現代設計和製造方法的實踐是一個不斷演變的過程；從過去工會時期工匠大師的手工訂製、工業革命期間大規模和標準化的生產工廠，以及到現今數位時代下當代的技術發展。在經歷的這些轉變之中，身體於設計與製造過程的參與和感知程度明顯逐漸退化，而當失去主動參與的手感和與具體材料之間的緊密關係，將導致設計者技能和其所生產成果整體質量的下降。
本研究的願景是通過數位技術與傳統手工工藝的融合實踐達到工藝精神於當代的再興，「數位工藝」提供當代設計師機會以重新具備具身參與和物質意識的特質，豐富設計和製造過程，並從而提高成果的質量。研究實驗結合了數位工具擴增實境（ＡＲ）技術和傳統木車旋工藝，藉由實踐並分析該方式下所產出的兩個定制設計項目。然而透由實驗過程的反饋顯示，擴增實境應用於木車旋的設計與製造過程中，其實並不容易同時達到保持充份身體和精神的具體參與，而其所產出的成果也很難明確展現或是被具體描述具身參與和物質意識在其中內化之下所造成的影響。儘管如此，本研究認為不同的工藝製程包含了各自的條件及限制，而木車旋工藝只是其中一種方式，並進一步假設擴增實境的可視化技術或許更適用於增材製造下的介入。即使實驗結過並未達到初期所預設的目標，現代技術與傳統工藝融合實踐的過程依然揭示了數位工藝的機會和可能性，並顯示其將帶來新的創新與技能文化。

The practice of modern methods of design and manufacturing is an ongoing evolution, from the custom hands-on work of master craftsmen during the guild era, to the large-scale, standardized production factories post Industrial Revolution, as well as contemporary developments in the Digital Age. Throughout these transitions the participation and perception of the physical body in the manufacturing process has perceptibly deteriorated. The loss of active hand feels and close relationship between the designer and material has resulted in an overall degradation in the perceived quality of work. The vision of this research is to reaffirm the craftsman spirit through the merging of digital technology and hand craftsmanship. By means of “digital-crafting”, designers today have the opportunity to re-engage with embodied participation and material consciousness to enrich the design and manufacturing process, resulting in an improved quality of design work. This research provides analysis of two custom designed experimental projects, combining digital design tools and traditional crafts. Specifically, augmented reality (AR) technology was utilized to provide work instruction during the processing of organic material on a conventional woodturning lathe. Findings from this research suggest that it is difficult for AR tools to effectively assist in woodturning lathe work processes while maintaining enough physical or mental connection to substantiate embodied participation. Nevertheless, woodturning is only one mode of fabrication and on further consideration, AR visualization techniques may be more suitable for application to additive fabrication strategies. Although the results of these experiments did not achieve their originally intended goal, the process revealed the advantages and possibilities in the digital craftsmanship and suggests that the practice of digital crafting will bring about a new culture of innovation and skill creation in the design profession.

A. Smith (1776). The Wealth of Nations. W. Strahan and T. Cadell, London.
A. H. Maslow (1966). The Psychology of Science: A Reconnaissance. HarperCollins.
A. Broeckmann (2001). [Review of Abstracting Craft: The Practiced Digital Hand, by M. McCullough]. Leonardo, 34(1), 78–79. http://www.jstor.org/stable/1576995
A. Faulkner (2008). The Homeric hymn to Aphrodite: introduction, text, and commentary. New York: Oxford University Press.
A. Menges (2008). Integral Formation and Materialisation: Computational Form and Material Gestalt. Manufacturing Material Effects: Rethinking Design and Making in Architecture, 195-210. https://www.researchgate.net/publication/285886477
A.-S. Lehmann (2009). Hidden practice: Artists’ working spaces, tools, and materials in the digital domain. In A.-S. Lehmann, M. van den Boomen, S. Lammes, J. Raessens, & M. T. Schäfer (Eds.), Digital Material: Tracing New Media in Everyday Life and Technology (pp. 267–282). Amsterdam University Press. http://www.jstor.org/stable/j.ctt46mxjv.22
A. Zoran (2013). Hybrid Basketry: Interweaving Digital Practice within Contemporary Craft. Leonardo, 46(4), 324–331. http://www.jstor.org/stable/23468083
A. Jonathon & M. Tang (2014). Crafting Soft Geometry: Form and Materials Informing Analog and Digital Craft Processes. 183-186. 10.5151/despro-sigradi2014-0033
A. Suh & J. Prophet (2018). The state of immersive technology research: A literature analysis. Computers in Human Behavior, 86, 77-90.
