Analysis to Support Design for Additive Manufacturing with Desktop 3D Printing

[ES] En los últimos años, la fabricación aditiva a través de la extrusión de materiales ha experimentado un desarrollo y adopción acelerados gracias a la amplia disponibilidad de máquinas y materiales de bajo costo. El tamaño de estas máquinas se ha reducido del tamaño del taller al tamaño del escritorio, lo que permite su uso en configuraciones de oficina o en el hogar. Este cambio ha permitido la adopción de la tecnología por la gama más amplia de usuarios que nunca, con o sin experiencia en diseño de ingeniería. Este nuevo paradigma ha creado el desafío de cómo habilitar que estos nuevos usuarios aprovechen las capacidades proporcionadas por esta tecnología. Esta tecnología permite la creación de geometrías complejas y productos personalizados con un coste inferior a los procesos de fabricación convencionales. Además, la gran cantidad de usuarios dispuestos a compartir sus diseños permite encontrar soluciones de diseño desde otros diseñadores. Sin embargo, la amplia gama de configuraciones de máquina, parámetros y materiales requiere brindar soporte para obtener resultados exitosos para cualquier combinación. Esta tesis aborda este desafío identificando las características de diseño y fabricación a considerar e investigando las consideraciones mecánicas y de pos procesamiento. Se propone y evalúa un nuevo marco de diseño que permite a los nuevos usuarios aprovechar las capacidades y considerar las limitaciones. Esta investigación encuentra que es posible crear un conjunto de herramientas de diseño que permita a los usuarios no capacitados diseñar productos utilizando la complejidad habilitada por la tecnología al tiempo que garantiza la funcionalidad y la capacidad de fabricación del producto.[CA] En els últims anys, la fabricació additiva a través de l'extrusió de materials ha experimentat un desenvolupament i adopció accelerats gràcies a l'àmplia disponibilitat de màquines i materials de baix cost. La grandària d'aquestes màquines s'ha reduït de la grandària del taller a la grandària de l'escriptori, la qual cosa permet el seu ús en configuracions d'oficina o en a casa. Aquest canvi ha permés l'adopció de la tecnologia per la gamma més àmplia d'usuaris que mai, amb o sense experiència en disseny o enginyeria. Aquest nou paradigma ha creat el desafiament de com habilitar que aquests nous usuaris aprofiten les capacitats proporcionades per aquesta tecnologia. Aquesta tecnologia permet la creació de geometries complexes i productes personalitzats amb un cost inferior als processos de fabricació convencionals. A més, la gran quantitat d'usuaris disposats a compartir els seus dissenys permet trobar solucions de disseny des d'altres dissenyadors. No obstant això, l'àmplia gamma de configuracions de màquina, paràmetres i materials requereix brindar suport per a obtindre resultats reeixits per a qualsevol combinació. Aquesta tesi aborda aquest desafiament identificant les característiques de disseny i fabricació a considerar i investigant les consideracions mecàniques i de post processament. Es proposa i avalua un nou marc de disseny que permet als nous usuaris aprofitar les capacitats i considerar les limitacions. Aquesta investigació troba que és possible crear un conjunt d'eines de disseny que permeta als usuaris no capacitats dissenyar productes utilitzant la complexitat habilitada per la tecnologia al mateix temps que garanteix la funcionalitat i la capacitat de fabricació del producte.[EN] In recent years, additive manufacturing through material extrusion has experienced accelerated development and adoption thanks to the wide availability of low-cost machines and materials. The size of these machines has been reduced from shop floor to desktop size, enabling their usage in office setups or at home. This change has allowed the adoption of the technology by the broadest range of users than ever, with or without an engineering design background. This new paradigm has created the challenge of how to enable these novel users to leverage the capabilities provided by this technology. This technology allows the creation of complex geometry and customised products with a cost lower than conventional manufacturing processes. Furthermore, the large number of users willing to share their designs allows finding design solutions from other designers. However, the wide range of machine configurations, parameters and materials requires providing support to obtain successful results under any combination. This thesis addresses this challenge by identifying the design and manufacturing characteristics to be considered and investigating the mechanical and post-processing considerations. A new design framework that enables new users to leverage the capabilities and consider the limitations is proposed and evaluated. This research finds that it is possible to create a design toolkit that enables untrained users to design products using the complexity enabled by the technology whilst ensuring the product's functionality and manufacturability.Fernández Vicente, M. (2022). Analysis to Support Design for Additive Manufacturing with Desktop 3D Printing [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/185344TESI

