<p>During springterm 2010 Erik Persson and Magnus Hansson performed their Thesis</p><p>Work with DIAB Laholm, in Hallands County for University of Halmstad.</p><p>The project has been a product development project without exterior customers. Thus</p><p>it had a great emphasis on functionality and less emphasis on marketing and such.</p><p>This reflects the ambition to develop machinery to be used within the production</p><p>facilities of DIAB Laholm, not to be sold to exterior customers.</p><p>Main objective has been to create machinery which enables the production of</p><p>rotational symmetric work pieces within a NC-milling machine with 5 axles. The</p><p>work pieces milled will be made of DIAB’s material Divyncell with varying</p><p>densities.</p><p>The project has followed Fredy Olssons method involving Principal – Primary –</p><p>Manufacturing constructions. However a complete manufacturing construction has</p><p>not been made since DIAB just wanted a good Primary construction which will serve</p><p>as a base for finishing touches at DIAB.</p><p>By the end of the project material including calculations has been sent to DIAB and</p><p>they will finish the work and manufacture the machine if they find economic viability</p><p>in this.</p><p>The work method has been suited for this by several reasons, it was created with</p><p>these projects in mind and it’s also the method most familiar to us.</p>

During springterm 2010 Erik Persson and Magnus Hansson performed their Thesis Work with DIAB Laholm, in Hallands County for University of Halmstad. The project has been a product development project without exterior customers. Thus it had a great emphasis on functionality and less emphasis on marketing and such. This reflects the ambition to develop machinery to be used within the production facilities of DIAB Laholm, not to be sold to exterior customers. Main objective has been to create machinery which enables the production of rotational symmetric work pieces within a NC-milling machine with 5 axles. The work pieces milled will be made of DIAB’s material Divyncell with varying densities. The project has followed Fredy Olssons method involving Principal – Primary – Manufacturing constructions. However a complete manufacturing construction has not been made since DIAB just wanted a good Primary construction which will serve as a base for finishing touches at DIAB. By the end of the project material including calculations has been sent to DIAB and they will finish the work and manufacture the machine if they find economic viability in this. The work method has been suited for this by several reasons, it was created with these projects in mind and it’s also the method most familiar to us.

This thesis broadly engages with the design process and design education, but focuses particularly on sociocultural and (in)tangible references that are communicated verbally, visually and textually within the design environment. With the aim of defining references and subsequently understanding the contextualized sociocultural environments ethnographically oriented methods and an interdisciplinary theoretical model are developed and applied to two field studies. This research combines design with cultural anthropology, social psychology and social cognition towards gaining a more holistic viewpoint on design processes. Each empirical field study uses the same research approach, methodology, theoretical framework, and subsequent data analyses and display. The methods include observational techniques, questionnaires to query personal information, and informal interviews to track the design process. Videotape recordings are used to track the in-studio activity and still photography is used to capture the visual communications along with the sociocultural context of the participants. The studies are longitudinal, being six and seven weeks in duration, and follow university level industrial design students and their instructors from the onset of their design brief to the completion of their project. The first study takes place in Scotland in the United Kingdom (UK) where the students are working towards the design of an airline meal tray. The second study takes place in Western Canada and involves the design of sports eyewear. This research defines and describes sociocultural factors as these are identified through references. Sociocultural references include the individual-personal and social-cultural inforrnation that is embedded in an individuals' personal make-up, called here sociocultural capital. How, when and why sociocultural capital is used during the creation of an artefact is of primary interest in this work. Design decisions are made regarding artefact form, overall aesthetics, materials, manufacture, user experience and more. These decisions are made through considering the stakeholders in the project (e.g., instructors, clients, users) and references to these are called tangible because they are easily relatable to the design brief and the well-known documented stages of deSigning. The references that are abstract and have distance from the task at hand are called the intangibles. Sociocultural references are both tangible and intangible but relate specifically to the sociocultural capital of the individuals making them. Patterns, themes and categories about the design process, designing, the individual design students and two educational scenarios including the studio culture and design culture are revealed through the references. This research herein discusses and raises three central ideas as follows: • A theoretical model called the deSign process milieu for understanding the holistic designing scenario including inside-local, inside-universal, outside-local and inside-universal environments. This includes a detailed breakdown of how to use the model including a systematic approach, methods and analyses system. • A definition and description of the nature of (in)tangible references including when and why they are used during the design process. • Detailed descriptions of two design environments including the studio culture and design culture. It is argued in this research that references provide important details about the sociocultural context of the design scenario. Furthermore it is also argued that all things discussed in the design process are meaningful and have the potential to steer the development of an artefact. Therefore, there are substantial implications for this research relating to how design students, educators and designers are affected by the sociocultural contexts enveloping them; what types of sociocultural capital designers use; and to a lesser degree, how, when and why they use their sociocultural capital. The insights from this work result in recommendations for design education, practice and design research in general.

