Pub Date : 2019-07-01DOI: 10.46467/tdd35.2019.76-89
Bruna Goveia da Rocha, Kristina Andersen, O. Tomico
As wearables and e-textiles enter into another hype cycle (Tomico et al. 2017), we find ourselves with the opportunity to reflect on the work done and the work remaining. In doing this, we hope to cast a light on the moment where we are now, the tools available to us, the materials in development, and, always centrally, the human body in its complexity and unchanging biological functionality. The field of wearable soft things or soft wearables (Tomico and Wilde 2016) has developed from a niche concern to an increasingly well-documented area of research. As high performing materials have become more widely available and our systems of making and production more sophisticated, we see wearable electronics projects emerge not only from the arts and fields of technology, but also from fashion, design, and engineering. With the so-called 4th industrial revolution promising a much more flexible and automated factory work floor, we may soon see increasing levels of simple traditional electronics incorporated into soft things in our everyday lives (Andersen and Berzowska 2006). In the Wearable Senses lab (Tomico et al. 2014), however, we believe that the future of soft wearables is now expanding to include programing not just electronics and interactive behavior but programming the whole garment in terms of its material, its form, its manufacture, its level of personalization, associated services, and its direct relation to both its user and the social, cultural, and economic structures around it. In the following, we will provide an overview of projects created in or were done in collaboration with the Wearable Senses lab over the last seven years. We know these projects intimately as we have seen them built, tested, worn, analyzed, and repaired. By looking through these projects, we see the levels of complexity in the manner in which they each relate to the data in and around their own production and designs. The three levels are the product level, the system level, and the service level.
随着可穿戴设备和电子纺织品进入另一个炒作周期(Tomico et al. 2017)，我们发现自己有机会反思已经完成的工作和剩下的工作。在这样做的过程中，我们希望照亮我们现在所处的时刻，我们可用的工具，正在开发的材料，以及始终集中在人体的复杂性和不变的生物功能。可穿戴软物或软可穿戴设备领域(Tomico和Wilde 2016)已经从一个小众关注发展成为一个越来越有充分记录的研究领域。随着高性能材料越来越普及，我们的制造和生产系统越来越复杂，我们看到可穿戴电子产品项目不仅出现在艺术和技术领域，而且出现在时尚、设计和工程领域。随着所谓的第四次工业革命，工厂的工作车间将变得更加灵活和自动化，我们可能很快就会看到越来越多的简单传统电子产品融入到我们日常生活中的软物品中(Andersen and Berzowska 2006)。然而，在可穿戴感官实验室(Tomico et al. 2014)，我们相信软可穿戴设备的未来正在扩展，不仅包括电子设备和交互行为的编程，还包括从材料、形式、制造、个性化水平、相关服务以及与用户和周围社会、文化和经济结构的直接关系等方面对整个服装进行编程。在下面，我们将提供在过去七年中与可穿戴感官实验室合作创建或完成的项目概述。我们熟悉这些项目，因为我们见证了它们的建造、测试、磨损、分析和修复。通过查看这些项目，我们可以看到它们与自己的生产和设计中的数据相关的方式的复杂程度。这三个层次分别是产品层、系统层和服务层。
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Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.74-79
Claire Romain
The Apophenia project raises curiosity and challenges the way we perceive certain objects that form part of our daily life. To do so, perception is altered through several experimental processes. The idea is to decontextualize the materials, creating different emotions and reconsidering their value, and to guess the origin of the materials, textures, forms and colours we thought we have always known. Ultimately, the purpose of the project is to stimulate people’s imagination, inviting them to examine their relationship with daily, intimate objects, thus encouraging reflection. The outcomes will attest to the designer’s intention to question the known applications of the materials, crafts and techniques, thus finding new ways of improving our daily surroundings.
