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Caitlin Mueller and Joel Lamere. Ryan, Anna K. (Anna Kathryn) Massachusetts Institute of Technology. Department of Architecture. Massachusetts Institute of Technology. Department of Architecture 2018-05-23T16:33:08Z 2018-05-23T16:33:08Z 2018 2018 http://hdl.handle.net/1721.1/115750 1036986953 Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2018. Cataloged from PDF version of thesis. Includes bibliographical references (page 100). Steady. Tighten. Splice. Bend. Fold. Weave. Elongate. Stiffen. Break: This is the vocabulary of an undertaking of craft, designing-while-making, improvising, learning-while-doing. This thesis is an exploration of design as craft. Woven plywood models are created in improvisational moves, benefitting from the embodied knowing that comes with extended material engagement. The making of these pieces is an experimental and playful process, where methods are tested and discovered by hand. The body is the driver in this way of making, and decisions are made based on the possibilities and limitations of the material. The plywood pieces are held together with friction alone. With no boundary conditions and no permanent fixatives, they are endlessly malleable, repeatedly remade into new forms, each time producing new lessons for the maker. Drawings are created after making, in order to map these undevelopable forms. The series of drawings are not representative of form, but are instead a method to unravel the story of making. The resultant family of structures advocate for designers to engage with material in order to make discoveries of forms and methods that would not have arisen using the hylomorphic model of design. Working by hand allows the material to assert its own logic, principles, and exciting possibilities. by Anna K. Ryan. M.Arch. 100 pages eng Massachusetts Institute of Technology MIT theses are protected by copyright. They may be viewed, downloaded, or printed from this source but further reproduction or distribution in any format is prohibited without written permission. http://dspace.mit.edu/handle/1721.1/7582 Architecture. Material matters : process of intuitive design Process of intuitive design Thesis application/pdf false Publication unknown unknown <Publication xmlns="https://www.openaire.eu/cerif-profile/1.1/" id="91bea19a-285f-4dca-96c4-71705466b161"> <Type xmlns="https://www.openaire.eu/cerif-profile/vocab/COAR_Publication_Types">http://purl.org/coar/resource_type/c_1843</Type> <Language>eng</Language> <Title>Material matters : process of intuitive design</Title> <Subtitle>Process of intuitive design</Subtitle> <PublishedIn> <Publication> </Publication> </PublishedIn> <PublicationDate>2018</PublicationDate> <Authors> <Author> <DisplayName>Ryan, Anna K. (Anna Kathryn)</DisplayName> <Affiliation> <OrgUnit> </OrgUnit> </Affiliation> </Author> </Authors> <Editors> </Editors> <Publishers> <Publisher> <DisplayName>Massachusetts Institute of Technology</DisplayName> <OrgUnit /> </Publisher> </Publishers> <License>http://dspace.mit.edu/handle/1721.1/7582</License> <Keyword>Architecture.</Keyword> <Abstract>Steady. Tighten. Splice. Bend. Fold. Weave. Elongate. Stiffen. Break: This is the vocabulary of an undertaking of craft, designing-while-making, improvising, learning-while-doing. This thesis is an exploration of design as craft. Woven plywood models are created in improvisational moves, benefitting from the embodied knowing that comes with extended material engagement. The making of these pieces is an experimental and playful process, where methods are tested and discovered by hand. The body is the driver in this way of making, and decisions are made based on the possibilities and limitations of the material. The plywood pieces are held together with friction alone. With no boundary conditions and no permanent fixatives, they are endlessly malleable, repeatedly remade into new forms, each time producing new lessons for the maker. Drawings are created after making, in order to map these undevelopable forms. The series of drawings are not representative of form, but are instead a method to unravel the story of making. The resultant family of structures advocate for designers to engage with material in order to make discoveries of forms and methods that would not have arisen using the hylomorphic model of design. Working by hand allows the material to assert its own logic, principles, and exciting possibilities.</Abstract> <Access xmlns="http://purl.org/coar/access_right" > </Access> </Publication>