Embroidered Inflatables: Exploring Sample Making in Research through Design

This paper reflects on the experience of sample making to develop interactive materials. Sample making is a way to explore possibilities related to different materials techniques. In recent years design research has put an increasing emphasis on making as a mode of exploration, which in turn has made such exploration an increasingly popular and effective design research approach. However, sample making is a messy and complex process that is hard to document and communicate. To mitigate this, design researchers typically report their journeys from the perspective of their success, retroactively editing out or reducing the accounts of experiments that did not directly contribute to their goal. Although it is a useful way to of contextualizing a design process, it can contribute to a loss of richness and complexity of the work done along the way. Samples can be seen as instantiations of socio-techno systems of production, which means that they can be looked at from different perspectives and can potentially become the starting points of new design explorations. In recognition of this quality, we aim to investigate ways that samples can be appropriated in future journeys. To do so, we analyzed and reflected on the sample making process of the Embroidered Inflatables as a design case. The project resulted in 27 samples that explored distinct challenges related to designing actuators for soft wearables through the combination of silicone casting and embroidery techniques. To explore the potential of sample appropriation, we invited a fashion designer to a creative session that analyzed these samples from her personal perspective to identify new design directions. We detail the design process, reflect on our sample making experience and present strategies to support us in the process of reevaluating and appropriating samples

Understanding the customer benefits of customisation: Case surfboard

Customisation is one strategy to involve customers in the design process. However, qualitative empirical studies on customisation in different product contexts are scarce. This paper investigates the benefits customers perceive in craft customisation where they are actively involved in the customisation with the designer. The case of this study is a high involvement custom product, a surfboard. Findings derived from qualitative interviews with surfers (N=22) reveal the perceived benefits in the three distinct phases of customisation: pre-customisation, during which the decision to customise is made; customisation process, during which the product is customised; and product usage. The source of the found benefits are the product, process or customisation itself and they can be classified to functional, emotional, experiential, symbolic, aesthetic, personal, social, epistemic, creative, and hedonic. The benefits vary in occurrence during the different customisation phases. Based on the findings, we present a model for the benefits in the three phases of customisation. The model can be used when implementing craft customisation as a design strategy.Keywords: customisation, benefits of customisation, phases of customisation, high-involvement product, surfboard

Working Performatively with Interactive 3D Printing: An artistic practice utilising interactive programming for computational manufacturing and livecoding

This thesis explores the liminal space where personal computational art and design practices and mass-manufacturing technologies intersect. It focuses on what it could look and feel like to be a computationally-augmented, creative practitioner working with 3D printing in a more programmatic, interactive way. The major research contribution is the introduction of a future-looking practice of Interactive 3D Printing (I3DP).I3DP is articulated using the Cognitive Dimensions of Notations in terms of associated user activities and design trade-offs. Another contribution is the design, development, and analysis of a working I3DP system called LivePrinter. LivePrinter is evaluated through a series of qualitiative user studies and a personal computational art practice, including livecoding performances and 3D form-making

Remixing physical objects through tangible tools

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Cataloged from student submitted PDF version of thesis.Includes bibliographical references (p. 147-164).In this document we present new tools for remixing physical objects. These tools allow users to copy, edit and manipulate the properties of one or more objects to create a new physical object. We already have these capabilities using digital media: we can easily mash up videos, music and text. However, it remains difficult to remix physical objects and we cannot access the advantages of digital media, which are nondestructive, scalable and scriptable. We can bridge this gap by both integrating 2D and 3D scanning technology into design tools and employing aordable rapid prototyping technology to materialize these remixed objects. In so doing, we hope to promote copying as a tool for creation. This document presents two tools, CopyCAD and KidCAD, the first designed for makers and crafters, the second for children. CopyCAD is an augmented Computer Numerically Controlled (CNC) milling machine which allows users to copy arbitrary real world object geometry into 2D CAD designs at scale through the use of a camera-projector system. CopyCAD gathers properties from physical objects, sketches and touch interactions directly on a milling machine, allowing novice users to copy parts of real world objects, modify them and create a new physical part. KidCAD is a sculpting interface built on top of a gel-based realtime 2.5D scanner. It allows children to stamp objects into the block of gel, which are scanned in realtime, as if they were stamped into clay. Children can use everyday objects, their hands and tangible tools to design new toys or objects that will be 3D printed. This work enables novice users to easily approach designing physical objects by copying from other objects and sketching new designs. With increased access to such tools we hope that a wide range of people will be empowered to create their own objects, toys, tools and parts.by Sean Follmer.S.M

