Additive Manufacturing

Design, Methods, and Processes

Steinar Westhrin Killi

• Publisher: Jenny Stanford Publishing
• Year: 2017
• Print ISBN: 9789814774161
• eBook ISBN: 9781351767484
• Topic: Technology & Engineering
• Subtopic: Biology
• Index: Technology & Engineering

Additive manufacturing has matured from rapid prototyping through the now popular and "maker"-oriented 3D printing, recently commercialized and marketed. The terms describing this technology have changed over time, from "rapid prototyping" to "rapid manufacturing" to "additive manufacturing," which reflects largely a focus on technology.

This book discusses the uptake, use, and impact of the additive manufacturing and digital fabrication technology. It augments technical and business-oriented trends with those in product design and design studies. It includes a mix of disciplinary and transdisciplinary trends and is rich in case and design material. The chapters cover a range of design-centered views on additive manufacturing that are rarely addressed in the main conferences and publications, which are still mostly, and importantly, concerned with tools, technologies, and technical development. The chapters also reflect dialogues about transdisciplinarity and the inclusion of domains such as business and aesthetics, narrative, and technology critique. This is a great textbook for graduate students of design, engineering, computer science, marketing, and technology and also for those who are not students but are curious about and interested in what 3D printing really can be used for in the near future.

Contents

Preface

1. Scope of the Book

Steinar Killi

1.1 The Magic of 3D Printing

1.2 Legal Issues

1.3 The Power of Rhetoric

1.4 Maturing of Technology

1.5 “We Are All Designers”

