A Case Study of Material Selection Method Based on Engineering and Material Perception Applied to the Smartphone Rear Panel

Smartphones were launched in the market as a product in the early 2000’s. Today, less than 20 years later, the smartphone has become one of the most frequently used devices for human contact. The market is saturated, and competition between products has intensified, and it is not difficult to find products that are culled. To be selected by consumers, product differentiation must be outstanding, which is not easy when the basic technology is standardized. Currently, competition in the fields of cameras and displays is intensifying, but it is expected that advanced technology will become commonplace in the near future. There are several ways to increase the competitiveness and differentiation of a product, for example, by considering the technical aspects, or making the personality of the product unique. Consumers communicate with products through materials. The process and selection of materials suitable for the design requirements of a product is a very important component in competitive product manufacturing. The final material selection is performed by dividing the design requirements into function, constraints, personality, objectives, and supporting information aspects, and the selecting materials suitable for each stage. By capturing the overall concept as a function, the processes of selecting materials that meet the constraints, determining the type of material that matches the personality, and using the objectives to obtain the top-ranked materials, the final material suitable for all conditions can be selected by referring to supporting information from the top-ranked materials.

ReForm - Growing Architecture

<p>Over the past decade robotic fabrication in architecture has succeeded where early digital architecture has fallen short: in the synthesis of the immaterial logic of computers and the material reality of architecture. In light of this new/profound shift architectural theorist and historian of the ‘Digital Turn’ - Mario Carpo argues: ‘We no longer are witnessing the delayed modernization of an industry, but rather an historic departure: the modern division between intellectual work and manual production, between design and realization and manual production. Through this we see traditional modes of design becoming obsolete’. The increasing power of digital design software, the widespread availability of digital fabrication tools, and the growing complexity of our built environment, are in stark contrast to the inefficient techniques that currently hinder today’s construction industry. Furthermore, the utilisation of concepts from nature including biomemesis, biophilia, swarm tectonics, as well as cross-disciplinary influences - from the film industry to social sciences and artificial intelligence - has contributed significantly to the depth of change in the tools, and their subsequent delivery of, architecture. Using nature and biological paradigms as a key influence for the work (specifically biological systems as defined by Menges, Wienstock and others) the thesis asks the question: How can biological theories on growth disrupt inert material perception within the discourse of 3D-printing architecture? It seeks to consider a design and fabrication process that allows the dynamic potential found in natural systems (patterns, forms, behaviours, organisation) to design and build with far more complexity and sophistication. Such work could fore front notions of growth, evolution and natural forms of optimization compared to the current post industrialised notions of beauty. New computing capacity and assembly efficiencies should over time produce more advanced structures than are possible with current technologies. The researcher is ‘aware’ of the range of fabrication methods available to the industry, firstly the invention of Computer Numerical Control (CNC) known primarily as a ‘subtractive method’ of machining and additive manufacturing machines (3D printers) by Charles Hull (1984) which revolutionized rapid prototyping throughout the automotive, aeronautic, and design industries. The application of additive manufacturing workflows - in particular to the architectural field - holds significant potential to provide a fabrication method for the complex geometrical forms that substantiate the parametric design paradigm. However, contemporary attempts in mass fabrication of computer generated componentry are still costly in terms of practice, investment, and time... They are also complex in terms of assembly and co-ordination. Using customized CAD/CAM workflow the author speculates a self-assembling ‘4-D’ architecture. As a piece of explorative design research, the thesis focuses primarily on the underlying philosophy and design methods, and looks to offer up a series of tectonic iterations that integrate form, surface and structure. These iterations have been designed and developed through complex surface pattern projection, a speculative technique developed by the author. It allows a use of direct additive 3d print to surface and enables a prototype fabrication system. This prototype system results in the production of self-assembling tension based membrane surface structures. These structures could, for example, be used for rapid deployment construction scenarios. (see final Design Research). Resin-impregnation patterns are applied to 2-D pre-stretched form-active tension systems to induce 3-D curvature upon release. Form-finding is enabled through this method based on materials’ properties, organization and behavior. A digital tool is developed in the CAD environment that demonstrates the simulation of material behavior and its prediction under specific environmental conditions. The methodology follows a systematic design-led research approach, in which physical form finding techniques, developed throughout the 19th and 20th centuries, are digitized via parametric 3D modelling software. Extensive physical modelling and analysis is conducted into a biomimetic approach to the design of fabric tensegrity surface structures, and their CNC fabrication potential explored. This research demonstrates the association between geometry and material behavior, specifically the elastic properties of resin impregnated Lycra membranes, by means of homogenizing protocols which translate physical properties into geometrical functions. The work challenges the shifting role of the architect from that of an assembler of inert (discrete) material parts towards that of ‘an orchestrator of material effects’. This shift in role is enabled through the affordances of computational design tools, and emerging fabrication methods. Conclusions are drawn from the physical and digital explorations which redefine generative material-based design computation, supporting a synergetic approach to design integrating form, structure, material and environment. How can biological theories on growth disrupt inert material perception within the discourse of 3D-printing architecture?</p>