B. Wibranek & O. Tessmann (2019, October). Digital rubble compression-only structures with irregular rock and 3d printed connectors. In Proceedings of IASS Annual Symposia (Vol. 2019, No. 6, pp. 1-8). International Association for Shell and Spatial Structures (IASS).
C. Anderson (2013). 自造者時代：啟動人人製造的第三次工業革命 (Y. D. Lian, Trans.). 天下文化. (Original work published 2012).
C. Nielsen (2021). Gadamer on Play and the Play of Art. The Gadamerian Mind (Routledge), 139–154.
D. Nolin (2014, May 31). Guilds and Apprenticeships. GENEALOGY: BEYOND THE BMD. https://genealogybeyondthebmd.blogspot.com/2014/05/guilds-and-apprenticeships.html
Dept. of Practical Art. Great Britain (1852). A catalogue of the articles of ornamental art, selected from the exhibition of the works of industry of all nations in 1851 and purchased by the government: prepared at the desire of the Lords of the Committee of Privy Council for Trade. London, UK: Department of Practical Art.
D. Thiel (2013). Builders, bodies and bifurcations: How London construction workers “learn to labour.” Ethnography, 14(4), 412-430. http://www.jstor.org/stable/24431733
E. O’Connor (2005). Embodied knowledge: The experience of meaning and the struggle towards proficiency in glassblowing. Ethnography, 6(2), 183-204. https://doi.org/10.1177/1466138105057551
F. L. Wright (1927). In the Cause of Architecture: The Architect and the Machine. Architectural Record, 1927(5), 394–396. https://www.architecturalrecord.com/articles/11515-in-the-cause-of-architecture-ii-the-architect-and-the machine
G. Semper (1884). Kleine Schriften. Berlin; Stuttgart: Spemann.
G. Jahn & A. Wit & J. Samara (2019). [BENT] Holographic handcraft in large-scale steam-bent timber structures. ACADIA. https://www.researchgate.net/publication/33547
G. Jahn, C. Newnham, N. V. den. Berg, M. Iraheta, & J. Wells (2019, September). Holographic construction. In Design Modelling Symposium Berlin, 314-324. Springer, Cham.
H. Münsterberg (1916). The Photoplay: A Psychological Study. New York: Dover Publications.
H. Schaefer (1958). The Metamorphosis of the Craftsman. College Art Journal, 17(3), 266–276. https://doi.org/10.2307/773992
H. Braverman (1974). Labor and Monopoly Capital. Monthly Review Press.
H. G. Lee, S. Chung, & W. H. Lee (2013). Presence in virtual golf simulators: The effects of presence on perceived enjoyment, perceived value, and behavioral intention. New media & society, 15(6), 930-946. Industrial Production. (1940). Monthly Labor Review, 51(5), 1197–1201. http://www.jstor.org/stable/41816210
I. Anscombe, & C. Gere (1978). Arts & Crafts in Britain and America. Rizzoli Libri.
I. Maxwell & D. Pigram (2012). In the Cause of Architecture: Traversing Design and Making. Log, 25, 31–40. http://www.jstor.org/stable/41765733
J. Miller (2012). The Foundations of Better Woodworking. Popular Woodworking Books
I. Block (2019, October 16). Digital models and augmented reality used to build twisting pavilion in Tallinn. dezeen. https://www.dezeen.com/2019/10/16/steampunk-pavilion-fologram-tallinn-architecture-biennial/
J. Anderson & M. Tang (2014). Crafting Soft Geometry: Form and Materials Informing Analog and Digital Craft Processes. SIGraDi 2014 [Proceedings of the 18th Conference of the Iberoamerican Society of Digital Graphics, Uruguay (Montevideo 12,13,14 November), 183–186.
