Modified 3D print of 18th Century cup (prototyping phase), Studio Maaike Roozenburg, 2016
Maaike Roozenburg briefing students in the attic of Cultuurhuis Kuiperspoort, the course's exceptional location for that semester – a hub of arts & crafts in Middelburg.
Meeting the objects in real life at Erfgoed Zeeland with archeologist Aagje Feldbrugge and scanning them with the help of TU Delft specialist Yvo van Os.
What happens to the meaning of an object when it is turned into data? Can we design tactile forms of interaction with the collection pieces, which offer new perspectives on a certain object, its value-, custom-, and belief systems? Can we enrich our readings of objects by adding layers of information?
This 200-level LASGNRL201 pilot course combines experimental humanities and new technologies. It was developed in the context of the 2019 fellowship of Maaike Roozenburg, designer and researcher, at the Royal Scientific Society of Zeeland (KZGW). This learning society hosts a – still growing – collection of over 33,000 pieces (including naturalia, maps, musical instruments, archeological findings, etc.) This year KZGW celebrates its 250th anniversary and inaugurated Collectie Online, a new website showcasing of a first selection of artifacts, and their interrelations.
KZGW Online - Verzamelingen Zeeuwsch Genootschap online Collecties
Signage for the final exhibition with the student's final projects.
Signage for the final exhibition with the student's final projects.
Overview of the True Replicas exhibition in E.11, UCR, Dec 2019.
The True Replicas exhibition in E.11, UCR, Dec 2019 (Rijksdaalder).
The True Replicas exhibition in E.11, UCR, Dec 2019 (Abrammuo replica).
The True Replicas exhibition in E.11, UCR, Dec 2019 (Stoplap)
The True Replicas exhibition in E.11, UCR, Dec 2019 (Silver Hackweight Game).
The True Replicas exhibition in E.11, UCR, Dec 2019 (Zeeuwse Souvenir).
The True Replicas exhibition in E.11, UCR, Dec 2019 (Combmaker)
The True Replicas exhibition in E.11, UCR, Dec 2019 (Axe)
The True Replicas exhibition in E.11, UCR, Dec 2019 (Lion Knife)
The True Replicas exhibition in E.11, UCR, Dec 2019 (Quilt Patchwork)
The True Replicas exhibition in E.11, UCR, Dec 2019 (Quilt Patchwork)
’True Replicas’ in an ongoing research ****that operates at the intersection of cultural heritage, critical making and new technologies. The goal of ‘True Replicas’ is not to make the most literal copy of the original, but to analyse, communicate and enhance those qualities of the historical source that are most meaningful for us now. During the first half of the term students will map objects of the KZGW collection based on their own interests and expertise (legal, historical, economical, geographical, anthropological, literary…). The second half will be spent exploring new technologies that are able to transfer matter into data and vice versa (this development is known under the term ‘bits & atoms’) during hands-on workshops. Students will experiment with emerging technologies (3D scanning and -printing) as well ‘traditional’ fabrication modes.
> Crossdisciplinary Object Mappings & Replicas
Preliminary in class mapping in week 2
Meeting the objects in real life at Erfgoed Zeeland with archeologist Aagje Feldbrugge and scanning them with the help of TU Delft specialist Yvo van Os.
Classes were spent drawing, observing, modelling and discussing findings. Skill workshops (3d digitisation, 3D printing, visual storytelling) equiped students with basic making skills. Guest interventions added a diversity of perspectives on the course work; reading fragments and conversations lent a reflective framework for the hands-on work in class.
See for instance this in-class discussion and collective mapping on an assigned reading:
https://s3-us-west-2.amazonaws.com/secure.notion-static.com/8917e758-2849-4660-8d5d-7a7723004574/20191106_100221.m4a
Collective note taking a chapter from: Claire Warnier, Dries Verbruggen (Unfold), Printing Things, Visions and essentials for 3D printing, Gestalten 2014; Niel Gerschenfeld, "How to Make Almost Anything, The Digital Fabrication Revolution", in: The Contents of Foreign Affairs, Mit Press, 2012. Available online at: http://www.cba.mit.edu/docs/papers/12.09.FA.pdf
Self-study time was dedicated to keeping track of and reflecting on the work process in an online Research Logbook, which students used as a support for their project work throughout the semester. Students were expected to cultivate a curiosity to apply their own academic and non academic fields of interest to an interdisciplinary design context and to present their research findings in an experimental way.