Chi ha detto che il filamento può essere prodotto e commercializzato solo in rotoli?
Design for Craft presenta STICK FILAMENT, il primo filamento sperimentale progettato appositamente per la stampa 3d.
Pratico, modulare, economico e smart, è la risposta a molti degli inconvenienti comuni ai filamenti utilizzati sino ad ora dalle stampanti 3d desktop, originariamente nati per altre applicazioni.
Stick Filament è pratico perché fornito in stecche e non in spool
o bundle; questo rende più semplice l’inserimento del filamento nello stepper ed evita inceppamenti e inconvenienti dovuti a fastidiose torsioni. Inoltre, il suo formato ne rende comodo lo stoccaggio
Stick Filament è un sistema modulare con innesto a pressione che permette di fissare in modo sicuro tra loro le stecche fino a raggiungere la lunghezza desiderata. Ciò consente, inoltre, la stampa di oggetti con più colori: basta giuntare tra loro stecche di diverso colore e il gioco è fatto!
Stick Filament è economico perché, finalmente, consente di acquistare la quantità di filamento che si intende realmente utilizzare senza necessariamente comprare costosi spool da 1 kg.
Stick Filament è smart perchè consente di scegliere tra una grande varietà di plastiche dedicate alla stampa 3D: dall’ABS al Nylon, dal PVA idrosolubile allo Styrene, tutti in diversi colori e qualità personalizzabili anche su richiesta.
Stick Filament è al termine della fase di testing
e sarà disponibile per l’acquisto già dalle prossime settimane presso l’e-shop di Design for Craft.
Something about design is going to change. New interpretations of uses and of needs suggest us to find new ways of designing and producing objects. If the last 20 years the design spoke about restyle, the XXI century design push us to think about real needs in a deeper sense. And it do it in an ironical way. The style, of course, became a secondary theme.
Enjoy our design experiment on the video!
Heal your own favourite object when it’s damaged …what a better use for a 3D desktop printer!
Last week Vinz girlfriend’s lamp shade get fused. Vinz loves her girlfriend so he definitely wants torepair it, of course not in a traditional way. He chooses to personalize the lamp shade with WASP 3D printer, using more materials like Nylon, ABS and PLA in different colours. The pictures shows the results, and Vinz shows how much he loves his girlfriend.
We begin to consider 3D printing with the eyes of designers, and this is one of our first products: a USB pen drive to wear. We called it USBone because the texture on the surface makes it seem like the object made from a natural material: the horn. The texture of additive manufacturing technology’s objects looks like its growth system!
Who said that hacking may affect only the world of computing?
Here to Design For Craft we have tried to do the hacking of an object really common: the base of a lamp Ikea.
The result is a redesigned and reinterpreted object: more beautiful (right?), more functional (we have verified that performs its task better than the original version) and more useful (includes multiple functions).
In short: the hacking of an object will be more and more available to everyone and, above all, very different from the DIY…
We use to think that a product made in one piece is defined as “craft” while products manufactured in series are considered “industrial”. This is no longer true because the same machines that repeat the same movements over and over again to create serial pieces (such as the Kuka robot) now come from factories and they enter our homes to produce objects in a process of design and construction that we call “personal production”.
As an example of this new scenario we show you the Personal Vase, an object designed and built specifically for a single person (as is the case for artisans), but made entirely using the technology of 3D printing.
Starting from a simple photo of its silhouette we obtain the line of the profile, then we use it to create a 3D model (solid of revolution). At this point the object created is printed from our PowerWasp; so a form is designed ad personam and physically realized independently by a sole machine.
With a similar process we can produce containers, vases, lamps (maybe the one below) and much more using different materials and techniques. We are at end of the era of customization in industry and we’re starting the beginning of the personal industrialization.
We think that the future of 3D printing in both the mix of craftsmanship and technology. In this case we have combined the potential of our PowerWasp with the knowledge of concrete based materials to obtain innovative objects.
Our first design for a “Personal Product” starts with the shilouette of your face: we want to turn it into an object! So we’re developing a design process that starts from your portrait’s profile (that becomes into a path for create a revolution solid in 3D) and transforms it into a formwork for a lamp, or a vase, or… something else.
The production method begins with the 3d printing of the formwork (PLA) that is used for molding the vase with a concrete specifically made for design objects. This molding operation is not a common solution because we’re going to centrifuge the concrete into this formwork! We’re at work.
(R)evolution in the design problem solving process is possible? We’re thinking about how it could happen.
First: Personal Production. No more mass customization but objects designed AD PERSONAM; one person, one product. The figure of customer is becoming more and more related with other roles: citizen, prosumer, producer, etc… Open Design means we can all become designers and manufacturers. And we can do it TOGETHER.
Between these two scenarios we can find multiple paths to choose in the next future; we are surely near to live a relevant change.
Speaking to entrepreneurs, designers and ordinary people we decided to prepare a short Prezi presentation that can explain these phenomena.
Here it is.
Months ago I visited a showroom in Milan where I met Alessandro Ciffo and his wonderful creations; objects beautiful for proportions and construction technique (made in silicone), with a physical consistency similar to that of an organism of the animal kingdom. These objects react to the touch with a vibrating motion and oscillatory, vaguely hypnotic, just like with soft tissues. It seemed to me the vase had its own life.
The relationship we have with objects and places in nature becomes “emotional” when they can evoke in us emotional phenomena. This can happen in many ways: through the evocation of a memory, an emotion, establishing a two-way relationship.
We equipped one of these vases (the video was shooted during a time of testing) with a kinematic system electronically piloted by which the object reacts to the human voice with a sort of “tremulous thrill”. The most common response from those who have had the opportunity to interact with the object has been: wow! Something between amusement and surprise; in particular, I noticed that the latter, over time, tends to become a familiar.
This vase could become something like a pet. Syndrome Tamagotchi?
INTERACTION DESIGN | arch. Carlo De Mattia
ENGINEERING | ing. Emanuele Frontoni (Grottini Lab)
SILICONE VASE | Alessandro Ciffo