O cenário de metrópoles como Londres, Nova Iorque, Dubai, Shangai, Seul e outras exibe alguns tipos de edifícios com formas orgânicas e fluidas, que fazem parte de uma proposta que utiliza ferramentas informacionais e programação para a sua criação e materialização. Este trabalho investiga como viabilizar as superfícies consideradas complexas, desses edifícios, através do tema Projeto para a Produção, etapa que aprofunda o processo do fazer, posterior à criação. A complexidade é caracterizada pela utilização de um alto nível tecnológico para a elaboração dos sistemas, do componente em sua morfologia e, em relação ao módulo, material e geometria (PAOLETTI, 2006). Para o entendimento do problema, o texto contextualiza o momento contemporâneo e a participação dos instrumentos digitais no cotidiano, fazendo uma retrospectiva dos modos de produção e da automação da indústria, e faz um paralelo com a construção civil. Trata desde a 1a. Revolução Industrial até a 4a. Revolução Industrial, de acordo com Schwab (2016).Para discutir o Projeto para a Produção, verifica-se o estado da arte, posteriormente confrontando duas vertentes conceituais da atuação do papel do arquiteto no processo: uma que defende que os profissionais têm atuado mais próximos à fabricação digital, com arquivos enviados diretamente para a fábrica File to Factory (Arquivo-Fábrica) , e outra que entende que o processo é distribuído em etapas e equipes específicas e depende de habilidades e conhecimentos particulares para a produção do objeto. Este trabalho apresenta dois casos desenvolvidos na Itália: o primeiro projetado pelos arquitetos do escritório Norman Foster & Associates, o Pavilhão da União dos Emirados Árabes para a exposição internacional de Milão, que foi confeccionado com painéis de argamassa armada estampados com a textura das dunas do deserto, e o segundo, a torre corporativa do escritório Zaha Hadid Architects, do complexo CityLife Milano, que possui a superfície de vedação com painéis de vidro em formato de paralelogramas, que evidenciam a torção da torre em seu eixo vertical. Finalmente, o trabalho propõe um modelo de Projeto para a Produção de superfícies complexas a partir do aprofundamento dos estudos de caso, considerando que a proposta faz parte de uma etapa do projeto que é efetuada por equipes de profissionais habilitados para a elaboração dos detalhamentos, busca de soluções, pesquisa aprofundada a respeito dos materiais a serem utilizados e dos requisitos necessários para a realização dos trabalhos no local de implantação. / The scenery of big cities such as London, New York, Dubai, Shanghai and Seoul exhibits some types of buildings with organic and fluid shapes that are part of a proposal that uses information tools and programming for their creation and feasibility. This work in¬vestigates how feasible surfaces considered complex through the theme Design for Pro¬duction, a stage that deepens the process of making, after creation. The complexity is characterized as the use of a high technological level for the elaboration of the systems, of the component in its morphology and, in relation to the module, material and geom¬etry (PAOLETTI, 2006). For the understanding of the problem, the text contextualizes the contemporary moment and the participation of the digital instruments in the daily life, making a retrospective of the ways of production and the automation of the industry and parallels with the civil con¬struction. It deals from the 1st. Industrial Revolution until the 4th. Industrial Revolution, according to Schwab (2016). In order to discuss the Design for Production, the state of the art is verified, later confront¬ing two conceptual aspects of the role of the architect in the process, one that argues that the professionals have directly acted in the digital manufacture with files sent directly to the factory File to Factory and another that understands that the process is distribut¬ed in stages and specific teams and depends on particular skills and knowledge to the production of the object. It presents two cases developed in Italy: the first one designed by Norman Foster & As-sociates, the United Arab Emirates Pavilion for the Milan International Exbition, which was made with panels of Glass Fiber Reinforced Concret stamped with the texture of the desert dunes and the second one a corporate tower designed by Zaha Hadid Architects office for the CityLife Milano, which has a trapezoidal glass panel sealing surface that demonstrates the twisting of the tower on its vertical axis. Finally, the work proposes a model of a Design for Production of complex surfaces from the deepening of the case studies, considering that the proposal is part of a project stage carried out by teams of professionals qualified to perform the details, search for solutions, in-depth research regarding the materials to be used and the requirements necessary to carry out the works at the place of implantation.

The project explores the possibilities of using additive manufacturing (3d-printing) to build architecture. Through a combination of theoretical research and practical experiments a building system has been developed which has the capabilities to create houses with great geometric flexibilities to a affordable price today. The construction system Perimeter is demonstrated in a pavilion situated at Norra Djurgården in Stockholm. / Projektet undersöker möjligheterna att använda additiv tillverkning (3d-printning) för att bygga arkitekturen. Genom en kombination av teoretisk forskning och praktiska experiment har ett byggsystem utvecklats som har kapacitet att skapa hus med stora geometriska flexibilitet till ett överkomligt pris i dag. Konstruktionssystemet Perimeter demonstreras i en paviljong belägen på Norra Djurgården i Stockholm.