This thesis brings forth a perspective on the need for an isolated conceptual design phase in process models of designing. The perspective is made possible by identifying theories to describe designers in practice. The research sets out to describe concept negotiation during early design collaboration in cross-cultural teams of Western designers and Chinese designers. A series of ethnographic studies and in-depth interviews were carried out in a leading design practice in China on collocated and synchronous teams of Chinese designers from Mainland China, and Western designers from Germany, France and America. Themes were interpreted from the observations and interview through inductive analyses using a grounded theory approach and a hermeneutic circle. Silences among Chinese designers were first observed during design meetings, instead of verbal discussion in an argumentative process as anticipated by the social process of negotiation. Socio-linguistic reasons are understood to be influential but rectifiable by both Western and Chinese designers. Instead, a pattern of their differences in concept articulation became evidential and brought about a subsequent hermeneutic turn to also describe concept generation. The description on their cognitive patterns found dichotomies in creative processes between Western and Chinese designers. Specifically it was found that Chinese designers tend to ideate and Western designers tend to conceptualise. To overcome the dichotomies, the company's elaborate design process with an abstract-concrete progression was simplified into a situationist design cycle in which designing happens in a creative space. A literature review on design processes identified the isolated conceptual design phase as a fixated ideal from 1980s design models. Crucially, the conceptual design phase with an abstract-concrete progression is equated with the early design stage when studying designers in collaboration. Conceptualisation and concepts remain very much influential today. The dichotomies in creative processes between Western designers and Chinese designers brought to light an epistemological comparison between the rationalist and the situationist. The dichotomies were at first posed as difficulties but later overcome by the cross-cultural teams by making their practice flexible without specific design process. Instead of commonly studying designers at the conceptual design stage and analysing design concept, this thesis identified the designers' differences in creative processes as factors to be considered when studying designers in collaboration.

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Since childhood, drawing has been a constant method and medium of enquiry for me, a medium that is beyond the term ‘art’, that is an instinctive physical and perceptual response to phenomena. As such, it is a natural development for me to desire to understand this phenomenon, to question the act of drawing as a mode of communication that appears to be so suitable to my understanding. This has led to a period of research into the formal structures of drawing, to ask how abstract marks on a ground can be of use to our understanding. Developed to question the universal relevance of drawing, this study is a practice-led investigation into the formal tectonics of drawing practice. As such it charts a period of research that comprises a re-learning of the building blocks of drawing practice in an effort to better understand how drawing influences how we encounter the world or, how drawing structures visual perception. Part I begins by outlining the historical lineage of which this thesis is a continuance, positioning the research as a non-essentialist, moderate manifestation of the formalist position. Part I proceeds to employ drawing as an analytical tool, to compartmentalise a past drawing into seven distinct components, identified as united within the diversity of the drawing process. The seven components are not original in their connection to drawing, and therefore do not, by their mere presence, comprise an original contribution to knowledge. In fact it is the universal acceptance of the components as the formal scaffold on which most drawings are built, that enables a rigorous interrogation of their properties to be undertaken, further explored and developed so that an understanding of how these components structure the visual perception of the drawer can be reached. Adopting the seven components as seven separate lines of inquiry, Part II establishes the Components of Drawing. Each is subsequently analysed and extended through my practice, theory and pedagogy. Within this process drawing operates as the principal originator, developer and vector of the hypothesis, the core of the investigation being a heuristic analysis of the structure of drawing that mobilises the components of drawing from a subconscious by-product of process, to a conscious understanding of the purposiveness of each mark made. The study concludes with a reflection on the research period in response to the hypothesis outlining the original contribution to knowledge, before positing possible future areas for further research.