1.6 From Rapid Prototyping to 3D Printing

1.7 The Chapters of the Book

2. A Design Sociotechnical Making of 3D Printing

William Lavatelli Kempton

2.1 Introduction

2.1.1 Disciplinary Boundaries and Claims to 3D Printing

2.1.2 Introducing a Sociotechnical Perspective to 3D Printing

2.1.2.1 Sociotechnical development from a design perspective

2.1.3 Outline

2.2 Socially Constructed Technologies and 3D Printing

2.2.1 The Relevance of Social Groups

2.2.2 From Video Production to Material Production

2.2.3 Technologies for Additive Making

2.2.4 Critical Theories and Studies of Technology

2.2.5 Unpacking the Views of 3D Printing

2.2.6 Socially Constructed Perspectives of Additive Making

2.2.7 Relevant Social Groups as Part of a Technological Frame

2.3 The 3D Printer Inventors

2.3.1 The First Wave of 3D Printer Inventors

2.3.2 The Second Wave of 3D Printer Inventors

2.4 Business Perspective of 3D Printing

2.4.1 Yet Another Industrial Revolution

2.4.2 Toward Economies-of-One

2.5 Designers’ Perspectives of 3D Printing Futures

2.5.1 Design and Additive Manufacturing

2.5.2 Designing with Technology

2.5.3 An Undetermined View of Design

2.6 A Layperson’s Perspective of 3D Printing Futures

2.6.1 A Layperson as a Maker

2.6.2 Making in a Learning Environment

2.7 Discussions and Conclusions

2.7.1 Summarizing the Perspectives

2.7.2 3D Printing Futures

2.7.3 Constructing a View of Sociotechnical Development

Appendix: Technologies for 3D Printing

3. AICE: An Approach to Designing for Additive Manufacturing

Steinar Killi

3.1 AICE: An Operational Model

3.1.1 Adapt

3.1.1.1 Design Thinking

3.1.1.2 Multitypes

3.1.1.3 Models Describing a Typical Design Process

3.1.1.4 Methods Used During a Design Process

3.1.2 Integrate

3.1.3 Compensate

3.1.3.1 Spare Parts

3.1.3.2 Production Aids

3.1.3.3 Enhancing the Design

3.1.4 Elongate

3.2 Using the AICE Model and How the Drinking Container Came Out

4. The Impact of Making: Investigating the Role of the 3D Printer in Design Prototyping

William Lavatelli Kempton

4.1 Introduction

4.1.1 Prototyping as Design Development

4.1.2 Making as a Critical Practice

4.1.3 Outline

4.1.4 Methods

4.2 Background

4.2.1 From Rapid Prototyping to Additive Manufacturing

4.2.2 Ubiquity and Stratification of 3D Printing

4.2.3 Contexts for Additive Making

4.2.4 Hybrid Artifacts

4.2.5 Making Representations as a Way of Designing

4.3 Prototypes and Design Representations

4.4 The Changing Character of Design

4.4.1 New Product Development

4.5 Situating AM Prototypes within Design Practice

4.5.1 Developmental Prototypes

4.5.2 Initial Concept and Maturation of the SunBell Lamp

4.6 Design Representations and Multitypes in Product Design

4.6.1 Multitypes in Rapid Prototyping

4.7 Multityping in Additive Manufacturing

4.7.1 Popular yet Professional?

4.7.2 Integrating AM in Product Design

4.7.3 Toward the Releasetype

4.8 Conclusions

5. Visual 3D Form in the Context of Additive Manufacturing

Nina Bjørnstad and Andrew Morrison

5.1 Introduction

5.2 Aesthetics

5.3 Design, Action, and Profession

5.4 Ideals and Origin

5.5 Relevance of the Historic Model for Tomorrow’s Form Givers

5.6 The Evolution of Form Model

5.6.1 Why Clay?

5.6.2 A Close-Up on Form

5.6.3 Distorted Forms

5.6.4 Intersectional Forms

5.7 Familiarity

6. Potential of Additive-Manufactured Products in Building Brands

Monika Hestad and Viktor Hiort af Ornäs

6.1 Product Role in Brand Building

6.1.1 Role of Design Elements in Building a Brand

6.1.2 Brand Story and Product Story

6.2 Additive Manufacturing as One of Many Other Drivers That Affect a Product’s Role in Building Brands

6.2.1 Actual and Intended User Experience

6.2.2 Internal Drivers

6.2.3 External Drivers

6.3 How Additive Manufacturing Is Used in Building a Brand

6.3.1 Mykita

6.3.1.1 How AM is used in the Products

6.3.1.2 Design Elements

6.3.1.3 User Experience

6.3.1.4 Drivers

6.3.1.5 The Mykita Brand Story

6.3.2 pq Eyewear by Ron Arad

6.3.2.1 How AM is used in the Products and in Branding

6.3.2.2 Design Elements

6.3.2.3 User Experience

6.3.2.4 Drivers

6.3.2.5 The pq Eyewear Brand Story

6.4 Potential of Additive-Manufactured Products in Building a Brand

6.4.1 How They Used AM in Building a Brand

6.4.2 Opportunities in New Production Techniques

6.4.3 Form Freedom and Brand Development

6.4.4 Potential of Disruptive Stories

7. A Tale of an Axe, a Spade, and a Walnut: Investigating Additive Manufacturing and Design Futures

Andrew Morrison

7.1 Prelude

7.2 Queries

7.2.1 On Discursive Design

7.3 “Problems”

7.3.1 Design, Narrative, Futures

7.4 Essayistic

7.4.1 Narrative

7.5 Promotion

7.5.1 Intersections

7.6 Foresight

7.6.1 Scenarios and Futures

7.6.2 The Fictive and Nondeterminist Futures

7.7 Reflections

7.7.1 Toward the Additive in Discursive Design

7.7.2 Design Baroque Futures

7.8 Generative Visions

Index

Preface

Just before the year’s end in 1997, the Oslo School of Architecture and Design (AHO) bought its first rapid prototyping machine. This was an early adaptation to an emerging technology, and we saw its potential for experimentation and pedagogy relating to product design. The machine used was Sinterstation 2000, a powder-based system that, up to this date, had been used by Chrysler. Over the next 20 years, AHO purchased several new machines, covering almost all available technologies relating to additive manufacturing, as this field has matured from rapid prototyping through the more recent commercialization and marketing of the now popular and “maker”- oriented 3D printing.

The terms describing this technology have changed over the period I have been exploring it, and this reflects largely a focus on technology. The terms have shifted somewhat from “rapid prototyping” to “rapid manufacturing” to “additive manufacturing.” When the more tabloid term “3D printing” was used is hard to determine, but it seems like the term at least was mentioned already in 1989 by Terry Wohler. In 2009 these technologies were labeled with an international standard (ISO/ASTM 52900) and revised in 2015 (among the terms described is “3D printing”):

2.3.1
3D printing
fabrication of objects through the deposition of a material using a print head, nozzle, or another printer technology
Note 1 to entry: Term often used in a non-technicai context synonymously with additive manufacturing (2.1.2); until present times this term has in particular been associated with machines that are low end in price and/ or overall capability.

ISO/ASTM 52900:2015(en)

As seen in this paragraph, 3D printing is narrowed down to low- cost desktop printers. However, the industry, the Gartner group, and the media use the term “3D printing” to cover all technologies that produce 3D artifacts from a digital file. A wider term that is currently gaining traction is “digital fabrication.”

That said, this book is not about the technology; it’s about the uptake, use, and impact of the technology, and this spans more than two decades. Our interest is in design and its relation to these emergent technologies, not primarily as manufacturing but product design. As my colleague Andrew Morrison, my doctoral supervisor and an author of this collection, recently pointed out, we are actually in the business of additive designing in the context of digital fabrication. He argues that this includes interaction, syste...

Table of contents

• Cover
• Halftitle
• Title
• Copyright
• Table of Contents