Physical sketching tools and techniques for customized sensate surfaces

Sensate surfaces are a promising avenue for enhancing human interaction with digital systems due to their inherent intuitiveness and natural user interface. Recent technological advancements have enabled sensate surfaces to surpass the constraints of conventional touchscreens by integrating them into everyday objects, creating interactive interfaces that can detect various inputs such as touch, pressure, and gestures. This allows for more natural and intuitive control of digital systems. However, prototyping interactive surfaces that are customized to users' requirements using conventional techniques remains technically challenging due to limitations in accommodating complex geometric shapes and varying sizes. Furthermore, it is crucial to consider the context in which customized surfaces are utilized, as relocating them to fabrication labs may lead to the loss of their original design context. Additionally, prototyping high-resolution sensate surfaces presents challenges due to the complex signal processing requirements involved. This thesis investigates the design and fabrication of customized sensate surfaces that meet the diverse requirements of different users and contexts. The research aims to develop novel tools and techniques that overcome the technical limitations of current methods and enable the creation of sensate surfaces that enhance human interaction with digital systems.Sensorische Oberflächen sind aufgrund ihrer inhärenten Intuitivität und natürlichen Benutzeroberfläche ein vielversprechender Ansatz, um die menschliche Interaktionmit digitalen Systemen zu verbessern. Die jüngsten technologischen Fortschritte haben es ermöglicht, dass sensorische Oberflächen die Beschränkungen herkömmlicher Touchscreens überwinden, indem sie in Alltagsgegenstände integriert werden und interaktive Schnittstellen schaffen, die diverse Eingaben wie Berührung, Druck, oder Gesten erkennen können. Dies ermöglicht eine natürlichere und intuitivere Steuerung von digitalen Systemen. Das Prototyping interaktiver Oberflächen, die mit herkömmlichen Techniken an die Bedürfnisse der Nutzer angepasst werden, bleibt jedoch eine technische Herausforderung, da komplexe geometrische Formen und variierende Größen nur begrenzt berücksichtigt werden können. Darüber hinaus ist es von entscheidender Bedeutung, den Kontext, in dem diese individuell angepassten Oberflächen verwendet werden, zu berücksichtigen, da eine Verlagerung in Fabrikations-Laboratorien zum Verlust ihres ursprünglichen Designkontextes führen kann. Zudem stellt das Prototyping hochauflösender sensorischer Oberflächen aufgrund der komplexen Anforderungen an die Signalverarbeitung eine Herausforderung dar. Diese Arbeit erforscht dasDesign und die Fabrikation individuell angepasster sensorischer Oberflächen, die den diversen Anforderungen unterschiedlicher Nutzer und Kontexte gerecht werden. Die Forschung zielt darauf ab, neuartigeWerkzeuge und Techniken zu entwickeln, die die technischen Beschränkungen derzeitigerMethoden überwinden und die Erstellung von sensorischen Oberflächen ermöglichen, die die menschliche Interaktion mit digitalen Systemen verbessern

Appropriating Digital Fabrication Technologies — A comparative study of two 3D Printing Communities

Digital fabrication technologies have a great potential for empowering consumers to produce their own creations. However, despite the growing availability of digital fabrication technologies in shared machine shops such as FabLabs or University Labs, they are often perceived as difficult to use, especially by users with limited technological aptitude. Hence, it is not yet clear if the potentials of the technology can be made accessible to a broader public, or if they will remain limited to some form of “maker elite”. In this paper, we study the appropriation of digital fabrication on the example of the use of 3D printers in two different communities. In doing so, we analyze how users conceptualize their use of the 3D printers, what kind of contextual understanding is necessary to work with the machines, and how users document and share their knowledge. Based on our empirical findings, we identify the potentials that the machines offer to the communities, and what kind of challenges have to be overcome in their appropriation of the technology.ye

