed a relative motion between the parts. In some other parts the diameter of the shaft was greater than the diameter of the hole -an interference-, which gave stiffness at the connection points. (Corrado, 2001) When there was interference, it was possible after required adjustments – such as filling- to fix the piece, but when there was clearness most of the times, it was essential to refabricate the specific part.

Figure 20: ‘The Coupling’, Author’s own image

movie, which will display the performance of the consequential making. The plot is organised in two sections. The first Praxis narrates the internal exploration of the two main characters, how they realised surrealism in the contemporary workshop and the way that they materialised their unconscious. The second Praxis narrates the allegorical engagement of the two main characters.

Specifically, it describes the way that they accepted each other’s unconscious and collaborated to broadcast a common expression.

4.3.3 The Coupling When both participants in the experiment had formed of the two distinctive made sketches, it was the right moment to bring them together. As each exploration phase was conducted in the same workshop with the same environmental constraints, the material vocabulary and the fabrication methodologies for both parts were the same. Both pieces, carried with them to the conversation, personal internal concerns that were meticulously expressed in the made sketch. Both participants compromised with their own internal conquest where ready to negotiate with external ideas and concerns.

The theatricality of the film indicates the potentials of the engagement between so contractive philosophies, such as Surrealism and Design for Manufacture.

The criteria for the coupling of the two pieces were both visual and performative. The one piece positioned next to the other, probing the different views that they were creating, in all the possible configurations. The views were examined as five movable drawings that expressed the visual preferences of both participants.

Figure 21: ‘Theatre of Consequential Making’, Author’s own image

4.4 Traces through time 4.4.1 The Movie The outcome of this experiment will be a 26

4.4.2 Discussion

two individuals prioritized their personal internal conquest. Without being settled with their inner concerns, without the acceptance of any personal obsessions and without the realization of their origins they couldn’t contribute to a communal effort. They didn’t have the luxury to accept any external stimuli, as they didn’t have realized their internal thoughts and believes.

This exploration, that derived from the ambiguity of the unconscious and concludes with the clarification of free and casual associations, raised various stimulating topics for discussion.

Which factors influence the personal intuition and where all this eagerness derives from?

What elements, each person intuitively absorbs from the environment? Where do all the personal constraints derive from? All these, are questions that the participants came across through the entire experiment. The answers, if there are any, are not the point, the value of these questions derives from a stimulating discussion around these topics.

A noticeable stimulating coupling derived from the precedents, the collaboration between Jean Tinguely and his partner for some years Niki de Saint Phalle. They worked together, and they kept collaborating even after they broke up, until Tinguely’ s death. They were discussing and questioning their styles and materials, separating them gender wise, masculine and feminine, roles, attributes and codes. Tinguely used to describe this relationship as two sculptures, the one attached to the other, that come from different worlds, made from different materials, proponents of different ideas, that always create a contradictive environment, a battle.

The greatest challenge though in the entire experiment was how the two parts came as a union.

What changed from the beginning and the two individuals were able to combine their two different intuitions, tolerate with each other’s obsessions and contribute in a common expression? A possible explanation could be that in the beginning the

Figure 22: ‘Le Cyclop’ Jean Tinguely, Niki de Saint Phalle, 19251991

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Conclusion

press internal thoughts, materializing the world of unconscious. The ‘Theater of Consequential Making’ is the set of the geometry of two distinctive worlds of unconscious in juxtaposition. And the film will be the performance of their argument.

The thesis investigation started with this wide, almost impersonal question: What could be the implications of the contemporary engagement of Surrealism in Design for Manufacture?

The true value of this research could be indeed the generation of the multiple self-exploring questions. In the creative industry these questions can build the foundation for innovative ideas. The film potentially, could trigger stimulating discussions during the manufacturing process, as it exposes a hidden poetry that can be captured in between the walls of the contemporary workshop.

In the search to respond this question, the journey between Surrealism and Manufacturing unfolded unforeseen personal questions on multiple levels. The force of intuition was the main drive of these queries that were hidden within.

An intuition taken out to delimit the safety net that decides which influences of the environment should be absorbed or when to break those, to express all the internal restrictions and obsessions, and to test the tolerances of collaboration and the ability to accept the others and their ideas.