Additiv tillverkning har stor potential för framtida betongkonstruktion. Inom industrier såsom fordonsindustrin, läkemedelsindustrin och flygplansindustrin existerar redan additiva tillverkningsmetoder i kommersiellt syfte men kompatibilitet med utvecklade byggstandarder samt svårigheter att balansera nödvändiga materialegenskaper har gjort att utvecklingen inom byggindustrin går resulterat i att utvecklingen efterfrågade egenskaperna. Vid additiv tillverkning skapas objekt genom att material placeras i lager skiktvis. Objekten skapas först digitalt som ett 3D-objekt där det sedan delas upp i horisontella skikt. Sedan följer en 3D-skrivare en förprogrammerad bana där den placerar materian tills objektet nått sin slutgiltiga form. Trots de stora utmaningarna så för additiva tillverkningsmetoder i byggindustrin med sig potentiella fördelar som överväger svårigheterna; komplexa designer till låg kostnad, inget materialspill, snabb byggtid, mindre arbetskraft, mindre miljöpålastningar m.m. Konventionell betong är oanvändbar då betong för additiva tillverkningsmetoder kräver egenskaper som inte har efterfrågats tidigare. Det ska vara flytande nog för pumpning men samtidigt fast nog för stapling. Betongens öppethållandetid krävs vara konstant för att undvika att betongen börjar hårdna innan den skrivs ut. Rapporten avser att bidra till utvecklingen av betongblandningar anpassade för de additiva tillverkningsmetoderna i byggindustrin. Detta åstadkoms genom framtagning och analys av nya typer av betong. Det saknas standardiserade och beprövade metoder för bedömning av betong anpassat för additiva tillverkningsmetoder. Hur tillverkningsmetoden påverkar miljön undersöks med målet att sänka miljöpålastningarna. En god betongblandning för additiva tillverkningsmetoder grundar sig inte endast på dess konstruktionsmässiga syfte, utan också på vilken typ av munstycke som används. På grund av detta är det i dagsläget omöjligt att skapa en universell blandning som är anpassad för samtliga munstycken och skrivarsystem. Betongen kräver en hög cementandel som leder till högre koldioxidutsläpp, andelen betong som krävs är dock lägre på grund av inget materialspill. Tillsatsmaterial används för att sänka cementandelen och nå en mer sammanhållen betongblandning. De slutgiltiga betongblandningarna har utrymme för förbättringar. Vidare justering av vct, tillsatsmaterial, armering och tillsatsmedel bör göras för utveckling av betong för additiva tillverkningsmetoder. / 3D writing of concrete has great potential for future building engeneering. Other industries such as the automotive industry, pharmaceutical industry, aerospace industry, etc. have already additive manufacturing methods for commercial purposes. The reason for this is the high standards set in the construction industry as well as difficulties to balance the demanded properties. At the additive manufacturing creates objects through that the matter be placed in the warehouse incrementally. The objects are first created digitally as a 3D object, which is then divided into horizontal layers. Then a 3D printer follows a pre-programmed path where it places the material until the object has reached its final form. . Despite the major challenges so for additive manufacturing methods in the construction industry, with potential benefits that outweigh the difficulties; complex designs for low cost, no material waste, fast build time, less labor, , less environmental degradation, etc. Conventional concrete is unusable when the concrete for additive manufacturing methods require properties that have not previously been demanded. It should be fluid enough for pumping but at the same time rigid enough for stacking. The concrete opening time is required to be constant in order to avoid that the concrete starts to harden before it is printing. The report intends to contribute to the development of concrete adapted for additive manufacturing methods in the construction industry. This is accomplished through the development and analysis of new types of concrete. There are no standard and proven methods for assessing concrete adapted for additive manufacturing methods. How the manufacturing method affects the environment is examined with the aim of reducing environmental impacts. A good concrete mix for additive manufacturing methods is based not only on its structural purpose, but also on the type of nozzle used. Because of this, it is currently impossible to create a universal mix that is adapted for all of the nozzles and the printer system. The concrete requires a high cement share which leads to higher carbon dioxide emissions, but the percentage of concrete required is lower due to no material play. Additives are used to lower the cement share and achieve a more cohesive concrete mixture. The final concrete mixtures have room for improvement. Further adjustments of vct, additives, reinforcement and chemical admixtures should be made for the development of concrete for additive manufacturing methods.