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Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.104-115
K. Hasling
This paper discusses present and future roles of materials in sustainable design with a focus on design education. With a multifaceted understanding of materials, from an educational perspective, the challenge is to ensure that students are able to navigate within the materials in the design field and to reflect on its potentials and limitations in the process. Moreover, when further targeting materials within a design for sustainability agenda that is complex in itself, it has been observed that students find it overwhelming. Accordingly, the paper unfolds ways of understanding the role of materials in sustainable design education as a way to demonstrate the positions they can take as future designers. Based on a study conducted during a materials course in a sustainable design engineering program, research was done on how students perceive the role of materials in sustainable design. This was done by extracting statements from students’ final assessments that were framed as essays on the topic. The statements, clustered into categories, illustrated the diversity of approaches students take. For teaching, this underscores the necessity to not only apply a broad perspective in the field of materials in sustainable design, but also to emphasize the large degree of entanglement and interdependency between perspectives. To further discuss this in an educational context and to facilitate developing teaching within this topic, a space unfolding two frameworks, one that considers key competences in working with sustainability and another that discusses the increasing number of approaches embracing design for sustainability, was introduced as a means to describe the complexity in the field. The space was first used to position categories of students’ approaches from the empirical study, then expanded to propose four future roles of materials: as environmental impactors, as re-establishing connections, as moderators for social innovation and as media for critical and speculative design.
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Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.80-91
M. Bravo, Stephanie Chaltiel, Wilfredo Carazas
Construction techniques associated with traditional raw earth architecture are characterised by laborious manual tasks in which each clay mix is deposited in layers over a light formwork, such as with the wattle and daub technique. More sustainable solutions also exist for the use of concrete, including shotcrete or sprayed concrete over light formwork composed of fabrics, inflatables or metal meshes. This research explores robotic techniques for the digital fabrication of monolithic earthen shells, with the objective of reformulating the use of clay as a sustainable material to reduce laborious tasks, minimize the use of formwork, and to implement robotic fabrication processes. This unique technique is called “bioshotcrete” and is characterised by an innovative fabrication process of sequential robotic spraying deposition of different natural raw clay mixes over a temporary light formwork. Two case studies are described and analysed featuring two distinctive techniques: clay mixes sprayed with a robotic arm and with a drone. Details are highlighted, and key considerations are identified, in terms of subtle adjustments for the material formulation and application sequences, robotic tooling strategies, and customised robotic actions. This series of experiments was formulated as an ongoing experiment to address challenges related to limitations of reaching distances and lightness of machines to bring on site, and to explore newfound possibilities for aerial deposition techniques using drones. Variations related to Tool/Matter performance (spray velocity and surface adhesion) were explored at each clay mixture iteration. Additional improvements were identified by recent physical tests, such as using the drafts created by the drone helixes to help the drying process at each layer, and additional conclusions establish how this technique is not only shaping new design and digital fabrication processes but envisioning possible future applications and offering new scenarios for sustainable large-scale earthen envelopes.
