This is a research project to design a series of flat pack furniture that assemble without using any hardware and tools. The furniture series included a chair, a table, a coffee table, a side table, a bed and a sofa. Wheels were designed in the furniture to create mobility with the exception of the bed. Sustainable materials, such as Sustainable Forestry Initiative (SFI) certified plywood and High-density polyethylene (HDPE), had been used to produce the furniture. Rapid prototyping (RP) processes were being used to shorten the design process, such as Computer Aided-Design program (CAD) and Computer Modeling software to design; 3D Printer to create small scale model; Computer Numerical Control (CNC) to create full-scale prototype. Flat packaging has been used in the series to provide convenient to transport the furniture and the shipping cost.

In my M.F.A. thesis, I am going to talk about the process of revising my furniture series and designing new furniture in the series, which includes Chair ONE, Table 1⁄2, Bed ONE, and Sofa ONE. I am revising the area that didn't work very well. In Chair ONE, I have revised the seating area to provide better stability. In Table 1⁄2, I have revised the support structure of the table. As I learned from the current structure, the tabletop start to bend as the tabletop dimension increased, as my table 1⁄2 has three different kinds of tabletop. I have added a second beam across the table legs to increase support to the tabletop. In Bed ONE, I have added supporting structure for the bed frame. I noticed the plastic beam bent as weight added in a duration of time. A new supporting structure is needed to provide better stability of the structure. In Sofa ONE, I have increased the dimension of the seating area. The plastic piece on the seating area isn't long enough to support the cushion. It doesn't provide a comfortable seating position for user. The only solution is to extending the seating structure. Also, a supporting structure added to better support for the seating area Finally, I have designed a dining set for this series, which include a dining table and four chairs. The chair and the table are based on the design of my furniture series, but it will be a completely new set of furniture.

The idea that a complex object can be decomposed into simpler parts is fundamental to 3D design, so it is clearly desirable that digital representations of 3D shapes incorporate this part information. While solid modeling techniques based on set-theoretic volumetric composition intrinsically support hierarchical part-based shape descriptions, organic objects such as a human vertebra are more efficiently represented by surface modeling techniques. And although a human observer will easily identify part decompositions in surface models, the homogenous graphs of connected points and edges used in surface representations do not readily support explicit part decompositions. In this thesis, I will develop a part-based representation for 3D surface models. In abstract mathematics, a surface part can be represented as a deformation of a Riemannian manifold. To create a practical implementation, it is necessary to define representations of the 3D part shape and the region on the target surface where the part is to be placed. To represent the part region I will develop the Discrete Exponential Map (DEM), an algorithm which approximates the intrinsic normal coordinates on manifolds. To support arbitrary part shapes I will develop the COILS surface deformation, a robust geometric differential representation of point-sampled surfaces. Based on this part definition, I will then propose the Surface Tree, which makes possible the representation of complex shapes via a procedural, hierarchical composition of surface parts, analogous to the trees used in solid modeling. A major theme throughout the thesis is that part-based approaches have the potential to make surface design interfaces significantly more efficient and expressive. To explore this question and demonstrate the utility of my technical contributions, I present three novel modeling tools: an interactive texture design interface, a drag-and-drop mesh composition tool, and a sketch-based Surface Tree modeling environment. In addition to comparative algorithmic evaluations, and a consideration of representational capabilities, I have evaluated this body of work by publicly distributing my modeling tools. I will close the thesis with a discussion of the extensive feedback provided by users of my drag-and-drop mesh composition tool, called meshmixer. This feedback suggests that part-based approaches have significant benefits for surface modeling.

The idea that a complex object can be decomposed into simpler parts is fundamental to 3D design, so it is clearly desirable that digital representations of 3D shapes incorporate this part information. While solid modeling techniques based on set-theoretic volumetric composition intrinsically support hierarchical part-based shape descriptions, organic objects such as a human vertebra are more efficiently represented by surface modeling techniques. And although a human observer will easily identify part decompositions in surface models, the homogenous graphs of connected points and edges used in surface representations do not readily support explicit part decompositions. In this thesis, I will develop a part-based representation for 3D surface models. In abstract mathematics, a surface part can be represented as a deformation of a Riemannian manifold. To create a practical implementation, it is necessary to define representations of the 3D part shape and the region on the target surface where the part is to be placed. To represent the part region I will develop the Discrete Exponential Map (DEM), an algorithm which approximates the intrinsic normal coordinates on manifolds. To support arbitrary part shapes I will develop the COILS surface deformation, a robust geometric differential representation of point-sampled surfaces. Based on this part definition, I will then propose the Surface Tree, which makes possible the representation of complex shapes via a procedural, hierarchical composition of surface parts, analogous to the trees used in solid modeling. A major theme throughout the thesis is that part-based approaches have the potential to make surface design interfaces significantly more efficient and expressive. To explore this question and demonstrate the utility of my technical contributions, I present three novel modeling tools: an interactive texture design interface, a drag-and-drop mesh composition tool, and a sketch-based Surface Tree modeling environment. In addition to comparative algorithmic evaluations, and a consideration of representational capabilities, I have evaluated this body of work by publicly distributing my modeling tools. I will close the thesis with a discussion of the extensive feedback provided by users of my drag-and-drop mesh composition tool, called meshmixer. This feedback suggests that part-based approaches have significant benefits for surface modeling.

