Innovation, design and CAE in new product development

There seems to be a need for clarification on a number of issues that are seminal for the design community: for example, the constructs of invention, of creativity and of innovation (or innovative) appear to be used interchangeably. They are all a vital interest for design but they are different things. Furthermore there is a failure to distinguish between what design has a legitimate interest in or should contribute to and that which is its direct responsibility. The authors of this paper will seek to clarify these and other issues. One of these interests is the increasing demand for sustainable practice: design has a crucial role here and this paper will explore how computer aids can be a powerful tool in this area and also more generally in both design and manufacture

Exhibition of Design, Development and Manufacturing of Scalp Cooling Cap

Exhibition Narrative: University of Huddersfield and Paxman Coolers Limited showcased the output of a collaborative project that resulted in an innovative scalp-cooling cap at Arab Health 2016 Exhibition Dubai, UEA. In collaboration with Medilink Yorkshire & Humber at the Stand No: Z1G57. The Arab Health 2016 exhibition showcased more than 4,000 companies exhibiting their latest innovations to more than 130,000 healthcare professionals attending from 163 countries

Design and Development of a new Scalp Cooling Cap - Stage 1 : Confidential Design and Development Report

This project is funded by Technology Strategy Board Smart grant of £500,000 awarded to Paxman Coolers to develop and improve the Paxman scalp cooler to enable the product to meet the needs of a global market, together with improvements to efficacy and patient experience. The development includes improvements to the cap which will take into account anthropometric data, 3D head scanning and 3D modelling to create an innovative solution that offers significant improvements to current design. 3D laser sintering technology is used to create tools and in close collaboration with a major silicon manufacturer a novel system for cap production for producing a new design which gives a better user experience through improved comfort, fit and heat conductivity. The product will be protected by world patent cover and is subject to non-disclosure agreements with the University’s partners

Interdisciplinary 3d Mobile Scanning Technology Case Studies: Canvasman, Faro, Artec & Structure Sensor For Ipad.

This research aimed to investigate mobile 3D scanning technologies to improve the 3D data capture methods and workflow efficiency for Canvasman Ltd a SME company based in Otley near Leeds, UK. At this phase in the Collaborative Venture Fund (CVF) project the researchers have provided results to the company and a detailed scoping case based technical report. The report includes a product market survey of handheld 3D scanners, product evaluation matrix, 3D software review, and user testing and analysis experiments into each selected 3D portable scanning hardware and software from a range of providers including: Faro, Artec, and the Structure Sensor for IPad. The presentation, focused on communicating the key phases of the CVF project with the company and other industry partners. And outlined some of the exciting interdisciplinary applications of 3D scanning technologies for colleagues and practitioners across disciplines, not only in art, design, architecture, and engineering, to improve efficiency of data capture, visualisation, archive, design and development of any object, or interior and exterior spaces within the human centred and built environment. The session in which the research was presented in is titled, ADA in materials and visual culture, and it addressed the role of materials in the production of new knowledge in art and design practice and theory. Historically art and design has always involved collaborative exchanges: between artists, historians, theorists, consultants, designers, technicians, engineers and policy makers. Today new technologies and innovations - capturing form with data is just one example – offer opportunities for artists and designers to engage in novel trans-disciplinary research relationships. This poses the question how to initiate, develop and sustain research collaborations beyond the conventions of our traditional disciplinary boundaries

3D Interactive virtual environments for E-learning, teaching and technical support: Multiplayer teaching and learning games for the School of Art, Design & Architecture.

This paper outlines the key stages of a University funded teaching and learning project, the main objective of the project is to build an online 3D virtual Ramsden workshop (RW) game learning environment. Using 3D modeling software and interactive 3D game programming technologies the project team have accurately modeled and simulated the Ramsden workshop (RW) building; The 3D virtual RW workshop has been accurately built to scale and is fitted with virtual furniture, virtual computers, virtual engineering machinery. These components have been developed as an initial range of interactive game based learning tools. In this project the team has also begun to simulate Health and Safety procedures, created software CAD/CAM tutorials and are developing and testing innovative learning support tools for all levels of learners. The 3D Virtual Ramsden workshop (RW) game is part of ongoing research work that applies the use of 3D virtual software for developing appropriate interactive 3D spaces, avatars, objects and simulations for learning, teaching, training, exhibitions, experimental art and practice in virtual environments. Additionally within this project the research team also modelled a virtual Creative Arts Building and a University of Huddersfield virtual campus

3D digital modelling, fabrication and installation for understanding space and place