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En el primer número de Temes de Disseny, l’any 1986, amb una visió de futur pionera, Jordi Pericot mencionava les següents paraules: “Temes de Disseny respon a la necessitat d'agrupar iniciatives en matèria d'investigació que ens permetin formular noves propostes pel que fa a les expectatives de futur. En uns moments en què la discussió sobre el disseny no només no sembla esgotada, sinó que, al contrari, sembla que gaudeixi cada vegada més d'una millor acceptació tant en el camp de la investigació com en el camp de la pràctica, aquesta nova publicació es proposa exposar les qüestions capdavanteres que suscita la pràctica actual del disseny des d'una perspectiva pragmàtica”. Temes de Disseny va néixer com a canal de comunicació i reflexió entre estudiants, professionals i investigadors al voltant de la cultura del disseny. Després de 33 edicions, podem afirmar que es tracta d’una revista consolidada i de renom entre els amants del disseny. Avui, amb el número 34 de Temes de Disseny, iniciem una nova etapa que pretén tant abordar reptes socials, ambientals i econòmics actuals del disseny i l’enginyeria, com garantir el rigor científic de les nostres publicacions. Entre els objectius i l’abast de la revista destaquen incloure la recerca mitjançant disseny pel seu gran potencial com a agent integrador entre disciplines i reforçar el disseny com a disciplina d’investigació que demana assolir el mateix valor que qualsevol altra disciplina per esdevenir un àmbit i una àrea de coneixement. Per tal de satisfer els criteris de qualsevol revista científica, s’ha dotat Temes de Disseny d’una estructura organitzativa que inclou editors en cap, un gestor de la revista (Managing Editor), un editor convidat per a cada número anual i un consell editorial (Editorial Board) format per una selecció d’experts locals i internacionals de diferents disciplines. El paper d’aquest consell editorial internacional és principalment detectar temàtiques i causar impacte des d’una perspectiva global. En l’esperit d’altres revistes que s’apropen més a les necessitats de la recerca en disseny, les variants tipològiques de les publicacions de Temes de Disseny contemplen articles originals, estat de la qüestió, casos d’estudi i càpsules il·lustrades. Prèviament a la seva publicació, cada una passa per un procés de revisió (blind peer review) de dos investigadors internacionals reconeguts en l’àmbit de recerca concret de cada article. També volem fer una menció especial a la reconfiguració gràfica de la revista, que combina els trets característics que normalment associem a una revista científica amb els d’una publicació de disseny de caire més visual. Aquesta nova senya d’identitat posiciona i distingeix Temes de Disseny com una proposta innovadora per a la recerca científica en l’àmbit del disseny. En aquesta nova etapa, sota el guiatge del grup de recerca emergent ELISAVA Research, Temes de Disseny es transforma en una revista científica d’accés obert que no només pretén seguir s
{"title":"Introducció","authors":"Oscar Tomico, Laura Cléries","doi":"10.46467/tdd34.2018.6-7","DOIUrl":"https://doi.org/10.46467/tdd34.2018.6-7","url":null,"abstract":"En el primer número de Temes de Disseny, l’any 1986, amb una visió de futur pionera, Jordi Pericot mencionava les següents paraules: “Temes de Disseny respon a la necessitat d'agrupar iniciatives en matèria d'investigació que ens permetin formular noves propostes pel que fa a les expectatives de futur. En uns moments en què la discussió sobre el disseny no només no sembla esgotada, sinó que, al contrari, sembla que gaudeixi cada vegada més d'una millor acceptació tant en el camp de la investigació com en el camp de la pràctica, aquesta nova publicació es proposa exposar les qüestions capdavanteres que suscita la pràctica actual del disseny des d'una perspectiva pragmàtica”. Temes de Disseny va néixer com a canal de comunicació i reflexió entre estudiants, professionals i investigadors al voltant de la cultura del disseny. Després de 33 edicions, podem afirmar que es tracta d’una revista consolidada i de renom entre els amants del disseny. Avui, amb el número 34 de Temes de Disseny, iniciem una nova etapa que pretén tant abordar reptes socials, ambientals i econòmics actuals del disseny i l’enginyeria, com garantir el rigor científic de les nostres publicacions. Entre els objectius i l’abast de la revista destaquen incloure la recerca mitjançant disseny pel seu gran potencial com a agent integrador entre disciplines i reforçar el disseny com a disciplina d’investigació que demana assolir el mateix valor que qualsevol altra disciplina per esdevenir un àmbit i una àrea de coneixement. Per tal de satisfer els criteris de qualsevol revista científica, s’ha dotat Temes de Disseny d’una estructura organitzativa que inclou editors en cap, un gestor de la revista (Managing Editor), un editor convidat per a cada número anual i un consell editorial (Editorial Board) format per una selecció d’experts locals i internacionals de diferents disciplines. El paper d’aquest consell editorial internacional és principalment detectar temàtiques i causar impacte des d’una perspectiva global. En l’esperit d’altres