Latin American experiences are analyzed in order to identify adverse factors, describing the complexity of the implementation of a Fabrication Laboratory in the region. As a starting point we take the implementation done by groups of academics coming back to their origin countries, and others that after the implementation they were born or adapted to an academic supervision (Fab Lab MIT) or a technical and commercial one (Rhino FabLab). In the whole, the results allow to identify opportunities for the future.

In moments when the artisanship tradition seems to disappear because of industrial production, we analyze cases where digital fabrication and visual programming were used in Latin American craft, encouraged by architects with skills in digital tools. The situations confront artisans with access to digital platforms and internet, use of learned skills, and the need to modify the technological level in their products and processes. Regional initiatives, which could change contemporary design history in the region with the establishing of a trans-disciplinary systematized synergy, show that traditional materials are used and unique components maintain their originality, from a region that attempts to enter into new global markets.

abstract: Digital Fabrication has played a pivotal role in providing reality to industrial designers' ideas since its first commercial use in late 80's. Making the final prototype of a design project has been the initial assumed use for these technologies in the design process. However, new technology advances in this area offer further opportunities for designers. In this research these opportunities have been carefully explored. This research will be conceptualized through discussing the findings of a case study and theories in the areas of Industrial Design methodology, digital fabrication, and design pedagogy. Considering the span of digital fabrication capabilities, this research intends to look into the design-fabrication relation from a methodology perspective and attempts to answer the question of how the digital fabrication methods can be integrated into the Industrial Design process to increase the tangibility of the design process in very first steps. It will be argued that the above is achievable in certain design topics - i.e. those with known components but unknown architecture. This will be studied through the development of series of hypothetical design processes emphasizing the role of digital fabrication as an ideation tool rather than a presentation tool. In this case study, two differing processes have been developed and given to Industrial Design students to design specific power tools. One of them is developed based on the precedence of digital fabrication. Then the outcome of the two processes is compared and evaluated. This research will introduce the advantages of using the digital fabrication techniques as a powerful ideation tool, which overcomes the imagination problems in many of complicated design topics. More importantly, this study suggests the criteria of selecting the proposed design methodology. It is hoped that these findings along with the advances in the area of additive and subtractive fabrication will assist industrial designers to create unique methodologies to deal with complicated needs both in practice and design education. / Dissertation/Thesis / M.S. Design 2012

The pursuit of reducing waste and carbon emissions in the building industry is a challenge which is collective, prescient, and an opportunity for explorations of new material practices and fabrication methods. This thesis seeks to show how digital fabrication can serve as a tool in material reclamation and reuse in architecture. Utilizing the design of a pharmaceutical headquarters in Boston, Massachusetts as a vessel for investigation, both the challenges and potentials of such a process are evaluated. This proposal includes a process by which material reclamation drives design decisions in order to show that when architects consider material lifecycles and design for a process, rather than just a product, new possibilities can be realized for a building and its implications. By reusing existing metal cladding in the pharmaceutical building's solar veil, not only is waste reduced, but a narrative is conveyed about possible futures. Through creative material practices and digital tools, architects have the opportunity to create a future that is locally grounded, resource efficient, and less wasteful while meeting the needs of an expanding global population. This thesis raises a number of questions around material use in buildings, fabrication methods, facade design, and the balance between performance and embodied traits. The journey of designing for material systems is documented here in order to show the possibilities for change in the industry towards more sustainable material practices. / Master of Architecture / Around the world, buildings are one of the top producers of carbon emissions and waste. Responsible and creative methods for material use in buildings is imperative to address the current global climate and environmental crises. This thesis seeks to show how digital fabrication can serve as a tool in material reclamation and reuse in architecture. Utilizing the design of a pharmaceutical headquarters in Boston, Massachusetts as a vessel for investigation, both the challenges and potentials of such a process are evaluated. In this proposal, material reclamation drives design decisions in order to show that when architects consider material lifecycles and design for a process, rather than just a product, new possibilities can be realized for a building and its larger impacts. By reusing existing metal cladding in the pharmaceutical building's solar veil, not only is waste reduced, but a narrative is conveyed about possible futures. Through creative material practices and digital tools, architects have the opportunity to create a future that is locally grounded, resource efficient, and less wasteful while meeting the needs of an expanding global population. This thesis raises a number of questions around material use in buildings, fabrication methods, facade design, and the balance between performance and embodied traits. The journey of designing for material systems is documented here in order to show the possibilities for change in the industry towards more sustainable material practices.