<p>Rapid advancement in ubiquitous computing has been pushing toward making wearable technology mainstream. However, there is no standard process for developing wearables that are personalizable for every user. To democratize wearable design and accessibility for individuals with diverse backgrounds and levels of expertise, we created a three-level process to (1) extend access to the vast knowledge base, (2) simplify the design and fabrication of wearables, and (3) support the interaction modality exploration for wearables. To facilitate the accessibility of wearables' knowledge, we developed a taxonomy that helped us categorize resources and centralize them in a single interface. The taxonomy will reduce the language barrier for developers with multidisciplinary backgrounds and different knowledge levels while enabling a better grasp of the information. To extend the accessibility of the design and fabrication of wearables, we developed a system that assists inexperienced users in designing custom hand wearables and fabricating them using a simplified desktop manufacturing process in a short time. Finally, we propose a system that allows users to explore new forms of interaction modalities with emergent technologies that can inspire the creation of new wearables. Our preliminary results show how our systems enable developers and novice users to access new knowledge and fabrication methodologies and explore new forms of interaction.</p>

This project is speculation in search of possibilities and rethinking the potential of Gamla Stan. Society is continually changing, as are the cities that we live in. The old town is mainly a residential area, but also a “living, pedestrian-friendly museum”. This is a place out of time and frozen in its form, a certain sensitivity is required when thinking about such a fragile context. However, the urban structure is not a fixed entity, but a dynamic and evolving one. By gentle carving in the existing city fabric, the aim is to re-introduce a workshop space in a contemporary manner. The idea is tested on the block of Cassiopea, where its building components get interconnected to make a continuous interior. The new space is about forgetting about the hyper-productivity mindset, with an intention to promote aesthetic pleasure and a slow pace of life. This collective and multifunctional space is a representation of artistic expression, a city atelier for making craft using technology. A space for artists, makers, and education, visible to the public.

[pt] A manufatura avançada, mais especificamente a manufatura aditiva, tem sido explorada cada vez mais, desde o surgimento da chamada Indústria 4.0. As técnicas de impressão 3D, incluindo a grande diversidade de tecnologias e de materiais que podem ser utilizados, permitem uma grande gama de aplicações. Com o intuito de explorar mais e aprofundar os estudos ligados a este tema, esta pesquisa investigou as propriedades mecânicas do aço inoxidável PH1, fabricado numa impressora EOS M280 através do processo de sinterização de camadas por laser. Buscou-se explorar as características do material, identificando influências da forma de fabricação e comparando as suas propriedades medidas, com as que são informadas pelo fabricante da impressora e com materiais laminados similares encontrados no mercado. Os ensaios de tração, rugosidade, dureza, impacto, M.E.V. e fadiga foram selecionados considerando a obtenção das propriedades mais relevantes do material para a indústria das peças produzidas pela tecnologia. Os resultados medidos foram comparados com os obtidos pela manufatura tradicional, para que fosse possível analisar a viabilidade e confiabilidade de substituição do método de fabricação. Estes indicam que o material impresso é resistente e pode substituir peças obtidas pela manufatura tradicional, mas deve ser utilizado com algumas considerações pois este sofre grande influência da orientação de impressão. Adicionalmente, foi desenvolvido um roteiro de fabricação digital de peças de reposição, para permitir a fabricação de peças que, juntamente com os ensaios mecânicos realizados, permite a avaliação do caminho a ser seguido dentro da manufatura aditiva para cada peça. / [en] Advanced manufacturing, more specifically additive manufacturing, has been increasingly explored since the emergence of the so-called Industry 4.0. 3D printing techniques, including the great diversity of technologies and materials that can be used, allow a wide range of applications. In order to further explore and deepen the studies related to this topic, this research investigated the mechanical properties of PH1 stainless steel, manufactured in an EOS M280 printer through the laser layer sintering process. The characteristics of the material were explored, identifying influences of the form of manufacture and comparing its measured properties with those reported by the printer manufacturer and with similar laminated materials found on the market. The tensile, roughness, hardness, impact, M.E.V. and fatigue tests were selected considering obtaining the most relevant properties of the material for the industry of the parts produced by the technology. The measured results were compared with those obtained by traditional manufacturing, so that it was possible to analyze the feasibility and reliability of replacing the manufacturing method. These indicate that the printed material is resistant and can replace parts obtained by traditional manufacturing, but it must be used with some considerations as it is greatly influenced by the printing orientation. Additionally, a script for the digital manufacturing of spare parts was developed, to allow the manufacture of parts that, together with the mechanical tests performed, allows the evaluation of the path to be followed within the additive manufacturing for each part.