revistes que s’apropen més a les necessitats de la recerca en disseny, les variants tipològiques de les publicacions de Temes de Disseny contemplen articles originals, estat de la qüestió, casos d’estudi i càpsules il·lustrades. Prèviament a la seva publicació, cada una passa per un procés de revisió (blind peer review) de dos investigadors internacionals reconeguts en l’àmbit de recerca concret de cada article. També volem fer una menció especial a la reconfiguració gràfica de la revista, que combina els trets característics que normalment associem a una revista científica amb els d’una publicació de disseny de caire més visual. Aquesta nova senya d’identitat posiciona i distingeix Temes de Disseny com una proposta innovadora per a la recerca científica en l’àmbit del disseny. En aquesta nova etapa, sota el guiatge del grup de recerca emergent ELISAVA Research, Temes de Disseny es transforma en una revista científica d’accés obert que no només pretén seguir s","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78105235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.48-59
Marta González-Colominas
Materials can be considered the interface of a product as they mediate between user, environment and object (Karana, Pedgley and Rognoli 2014). They characterize the physical world and generate a continuous flow of sensory interactions. In this age of mass production, engineers and designers are in a unique position to use the opportunities presented by materials development and apply them in creative ways to trigger meaningful user experiences. Dynamism is considered a very promising material experience in terms of creating meaningful interactions, and, consequently, user attachment to a product (Rognoli, Ferrara and Arquilla 2016). Dynamic products are those that show sensory features that change over time in a proactive and reversible way, activating one or more user’s sensory modalities and aiming at enhancing the user’s experience (Colombo 2016). Smart materials could be considered the most suitable candidates to provide dynamic experiences. They react to external stimuli, such as pressure, temperature or the electric field, changing properties such as shape or colour. They are capable of both sensing and responding to the environment, as well as exerting active control of their responses (Addington and Schodek 2004). Compared to understanding traditional materials, smart materials involve additional technical complexity. The aim of this paper is to share how the Material Driven Design (MDD) method (Karana et al. 2015) has been applied and to analyse a set of 10 projects, grouped into 5 case studies, developed by students from ELISAVA over the last 3 years to improve ways to implement the method. We have analysed the case studies in terms of the changes observed in the sensory features, using a sensory map proposed by Sara Colombo (Colombo 2016). By comparing different projects, the paper shows how the sensorial aspects are invoked by different smart material properties. The 5 case studies have integrated the smart materials into functional prototypes for different application sectors, such as healthcare, energy harvesting or fashion. We have found that only three sensory modalities (sound, sight and touch) were involved in the user experience, with sight being the most predominant sensory perception. This study aims to serve as a springboard for other scholars interested in designing dynamic products with smart materials.
材料可以被认为是产品的界面，因为它们在用户、环境和物体之间起着中介作用(Karana, Pedgley和Rognoli 2014)。它们描绘了物理世界的特征，并产生了连续的感官互动流。在这个大规模生产的时代，工程师和设计师处于独特的地位，可以利用材料开发带来的机会，并以创造性的方式应用它们，以触发有意义的用户体验。在创造有意义的互动方面，动态被认为是一种非常有前途的物质体验，因此，用户对产品的依恋(Rognoli, Ferrara和Arquilla 2016)。动态产品是指那些表现出随时间以主动和可逆的方式变化的感官特征，激活一个或多个用户的感官模式，旨在增强用户体验的产品(Colombo 2016)。智能材料可以被认为是提供动态体验的最合适的候选者。它们对外界刺激(如压力、温度或电场)做出反应，改变形状或颜色等特性。它们既能感知环境，又能对环境做出反应，并能主动控制自己的反应(Addington and Schodek 2004)。与理解传统材料相比，智能材料涉及额外的技术复杂性。本文的目的是分享如何应用材料驱动设计(MDD)方法(Karana et al. 2015)，并分析由ELISAVA学生在过去3年中开发的一组10个项目，分为5个案例研究，以改进实施该方法的方法。我们使用Sara Colombo (Colombo 2016)提出的感官地图，根据观察到的感官特征变化分析了案例研究。通过比较不同的项目，本文展示了不同的智能材料特性如何调用感官方面。这5个案例研究将智能材料集成到不同应用领域的功能原型中，如医疗保健、能源收集或时尚。我们发现只有三种感官模式(声音、视觉和触觉)参与用户体验，视觉是最主要的感官知觉。本研究旨在为其他有兴趣设计智能材料动态产品的学者提供一个跳板。