Modern architecture has lost its sense of place by the adoption of practices like standardization and universal modularity, over the focus and influence of unique local building practices. However, looking outside of the cultural main stream works of architecture, there exists some built structures with such purity around how they were constructed and a form of honesty deeply embedded within their material usage. Having been idealized in such a locally specific manner, these attributes become the essence of belonging that ties the building to its particular place. In this thesis, I have considered architecture both within regional or vernacular architectural traditions and the unconstrained means and methods of modern architecture. I looked at how modern technologies related to fabrication can be influenced by the subtle adaptations that traditional architecural crafts have developed, unique to specific regions. / Master of Architecture

Proceedings from the Fab 9 Research Stream 9th International Fablab Conference, 21-27 July 2013, Yokohama. / Since 2007, Latin America has incorporated a set of emerging techniques promoted under three initiatives: a) from the experience of Master and Doctoral students who return to their home countries and promote their experience, b) from the external academic experience that goes towards the region, and c) from self-learning. These experiences are developed in an academic area, unlike Europe or the U.S., where they were promoted from and to professional practice, with varying degrees of implementation and effect. Generally speaking, the academic programs of the region lack a policy of inclusion of systematized emerging technologies, and that produces a slow uptake, especially in architecture. On one hand, if educational policies are not stable, equipment investment cannot be stable, and on the other hand, the generation gap between those who promote and those who accept blends into disruption and status quo. Each implementation in the region produces adverse and complex patterns, replicating existing models and seeking alliances with institutions in developed countries. Thus, there are self-help groups, while others incorporate academic, technical and/or commercial supervisions, in principle through the Center for Bits and Atoms (MIT Fab Lab) and McNeel Associates (Rhino Fab Lab). In this research, we evidence evolution and implementation processes in Latin America of the three types of initiatives, analyzing the case study in Peru, which together open up the possibility of moving from a phase of experimentation, trial and error to another that actually promotes local innovation and inclusion.

O objetivo desta pesquisa é confrontar os impactos da chamada \"revolução digital\" sobre o design de mobiliário no Brasil, em comparação com a produção e design tradicionais. Pretende-se verificar como estas tecnologias podem auxiliar no desenvolvimento de produtos mais adequados no que diz respeito à sua utilização e à sua significação, ao mesmo tempo em que se procura reconhecer se nossa cultura material está preparada para estas mudanças. Para tanto, optou-se realizar entrevistas com designers de gerações diferentes. O primeiro com raízes modernistas e carreira estabelecida no pós-modernismo e o segundo com raízes contemporâneas e atuante no campo do Open Design e fabricação digital. Verificou-se a necessidade de um trabalho sinérgico entre o artesanal e o digital para a criação de produtos diferenciados e adequados à sua contemporaneidade. / The purpose of this research is to confront the impacts of the so-called \"digital revolution\" on furniture design in Brazil, comparing it with the production and traditional design. The aim is verify if these technologies can assist the development of products with more suitable use and meaning, at the same time seeking to recognize if our material culture is ready for these changes. To do so, we conduct interviews with different generations of designers, one with modernist roots and established career in postmodernism and the second with contemporary and active roots in the field of Open Design and digital fabrication. It was found the need for synergistic efforts between the craft and digital aspects to create differentiated products and that are fitted for contemporaneity.

O objetivo desta pesquisa é confrontar os impactos da chamada \"revolução digital\" sobre o design de mobiliário no Brasil, em comparação com a produção e design tradicionais. Pretende-se verificar como estas tecnologias podem auxiliar no desenvolvimento de produtos mais adequados no que diz respeito à sua utilização e à sua significação, ao mesmo tempo em que se procura reconhecer se nossa cultura material está preparada para estas mudanças. Para tanto, optou-se realizar entrevistas com designers de gerações diferentes. O primeiro com raízes modernistas e carreira estabelecida no pós-modernismo e o segundo com raízes contemporâneas e atuante no campo do Open Design e fabricação digital. Verificou-se a necessidade de um trabalho sinérgico entre o artesanal e o digital para a criação de produtos diferenciados e adequados à sua contemporaneidade. / The purpose of this research is to confront the impacts of the so-called \"digital revolution\" on furniture design in Brazil, comparing it with the production and traditional design. The aim is verify if these technologies can assist the development of products with more suitable use and meaning, at the same time seeking to recognize if our material culture is ready for these changes. To do so, we conduct interviews with different generations of designers, one with modernist roots and established career in postmodernism and the second with contemporary and active roots in the field of Open Design and digital fabrication. It was found the need for synergistic efforts between the craft and digital aspects to create differentiated products and that are fitted for contemporaneity.

