Integrating Human-Centred Design Approach into Sustainable-Oriented 3D Printing Systems

Modern 3D printing systems have become pervasive and widely used both in professional and in informal contexts, including sustainable-oriented ones. However, the risk to create very effective but non-sustainable solutions is very high since 3D printing systems could potentially increase the environmental emergencies and the unsustainable growth. In the transition process toward sustainable ways of production and consumption, the so-called human factor still plays an important role in the achievement of sustainable-oriented actions; it drives the adoption of proper lifestyles that directly and indirectly influence the ways through which such technologies are used. Therefore, future Sustainable 3D Printing Systems should integrate the humans in the systems’ development. This study presents two important results: (a) it presents a set of interdisciplinary ‘Sustainable 3D Printing Systems’, which compose a promising sustainable-oriented scenario useful to support the transition processes toward sustainable designs and productions, and (b) it proposes a new strategy for the integration of human-centred aspects into Sustainable 3D Printing Systems, by combining insights from human-centred design approach

Advanced design as reframing practice: Ethical challenges and anticipation in design issues

Advanced Design (ADD) is a branch of industrial design that directs and uses the tools, practices and knowledge of conventonal industral design in long-term projects, or in projects thata are addressed to a distant future. Recently, ADD has focused its attention on projects that are not governed by a client n order to search for innovation stimuli that come from extreme situations or far from the aim of the project. It also focused oc continuous innovation processes in which the designer is not the only creative actor of the process and often only helps draw the route of innovation, instead of drawing it alone. Although the ethica debate reflection on the concepts of ethics, time and the designer's responsability, is necessary. This paper describes the transformation of the traditional designer considered to be the demiurge of fashion and industrial products into a manufacture of possible futures and co-author of futurist reframing

Riflessioni e corridoi di ricerca per l'AdvanceDesign

Il testo illustra i corridoi di sviluppo dell'approccio Advanced Design

AdvanceDesign Points of view

Il capitolo descrive cosa intendiamo oggi per Advanced Design (ADD), i confini dell'approccio, i fronti di interesse scientifico, le principali strumentazioni utilizzate in rapporto all'evoluzione storica che questo insieme di pratiche ha assunto nel design contemporaneo. Si \ue8 partiti dalla desrizione del contesto disciplinare, l'evoluzione del medesimo concetto di ADD rispetto alle sue prime apparizioni negli USA degli anni '40, l'articolazione in fasi del'applicabilit\ue0 di questa pratica nel progetto di lungo termine ma non solo. Infine si scompone l'approccio in 4 distinti processi di ricerca che ne caratterizzano l'originalit\ue0 e l'innovazione

Quando il Design incontra il futuro / When Design Shapes Future

The only time in which we can act is the future; the consciousness of the centrality of futures’ study within our discipline has been slow to grow in a scientific and systematic manner. The current strength of the international scientific debate about the study of the future, and Anticipation Studies in particular, allows us to meet this important area of concern with many other disciplines involved in the dimension of time yet to come. Sociology, psychology, anthropology, technology, economy, art, can become sources of practices and useful tools to improve the awareness and investigation on possible futures, for their construction and their narration. This document presents a series of reasoning related to the future that we have named Advanced Design approach. This specific field of study is developed around four main thematic strands: the projection into the far future (long-term), typical of some complex areas such as the automotive sector; the very eccentric and distant spatial or sectorial speculation, that we call extreme design; the contribution of design to continuous innovation processes that neglects the actual speed of need for innovation; and finally the problem finding or the idea that evermore frequently - in the lack of a clear demanding system capable of guiding and filtering the design work - the project brief is generated without client by the designer him-herself. Within the modifications of the value chain, inside a turbulent and indefinable field as that formed by the contemporary markets and the social changes taking place, here is the Advance Design that, contextualized in the Fuzzy Front End of Innovation (FFEI), represents the contribution that design cultures can develop to renew confidence in the resolute production of design activity

Carmelo di Barolo y la cultura del projecto en Chile

Este manuscrito es iniciado en Milán en julio de 2018, con una entrevista a Carmelo Di Bartolo en Lüdum Design School, un colegio del que ha sido co-fundador, cuya filosofía de enseñanza se basa en metodologías proyectuales y de ideación del ámbito del diseño. En estas líneas coexite un discurso vinculado a la valoración de la naturaleza en el proceso de diseño y la ideación del producto concebido desde el diseño del material. Pone en valor lo escencial que resulta traer a presencia la piel de los objetos como elemento sugerente y comunicador, además de resolver asuntos funcionales. La relevancia es la capacidad de integrar aportes al ámbito del ahorro energético, del material y un compromiso intrínseco con el medioam- biente. No por contar con amplios recursos económicos, productivos y tecnológicos, el proceso creativo ha de ser ilimitado y excesivo. Se plantean aproximaciones que quedan expresadas en el proceso proyectual integrador denominado Material Driven Design, que incorpora el concepto de calidad percibida para integrar aspectos funcionales y emocionales de los materiales. Las conclusiones están referidas a las consideraciones que los tres aspectos -Basic design, biónica y Material Driven Design- aportan al proceso proyectual

Quando il design incontra il futuro. When Design Meets Future

The only time in which we can act is the future; the consciousness of the centrality of futures\u2019 study within our discipline has been slow to grow in a scientific and sys- tematic manner. The current strength of the international scientific debate about the study of the future, and Anticipation Studies in particular, allows us to meet this important area of concern with many other disciplines involved in the dimension of time yet to come. Sociology, psychology, anthropology, technology, economy, art, can become sources of practices and useful tools to improve the awareness and in- vestigation on possible futures, for their construction and their narration. This document presents a series of reasoning related to the future that we have named Advanced Design approach. This specific field of study is developed around four main thematic strands: the projection into the far future (long-term), typical of some complex areas such as the automotive sector; the very eccentric and distant spatial or sectorial speculation, that we call extreme design; the contribution of de- sign to continuous innovation processes that neglects the actual speed of need for in- novation; and finally the problem finding or the idea that evermore frequently - in the lack of a clear demanding system capable of guiding and filtering the design work - the project brief is generated without client by the designer him-herself. Within the modifications of the value chain, inside a turbulent and indefinable field as that formed by the contemporary markets and the social changes taking place, here is the Advance Design that, contextualized in the Fuzzy Front End of Innova- tion (FFEI), represents the contribution that design cultures can develop to renew confidence in the resolute production of design activity