{"title":"Dynamic experiences generated by sensory features through smart material driven design","authors":"Marta González-Colominas","doi":"10.46467/tdd34.2018.48-59","DOIUrl":"https://doi.org/10.46467/tdd34.2018.48-59","url":null,"abstract":"Materials can be considered the interface of a product as they mediate between user, environment and object (Karana, Pedgley and Rognoli 2014). They characterize the physical world and generate a continuous flow of sensory interactions. In this age of mass production, engineers and designers are in a unique position to use the opportunities presented by materials development and apply them in creative ways to trigger meaningful user experiences. \u0000Dynamism is considered a very promising material experience in terms of creating meaningful interactions, and, consequently, user attachment to a product (Rognoli, Ferrara and Arquilla 2016). Dynamic products are those that show sensory features that change over time in a proactive and reversible way, activating one or more user’s sensory modalities and aiming at enhancing the user’s experience (Colombo 2016). \u0000Smart materials could be considered the most suitable candidates to provide dynamic experiences. They react to external stimuli, such as pressure, temperature or the electric field, changing properties such as shape or colour. They are capable of both sensing and responding to the environment, as well as exerting active control of their responses (Addington and Schodek 2004). Compared to understanding traditional materials, smart materials involve additional technical complexity. \u0000The aim of this paper is to share how the Material Driven Design (MDD) method (Karana et al. 2015) has been applied and to analyse a set of 10 projects, grouped into 5 case studies, developed by students from ELISAVA over the last 3 years to improve ways to implement the method. We have analysed the case studies in terms of the changes observed in the sensory features, using a sensory map proposed by Sara Colombo (Colombo 2016). By comparing different projects, the paper shows how the sensorial aspects are invoked by different smart material properties. \u0000The 5 case studies have integrated the smart materials into functional prototypes for different application sectors, such as healthcare, energy harvesting or fashion. We have found that only three sensory modalities (sound, sight and touch) were involved in the user experience, with sight being the most predominant sensory perception. \u0000This study aims to serve as a springboard for other scholars interested in designing dynamic products with smart materials.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"59 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80277535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.10-33
Mette Bak-Andersen
This article presents the argument that a conventional, form-focused design process causes a lack of knowledge regarding materials and, as a result, creates a knowledge barrier between the designer and the product – a barrier that acts not only against the implementation of so-called advanced materials and new technologies, but also ends up as a major obstacle to the creation of sustainable industrially produced products. A new type of design process is emerging, in which the material is present from the outset and can be seen as the driver of the process. This material driven design process breaks down the aforementioned knowledge barrier and has shown potential for being a design process that enables design for sustainability. However, simply starting with the material does not ensure a sustainable outcome by default. Thus, the overall aim of the research behind this paper is to define the specifics of material driven design for sustainability with the objective of testing to which degree it is possible to design a process that guarantees results compatible with a circular economy. The research is based on constructive design research with a predominant Lab approach and elements from a field in which a new reality is imagined and built to test whether it works. This was done by running a series of five design trials in which the material driven design process was continuously tested, evaluated and adjusted through reflection-in-action. In total, the process was tested one hundred eighteen times by students with the involvement of expert designers and specialists from four different companies and institutions. This article presents the quandary in the relationship between form and matter in established contemporary design processes and specifies the cross-disciplinary field in which material driven design for sustainability is placed. The methodology and the definition of a ‘design trial’ as a method is described, followed by the progress of the process through the five trials. Finally, the material driven design process for sustainability is outlined step by step, including relevant approaches for the experimentation. This article presents a design process that delivers products which are compatible with a circular economy at the end of their life. The process does not necessarily have to be used as a ‘standalone’ design process but can be combined with others and has reached a point where it is sufficiently developed to be tested in an industrial setting.