Modebranschen utvecklas kontinuerligt och är i stort behov av nya processer och tekniker för att kunna effektivisera produktutvecklingsfaserna för att fortsätta växa och lyckas. Denna uppsats grundar sig i problematiseringen om ökande problem inom modeindustrin som rör överproduktion, som i sin tur resulterar i långa ledtider, höga kostnader, miljöskada och osålda produkter. Uppsatsens syfte är att undersöka produktutvecklingsfaser inom modeföretag och undersöka hur de kan effektiviseras genom att implementera ny designteknik. Mer specifikt att införa 3D-designverktyg i produktutvecklingsprocessen. Uppsatsen använder sig av kvalitativa metoder som analys av olika teoretiska studier, utförande av fältstudier samt semi-strukturerade intervjuer. Den tidigare forskningen visar olika studier med fokus på 3D-designtekniker för att skapa en förståelse och grund. För att vidareutveckla uppsatsen utfördes intervjuer och observationer på modeföretag. Intervjuer och observationer bidrog med information kring skillnaden mellan företags användning av endast 2D-designtekniker och företag som infört 3D-designtekniker. Från all sammanställd information framkom att en implementering av 3D-designverktyg kan gynna företag i att bli mer tidseffektiva i sin produktutvecklingsprocess. Resultatet svarar på de utformade forskningsfrågorna samt väckte ett flertal frågor att studera i vidare forskning. Studien avgränsar sig till att analysera enbart tidsperspektivet, och kan då i vidare forskning analysera andra aspekter som ekonomi och miljö. / The fashion industry is a continuously developing industry that is in great need of new processes and technologies to be able to streamline the product development phases in order to continue to grow and succeed. This thesis is based on the problematization of increasing problems in the fashion industry concerning overproduction, which in turn results in long lead times, high costs, environmental damage and unsold products. The purpose of the thesis is to investigate the product development phases in fashion companies and examine how they can be made more efficient by implementing new design technology. More specifically, introducing 3D design tools into the product development process.   The thesis used qualitative methods such as analysis of various theoretical studies, execution of field studies and semi-structured interviews. The previous research shows various studies focusing on 3D design techniques to create an understanding and foundation. To further develop the paper, interviews and observations were carried out at fashion companies. The interviews and observations provided information about the difference between companies' use of only 2D design techniques and companies that introduced 3D design techniques. From all the compiled information it emerged that an implementation of 3D design tools can benefit companies in becoming more time-efficient in their product development process. The results responded to the research questions and raised several questions to study in further research. The study is limited to analyzing only the time perspective, and can then analyze other aspects such as economy and the environment in further research.

3D printing for microfluidic device fabrication has received considerable interest in recent years, in part driven by the potential to dramatically speed up device development by reducing device fabrication time to the minutes timescale. Moreover, in contrast to traditional cleanroom-based fabrication processes that require manual production and stacking of a limited number of layers, 3D printing allows full use of the 3D fabrication volume to lay out microfluidic elements with complex yet compact 3D geometries. The Nordin group has successfully developed multiple generations of high resolution printers and materials for microfluidic devices that achieve this vision. However, because of the customizability of design in the Nordin microfluidics lab, finding settings that lead to a successful print can involve a taxing cycle of adjustments. The current 3D microfluidics design flow, which requires each student to find settings for each design, makes it difficult for new students to rapidly print successful designs with new components. In this thesis I present an Improved Microfluidic Design Approach (IMDA) that is based on a pre-defined component library. It allows students to reuse a library of components such that a new designer can utilize the work of more experienced predecessors, allowing the lab to avoid repeating the same parameter tuning process with each student. So far the tool has shown the feasibility of printing new designs based on previously tested components. Ultimately, my work demonstrates an attractive path to make the 3D printed microfluidic design experience more robust, repeatable, and easier for newcomers to learn.

In der heutigen Filmindustrie bietet das 3D-Design ein anerkanntes Mittel, um virtuelle Welten oder Charaktere zu erschaffen. Doch das 3D-Design dringt mittlerweile auch in andere Bereiche vor, so etwa der Medizin und der Architektur. Dabei bietet die virtuelle Rekonstruktion auch vielfältige Möglichkeiten für die Archäologie/Ägyptologie. Beispielsweise können von kleineren Objekten oder Papyri virtuelle 3D-Modelle erstellt werden. Der große Vorteil dabei ist, dass die Originale nicht beschädigt werden und mehrere Wissenschaftler zur gleichen Zeit an ein und demselben Objekt forschen können. Selbst für die Bauforschung dürfte das 3D-Design immer bedeutender werden. Gebäude, die sich heute nur in ihren Grundrissen erhalten haben, können mithilfe des 3D-Designs nahezu vollständig rekonstruiert werden. Nicht zu unterschätzen ist dabei auch die Wirkung, die virtuelle Rekonstruktionen von ägyptischen Tempeln, Gräbern, Gebäuden auf die Gesellschaft erzielen. Durch die 3DRekonstruktionen kann nicht nur Wissenschaftlern, sondern auch Interessierten ein anschaulicher Eindruck von der Lebenswelt des Alten Ägypten vermittelt werden. Bislang steht das 3D-Design allerdings in dem Ruf, besonders schwer erlernbar und sehr kostenintensiv zu sein. Doch gibt es neben einigen aufwendigen 3D-Design-Programmen auch nahezu kostenfreie Alternativen, die man sowohl privat wie beruflich nutzen kann. Diese Programme sind dabei sehr anwenderfreundlich gestaltet und relativ leicht zu erlernen. Ziel des Vortrages ist es, diese Programme und ihre Möglichkeiten für die Ägyptologie vorzustellen.