The act of creating anything, from a novel to a simple meal to a building, requires the combination of many elements. Broadly speaking, these elements are technique, technology, and materiality, the three of which are bought into combination according to the intent of the maker. The effects of the combination of these elements can be very powerful. One need only call to mind the cool, damp weightiness of stepping inside a church whose walls are made of solid stone or to contrast this experience with that of picking up a lightweight rowing shell whose thin wood frame and taut fabric skin combine amazing strength with impossible slenderness. These experiences amaze and move us because the various elements that brought them into being are combined in a harmonious way and one that is aligned with a poetic ambition. This is not to say that all three elements need to be mixed in equal proportions or that there is a hierarchy of importance; it is the mixing that is essential, not the presence of any one element. A specific focus of this thesis is technology and the way that architects use it and are shaped by its use. Many architects have rushed to embrace recent advances in digital design and fabrication tools, forgetting that that the act of making requires the convergence of a number of forces. Focussing too much attention on one will often come at that detriment of another. Through a series of projects, this thesis explores a number of methods of designing and making. The projects undertaken range from a series of hand carved spoons, to sculptural, physical translations of flowing water, through to the full-scale realization of a suspended ceiling for the North House prototype. An effort has been made to work across a variety of scales, and to employ as wide a range of techniques and technologies as possible. These projects have afforded a kind of research through making, one that engages the entire body rather than merely the mind, and which has been supplemented with more traditional means of research. In addition to the role of technology in architectural practice, attention has been paid to the relationship between ways of making and time, and to the way in which certain artists, designers, and architects are able to slow, compress, or even transcend time. A series of brief case studies serves to illustrate how this is possible while also describing a set of values against which the work of this thesis can be calibrated. By its very nature this thesis takes the form of an ongoing project, one in search of a somewhat elusive goal. The path that a powerful and moving project must take is often full of uncertainty. If I am certain of anything however, it is that achieving the proper mixture of elements requires patience, persistence, and a willingness to let a project take on a life of its own.

The act of creating anything, from a novel to a simple meal to a building, requires the combination of many elements. Broadly speaking, these elements are technique, technology, and materiality, the three of which are bought into combination according to the intent of the maker. The effects of the combination of these elements can be very powerful. One need only call to mind the cool, damp weightiness of stepping inside a church whose walls are made of solid stone or to contrast this experience with that of picking up a lightweight rowing shell whose thin wood frame and taut fabric skin combine amazing strength with impossible slenderness. These experiences amaze and move us because the various elements that brought them into being are combined in a harmonious way and one that is aligned with a poetic ambition. This is not to say that all three elements need to be mixed in equal proportions or that there is a hierarchy of importance; it is the mixing that is essential, not the presence of any one element. A specific focus of this thesis is technology and the way that architects use it and are shaped by its use. Many architects have rushed to embrace recent advances in digital design and fabrication tools, forgetting that that the act of making requires the convergence of a number of forces. Focussing too much attention on one will often come at that detriment of another. Through a series of projects, this thesis explores a number of methods of designing and making. The projects undertaken range from a series of hand carved spoons, to sculptural, physical translations of flowing water, through to the full-scale realization of a suspended ceiling for the North House prototype. An effort has been made to work across a variety of scales, and to employ as wide a range of techniques and technologies as possible. These projects have afforded a kind of research through making, one that engages the entire body rather than merely the mind, and which has been supplemented with more traditional means of research. In addition to the role of technology in architectural practice, attention has been paid to the relationship between ways of making and time, and to the way in which certain artists, designers, and architects are able to slow, compress, or even transcend time. A series of brief case studies serves to illustrate how this is possible while also describing a set of values against which the work of this thesis can be calibrated. By its very nature this thesis takes the form of an ongoing project, one in search of a somewhat elusive goal. The path that a powerful and moving project must take is often full of uncertainty. If I am certain of anything however, it is that achieving the proper mixture of elements requires patience, persistence, and a willingness to let a project take on a life of its own.