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Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.92-103
S. Pizzocaro
Following the teaching experience developed for more than two decades within the design curricula of the Scuola del Design del Politecnico di Milano, between 2015 and 2016 a small group of scholars [1] – sharing the common experience of teaching design fundamentals for university novices attending first year design courses – committed to a reflection to refine certain pedagogical elements to foster a coherent, rich, and grounded basis for local design studio courses intended for design newcomers. Addressing needs frequently expressed by novice students exposed to design fundamentals at the very beginning of their university curriculum, the group study interests were meant to condense and coagulate a disciplinary, although multifaceted, recognition of the factors grounding a dense sense of design that could be articulated on the terrain of the tangible substance of things and of the relevance of the human dimension [2] of the relation with matter. To better inspire and guide design learners to fully understand (and exploit) the meanings and opportunities of materiality – as well as to cope with the counterpart claims of immateriality – it was assumed that approaches to product design for novices more than ever advocate an integrated approach to the study of physical attributes of materials entwined with the meaning of the profound humane experience with materials themselves. This contribution focuses on some commentaries highlighted during the collective scholarly reflection.
{"title":"Matter still matters. Design education for a material culture in the immaterial age","authors":"S. Pizzocaro","doi":"10.46467/tdd34.2018.92-103","DOIUrl":"https://doi.org/10.46467/tdd34.2018.92-103","url":null,"abstract":"Following the teaching experience developed for more than two decades within the design curricula of the Scuola del Design del Politecnico di Milano, between 2015 and 2016 a small group of scholars [1] – sharing the common experience of teaching design fundamentals for university novices attending first year design courses – committed to a reflection to refine certain pedagogical elements to foster a coherent, rich, and grounded basis for local design studio courses intended for design newcomers. Addressing needs frequently expressed by novice students exposed to design fundamentals at the very beginning of their university curriculum, the group study interests were meant to condense and coagulate a disciplinary, although multifaceted, recognition of the factors grounding a dense sense of design that could be articulated on the terrain of the tangible substance of things and of the relevance of the human dimension [2] of the relation with matter. To better inspire and guide design learners to fully understand (and exploit) the meanings and opportunities of materiality – as well as to cope with the counterpart claims of immateriality – it was assumed that approaches to product design for novices more than ever advocate an integrated approach to the study of physical attributes of materials entwined with the meaning of the profound humane experience with materials themselves. This contribution focuses on some commentaries highlighted during the collective scholarly reflection.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80006309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.44-47
Jeanne Vicerial
Skin has become the main fabric of the 21st century, enabling the body itself to become the new customised apparel. Over the last three years of my studies, my research was based not only on style considerations, but also on moving away from contemporary industrial constraints and going towards a new clothing production method. My research was focused on developing an artisanal process that makes clothing comparable to 3D printing. I drew on my research of human anatomy and the body to rethink the construction of clothing. My work is an analogy between body and clothing. My designs are based on human muscular weaves. All my patterns are extracted from human anatomy to create a new, wearable skin. This method of construction allows people to wear their own anatomies, exposing the internal construction of their bodies. Each piece is entirely made of a single recycled thread. This experimental method is hand-crafted, without the use of a sewing machine. Because this process is handmade, the goal is to develop a machine that is capable of sewing customised apparel based on a 3D body scan. While doing my PhD in fashion textiles, I have collaborated alongside engineers to produce this new technology. This method both eliminates textile waste and proposes a different form of industrial customised clothing production.
