The term ‘Digiversatility’ addresses the ability to deal with the new form of materiality that appears for instance in 3D printers, lasercutters and CNC-Mills. These machines literally combine the formerly disparate spheres of the analogue and the digital to form a ‘new materiality’ that is found in the intersection of the abstract and the concrete, as the architectural historian Antoine Picon notes: ‘The new materiality is located at the intersection of two seemingly opposed categories, the totally abstract, based on signals and codes and the ultra-concrete, involving an acute […] perception of material phenomena and properties.’ (Picon 2010, 157) I assume that designers, inside the design process (especially when making models or prototypes) often prove an ability to deal with this new materiality. Of course, Rapid Prototyping machines are not the only examples of this phenomenon, but the most obvious.
Antoine Picon: Digital Culture in Architecture. An Introduction for the Design Professions. Birkhäuser 2010, p. 157