Temes de Disseny最新文献

{"title":"Crafting Soft Wearables, with and through digital technologies","authors":"Bruna Goveia da Rocha, Kristina Andersen, O. Tomico","doi":"10.46467/tdd35.2019.76-89","DOIUrl":"https://doi.org/10.46467/tdd35.2019.76-89","url":null,"abstract":"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. \u0000The 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). \u0000In 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. \u0000In 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.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73554932","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}

{"title":"Apophenia","authors":"Claire Romain","doi":"10.46467/tdd34.2018.74-79","DOIUrl":"https://doi.org/10.46467/tdd34.2018.74-79","url":null,"abstract":"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.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89504445","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}

{"title":"Perspectives on the role of materials in sustainable product design education","authors":"K. Hasling","doi":"10.46467/tdd34.2018.104-115","DOIUrl":"https://doi.org/10.46467/tdd34.2018.104-115","url":null,"abstract":"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. \u0000Based 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. \u0000The 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. \u0000To 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. \u0000The 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.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88897919","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}

{"title":"Matter-Robotic Calibration for Bioshotcrete","authors":"M. Bravo, Stephanie Chaltiel, Wilfredo Carazas","doi":"10.46467/tdd34.2018.80-91","DOIUrl":"https://doi.org/10.46467/tdd34.2018.80-91","url":null,"abstract":"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.","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":"84841269","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}

{"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}

{"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}

{"title":"When matter leads to form: Material driven design for sustainability","authors":"Mette Bak-Andersen","doi":"10.46467/tdd34.2018.10-33","DOIUrl":"https://doi.org/10.46467/tdd34.2018.10-33","url":null,"abstract":"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. \u0000Thus, 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.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"132 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74888534","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}

{"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}

{"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}

{"title":"Choreographed Soft Morphologies: exploring new ways of ideating soft architecture through material elasticity","authors":"Marina Castán, Daniel Suárez","doi":"10.46467/tdd34.2018.60-73","DOIUrl":"https://doi.org/10.46467/tdd34.2018.60-73","url":null,"abstract":"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). \u0000Through 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. \u0000The 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.","PeriodicalId":34368,"journal":{"name":"Temes de Disseny","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83489010","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}