{"title":"Print the body. Clothes printing project","authors":"Jeanne Vicerial","doi":"10.46467/tdd34.2018.44-47","DOIUrl":"https://doi.org/10.46467/tdd34.2018.44-47","url":null,"abstract":"Skin has become the main fabric of the 21st century, enabling the body itself to become the new customised apparel.\u2028\u2028Over the last three years of my studies, my research was based not only on style considerations, but also on moving away from contemporary industrial constraints and going towards a new clothing production method. My research was focused on developing an artisanal process that makes clothing comparable to 3D printing. \u0000I drew on my research of human anatomy and the body to rethink the construction of clothing. My work is an analogy between body and clothing. My designs are based on human muscular weaves. All my patterns are extracted from human anatomy to create a new, wearable skin. This method of construction allows people to wear their own anatomies, exposing the internal construction of their bodies. Each piece is entirely made of a single recycled thread. This experimental method is hand-crafted, without the use of a sewing machine. Because this process is handmade, the goal is to develop a machine that is capable of sewing customised apparel based on a 3D body scan. While doing my PhD in fashion textiles, I have collaborated alongside engineers to produce this new technology. This method both eliminates textile waste and proposes a different form of industrial customised clothing production.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76728477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-26DOI: 10.46467/tdd34.2018.60-73
Marina Castán, Daniel Suárez
This research aims to contribute to the current field of architectural design by offering evidence of how a collaborative and embodied approach to soft architecture can inform a new physical-digital design process. Current design technologies (e.g. sensors, 3D scanners, procedural modelling software), together with the use of the body as a source for designing a space, offer new methods and tools for designing architecture (Hirschberg, Sayegh, Frühwirth and Zedlacher 2006). However, the potential for experiencing and digitally capturing a soft and elastic material interaction through the body as a dynamic system capable of informing soft architectural design has not yet been widely explored. By using the felt experience as a tool for design, we allow the material to express its qualities when activated by the body, revealing its form instead of it being imposed from outside (DeLanda 2015). Taking an embodied approach used in interaction design and fashion design (Loke and Robertson 2011; Wilde, Vallgårda, and Tomico 2017), this research proposes a hybrid method to explore a textile-body ontology as an entity that has the potential to design a space, along with the use of motion capture technology in an effort to re-connect the experiential (the body) with the architecture (the space). Through a custom-made interface, made of soft and hard materials, we explored the dynamic and spatial qualities of material elasticity through choreographed body movements. The interface acts as a deformable space that can be shaped by the body, producing a collection of form expressions, ranging from subtle surface modifications to more prominent deformations. Such form-giving processes were captured in real time by three Kinect sensors, offering a distinct digital raw material that can be conveniently manipulated and translated into architectural simulations, validating the method as a new way to inform soft architectural design processes. The findings showed that: 1) the direct experience of collaboratively interacting with a soft and elastic interface allows the identification of the dynamic qualities of the material in relation to oneself and others, facilitating an immediate spatial meaning-making process; 2) exploring the design of a soft and elastic space through choreography and motion capture technology contributes to the creation of augmented relational scales across physical and digital realms, proposing a new hybrid design method; 3) the soft and elastic interface becomes a new entity when shaped by the body (textile-body ontology) giving the opportunity for a variety of formal expressions and offering a source of digital raw material for architectural design.
本研究旨在为当前的建筑设计领域提供证据，证明软建筑的协作和具体化方法如何为新的物理数字设计过程提供信息。当前的设计技术(如传感器、3D扫描仪、程序化建模软件)，以及使用身体作为设计空间的来源，为设计建筑提供了新的方法和工具(Hirschberg, Sayegh, fr hwirth和Zedlacher 2006)。然而，通过身体体验和数字捕捉柔软和弹性材料相互作用的潜力，作为一个能够为软建筑设计提供信息的动态系统，尚未得到广泛的探索。通过使用毛毡体验作为设计工具，我们允许材料在被身体激活时表达其品质，揭示其形式，而不是从外部强加(DeLanda 2015)。采用在交互设计和时尚设计中使用的具身方法(Loke and Robertson 2011;王尔德(Wilde, vallg rda, and Tomico, 2017)，本研究提出了一种混合方法，将织物本体作为一个具有设计空间潜力的实体来探索，同时使用动作捕捉技术来重新连接体验(身体)和建筑(空间)。通过定制的界面，由软硬材料制成，我们通过精心设计的身体动作来探索材料弹性的动态和空间品质。界面作为一个可变形的空间，可以被身体塑造，产生一系列的形式表达，从微妙的表面修改到更突出的变形。三个Kinect传感器实时捕捉到这种形式的过程，提供了一种独特的数字原材料，可以方便地操作并转化为建筑模拟，验证了这种方法作为一种新的方式来通知软建筑设计过程。研究结果表明:1)与软弹性界面协同互动的直接体验允许识别与自己和他人相关的材料的动态质量，促进即时的空间意义制造过程;2)通过舞蹈和动作捕捉技术探索软弹性空间的设计，有助于创建跨越物理和数字领域的增强关系尺度，提出了一种新的混合设计方法;3)柔软弹性的界面在被身体(织物-身体本体)塑造后成为一个新的实体，为各种形式表达提供了机会，为建筑设计提供了数字原材料的来源。
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