Multiculturalism constitutes a mixture of expressions where languages are fundamental, not only as the vehicular form of thought, but also as a powerful tool for social cohesion and relationships within a community. Languages are often the first barrier encountered when communicating or relating to other culture. Whereas, typography can provide valid solutions, not only in terms of text layout but also regarding the specific aspects of multilingualism: the design of glyphs for multilingual text composition. Type design is at the core of how communication takes place in our multicultural society. As multilingual communication becomes more apparent, the need for multi-script fonts including more than a single script is unquestionable. This practice-based research focuses on the designing of a multi script Latin-Arabic typeface for literary reading text purposes based on an understanding of Arabic script in order for the result obtained to be respectful of the tradition of Arabic calligraphy. The approach to Arabic has been carried out taking into account the Spanish Arabic tradition from a study on the Arabic types which were designed and in use in Spain during the Printing Press years. The methodology proposed tries to complete every stage in the work process, from sketching to final font production, with the aim of harmonising both Latin and Arabic scripts in the same font file: Pradell Al-Andalus. Pradell Al-Andalus, although not designed to be a revival of any specific Arabic Spanish typeface, establishes a link with Spanish type History in order to build a bridge between tradition and our contemporary multilingual needs.

Recently, the proposal to use voltage amplification from ferroelectric negative capacitance (NC) to reduce the power dissipation in nanoelectronic devices has attracted significant attention. Homogeneous Landau theory predicts, that by connecting a ferroelectric in series with a dielectric capacitor, a hysteresis-free NC state can be stabilized in the ferroelectric below a critical film thickness. However, there is a strong discrepancy between experimental results and the current theory. Here, we present a comprehensive revision of the theory of NC stabilization with respect to scaling of material and device dimensions based on multi-domain Ginzburg–Landau theory. It is shown that the use of a metal layer in between the ferroelectric and the dielectric will inherently destabilize NC due to domain formation. However, even without this metal layer, domain formation can reduce the critical ferroelectric thickness considerably, limiting not only the range of NC stabilization, but also the maximum amplification attainable. To overcome these obstacles, the downscaling of lateral device dimensions is proposed as a way to prevent domain formation and to enhance the voltage amplification due to NC. These insights will be crucial for future NC device design and scaling towards nanoscale dimensions.

Tendency of this master thesis is a proposal of savings in the process of technological production’s preparation in a manufacturing company. In the first part is elaborated general theoretical study of current components and NC programs. Based on this, and finished analysis was defined optimization’s proposals described in second part. Thanks this complete proposals comes to time and money savings, which are needed for implementation of prototype project into serial production.