Traditionally the teaching of history or theory on art and design courses often takes place in a lecture theatre. Space and place theory is integral to informing the practice led and practice-based experiences in architecture, interior and the built environment. The research team has investigated how digital modeling, fabrication and population tools can enhance the understanding of current theoretical debates surrounding space and place. The aim is to integrate inter-disciplinary practice allowing us to address key research questions relating to the emergence of digital fabrication and its potential impact upon art and design education. The purpose is to provide an engaging and informative situated display, offering an experiential and intuitive frame of reference for constructing and placing objects, activities or events into their spatial context. The research has potential to act as an integrative experiential framework through which we can learn more about different contexts or connections between themes or theories which provides a deeper understanding of space or place. In this new work with Taylor, Benincasa, and Unver evolve their practice through translating 3D research data for a series of new digital and physical experiments intended for enhancing or informing teaching and learning in art, design & architecture. The researchers experimented with a range of 3D software and the functionality of different tool parameters. Fabrication apps and 3D crowd simulation animation tools were used for the first time in this research to explore digital fabrication using cardboard in order to compose and construct 2D and 3D physical simulations of this well-known built environment in the landscape. The fabricated physical cardboard models we produced were located in studio spaces and 3D visual projection live drawing experiences were tested with students and staff working together. The 2D and 3D simulations that the team envisioned are both digital and real; and when installed facilitate a more kinesthetic experience of learning as students are able to create together, and interact with fabricated structures. This evolving research demonstrates how these 3D models, animations and fabrications have the potential to be used together as a catalyst to explore multiple projections of space, place identities, historical and cultural built environment concepts for art, design and architecture students at undergraduate and postgraduate level

Design and Development of 3D Printed Textile Structures

3D printing is shaping new business models and is leading the way in rapid prototyping. From Product Design and Engineering and most recently into Fashion and Textiles. This manufacturing revolution poses challenges for conventional business models for example, items to be produced locally, leading to shifts in existing supply chains and global logistics. Advancements in Additive Manufacturing in textiles recently enabled designers to produce 3D printed garments directly from raw material, such as polymer, in a single manufacturing operation. This technology not only has the potential to reduce waste, labour costs and CO2e, but can modernise clothing production by encouraging localised manufacturing and production.   In this research existing 3D Printed structures that could be used for textile&fashion have been identified, compared and analysed in both their physical design, textile like properties and uses. Comparing the structures to each other and the existing traditional textile structures allows the research team to identify areas for improvement and development and potential uses for each type of structure and manufacturing method. This information will inform new 3D printed textile design going forward and can be built on as the technology develops further. As case studies a number of 3D structures designed and developed as new textile structures using 3D various printing machines at the University of Huddersfield incorporating some recycled materials from post-consumer waste polyester

3D Printed Fashion: A Dual Approach

Since the inception of 3D Printing in fashion, the innovators and originators of the medium have come from various disciplines of design. Prototyping was the main use for the first 30 years, being most popular in the areas of engineering, architecture, and product design. The 3D software that was used in these industries to visualize the designs lent itself to 3D printing fashion. Francis Bitonti, Julian Hakes, Richard Beckett & Neri Oxman all designers whose most notable work is in 3D printed fashion design, yet their backgrounds are in Architecture and they used their 3D skills to create fashion pieces. The most notorious fashion designer who has ventured into 3D printing is Iris van Herpen who often collaborates with designers from other disciplines to create and visualize her intricate 3D printed designs. In this paper, the researchers from 2 different of the aforementioned disciplines, who both use 3D printers, offer a unique insight into the pros and cons of 3D printing fashion from each perspective

The Conceptual Design of a Kinetic Energy Storage Device to Store 20 KWh of Energy

This conceptual design was commissioned by ESP with the express intention of creating a viable concept for a Kinetic Energy Storage Device (KESD) in the form of a flywheel system. The intention is to glean energy from the national grid when electricity is very low cost and return it to the national grid when energy is more expensive. As an example; one kWh of energy bought in the early morning when demand is low costs approximately £20. If this could be stored until a high demand period, say early evening, the cost would be approximately £250 per kWh. If several KESD’s could be run there would be potential of making a great deal of money. On a national basis; several thousand KESD’s could reduce the necessity for so many power stations. KESD’s could also store solar power and wind power to be used when demand for power is high

Material shifts in praxis: Projections of digital humanities embodied within space and place

The essential problem of man in a computerized age remains the same as it has always been. That problem is not to solely how to be more productive, more comfortable, more content, but how to be more sensitive, more proportionate, more alive (Cousins,1966). Through communication in physical proximity; the researchers’ experienced human connexions exploring the interplay between the real and the virtual. And these connexions became the potentiality of co-creative spaces, opening us to see, reflect and make new opportunities for exploring and developing innovative approaches. Therefore we experienced a deeper inquiry into encountering the relationships between theory and practice led research methodologies and pedagogic praxis in and across art, design & architecture. “For art practices to be considered research, artists-theorists need to engage directly with theoretical concerns that can be investigated in studio contexts as well as through other mediated forms and methods” (Sullivan, 2005) As a playful testament to the rapidly changing digital landscape, as practitioners, we observed a nascent desire to visualise our ever-evolving digital society. In this Transitional setting for Re-thinking Textiles and Surfaces; Taylor, Unver and Benincasa-Sharman, share evolving specular projections of praxis through re-transitions of megalithic materials, pre-historic digital surfaces, historical contexts, space and place theories, archive point cloud data, human population tools and 3D fabrication. “The question persists and indeed grows whether the computer will make it easier or harder for human beings to know who they really are, to identify their real problems, to respond more fully to beauty, to place adequate value on life, and to make their world safer than it now is.” (Cousins, 1966) References: Cousins, N.(1966).The Poet and the Computer. In Pylyshyn, Z.W., & Bannon, L. (Eds.) Perspectives on the Computer Revolution. Intellect Books, 1989. Sullivan, G.(2005). Art Practice as Research. Inquiry in the Visual Arts. Sage, 2005