This conclusion comes from a constant internal negotiation caused from the ambiguity of the topic. Trying to find equilibrium amongst the inner unconscious and the exterior façade of manufacturing, created the testing ground to prove that not only ideas generate products but also making makes ideas. The two individual conjectures that derived from all these explorations depict that each perspective is unique, and each design decision is inimitable. Through the effort to materialize internal thoughts it is possible to understand better the way that each individual perceives the world we live in.

As a result, these questions will be answered in the film of Theatre of Consequential Making, which is a suitable medium to communicate the intimate experiences of this journey. Through the movie, the Made Sketch becomes sacrosanct. It is interpreted as a palimpsest of several actions, a manuscript that on each layer, the effort of each individual to find a place in design for manufacture will be described. To find a way to freely ex-

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Sheil B., Callicott, N., Ayres, P., Sharpe, P. (2012) 55/02 A sixteen *(makers) project monograph, Riverside Architectural Press, Great Britain

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Sheil, B. (2009) 55/02: A manufactured architecture in a manufactured landscape, Architectural Research Quarterly, vol.13 (3-4), pp. 200-219 Sorkin, M. (1991) Exquisite Corpse: Writings on Buildings, New York, Verso

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Corrado, P. (1935) Design for Manufacturing, A structured Approach, Butterworth – Boston, ButterworthHeinenmann, 2001 pp.1-12, 9-43, 277-317

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Figure 7: ‘Bespoke Chair’, 16 *(makers), 1995

Figure 1: ‘Bottle Rack’, Marcel Duchamp, 1914

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Figure 8: ‘55/02, the First Assembly’, 16 *(makers), 2009

Figure 2: ‘Suspended Ball’, from Alberto Giacometti, 1930-1

Lomholt, I., Welch, A., Lomholt, I. and Lomholt, I. (2018). 55/02, Kielder Shelter - sixteen*(makers) e-architect. [online] e-architect. Available at: https:// www.e-architect.co.uk/newcastle/kielder-shelter [Accessed 24 Sep. 2018].

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Figure 9: ‘55/02’, 16 *(makers), 2009

Figure 3: ‘Psychogram’, Coop Himmelblau, 1913-4

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Figure 10: ‘Sketch of Homage to New York’, Jean Tinguely, 1960

Figure 4: ‘Dissolving the space’ Coop Himmelblau, 1913-4

Twitter.com. (2018). Twitter. [online] Available at: https://twitter.com/oniropolis/status/887706317103779842 [Accessed 24 Sep. 2018].

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Figure 11: ‘Homage to New York’, Jean Tinguely, 1960

Figure 5: ‘Physical Model’, Coop Himmelblau, 1913-4

Twitter.com. able at:

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(2018). Twitter. [online] Availhttps://twitter.com/oniropolis/sta-

tus/887706317103779842 [Accessed 24 Sep. 2018].

Figure 12: ‘Suicidal Carriage’, Jean Tinguely, 1960 Moma.org. (2018). Jean Tinguely. Fragment from Homage to New York. 1960 | MoMA. [online] Available at: https://www.moma.org/collection/ works/81174 [Accessed 24 Sep. 2018].

Figure 13: ‘Homage to New York’, Jean Tinguely, 1960 Tate.org.uk. (2018). Homage to destruction. [online] Available at: https://www.tate.org.uk/context-comment/articles/homage-destruction [Accessed 24 Sep. 2018].

Figure 14: ‘The unconscious’, Author’s own image Figure 15: ‘Automatic Making’, Author’s own image Figure 16: ‘The Made Sketch’, Author’s own image Figure 17: ‘Consequently Making – Story Board’, Author’s own image Figure 18: ‘Digital Drawing – Theatre of Consequential Making’, Author’s own image Figure 19: ‘CNC milling’, Author’s own image Figure 20: ‘The Coupling’, Author’s own image Figure 21: ‘Theatre of Consequential Making’, Author’s own image Figure 22: ‘Le Cyclop’ Jean Tinguely, Niki de Saint Phalle, 1925-1991 voyages de Rob. (2018). Le Cyclop de Jean Tinguely - voyages de Rob. [online] Available at: http://voyagesderob.over-blog.com/2014/04/le-cyclop-de-jeantinguely.html [Accessed 24 Sep. 2018].

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