The application of new technologies in fashion and implementation of additive manufacturing in the apparel industry

The most diverse sectors were influenced by the democratisation of 3D printers. This is why fashion designers try to apply 3D printing to their creations and look for a viable way to implement the technique. The adoption of 3D printing on apparel not only brings new advantages but also changes the entire manufacture of the product and the design development, as well as the relationship with the consumer. The application of fashionable printing is still very much focused on accessories and footwear, yet to bring innovation. There is still a need to launch new materials and introduce more technologies, representing what many see as part of the fourth industrial revolution in the context of fashion, where smart or wearable textiles win more and more space in the market, and prosumers increase every day. While the introduction of this technique in the fashion industry is recent compared to the traditional methods of garment manufacturing, there has been significant progress and a growing number of enthusiastic designers who try to develop this type of product. However, while there are many materials designed for printing and designers to develop their parts, there is a recurring problem that translates into the rigidity of the components obtained and, consequently, the lack of comfort and usability. That is why 3D printing has developed more rapidly in the accessory industry (jewellery, bags ...). After extensive research on additive manufacturing technologies and its application in the fashion industry, it was possible to verify that footwear, jewellery, and other accessories were the ones that had better adherence. It was also observed that in the clothing sector the technology is still very much linked to conceptual fashion and that there are several obstacles to the implementation of the technique. It is also clear that there is a long way to go about the feasibility of solutions for the manufacture and the need to find means that allow more flexible and comfortable parts of good quality and with ample movement. It is necessary to have a material innovation that enables the creation of pieces in which comfort, mobility, and flexibility are prioritised since designers do not prioritise only the aesthetic appeal, but also the function and usability of the object. My project aims to address precisely the application of fashionable additive manufacturing and get a new approach on the materials used, the forms and machines for creating textiles and then clothing, to make the daily life of these pieces more viable.Os setores mais diversos foram influenciados pela democratização das impressoras 3D. Por essa razão os designers de moda tentam aplicar a impressão 3D às suas criações e procuram uma maneira viável de implementar a técnica. A adoção da impressão 3D no vestuário não apenas traz novas vantagens, mas também altera todo o fabrico do produto e o método de design, bem como o relacionamento com o consumidor. A aplicação da impressão na moda ainda é muito focada em acessórios e calçado, contudo para trazer inovação, é necessário lançar novos materiais e introduzir mais tecnologias, representando o que muitos consideram parte da quarta revolução industrial no contexto da moda, onde têxteis inteligentes ou vestíveis ganham cada vez mais espaço no mercado e os “prosumidores” aumentam a cada dia. Embora a introdução desta técnica na indústria da moda seja recente em comparação com os métodos tradicionais de fabricação de vestuário, houve um progresso significativo e um número crescente de designers entusiastas que tentam desenvolver este tipo de produto. No entanto, embora existam muitos materiais desenvolvidos para impressão e designers para desenvolver suas peças, há um problema recorrente que se traduz na rigidez das peças obtidas e, consequentemente, na falta de conforto e usabilidade. É por isso que a impressão 3D se desenvolveu mais rapidamente na indústria de acessórios. Após uma extensa pesquisa sobre tecnologias de manufatura aditiva e sua aplicação na indústria da moda, foi possível verificar que calçados, joias e outros acessórios foram os que tiveram melhor aderência. Observou-se também que no setor de vestuário a tecnologia ainda está muito ligada à moda conceitual e que existem vários obstáculos para a implementação da técnica. No entanto há ainda um longo caminho a percorrer em relação à viabilidade de soluções para a confeção e a necessidade de encontrar meios que permitam partes mais flexíveis e confortáveis de boa qualidade e com amplo movimento. É necessário ter uma inovação material que permita a criação de peças nas quais o conforto, o movimento e a flexibilidade sejam priorizados, uma vez que os designers não priorizam somente o apelo estético, mas também a função e usabilidade do objeto. Este projeto visa abordar precisamente a aplicação de manufatura aditiva na moda e obter uma nova abordagem sobre os materiais utilizados, as formas e as máquinas para criação de têxteis e posteriormente vestuário, de forma a tornar mais viável o quotidiano destas peças

Aiding the conservation of two wooden Buddhist sculptures with 3D imaging and spectroscopic techniques