ReForm - Growing Architecture

<p>Over the past decade robotic fabrication in architecture has succeeded where early digital architecture has fallen short: in the synthesis of the immaterial logic of computers and the material reality of architecture. In light of this new/profound shift architectural theorist and historian of the ‘Digital Turn’ - Mario Carpo argues: ‘We no longer are witnessing the delayed modernization of an industry, but rather an historic departure: the modern division between intellectual work and manual production, between design and realization and manual production. Through this we see traditional modes of design becoming obsolete’. The increasing power of digital design software, the widespread availability of digital fabrication tools, and the growing complexity of our built environment, are in stark contrast to the inefficient techniques that currently hinder today’s construction industry. Furthermore, the utilisation of concepts from nature including biomemesis, biophilia, swarm tectonics, as well as cross-disciplinary influences - from the film industry to social sciences and artificial intelligence - has contributed significantly to the depth of change in the tools, and their subsequent delivery of, architecture. Using nature and biological paradigms as a key influence for the work (specifically biological systems as defined by Menges, Wienstock and others) the thesis asks the question: How can biological theories on growth disrupt inert material perception within the discourse of 3D-printing architecture? It seeks to consider a design and fabrication process that allows the dynamic potential found in natural systems (patterns, forms, behaviours, organisation) to design and build with far more complexity and sophistication. Such work could fore front notions of growth, evolution and natural forms of optimization compared to the current post industrialised notions of beauty. New computing capacity and assembly efficiencies should over time produce more advanced structures than are possible with current technologies. The researcher is ‘aware’ of the range of fabrication methods available to the industry, firstly the invention of Computer Numerical Control (CNC) known primarily as a ‘subtractive method’ of machining and additive manufacturing machines (3D printers) by Charles Hull (1984) which revolutionized rapid prototyping throughout the automotive, aeronautic, and design industries. The application of additive manufacturing workflows - in particular to the architectural field - holds significant potential to provide a fabrication method for the complex geometrical forms that substantiate the parametric design paradigm. However, contemporary attempts in mass fabrication of computer generated componentry are still costly in terms of practice, investment, and time... They are also complex in terms of assembly and co-ordination. Using customized CAD/CAM workflow the author speculates a self-assembling ‘4-D’ architecture. As a piece of explorative design research, the thesis focuses primarily on the underlying philosophy and design methods, and looks to offer up a series of tectonic iterations that integrate form, surface and structure. These iterations have been designed and developed through complex surface pattern projection, a speculative technique developed by the author. It allows a use of direct additive 3d print to surface and enables a prototype fabrication system. This prototype system results in the production of self-assembling tension based membrane surface structures. These structures could, for example, be used for rapid deployment construction scenarios. (see final Design Research). Resin-impregnation patterns are applied to 2-D pre-stretched form-active tension systems to induce 3-D curvature upon release. Form-finding is enabled through this method based on materials’ properties, organization and behavior. A digital tool is developed in the CAD environment that demonstrates the simulation of material behavior and its prediction under specific environmental conditions. The methodology follows a systematic design-led research approach, in which physical form finding techniques, developed throughout the 19th and 20th centuries, are digitized via parametric 3D modelling software. Extensive physical modelling and analysis is conducted into a biomimetic approach to the design of fabric tensegrity surface structures, and their CNC fabrication potential explored. This research demonstrates the association between geometry and material behavior, specifically the elastic properties of resin impregnated Lycra membranes, by means of homogenizing protocols which translate physical properties into geometrical functions. The work challenges the shifting role of the architect from that of an assembler of inert (discrete) material parts towards that of ‘an orchestrator of material effects’. This shift in role is enabled through the affordances of computational design tools, and emerging fabrication methods. Conclusions are drawn from the physical and digital explorations which redefine generative material-based design computation, supporting a synergetic approach to design integrating form, structure, material and environment. How can biological theories on growth disrupt inert material perception within the discourse of 3D-printing architecture?</p>

Crystal or Jelly? Effect of Color on the Perception of Translucent Materials with Photographs of Real-world Objects