In der heutigen Filmindustrie bietet das 3D-Design ein anerkanntes Mittel, um virtuelle Welten oder Charaktere zu erschaffen. Doch das 3D-Design dringt mittlerweile auch in andere Bereiche vor, so etwa der Medizin und der Architektur. Dabei bietet die virtuelle Rekonstruktion auch vielfältige Möglichkeiten für die Archäologie/Ägyptologie. Beispielsweise können von kleineren Objekten oder Papyri virtuelle 3D-Modelle erstellt werden. Der große Vorteil dabei ist, dass die Originale nicht beschädigt werden und mehrere Wissenschaftler zur gleichen Zeit an ein und demselben Objekt forschen können. Selbst für die Bauforschung dürfte das 3D-Design immer bedeutender werden. Gebäude, die sich heute nur in ihren Grundrissen erhalten haben, können mithilfe des 3D-Designs nahezu vollständig rekonstruiert werden. Nicht zu unterschätzen ist dabei auch die Wirkung, die virtuelle Rekonstruktionen von ägyptischen Tempeln, Gräbern, Gebäuden auf die Gesellschaft erzielen. Durch die 3DRekonstruktionen kann nicht nur Wissenschaftlern, sondern auch Interessierten ein anschaulicher Eindruck von der Lebenswelt des Alten Ägypten vermittelt werden. Bislang steht das 3D-Design allerdings in dem Ruf, besonders schwer erlernbar und sehr kostenintensiv zu sein. Doch gibt es neben einigen aufwendigen 3D-Design-Programmen auch nahezu kostenfreie Alternativen, die man sowohl privat wie beruflich nutzen kann. Diese Programme sind dabei sehr anwenderfreundlich gestaltet und relativ leicht zu erlernen. Ziel des Vortrages ist es, diese Programme und ihre Möglichkeiten für die Ägyptologie vorzustellen.

Le renouveau actuel du vocabulaire formel dans l’univers des architectures dites « non standards » s’appuie largement sur l’utilisation de modeleurs tridimensionnels. Dans cette démarche de conception, la stratégie de modélisation d’objets relève moins de l’utilisation directe de la géométrie que de la formalisation d’une idée. En effet, le travail de recherche morphologique, de la forme idée à la forme visée, nécessite de nombreux ajustements incompatibles avec une démarche linéaire de modélisation géométrique. Nous émettons l’hypothèse que la genèse des formes résulte d’opérations successives de transformation de forme fondées sur des objectifs sémantiques et guidées par une ou plusieurs images mentales. Ce cheminement se fait par des variations importantes entre différents états de la forme et par de nombreux ajustements de cette forme. Pour répondre à ce processus itératif nous proposons une approche paramétrique de la modélisation qui s’appuie sur des modificateurs de forme de haut niveau. Nous nommons opérateurs morphologiques ces outils d’action sur la forme qui permettent à partir d’une fonction de transformation morphologique (bomber, torsader, plisser…) de trouver par différentes solutions alternatives et par ajustement une forme satisfaisante. Notre travail aborde plus spécifiquement les opérateurs plier, plisser, froisser / The current renewal of formal vocabulary in the world of architecture, so-called “non-standard”, relies heavily on the use of three-dimensional modelers. In this design strategy, object modeling falls under the direct use of geometry as the formalization of an idea. Indeed work with such forms requires many adjustments incompatible with linear geometric modeling. We assume that the genesis of forms results from successive operations processing form that are founded on semantic objectives and guided by one or more mental images. This semantic path is a variation between different states of the form and numerous adjustments to the form. To formalize this iterative process, we propose a parametric approach based on high level modifiers of form. Morphological operators are action tools that allow finding a satisfactory form through a morphological transformation (bulging, twisting, pleating…) and adjustment. Keywords : morphological operator, 3D design, architectural conception

I have an interest in creating furniture with a mechanism that makes the furniture move functionally. Therefore, this paper explains the process and outcomes of designing a chair and a set of furniture with a coatrack, an accent table, and a stackable stool. All the furniture packs flat for storage and shipping purpose with a folding mechanism. The folds happen with fabric hinges that have been experimented with different materials, machinery, and fundamentals.