The conservation of Buddhist sculptures that were transferred to Europe at some point during their lifetime raises numerous questions: while these objects historically served a religious, devotional purpose, many of them currently belong to museums or private collections, where they are detached from their original context and often adapted to western taste. A scientific study was carried out to address questions from Museo d'Arte Orientale of Turin curators in terms of whether these artifacts might be forgeries or replicas, and how they may have transformed over time. Several analytical techniques were used for materials identification and to study the production technique, ultimately aiming to discriminate the original materials from those added within later interventions

Performative Wearables: Bodies, Fashion and Technology

This thesis argues that wearables are inextricably performative. By this I mean that performance—human and nonhuman performance such as those encountered both on and off stage, as well as social performance and the performance of fashion and technology—contribute to the creation and meaning of wearables. With this aim in view, the thesis explores performance from four research angles: a framing of the birth of wearables in a performative context; a theoretical analysis of wearables as somatically, aesthetically, and technologically constituted via the performative; a historical back-dating of pre-computational wearables stemming from Modernist performative fields; and the in-situ case studies of contemporary wearables creations. It is my goal to demonstrate that wearables are performative across transversal timelines, materials, styles, fabrication processes, and body expressions. Using references from the art-research labs currently involved in developing fashion-tech and wearables—as an important counterbalance to industry’s contributions to wearables—I ask this central question: how can concepts of performance elucidate wearables? I look toward performance as a key thread that follows wearables’ beginnings to the current, contemporary technological culture embedded in media arts and experimental contributions to the field. Why? Because wearables are more than the sum of the technologies they incorporate, they are the result of their admixtures of fashion, bodies, display, and transformation (in both human and technological form). In short, wearables are active, (a)live, and hence both the objects themselves and the individuals wearing them participate in the co-creation of their performance. Performance is complex—striding as it does across disciplines from the technological and engineering; to the human and unscripted—and for this reason it is richly suited to the challenges encountered when describing wearables. Performance is the key pathway, in my opinion, through which we can gain stronger insight into the stakes, meanings, messiness, desires, and technological innovations that are being developed in wearables in artistic labs past, present and future

An exploration of hybrid art and design practice using computer-based design and fabrication tools.

The researchers previous experience suggested the use of computer-based design and fabrication tools might enable new models of practice that yield a greater integration between the 3D art and design disciplines. A critical, contextual review was conducted to assess what kinds of objects are being produced by art and design practitioners; what the significant characteristics of these objects might be; and what technological, theoretical and contextual frameworks support their making. A survey of international practitioners was undertaken to establish how practitioners use these tools and engage with other art and design disciplines. From these a formalised system of analysis was developed to derive evaluative criteria for these objects. The researcher developed a curatorial framework for a public exhibition and symposium that explored the direction that art and design practitioners are taking in relation to computer-based tools. These events allowed the researcher to survey existing works, explore future trends, gather audience and peer response and engage the broader community of interest around the field of enquiry. Interviews were conducted with practitioners whose work was included in this exhibition and project stakeholders to reveal patterns and themes relevant to the theoretical framework of this study. A model of the phases that practitioners go through when they integrate computer-based tools into their practice was derived from an existing technology adoption model. Also, a contemporary version of R. Krausss Klein Group was developed that considers developments in the field from the use of digital technologies. This was used to model the context within which the researchers practice is located. The research identifies a form of technologyled- practice and an increased capacity for a transdisciplinary discourse at the intersection of disciplinary domains. This study will be of interest to practitioners from across the 3D art and design disciplines that use computerbased tools

Geometric proportional model of the church of the Ljubostinja monastery

The use of proportions is one of the oldest theoretical issues in architecture. However, sometimes geometry, with its specific shapes and constraints between them, can fully describe the logic of architectural design. This paper presents geometric proportional schemas of the Serbian medieval church of the monastery Ljubostinja (built around 1387), the representative of so-called Morava architectural style. The research is partly based on Ivo Štambuk’s proportional canon, which he applied on several churches, in wider Mediterranean region during prolonged period of time (4th to 15th c.). Štambuk’s proportional canon is based on two circles and one equilateral triangle constrained to each other and set relative to characteristic points of the church plan and cross-section, above all the location of the altar and the center of the church dome. By adding principles of triangulation and dynamic rectangles, this paper demonstrates more precise proportional model of the church plan and the cross-section through the dome. Results show that the proportions of the Ljubostinja’s church can be interpreted by dynamic rectangles (their diagonals are square roots of full numbers) with ratios 1:√2, 1:√3, 1:√5 and, in addition, by specific scheme of equilateral triangles which are constrained to the characteristic points of the church space: center point of the apse and the dome