Translucent materials are ubiquitous in nature (e.g. teeth, food, wax), but our understanding of translucency perception is limited. Previous work in translucency perception has mainly used monochromatic rendered images as stimuli, which are restricted by their diversity and realism. Here, we measure translucency perception with photographs of real-world objects. Specifically, we use three behavior tasks: binary classification of 'translucent' versus 'opaque', semantic attribute rating of perceptual qualities (see-throughness, glossiness, softness, glow and density), and material categorization. Two different groups of observers finish the three tasks with color or grayscale images. We find that observers' agreements depend on the physical material properties of the objects such that translucent materials generate more inter-observer disagreements. Further, there are more disagreements among observers in the grayscale condition in comparison to that in color condition. We also discover that converting images to grayscale substantially affects the distributions of attribute ratings for some images. Furthermore, ratings of see-throughness, glossiness, and glow could predict individual observers' binary classification of images in both grayscale and color conditions. Lastly, converting images to grayscale alters the perceived material categories for some images such that observers tend to misjudge images of food as non-food and vice versa. Our result demonstrates color is informative about material property estimation and recognition. Meanwhile, our analysis shows mid-level semantic estimation of material attributes might be closely related to high-level material recognition. We also discuss individual differences in our results and highlight the importance of such consideration in material perception.

Uso de Livro-Texto Como Suporte nas Disciplinas de Cursos Universitários

ResumoEmbora haja livros didáticos nas bibliotecas como material de apoio para as disciplinas, tem-se a necessidade de mostrar aos estudantes as especificidades da região na qual vivem, visto que muitos desses livros são exógenos. Diante do exposto, o livro-texto Química Ambiental: uma abordagem introdutória e generalista, foi uma tentativa de encontrar um material didático que além de incluir assuntos da disciplina, apresentasse exemplos locais. Foram entrevistados estudantes, que revelaram que a utilização do livro-texto, além de uma ferramenta de apoio no decorrer da disciplina, também desempenhou um importante papel no processo de sua formação profissional e como cidadãos conscientes e atuantes no espaço geográfico em que vivem. Palavras-chave: Material de Apoio. Percepção. Estudantes. AbstractAlthough there are schoolbooks in the libraries as support material for the subjects, there is a need to show students the specifics of the region where they live, since many of these schoolbooks are exogenous. Given the above, the textbook Environmental Chemistry: an introductory and generalist approach, was an attempt to find didactic material that in addition to including subjects of the discipline, presented local examples. Students were interviewed and revealed that the use of this textbook, in addition to being a support tool throughout the course, also played an important role in the process of their professional training and as conscious and active citizens in the geographical space in which they live. Keywords: Support Material. Perception. Students.

邁向湧現美學的基本設計教學研究

<p>本研究主要在探討建築設計在數位工具與生物學觀點介入後，如何將形態生成語彙的，以自然的湧現特質呈現在設計中。設計的操作方法透過材料特性的探索、量體聚集和力學傳遞的差異與連續，企圖創造出不同於以往只有幾何的組織特性而能傳達自組織美學的意。此看法包含Las Spuybroek所說解釋的新激進唯物主義概念，可以體現從構築、跨越物質感知與物質本身產生共鳴的設計方法。目前在數位設計型態上十分常見。但是，如何避免只是複製形式而不了解邏輯的生成原則，將材料探索和其生成意義傳遞給學生，需要一套較完整的設計教學方法。本研究歷經三年的嘗試，已接近明確的方法論，其目的就是希望讓學生從近身事物之觀察為起點，分門別類理解各種材料與對應工具的技術，最後運用於生成形式獨特的空間內涵。即便學生沒有直接接觸或使用計算機工具或任何種類的演算和結構運算軟體。學生也能自然地體驗形式由下而上的生成方法，以及來自構築性物件中結構力量的流動與傳遞經驗。他們可以看到組織的流動性如何轉移到物體結構中。</p> <p>&nbsp;</p><p>The research primarily explores how, after the introduction of digital tools and biological viewpoints, architectural design may express the morphological generation language within as a natural emergence. Through the exploration of material properties, mass aggregation and the force distribution and continuity, the design method attempts to create an assemblage characteristic containing more than simply geometry as in the past, and the ability to communicate the aesthetic value of self-assemblage. This aspect was also explained by Las Spuybroek, on new radical materialist concept that embodies a design approach resonating with the tectonics, cross-material perception and the material itself. At the moment, this approach is prevalent in digital design. Nonetheless, for the purpose of conveying this tectonic significance to students by the material exploration, and avoiding a simple replication of form and uninformed of the principles that generate such logic, a more thorough method in design teaching is required. After three years of experimentation, the research has nearly arrived at a clear methodology, which aims to allow students to take the observation of the surrounding objects as the outset, categorizing and understanding the materials and set of techniques of respective tools, and finally realized by generating unique forms of spatial connotation. Even if the students have yet been in direct contact or use of the computational tools or any types of algorithms and structural calculations, they can naturally experience the bottom-up approach of the form generation and the flow of structural force from the tectonic, thus pass on the experience. They will observe how the organizational mobility is transferred to the structure.</p> <p>&nbsp;</p>