<p>The degree project is performed at Metso Kamfab. The production is aimed on machines everything from handling of fiber to paper pulp. Metso Fiber and Kamfab are using Pro/Engineer for design and blueprint production. The processing department types the NC-programs in notepad on the basis of the blueprints, the CAD-dates that already is there are not used. The aim with the work is to study if Kamfab can use CAM-system for processing and production of programs for their NC-machines. The objective in this project is to make NC-programs that functions in three special machines.</p><p>CAD/CAM forms the link between design and production. In a CAD/CAM-system the geometry is created in CAD and can be used directly in CAM for processing. In CAM CL-data is created and after that translated with a postprocessor to NC-code. The postprocessor is used also as a watch over function.</p><p>Three machines were chosen as experiment items for introducing of CAD/CAM. These are a 7-axis mill, a combined mill/turn and a 3-axis mill. The 7-axis mill and the mill/turn were chosen because they are the most advanced machines. The 3-axis mill was chosen because there was available time in it. Products that were tested were trough, pillar, housing and a part for a toolchanger.</p><p>When processing the trough ”Surface-Mill” was chosen and a lead-angle was set in the parameters. It was most drilling and a little face milling on both the pillar and the housing.</p><p>In order to test programs a postprocessor was borrowed that translated CL-data to Heidenhain code. During the test run errors were detected in the programs. This depends on that the postprocessor not where customized for the machine. A postprocessor developed by ourselves was also tested, this one didn’t work because the machine's NC-system couldn’t read ISO standard code.</p><p>A study visit was done at Structo in Kristinehamn where EdgeCAM is used for NC-processing. It works well and it allows quicker and safer programming.</p><p>Pro/Engineer is powerful and has a lot of possible adjustments. This makes it complex and takes time to learn. To use Pro/Engineer´s CAM-part it is necessary to have basic knowledge about the CAD-part. Depending on this many companies uses for example EdgeCAM that almost is a pure CAM-system.</p><p>The processing of the three components functioned well in Pro/Engineer, we could process the components after demands. The problem was to get working programs. An advantage with using CAM is that you can simulate toolpaths. Through this you can see if the tool collides and it also makes it possible to optimize toolpaths. Today, it is a lot of waiting time in the milling machine FPT34 because programs are not completed. This waiting time would be reduced or even eliminated with the aid of CAM.</p> / <p>Examensarbetet är utfört på Metso Kamfab. Deras tillverkning är inriktad på maskiner allt från hantering av flis till framställning av pappersmassa. Metso Fiber och Kamfab använder Pro/Engineer för konstruktion och ritningsframtagning. Vid maskinberedning skrivs sedan NC-program utifrån ritningen, alltså används inte de CAD-data som redan finns. Syftet med arbetet är att undersöka om Kamfab kan använda CAM-system för beredning och framtagning av program till deras NC-maskiner. Målet i detta projekt är att ta fram NC-program som fungerar i tre speciella maskiner. Dessutom skall två CAM-system jämföras, dessa är Pro/Engineer´s CAM-system och EdgeCAM.</p><p>CAD/CAM bildar kopplingen mellan konstruktion och produktion. I ett CAD/CAM-system kan geometrin som skapats i CAD-delen direkt användas i CAM-delen för beredning. Vid CAM beredning skapas CL-data som översätts med en postprocessor till NC-kod. Postprocessorn används också som en övervakande funktion.</p><p>Tre maskiner har valts ut som försöksobjekt för införande av CAD/CAM. Det är en 7-axlig NC-fräs, en kombinerad svarv/fräsmaskin och en 3-axlig fräs. Anledningen till att den 7-axliga maskinen och svarv/fräsmaskinen valdes var att de betraktas som de mest avancerade maskinerna. Den enklare 3-axliga maskinen valdes för att det fanns ledig tid i den. Produkter som testades var tråg, pelare, kikhus och en detalj till en verktygsväxlare.</p><p>Vid beredning av tråget valdes ”Surface-Mill” och i parametrar ställdes en framlutning av verktyget in. Denna metod kallas skränkfräsning. Både för pelare och kikhuset var det främst borrning och lite planfräsning.</p><p>För att kunna testa program lånades en postprocessor som översatte CL-data till Heidenhain kod. Under testkörningen upptäcktes fel på programmen. Detta berodde på att postprocessorn inte var anpassad till maskinen. En egenutvecklad postprocessor testades också, denna fungerade inte pga. att maskinens styrsystem inte klarade ISO-standard kod.</p><p>Ett studiebesök gjordes hos Structo i Kristinehamn där EdgeCAM används för NC-beredning. Det fungerar bra att få fram program, det medför snabbare och säkrare programmering.</p><p>Pro/Engineer är kraftfullt då det finns oerhört många inställningar och justeringar att tillgå. Samtidigt är det ganska komplext och det tar tid att lära sig. För att använda Pro/Engineer´s CAM-del krävs det att man är kunnig i CAD-delen. Beroende på detta så använder många företag exempelvis EdgeCAM som i princip är ett rent CAM-system.</p><p>Beredningen av de tre komponenterna fungerade bra i Pro/Engineer, man kunde bearbeta komponenterna efter önskemål. Problemet var att få fram fungerande program. En fördel med att använda CAM är att man kan simulera verktygsvägar. Genom detta kan man se om verktyget krockar och det möjliggör också optimering av verktygsvägar.</p><p>Idag är det en hel del väntetid i fräsverket pga. att program inte finns färdiga. Denna väntetid skulle kunna reduceras eller till och med elimineras med hjälp av CAM.</p>