K. W. LUCKHURST (1951). THE GREAT EXHIBITION OF 1851. Journal of the Royal Society of Arts, 99(4845), 413–456. http://www.jstor.org/stable/41365158
L. Johnston (2017). Digital Handmade: Craftsmanship in the New Industrial Revolution. Thames and Hudson Ltd.
M. Bacharidou (2017). Touch, See, Make: Employing Active Touch in Computational Making. ACADIA 2017: DISCIPLINES & DISRUPTION [Proceedings of the 37th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA), Cambridge (MA 2-4 November), 128–137. https://doi.org/https://doi.org/10.52842/conf.acadia.2017.128
M. Merleau-Ponty (1962). The Phenomenology of Perception. London: Routledge.
M. Crozier (1974). World of the Office Worker. Schocken, NY.
M. Mccullough (1998). Abstracting Craft: The Practiced Digital Hand. The MIT Press.
M. Fackler (2006, September 21). Japanese Fret That Quality Is in Decline. The New York Times. https://www.nytimes.com/2006/09/21/business/worldbusiness/21quality.html
N. Cross (1982). Designerly ways of knowing. Design studies, 3(4), 221-227.
N. Oxman (2020). Material Ecology. New York: The Museum of Modern Art.
P. Milgram, & F. Kishino (1994). A taxonomy of mixed reality visual displays. IEICE TRANSACTIONS on Information and Systems, 77(12), 1321-1329.
P. Audouard (2018, Apr. 16). Gaudí and teamwork: his artisan collaborators. BLOG SAGRADA FAMÍLIA. https://blog.sagradafamilia.org/en/divulgation/gaudi-and-his-artisan-collaborators/
R. Redgrave (1852). Reports by the Juries: Class XXX, Supplementary Report on Design. London, UK: Royal Commission for the Great Exhibition of 1851.
R. F. Hoxie (1915). Scientific Management and Labor. D. Appleton and Company.
R. S. Lopez (1971). The Commercial Revolution of the Middle Ages. New York: Cambridge University Press.
R. Kubey & M. Csikszentmihalyi (1990). Television and the Quality of Life: How Viewing Shapes Everyday Experience. Hillsdale NJ: Lawrence Erlbaum.
R. Piano (1992). Renzo Piano workshop: In search of balance (Process Architecture). Books Nippan.
R. Sennett (1996). Flesh and Stone: The Body and the City in Western Civilization. W.W. Norton & Company.
R. T. Azuma (1997). A survey of augmented reality. Presence: teleoperators & virtual environments, 6(4), 355-385.
RD. Putnam (2000). Bowling Alone: The Collapse and Revival of American Community. New York: Simon & Schuster.
S. Turkle (2001, December 19). Seeing Through Computers. THE AMERICAN PROSPECT: IDEAS, POLITICS & POWER. https://prospect.org/environment/seeing-computers/
R. Zerbst (2002). Gaudí, 1852-1926: Antoni Gaudí i Cornet: a life devoted to architecture. New York: Taschen.
R. Grassby (2005). Material Culture and Cultural History. The Journal of Interdisciplinary History, 35(4), 591–603. http://www.jstor.org/stable/3656360
R. Sennett (2008). The Craftsman. New Haven: Yale University Press.
R. Oxman & R. Oxman (2013). Theories of the Digital in Architecture. Routledge. THE MARQUESS OF QUEENSBERRY. (1976). THE DESIGNER, THE CRAFTSMAN AND THE MANUFACTURER. Journal of the Royal Society of Arts, 124(5234), 87–96. http://www.jstor.org/stable/41372266
T. M. Geraghty (2003). Technology, Organization and Complementarity: The Factory System in the British Industrial Revolution. The Journal of Economic History, 63(2), 536–541. http://www.jstor.org/stable/3132451
T. Veblen (2007). 有閒階級論：一種制度的經濟研究 (H. S. Li, Trans.). 左岸文化出版. (Original work published 1899).
T. Harrod (2013). “Visionary rather than practical”: craft, art and material efficiency. Philosophical Transactions: Mathematical, Physical and Engineering Sciences, 371(1986), 1–12. http://www.jstor.org/stable/23364181
W. J. Matherly (1925). The Emergence of Factory Labor. Social Forces, 4(1), 175–183. https://doi.org/10.2307/3004406
W. M. Tsutsui (1996). W. Edwards Deming and the Origins of Quality Control in Japan. Journal of Japanese Studies, 22(2), 295–325. https://doi.org/10.2307/132975
Y. Song, R. Koeck, & S. Luo (2021). Review and analysis of augmented reality (AR) literature for digital fabrication in architecture. Automation in Construction, 128, 103762.
Z. Mortice (2022, March 15). 3 Augmented Reality Apps to Take Your Digital Building Models On-Site. Smart Buildings Technology. https://www.smartbuildingstech.com/intelligent-building-systems/article/21236105/augmented-reality-apps for-architects-engineers-contractors-and-owners