Street Furniture and the Nation State: A Global Process

In the popular imagination, street furniture has traditionally been understood as evoking a sense of national or local identity. From Paris’ metro entrances, DDR lampposts in Berlin, and London’s york stone pavements, the designed environment has been able to contribute to the unique qualities of a place. In some instances this was deliberate. In postwar Britain for instance, the Council of Industrial Design – a state-funded design organization - often appeared to measure the quality of street furniture on the basis of its national characteristics. On other occasions, the relationship between such objects and identity emerged accidentally. In Britain during the 1980s, for example, the replacement of Gilbert Scott's red telephone box with an alternative BT model provoked considerable debate. For many people, this act was not just a Conservative attack on nationalization and state-ownership, but also on the very fabric of British identity. This understanding of street furniture has retained its currency for many years, and cities across the world have used street furniture to provide a sense of visual coherency for neighbourhoods in need of new identities, strengthening their character and improving the public's relationship to them. In this way, street furniture has been employed as a cipher for the narrative of regeneration, in which - as a means of altering the identity of a space - street furniture can project a new face upon the street. Increasingly however, advertising companies are able to lever themselves into the street furniture market by offering to provide the service to the local authorities for free in return for advertising space. In offering this service, global companies like JC Decaux, Wall and Clear Channel command a huge amount of commercial power within the city. The excessive homogenization of street furniture coupled with the overwhelming presence of advertising which is increasingly sanctioned by local authorities keen to reduce costs, has resulted in the perception of poorer quality streets. Thus, the irony of regeneration is that by seeking to promote the unique identity of a city, many places often end up looking more and more alike. This paper will examine recent developments in the process by which the street is furnished and the agents responsible. It will specifically look at how these changes have affected the relationship between street furniture and identity, and equally the effect this process has had on understandings of national design histories. Clearly, evaluating contemporary street furniture through the lens of the nation-state is of very little value, since the international differences between street furniture are considerably less marked than they used to be. This extraordinary aesthetic convergence is partly linked to economies of scale - after all, just how many different kinds of bus stop can Europe afford to have? Yet it also reflects some of the challenges posed by globalization and privatization of public space. This paper will reflect upon that process, and how these bigger narratives increasingly affect the landscape of the street

An aesthetic for sustainable interactions in product-service systems?

Copyright @ 2012 Greenleaf PublishingEco-efficient Product-Service System (PSS) innovations represent a promising approach to sustainability. However the application of this concept is still very limited because its implementation and diffusion is hindered by several barriers (cultural, corporate and regulative ones). The paper investigates the barriers that affect the attractiveness and acceptation of eco-efficient PSS alternatives, and opens the debate on the aesthetic of eco-efficient PSS, and the way in which aesthetic could enhance some specific inner qualities of this kinds of innovations. Integrating insights from semiotics, the paper outlines some first research hypothesis on how the aesthetic elements of an eco-efficient PSS could facilitate user attraction, acceptation and satisfaction

History of Construction Cultures Volume 1

History of Construction Cultures Volume 1 contains papers presented at the 7ICCH – Seventh International Congress on Construction History, held at the Lisbon School of Architecture, Portugal, from 12 to 16 July, 2021. The conference has been organized by the Lisbon School of Architecture (FAUL), NOVA School of Social Sciences and Humanities, the Portuguese Society for Construction History Studies and the University of the Azores. The contributions cover the wide interdisciplinary spectrum of Construction History and consist on the most recent advances in theory and practical case studies analysis, following themes such as: - epistemological issues; - building actors; - building materials; - building machines, tools and equipment; - construction processes; - building services and techniques ; -structural theory and analysis ; - political, social and economic aspects; - knowledge transfer and cultural translation of construction cultures. Furthermore, papers presented at thematic sessions aim at covering important problematics, historical periods and different regions of the globe, opening new directions for Construction History research. We are what we build and how we build; thus, the study of Construction History is now more than ever at the centre of current debates as to the shape of a sustainable future for humankind. Therefore, History of Construction Cultures is a critical and indispensable work to expand our understanding of the ways in which everyday building activities have been perceived and experienced in different cultures, from ancient times to our century and all over the world