Le concept de Laboratoire de Fabrication Digitale (Fablabs) est au départ, une plateforme de prototypage industriel pour les entrepreneurs locaux. Elle est introduit rapidement dans le domaine de l'éducation et sert de plus en plus souvent de plate-forme pour l'apprentissage et l'innovation.Avec l'impact actuel des technologies numériques au sein des sociétés, des organisations telles que le Conseil national de recherches (CNR) appellent le secteur de l'éducation à se tourner vers les compétences du 21ème siècle, tandis que le secteur industriel repense la conception et la production afin d’assurer la durabilité (y compris l'éco-conception et l'économie circulaire) et adopter les dernières technologies intégrées dans l’entreprise 4.0.Les plateformes « Fablab » implantées dans les universités (Ub-Fablabs) pourraient donc jouer un rôle essentiel en tant que «plateforme de support» pour répondre à ces demandes.Etant donné qu’il y a eu très peu ou pas de recherche sur les capacités de Ub-Fablabs pour répondre à ces demandes, cette recherche a adopté une double approche :1) étudier et aligner les compétences cognitives, affectives et psychomotrices y compris les compétences opérationnelles (en matière de logiciels, de notion de mécanique, d’électricité et de systèmes embarqués, …) intégrées dans le processus de conception d'Ub-Fablabs.2) Évaluer la capacité d'Ub-Fablabs à préparer les citoyens aux futures évolutions dans la conception et la production.Dans la partie 1 de la recherche, le chercheur a observé de près la conception et la production d'une machine servant à écraser des roches (RMM) pour laquelle l'utilisation d'une gamme de technologies (bois, pierre et matériaux synthétiques) ont été requises.Les activités de conception et de production ont été enregistrées à l'aide de notes de terrain, d'enregistrements vidéo et de photographies. Pour garder la trace des activités de conception et de production, un modèle de processus de conception itératif, le «modèle de conception de Nawita» (NDPM) a été développé et utilisé.Les données ont été analysées à l'aide d'une analyse de protocole adaptée et les résultats ont été représentés graphiquement.Les résultats ont montré que matérialiser les idées créatives incubées dans la phase 1 du NDPM a déclenché un pic étonnant de compétences cognitives, affectives et psychomotrices dans les étapes 2, 3 et 4 du NDPM. Ces processus et compétences ont sans aucun doute constitués des compétences requises au 21ème siècle.Dans la partie 2 de la recherche, une analyse adaptée des contenus en ligne a été utilisée pour collecter des données provenant de 90% des Ub-Fablabs dans le monde.Une échelle d'indicateurs de capacité Ub-Fablab (Ub-Fablab CIS) a été développée et utilisée pour évaluer quatre aspects potentiels d'Ub-Fablab. Cette échelle est une aide à la compréhension du processus de création. La plate-forme support incite les esprits proactifs à une meilleure intégration des processus de conception et de production.Ces composants sont: i) Infrastructure technologique; ii) Approche pédagogique constructiviste; iii) Collaboration à travers le réseautage numérique et iv) durabilité (y compris l'éco-conception et l'économie circulaire).Les résultats ont révélé que tous les Ub-Fablabs ont une position forte dans la fourniture d'infrastructures technologiques et une forte approche pédagogique constructiviste, mais peuvent avoir besoin d'améliorer leur capacité de collaboration à travers le réseautage et la restauration de la durabilité.Les résultats de cette recherche fournissent une solide réputation pour les Ub-Fablabs à être utilisés pour augmenter les efforts afin d’équiper les citoyens avec des compétences du 21ème siècle et inciter les esprits proactifs à une meilleure intégration et employabilité. / The concept of Digital Fabrication Laboratories (Fablabs), initially an industrial prototyping platform for local entrepreneurships is rapidly finding its way into the education arena and used as a platform for learning and innovation. With the current impact of digital technology on the societies, there are calls from organizations like the National Research Council (NRC) for the education sector to cater for the so-called 21st Century Skills, while the industrial sector to rethink design and production in order to cater for sustainability (inclusive of eco-design and circular economy) and to embrace the latest technologies in preparation for the Industries 4.0. Fablab platforms established in universities (Ub-Fablabs) could therefore play a vital role as a ‘support platform’ to meet these demands.Since there has been very little or no research into the capacities of Ub-Fablabs to meet these demands, this research took a two-fold approach toi) investigate and align cognitive, affective and psychomotor skills (inclusive of mechanical, electrical and embedded software operational skills) embedded in the design process in Ub-Fablabs.ii) assess the capacity of Ub-Fablabs to prepare citizens for the future design and production industries.In part 1 of the research, the researcher closely observed the design and production of a rock milling machine (RMM) where utilisation of a range of wood, stone and synthetic materials technologies were displayed. The design and production activities were recorded using field notes, video-recording and still photography. To keep trace of the design and production activities, an iterative design process model, the ‘Nawita Design Process Model (NDPM) was developed and utilised. Data was analysed using an adapted protocol analysis and results were graphed using pie and bubble-chart graphing. Results showed that materialising the creative ideas incubated in stage 1 of the NDPM unleashed a stunning peak of cognitive, affective and psychomotor skills in stages 2, 3 and 4 of NDPM. These processes and skills are undoubtedly constituted of the 21st Century Skills.In part 2 of the research, an adapted online content analysis was used to collect data from 90% of the Ub-Fablabs worldwide. An Ub-Fablab Capacity Indicator Scale (Ub-Fablab CIS) was developed and used to score on four potential aspects of Ub-Fablab if it has to be used as a support platform to incubate proactive minds for the future integration of design and production industries. These components are i) Technological infrastructure; ii) Constructionist pedagogical approach; iii) Collaboration through digital networking and iv) sustainability (inclusive of eco-design and circular economy). Results revealed that all Ub-Fablabs have a strong stand in providing technological infrastructures and a strong constructionist pedagogical approach, but may need to improve on its capacity for collaboration through networking and catering for sustainability.The findings of this research provides a strong standing for Ub-Fablabs to be utilised to augment efforts to equip citizens with 21st Century skills and incubate proactive minds for the future integration of design and production industries

This paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.

Visualizations in the most general sense of external, physical representations of information are older than the invention of writing. Generally, external representations promote external cognition and visual thinking, and humans developed a rich set of skills for crafting and exploring them. Computers immensely increased the amount of data we can collect and process as well as diversified the ways we can represent it visually. Computer-supported visualization systems, studied in the field of information visualization (infovis), have become powerful and complex, and sophisticated interaction techniques are now necessary to control them. With the widening of technological possibilities beyond classic desktop settings, new opportunities have emerged. Not only display surfaces of arbitrary shapes and sizes can be used to show richer visualizations, but also new input technologies can be used to manipulate them. For example, tangible user interfaces are an emerging input technology that capitalizes on humans' abilities to manipulate physical objects. However, these technologies have been barely studied in the field of information visualization. A first problem is a poorly defined terminology. In this dissertation, I define and explore the conceptual space of embodiment for information visualization. For visualizations, embodiment refers to the level of congruence between the visual elements of the visualization and their physical shape. This concept subsumes previously introduced concepts such as tangibility and physicality. For example, tangible computing aims to represent virtual objects through a physical form but the form is not necessarily congruent with the virtual object. A second problem is the scarcity of convincing applications of tangible user interfaces for infovis purposes. In information visualization, standard computer displays and input devices are still widespread and considered as most effective. Both of these provide however opportunities for embodiment: input devices can be specialized and adapted so that their physical shape reflects their functionality within the system; computer displays can be substituted by transformable shape changing displays or, eventually, by programmable matter which can take any physical shape imaginable. Research on such shape-changing interfaces has so far been technology-driven while the utility of such interfaces for information visualization remained unexploited. In this thesis, I suggest embodiment as a design principle for infovis purposes, I demonstrate and validate the efficiency and usability of both embodied visualization controls and embodied visualization displays through three controlled user experiments. I then present a conceptual interaction model and visual notation system that facilitates the description, comparison and criticism of various types of visualization systems and illustrate it through case studies of currently existing point solutions. Finally, to aid the creation of physical visualizations, I present a software tool that supports users in building their own visualizations. The tool is suitable for users new to both visualization and digital fabrication, and can help to increase users' awareness of and interest in data in their everyday live. In summary, this thesis contributes to the understanding of the value of emerging physical representations for information visualization.

Digital fabrication technologies such as 3D printers entail a radical change to the traditional consumer-producer paradigm. Combined with other recent developments, self-styled Makers design and fabricate sophisticated devices and interactive technologies that would otherwise never have existed. However, stopping the uninitiated novice from making use of this potential is complex CAD software, and a high barrier to entry. In this study a series of workshops explore the potential of combining traditional handicraft materials – such as clay, paper and fabric – with 3D scanning to enable novices to work with 3D printers. Based on the results a set of instruction were created detailing the process of making three types of practical objects, covering the entire process from the making and subsequent 3D scanning of a physical object, to the software clean-up and final 3D printing. The results suggest that whilst the explored method can enable novices to create 3D printable models, a certain mindset is required for the novice to do so effectively. / Innovation +