THREE-dimensional printing, RAPID prototyping, PRODUCT design, DESIGN education, and DESIGN research
Design for Additive Manufacturing (DfAM) is a growing field of enquiry. Over the past few years, the scientific community has begun to explore this topic to provide a basis for supporting professional design practice. However, current knowledge is still largely fragmented, difficult to access and inconsistent in language and presentation. This paper seeks to collate and organise this dispersed but growing body of knowledge, using a single and coherent conceptual framework. The framework is based on a generic design process model and consists of five parts: Conceptual design, Embodiment design, Detail design and Process planning and Process selection. 81 articles on DfAM are mapped onto the framework to provide, for the first time, a clear summary of the state of the art across the whole design process. Nine directions for the future of DfAM research are then proposed. [ABSTRACT FROM AUTHOR]
Fu, Katherine, Fuge, Mark, Brown, David, Kwon, Jieun, and Kudrowitz, Barry
AI EDAM. Nov2018, Vol. 32 Issue 4, p380-389. 10p.
PRODUCT design, QUALITY of life, CREATIVE ability, ARTIFICIAL intelligence, and DESIGN education
In the product design realm, designers often use presentations to convey certain ideas about a product or a specific stage of the design process. The popular forms of presentation include verbal pitching, two-dimensional drawing, and prototyping. The clients, investigators, and other audiences rely on such presentations to evaluate an idea. Popular idea evaluation assessment tools, such as the consensual assessment technique, utilize such interactions. On the other hand, numerous pieces of literature state that the audiences are heavily influenced by the quality of presentation when evaluating the worth of the product being presented. In this study, we examine if the audience is able to discriminate between the quality of the presentation and the quality of the idea being presented. A total of 613 ideas were evaluated over a 4-year period during a specific product design class at different phases in the design process. The result shows that no matter the kind of presentation tool used, the presentation quality ratings and the idea value ratings had a very strong positive correlation despite the explicit instructions to reviewers to separate presentation quality from concept quality. Our additional analysis shows that such a pattern did not change during the different phases of the design process. [ABSTRACT FROM AUTHOR]
Throughout history, symmetry has been widely explored as a geometric strategy to conceive architectural forms and spaces. Nonetheless, its concept has changed and expanded overtime. Nowadays, it is understood as an ordering principle resulting from the application of isometric transformations that keep the original object invariant. Departing from this notion, scientists, philosophers and designers have extended it to embrace other geometric scenarios. Following this idea, exploring symmetry does not mean the generation of simple and predictable design solutions. On the contrary, it is a creative window to achieve geometric complexity based on very simple rules. In this context, this paper aims at discussing the relevance of exploring symmetry in architectural design today by means of digital technologies. It argues that the coupled use of computational design and digital fabrication processes allows designers to explore and materialize a higher level of design complexity in a structured and controlled way, especially when non-isometric transformations are involved. As the background for testing and illustrating its arguments, this paper describes a teaching experiment conducted in the Constructive Geometry course at the FAUP, following design-to-fabrication methodologies. [ABSTRACT FROM AUTHOR]
Breen, Jack, Nottrot, Robert, and Stellingwerff, Martijn
Automation in Construction. Nov2003, Vol. 12 Issue 6, p649. 5p.
BUILDINGS, DESIGNERS, and CREATIVE ability in business
Designing—giving form to new objects or environments—is largely a question of anticipating the workings of spatial and material environments, which can become ‘reality’ only by being built. Until ‘realized’, a design is essentially a figment of the designer''s imagination, although his or her ideas may be laid down and conveyed to others via specialized design media. In this way, impressions of the design may be shared with clients, colleagues or other ‘actors’ in the design process.Such products of the designer''s imaging process can be relatively abstract or begin to approach future reality. Form & Media research can be ‘revealing’, stimulating insights concerning preferences, working processes and the effects of products of the designer''s imagination. In the past 10 years, we have gained considerable practical experience with both virtual and tangible (scale) models. We have compared different techniques in conference workshops, within educational settings and in our Form & Media research laboratory. The research projects ranged from the development of practical techniques and working methods to protocol analyses of designing architects.This contribution draws comparisons between different computer-aided modelling techniques, with an indication of their perspectives, making use of the experience gained from various experiments in an educational context, and will highlight the potentials for different combinations of digital and physical modelling techniques. [Copyright &y& Elsevier]