"I wanted the best": Perceived value of a customized athletic clothing

The purpose of this study was to provide a comprehensive understanding of the factors that influence the perceived value of custom-made athletic clothing product at a product, experience, and brand level. Perceived value was examined in the context of a case company offering customized clothing products specially for trotting sport. Three models formed the theoretical framework of this study: FEA consumer needs model (Lamb & Kallal 1992), Consumer Perceived Value Tool (Merle & al. 2010), and Measures defining brand loyalty (Vera & Trujillo 2017). According to these models, the value factors of a customized clothing product are explained by functional, expressive, and aesthetic considerations added with the hedonic and creative achievement value derived from the design process. The brand-related value factors were identified by using the dimensions of consumer involvement, perceived brand value, and satisfaction (Vera & Trujillo 2017). Semi-structured personal theme interviews were used as a primary data source for this study. The sample consisted of trotting professionals and sales representatives, total of 11 persons from Sweden and from Finland. The findings of this study show that the sources of value are based on product-related and brand-related factors and are generated both before and after the purchase. As a result, a customized athletic clothing product value model was proposed. On the product level, aesthetic, expressive, functional, and experience factors influence the perceived value. On the brand level, satisfaction, brand value, and customer involvement impact on the perceived value of customized clothing product. The research results confirmed the prior academic understanding that the sources of value are multidimensional and subjective in nature. The results of the study showed that in the context of trotting sport the sports tradition, the rules placed by sports federations, and the involvement of personal sponsors limit the freedom of self-expression in the customization process which can potentially limit the generalization of the results. However, the data indicated that it was important for the athletes to have the possibility to influence the clothing design and take part in the design process. Overall product satisfaction and the supplier's ability to create trust became essential factors in determining the continuity of the customer relationship. The trust built with the supplier on previous customer encounters lowered the perceived risk associated with the purchase decision leading to repurchases and increased brand loyalty. Especially, the service recovery was considered important factor in building trust if the delivered product was not what the athletes expected

The value of personalised consumer product design facilitated through additive manufacturing technology

This research attempted to discover how Additive Manufacturing (AM) can best be used to increase the value of personalised consumer products and how designers can be assisted in finding an effective way to facilitate value addition within personalisable product designs. AM has become an enabler for end-users to become directly involved in product personalisation through the manipulation of three-dimensional (3D) designs of the product using easy-to-use design toolkits. In this way, end-users are able to fabricate their own personalised designs using various types of AM systems. Personalisation activity can contribute to an increment in the value of a product because it delivers a closer fit to user preferences. The research began with a literature review that covered the areas of product personalisation, additive manufacturing, and consumer value in product design. The literature review revealed that the lack of methods and tools to enable designers to exploit AM has become a fundamental challenge in fully realising the advantages of the technology. Consequently, the question remained as to whether industrial designers are able to identify the design characteristics that can potentially add value to a product, particularly when the product is being personalised by end-users using AM-enabled design tools and systems. A new value taxonomy was developed to capture the relevant value attributes of personalised AM products. The value taxonomy comprised two first-level value types: product value and experiential value. It was further expanded into six second-level value components: functional value, personal-expressive value, sensory value, unique value, co-design value, and hedonic value. The research employed a survey to assess end-users value reflection on personalised features; measuring their willingness to pay (WTP) and their intention to purchase a product with personalised features. Thereafter, an experimental study was performed to measure end-users opinions on the value of 3D-printed personalised products based on the two value types: product value and experiential value. Based on the findings, a formal added value identification method was developed to act as a design aid tool to assist designers in preparing a personalisable product design that embodies value-adding personalisation features within the product. The design method was translated into a beta-test version paper-based design workbook known as the V+APP Design Method: Design Workbook. The design aid tool was validated by expert designers. In conclusion, this research has indicated that the added value identification method shows promise as a practical and effective method in aiding expert designers to identify the potential value-adding personalisation features within personalisable AM products, ensuring they are able to fully exploit the unique characteristics and value-adding design characteristics enabled by AM. Finally, the limitations of the research have been explained and recommendations made for future work in this area

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge