Metanoia: Furniture for Compact Living

I

METANOIA:

Design Honours Project

FURNITURE FOR COMPACT LIVING

BY CHERISE TERES NOELLA MISQUITTA

II

Product Design Honours Dissertation

III

“Good design is making something

intelligible and memorable.

Great design is making something

memorable and meaningful.”

Dieter Rams

IV

About Me I


Cherise Teres Noella Misquitta

V

ABOUT ME

Cherise is a passionate Product designer operating in Sydney, Australia. She has a love of

problem-solving and the hands-on practice of conceptualising and prototyping. Cherise has often

taken inspiration from functionalist and minimalist design movements, making conscious design

decisions to minimise socio and environmental impacts. She enjoys designing for positive and

meaningful experiences through product-user attachment and playful interactions, focusing on

a design’s functionality and straightforward simplicity.

VI

Contents I


Cherise Teres Noella Misquitta 01

CONTENTS

01

02 I Research Paper

06 I Abstract

08 I Introduction

10 I Background

12 I Literature Review

28 I Opportunity

32 I Methodology

40 I Ethics

42 I Results

44 I Discussion

48 I Conclusion

02

50 I Design Process

52 I Brief

54 I Inspiration

62 I Design Development

92 I Production

120 I The Product

142 I Bibliography

152 I Appendices

02 Research Paper I

RESEARCH



01

RESEARCH PAPER

04 Research Paper I Problem Space


PROBLEM SPACE


06 Research Paper I Abstract



ABSTRACT

This research coalesces to

promote the creation of a new

epoch of furniture products,

focusing on the culmination

of emerging technologies

with traditional manufacturing

processes to facilitate positive

experiences in compact living

spaces. To improve quality of life,

careful consideration of current

situations and experiences is

vital when designing for today’s

specific circumstances. The

study investigates our transition

to smaller living spaces and its

repercussions on the furniture

industry. Over the years, our

requirements for physical

space as individuals have been

condensed in an endeavour

to create a closer relationship

with one’s community and

more comfortable access to

entertainment, public transport

and employment. As such, this

epoch of new living requirements

demands a transition in the

designs and functions of the

furniture produced to inhabit

such spaces. This change has

especially affected the context of

furniture and the characteristics

that we prioritise, with massproduced

fast furniture becoming

the primary response to these

transitions. The paper touches on

the furniture industry’s transition

from traditional hand-crafting

to the introduction of digitised

manufacturing processes and

the accompanying sociocultural

implications. There is

an opportunity for intervention

by combining emerging

manufacturing technologies,

more specifically 3D printing, and

traditional production methods

to produce furniture applications

more suited to the current

living landscape. This paper

further examines the emerging

3D printing technologies and

products currently occupying the

compact furniture market and

draws on the specific features

most suited to the new spatial

requirements. In considering the

impacts of our current lifestyles

and experiences, the research

undertaken in this paper exploits

the advantages of emerging

technologies and traditional

processes to meet humans’

evolved cultural and societal

needs while providing positive

experiences in limited space.

08 Research Paper I Introduction


INTRODUCTION

An individual should feel a sense

of comfort when regarding their

home. Gerontology professor

(University of Kentucky),

Graham Rowles, says “We have

a need for a place that is called

home ... But most of all, it’s a

place that provides us with a

centring” (Moeller, 2012). At its

core function, a home is a

system for generating comfort

for its users through positive

user experiences (Molina et al.,

2021). In the context of this

paper, the combination of

product attachment and

meaningful experiences is

adopted to produce positive

user experiences.

When exploring new dwelling

options, one of the most

prevalent aspirations is

increasing comfort in the

household (Dunning, 2016).

A recent study conducted on

house purchases (Koklic & Vida,

2009) found that purchases,

no matter the circumstances,

were all related to attaining a

higher quality of living. IKEA

finance chief Juvencio Maeztu

predicted the growth of a more

shared economy over the

coming 20 years, with people

moving into high-density cities

and owning less (Thomasson,

2019). This reduction of space

is one of the most common

causes of dissatisfaction cited

by individuals concerning their

homes and living situations

(Thøgersen, 2013).

The furniture designed for

these reduced spaces generally

requires the same area as before,

with the lack of space for all

necessary furniture becoming

a prominent issue (Husein,

2020). As a result, furniture

has become a fundamental

element in a home’s space and

functional maximisation (Kim

et al., 2014). Particular types of

furniture provide an association

to the past, offering comfort

through the form of familiarity

(Graves et al., 1998). The furniture

in a home is equally essential

to the affordance of comfort

(Erlhoff et al., 2007) and can

affect how people interact

and associate with a space

(Demet, 2019). People tend to

gravitate to furniture that meets

their personal objectives with

the accompanying pride of

ownership compelling showcaselike

display (Graves et al., 1998).

Craftswork as a skilled practice

is often considered an opposing

method to new technological

advances (Robertson,

1961). These advances have

been regarded as a force

of labour displacement for


craftspeople over the years,

resulting in profound sociocultural

implications (Rosner,

2009). Consisting primarily

of subtractive manufacturing

methods, these processes have

been considered significant

contributors to industrial energy

consumption (Newman et al.,

2012) and mass material wastage

(Jayawardane et al., 2022).

Modern furniture design has

evolved to optimise timber

materials and classical

techniques, opting for advanced

engineered materials with

increased industrialised

assembly techniques

(Anbhule & Chopra, 2019). The

introduction of advanced and

emerging technologies (into

the furniture industry) offers an

exciting opportunity for productuser

attachment (Hertlein

& Twist, 2018).

3D printing is an efficient,

customisable and financially

viable alternative to the

subtractive machining methods

of the past (Campbell et al., 2011;

Woodson, 2015; Dumitrescu

& Tauber, 2019; Menano et

al., 2019; Yang & Du, 2022).

3D printing technology, also

known as digital fabrication

or advanced manufacturing

(AM), is the manufacturing of

physical objects from a digital

representation through a system

of superposition material layering

(Barnatt, 2016; Shahrubudin et

al., 2019). The implementation

of 3D printing in the furniture

industry is still in its infancy. As

such, society has been reluctant

in process adoption, favouring

the familiarity of more traditional

manufacturing methods and

furniture pieces.

The research conducted in

this paper explores societies’

transition to more compact living

spaces and the subsequent

effects on sustainable awareness

through the consideration of

furniture design applications.

This is investigated through

the combination of emerging

manufacturing technologies,

more specifically 3D printing,

with more traditional furniture

applications as a strategy for

facilitating positive experiences.

The research undertaken in this

paper coalesces to promote

the creation of a new epoch of

furniture products, focusing on

more sustainable and functional

applications in order to improve

the quality of life in limited

living spaces.

10 Research Paper I Background Product Design Honours Dissertation


BACKGROUND

Continued advances in

sustainable technologies

and new understandings of

environmental impacts maintain

a predominant influence on

the evolution of our homes

(McGee, 2013). Since the 1990s,

McMansions (a term used

to describe the large, often

ostentatious and mass-produced

houses) have dominated the

suburban housing environment.

Nevertheless, on account of

their size and energy inefficiency,

society has come to scrutinise

these unnecessary spaceoccupying

models (Moodie,

2019). Accompanied by the

continuing development of the

labour market, the increasing

difficulty of connection has

compelled people (especially

younger people) to move

more frequently. These new

conditions have enlisted more

flexible and nomadic dwellings

to be an adequate response

without compromise on spatial

functionality (Canepa, 2017).

Our requirements for physical

space as individuals have been

condensed in an endeavour

to create a closer relationship

with one’s community and

more comfortable access to

entertainment, public transport

and employment (Kim et al.,

2014). Contemporary apartments

and tiny house trends

encourage a more sustainable,

customisable and affordable

housing alternative to the former

McMansions (Chatfield, 2019).

Micro-Flats, created by the

U+I Group, provide one such

alternative. Housing shortages

and inflation of land costs,

compel the requirement for

more compact and efficient

living spaces for high-density

areas. These models utilise

hotel industry experiences

to create ergonomic

accommodation opportunities,

delivering privacy, comfort and

flexibility (Maxwell, 2019).

The concept of furniture has

been historically understood as

the culmination of the decorative

arts and design sectors. Early

furniture manufacturing was

time-consuming and required

extensive knowledge of

rudimentary tools and techniques

(Ratnasingam, 2022). Previously,

the industry has prioritised

subtractive manufacturing

over additive due to product

quality and retained material

properties (Peng et al., 2017).

These traditional manufacturing

techniques have dictated the

direction of product creation

from the industrial revolution

to today; however, due to the

inherent limitations, society is

slowly shifting towards a more

digital and sustainable approach

to manufacturing (Campbell et

al., 2011). The concept of planned

obsolescence is gradually losing

momentum, with repair and

restoration becoming a central

phenomenon of human life and

sustainable consumption

(Godfrey et al., 2021).

12 Research Paper I Literature Review


LITERATURE REVIEW

The conventional wisdom of

consumers has transformed

due to economic constraints

and new competitive options

made possible through new

technologies (Lobaugh

et al., 2019).

“If it looks like you can do it with your hands or it

can be done with another machine, then I think it

doesn’t make any sense to 3D print it.”

Alejandro Estrada

3D Printing and Furniture

3D printing’s introduction into

the furniture industry observed

the rise of two primary

applications, 3D printing as

the primary manufacturing

technique and 3D printing as

a form of joinery (Svoboda et al.,

2019; Nicolau, 2022).

3D-printed furniture products are

often perceived as extravagant

works of art rather than as

a product for routine use.

Especially in Alejandro Estrada’s

Truss Chair (Figure 1), the chair

operates as an expression

of art and the capabilities of

3D printing’s manufacturing

properties (Teghini, 2020).

Estrada views 3D printers as

“sculpture machines”.

Although offering an exciting

alternative to standard furniture,

the extravagance of these

pieces is often enhanced by

their large size, making them

impractical for smaller residential

spaces. Another example of this

extravagance is seen through

The Batoidea designer chair

by Peter Donders. The chair

employs a 3D-printed sand

mould to cast molten aluminium

(Donders, 2011), utilising AM

to minimise the waste material

that usually accompanies

manufacturing such complex

forms (ArchiScene, 2011). Due

to this manufacturing process,

combined with the ostentatious

surface finishing process (Carolo,

2020), the chair is unaffordable

to a younger, more sustainabilitydriven

demographic.


FIGURE 1 Truss Chair

FIGURE 2 Batoidea Chair



3D-printed joinery was one of

the first applications of AM in

the furniture manufacturing

industry (Nicolau et al., 2022).

In furniture assembly, joinery

is essential when connecting

components. AM offers a unique

opportunity for personalisation

and do-it-yourself (DIY)

restoration (Aydin, 2015).

Exhibited through Jon

Christie’s Hybrid Furniture

(Figure 3), Christie applies

AM, incorporating emerging

technologies to produce a series

of 3D-printed multifunctional

joints while retaining the values

of traditional handcrafted

furniture (Watkin, 2016).

The 3D printing process did not

dictate the design of the furniture

pieces (Three questions to

designer Jon Christie, 2018). In

this regard, Christie’s approach

to AM opposes Estrada’s

accentuation of AM capabilities.

Another instance of AM

employed alongside a material

is Multithread (Figure 4),

designed by Reed Kram and

Clemens Weisshaar. This table

utilises a series of 3D-printed

force-optimised aluminium

joinery, connecting steel tubing

to support a tabletop (Aydin,

2015). The nature of separated

joints and tubing allows for

multifunctional and personalised

use (Weisshaar & Kram, 2012).

The aesthetic consolidation of

combining these materials can

seem contrasting and somewhat

industrial, with the opportunity of

moving parts reducing durability

and, possibly, product life.


FIGURE 3 Hybrid Furniture

FIGURE 4 Multithread



Functionalist Design

The Bauhaus movement was

devised as a stark opposition

and rejection of the preceding

ornate and obsolescent

styles, focusing more on the

functionality of a design and

straightforward simplicity

(Amara, 2019). This movement

introduced a new way of thinking

(Cook, 2017) with Founder Walter

Gropius suggesting that “An

object is defined by its Nature”

(Gropius, 1926).

Gropius believed that, for an

object to serve its purpose and

function, the designer must first

consider the nature of the object

from every aspect (Pellerin, 2012).

This movement sought to merge

art with mass production through

emerging technologies. This new

concept and its entailed products

were often criticised as produced

for the elite (Bergdoll &

Dickerman, 2009).

FIGURE 5 606 Shelving System

Functionalist designers,

like Dieter Rams, uphold

the overarching values of

the Bauhaus. The 606

Shelving System (Figure 5),

designed by Rams for furniture

company Vitsoe, demonstrates

the successful deconstruction

of the concept of storage into

its fundamental elements by

challenging the notion of

built-in obsolescence and

designing the product to adapt

to its users and the evolving

space it occupies (Rams, 1960).


Positive Design

Positive design (Desmet &

Pohlmeyer, 2013) generates

‘human flourishing’ by

optimising human function and

producing opportunities for selfactualisation

(Ryan & Deci, 2001).

Ownership of products, luxury or

otherwise, cannot automatically

be assumed as a contributor to

individual happiness. At the same

time, it cannot be assumed that

products do not contribute either.

Positive design aims to produce

products that enable users to

pursue their personal goals and

support them morally (Desmet &

Pohlmeyer, 2013).

Product-User Experience

Designers strive to comprehend

and emulate their users’

constantly evolving demands

and requirements (Gribbin et

al., 2016). There is considerable

opportunity for value generation

through the intervention

of designed experiences

as a response to a market

saturated with predominantly

undifferentiated products and

services (Pine & Gilmore, 2011).

Industrial designers Philippe

Carreau and Hubert Pelletier

accredit this disconnection

between user and product to

over-consumption. “Faced with

supersaturation, designers often

inappropriately try to perfect

things through specialisation by

giving objects greater distinctive,

expressive, and aesthetic

qualities” (Carreau & Hubert,

2004). Carreau and Hubert

propose the theory of ‘The

Despecialisation of Objects’ as

a reaction to this product-user

disassociation. They promote the

application of this perspective

to design, allowing designers

to address users’ needs more

holistically without compromising

functionality (Tucci, 2006).

The development of the

experience economy has

ushered in better awareness of

the non-material qualities of a

product, with greater emphasis

on emotional associations

with the product and its

included experiences (Xia &

Ismail, 2022). The offering of

experiences is now seen as

much a commodity as goods and

services. Businesses are forced

to redesign their traditional

offering to incorporate staged

experiences rather than tailor

experiences to the preexisting

ones (Pine & Gilmore, 1998). In

designing these interactions,

designers must understand user

behaviours and considerations

in diverse uncertain conditions,

human and social factors, and

environmental relations

(Azevedo et al., 2020).

18 Research Paper I 3D Printing Technologies


3D PRINTING TECHNOLOGIES

EXPLORATION

POLYMER EXTRUSION BASED PRINTING

• FDM - Fused Deposition Modeling

• FFF - Fused Filament Fabrication

• CFF - Continuous Filament Fabrication

A polymer filament is extruded through a heated

print head and the resulting sausage of molten

thermoplastic is deposited layer wise onto a build

plate along a predetermined path to produce a

desired form when cooled.

Polymer Extrusion Based Variables

Rafts

• A raft is a low density rapid cooling sandwich

of layers intended to keep a part attached to

the printer bed

• After printing, components must be separated

from the raft which creates waste material.

• FFF printing can be printed successfully

without rafts depending on the surface area of

base of the printed part

Dimensional Accuracy

• FFF prints can shrink and warp due to

differential cooling across build plate

• Prints conducted on unenclosed printed

have less intensional accuracy then enclosed

industrial printers

Extrusion Profile

• Oval Cylindrical profile

Infill

• 3D printed objects can be printed solid which

can be very slow and wasteful

• Infill can be specified anywhere from 0% for

basic parts to 80% for parts that require high

strength

Support Material

• Some geometries require support material

to provide a scaffold for the building of

unsupported geometry

• Support material can be either break

away or dissolvable

• Unsupported surfaces result in poor

printing quality

Surface Finish

Depends on :

• Nozzle Diameter

• Nozzle temperature

• Material Choice

• Layer Height

• Printing Speed

• Most desktop Printers have quality setting

that vary parameters

Strength

• Part orientation on the print bed will affect

the strength of the component

• Parts are stronger in the XY plane than

the Z plane

Hole Diameter Discrepancy


FIGURE 6 FDM 3D Printer mid-print

Post Processing

• Removal of rafts

• Removal of support material

• Dimensional correction of parts (sanding)

• Hiding layer contours requires spray putty and

sanding prior to painting.

• Parts can be vapour polished.

• Parts can be assembled with compatible

solvents/glues.

• Parts can be electroplated with traditional

methods.

Process Optimisation

• To accelerate printing time

• Minimise Material use

• Minimise support material

• Minimise infill

• Make a thinner wall

• Disable Rafts

• Use a larger nozzle diameter (will affect

surface finish)

• Increase Layer height (will affect surface finish)

• Minimise post processing



FIGURE 7 Robotic Arm 3D Printing mid-print


ROBOTIC 3D PRINTING

Robotic 3D printing is the integration of robotics

and 3D printing technologies. It uses a robotic arm

with an attached extruded, similar to FDM.

Robotic 3D Printing Capabilities

• Allows the attachment of different printer

heads.

• Large scale

• Multi axis printing

Traditional printers print in the XY plane. Most

industrial robot arms can print in 6 axis.

• Lack of support material

• Conformal 3D printing (printing on unknown

or uneven surfaces)

• Tool path design (Taking advantage of the

continuous extrusion to create a design)



MATERIAL JETTING

Material jetting is often compared to the standard

2D ink printing process. Utilising photopolymers or

wax droplets that cure when exposed to light, parts

are built up layer by layer at a time. The nature of

the material jetting process allows for different

material to be printed within the same part

• Photopolymers are also knows as thermosets

• Allow the leveraging of different material

properties

• Material property variation

• Colour variation and graphics

DOD Drop on demand

Uses drop on demand print heads to dispense

viscous liquids and create a wax like part. DOD

is used almost exclusively for manufacturing

investment casting patterns. (Like jewellery or parts

that require finer details)

• Material Jetting Variables


• + or - 0.1% with a lower limit of + or - 0.1mm

• Warping can occur but not as severely as with

FDM or SLS. Processes

• Typical build size is 380 x 250 x 200mm

• Large builds are possible on an industrial scale

( 1000 x 800 x 500mm)

Features

• Full colour

• Realistic Photographic representation

• The materials that are printed can have

different shore hardnesses

• The materials can be rubber-like through to

hard and brittle.

• Very good surface finishes

• Very high accuracy even for large parts

Printer Head

• Jets hundreds of tiny droplets of photopolymers

and curs them with a UV light

Material Jetting Limitations

• Expensive (High material cost)

• Brittle Parts (due to the use of photopolymers)

• Acrylic resins don’t behave mechanically as

well as nylons or ABS.

• Rubber-like materials lack elongation

properties which inhibits performance

• Photo sensitive materials (mechanical

properties degrade over time)

Support Material

• Support structures are printed solid (no lattices

or tree geometries)

• Dissolvable support structures enable a

superior surface finish on parts

• Large amounts of support material increase

print time and cost

• Support material can be removed with high

pressure water or in an ultrasonic bath at the

end of the print processes (easier then break

away support)


FIGURE 8 Polyjet Printed medical model of Lungs



FIGURE 9 Stereolithography 3d printer creates small

detail and liquid drips

VAT POLYMERISATION

• SLA - Stereolithography Apparatus

• DLP - Direct Light Processing

Use of a light source to solidify a liquid

photopolymer (resin) inside a build chamber.

The solidifies layers are attached to a moving

build plate either above or below the workspace.

The first form of 3D Printing technology to be

commercialised.

Configurations

• Top-Down (Original)

• Bottom-Up

Process

• Print

• Alcohol wipe

• UV cure

• Post processing

• UV curing is needed to fully bond the layers

and produce a strong isotopic part

Vat Polymerisation Variables

Escape Holes

• Allows liquid resin to escape

• Allows air to escape

• Prevents suction issues

Part Orientation

• Does not affect the strength of the part

• For top-down. Minimise support material

• For bottom-up minimise cross sectional areas

so that layers can detach from the container

base with the lease amount of force

Support Material

• Tree like

• Support material is required

• Position support structures on the unseen

areas of the object to minimise tidy up

• Support structures requirements are similar to

FDM with reference to angles, bridges and

unsupported edges


SLA and DLP

• Accurate prints with high quality surface finish

approaching that of injection moulding

• SLS has the best surface finish quality as it

uses scanning laser to trace the part cross

section. DLP uses an LED light projection to

expose a layer at a time, limited by voxel size

but producing a rapid print

• Fine Detail, SLA layer height between

25 - 100 microns

• Excellent uniform surface finish.

• Parts are brittle and degrade with UV exposure

• Support Material is necessary and requires

post processing to restore original

surface finish

• Produces water and air tight parts

• High Repeatability

SLA Variables


• SLA Prints are usually accurate to + or - 0.5%

with a lower limit of. + or - 0.15mm

Wall thickness

• Minimum unsupported wall thickness is 1mm

• Minimum feature size 0.2mm x 0.2mm

• Minimum hole size 0.5mm

Post Processing

• Alcohol washing

• UV curing

• Mechanical Support Removal

• Staged polishing to achieve water

clear appearance.

• UV protection with clear lacquer

• Painting and electroplating possible with

traditional methods.

SLA, DLP and CDLP

• DLP in principle is faster the SLA although it

is machine specific.

• The fastest DLP prints can be produces on the

carbon 3D printer with used CDLP (Continuous

Direct Light Processing)

CDLP Considerations

• Faster then SLA and DLP with similar quality

• Wide variety of material choices available

• More applications for end use parts and the

material properties are improved over SLA and

DLP through better layer adhesion

Warping of Parts

• Reduce the cross sectional area by adjusting

part orientation in the machine set up



POLYMER POWDER-BED FUSION

• SLS - Selective Laser Sintering

• Jet Fusion - HP proprietary technology

(Stronger the SLS)

Polymer powder bases processed are the most

versatile 3D printing technologies due to the

achievement of highly complex geometry. The

technologies use a heat source to melt and solidify

a polymer powder inside a build chamber.

Polymer Powder-Bed Fusion Variables


• SLS prints are generally accurate to 0.3% (with

a lower limit of + or - 0.3mm)

• Jet Fusion is accurate to 0.02%

• In the SLS process, parts are typically shrunk

3.5%. This is taken into account by the machine

operator in oversizing parts by 3.5% in

preparation for printing

Considerations

• Very fine details

• Print functional nuts and bolts/ printed

assemblies.

• Parts have some level of porosity

• Good uniform surface finish, no obvious

contours.

• No support material

• Objects can be printed solid with no infill

• For Hollow objects allow pathways for

unbounded powder to be removed from

internal volume

• Parts can be dyed with conventional

fabric dyes

Wall Thickness

• SLS printed objects can be printed solid and

will generally take no extra time

• Minimum recommended wall thickness is

0.07mm for polyamide

• Minimum wall thickness is 2mm for materials

with additives such as glass or graphite or

carbon filled materials

Part Warping

• Reducing the mass of parts may assist in

preventing the warping of parts during cooling

phase in the build chamber

Powder Removal

• Provide escape holes in blind situations to

allow powder to escape

Strength

• For homogenous materials without additives,

part orientation inside the build chamber will

have a negligible affect on the part strength.

The difference is measurable by minor and

is not something that should be cause

for concern

• Strength is affected more substantially by build

orientation when composite materials are used


FIGURE 10 MJF Printed Components

Surface Finish

• Minimum layer height for HP Jet Fusion

0.08mm

• Minimum layer height for SLS E0S is 0.06mm

• Media blasting is post processing

• Tumbling with media makes parts smother but

will loose detail

Oversintering

• Oversintering is a situation in which parts or

features can bake together

• A minimum aperture size based on wall

thickness applies

• Clearance between moving parts is required

to prevent parts fusing together.

Post Processing

• Vacuum removal of unbounded powder

inside the build chamber

• Media blasting of the surface of parts to

remove loose powder

• Tumbling with a suitable abrasive - detail

will be lost

• Assembly with compatible solvents.

• Painting and electroplating with

traditional methods

• Dying if parts is preferable to painting

(Organic fabric dyes can be used)

28 Research Paper I Opportunity


OPPORTUNITY

Although the motivations

for design innovations vary

depending on the specific

situation, there is a convergence

on the concept of changing

current conditions to create a

preferred outcome (Simon, 1969).

As humans, we desire to achieve

an improved quality of life

incessantly. Design innovations

aim to create products that

increase comfort, safety, and

efficiency in our daily lives,

thus transforming how we live

(Anderiesen, 2017).

Over the years, we have seen

younger generations take on

an almost nomadic lifestyle as

a result of cost inflation and the

difficulty of situating amongst

the current labour market. Along

with this, the inflated cost of land

values and increasing expense

of renting large spaces in central

high-density city locations

become an encouraging factor

towards smaller, more functional

spaces. This reduction of space

is one of the most common

causes of dissatisfaction cited

by individuals concerning their

homes and living situations

(Thøgersen, 2013).

Subsequently, there is a high

demand for affordable furniture to

accommodate these spaces that

are adaptable while sustainably

driven. The requirements of

individual users influence

the associative experiences

in conjunction with products

and the context of interaction

(Desmet & Hekkert, 2009). These

complex experiences are vital to

connecting with oneself through

product encounters (Chapman,

2021), encouraging extended

reuse and possible repair.

Unfortunately, the concept

of repair and restoration has

diminished in importance due

to the user’s lack of tools, space

and skill (Chapman, 2021).

Fast furniture and planned

obsolescence have become

the primary response to these

transitions. Usually consisting

of low-quality materials,

fast furniture restricts any

potential for reuse and biases


a short product life by way of

ensuring replacement sales

with little to no refurbishment

infrastructures (Cooper et al.,

2021). Due to these material and

manufacturing choices, most

furniture worldwide is landfilled

rather than recycled (Buch &

Trenk, 2021). Nevertheless, in

recent years, society has grown

to scrutinise these unsustainable

consumption models due

to a collective increased

environmental awareness.

The skill-based hand-crafting

techniques and resourcefulness

of the past prove to be a

source of admiration in today’s

industry (Smith et al., 1991). The

technological manufacturing

technique of 3D printing proves

efficient, customisable, precise

and financially viable in furniture

applications. Thus, there is an

opportunity for intervention

by combining this emerging

manufacturing technology and

traditional production methods

to produce furniture applications

more suited to the current living

landscape.

Most of the furniture design

desired for today’s homes stems

from the design philosophies of

the modernist and Functionalist

designers of the 20th century

(Erlhoff et al., 2007). In saying

this, there are still elements

of timeless traditional design

philosophies that, although

adapted, continue to influence

the design world today (Antonelli

et al., 2009). The ability to

imagine different possibilities

and discover new opportunities

is a desired aspect of life (Tonkin

et al., 2016).

The creation of comfort and

familiarity, combined with high

spatial functionality, encourages

better product-user attachment

and positive experiences in the

home. This paradigm exploits the

advantages of the emergence

of technology to meet humans’

evolved cultural and societal

needs (Xia & Ismail, 2022).

30 Research Paper I Opportunity


Cherise Teres Noella Misquitta

31

CONCEPTUAL FRAMEWORK

Robertson, S. M. (1961).

Craft and contemporary

culture. British Journal of

Educational Studies, 10(1).

Nicolau, A., Pop, M. A., &

Coșereanu, C. (2022). 3D

Printing Application in

Wood Furniture Components

Assembling.

Materials, 15(8), 2907.

Demirarslan, K. O. O., &

Demirarslan, D. (2021).

Furniture Wastes and

Their Environmental

Impacts as Being a

Different Problem of

Our Time. International

Journal of Advances in

Engineering and Pure

Sciences, 33(1), 97-105.

1

1b

Campbell, T., Williams, C.,

Ivanova, O., & Garrett, B.

(2011). Could 3D printing

change the world.

Technologies, Potential,

and Implications of

Additive Manufacturing,

Atlantic Council,

Washington, DC, 3.

Problem Space

Existing Research

Opportunity for new

perspective on the

nature of the problem

Gap

New Research

Opportunity for new

knowledge contributions

Existing Research

Opportunity for new

perspective on how to

address the problem

Solution Space

Thomasson, E., (2019, April

3), IKEA to test furniture

rental in 30 countries.

Reuters Sustainable

Business. https://www.

reuters.com/article/

us-ikea-sustainabilityidUSKCN1RF0WY.

Lawson, B. (2009). The

social and psychological

issues of high-density

city space. In Designing

High-Density Cities (pp.

309-316). Routledge.

1a

1c

Research Question

How might designers combine additive

manufacturing with traditional furniture

applications to optimise positive

experiences in limited living spaces?

Carreau, P., and Pelletier,

H., (2004, Spring). The

despecialization of

objects. Platform [e]. p.

16-17.

Husein, H. A. (2020).

Multifunctional Furniture

as a Smart Solution for

Small Spaces for the

Case of Zaniary Towers

Apartments in Erbil City,

Iraq. Int. Trans. J. Eng.

Manag. Appl. Sci. Technol,

12, 1-11.

32 Research Paper I Methodology


RESEARCH QUESTION

How might designers combine

additive manufacturing with

traditional furniture applications

to optimise positive experiences

in limited living spaces?


METHODOLOGY

This research paper explores

the combination of 3D printing

with more traditional furniture

applications as a strategy for

facilitating positive experiences

in limited living spaces. This

study utilises secondary

research by analysing agents

and designs currently operating

in the field, user testing and

iterative development. In this

respect, it is expected that this

paper will generate a formula for

well-informed furniture design

applications with substantial

considerations for the users

and their experiential

interactions. Additionally,

designer-user interactions

through interviewing, surveying

and observation provide valuable

insights into the requirements

and values of the users. As such,

low-quality and high-quality

prototyping will be essential

in demonstrating and testing

potential concepts within

this paper’s context and with

critical users.



Precedent and Market Analysis

Precedent and market analyses,

conducted as secondary

research, provide a fundamental

understanding of context

and a theoretical foundation

for the experimentation and

primary data collection. They

aim to justify and validate the

problem space while allowing for

comprehension of the results of

any primary research conducted.

Furthermore, the literature

review delivers a basis for market

research and analysis of preexisting

designs through case

studies, producing an efficient

and effective way for designers to

conduct essential research into

their problem space and make

an informed decision on the

project’s validity.

Surveying

Considering the findings of the

conducted secondary research,

twenty randomly selected users

were requested to complete a

survey. This survey aimed to

investigate the participants’

current and future living

situations and the circumstances

of their furniture. A second

survey, investigated knowledge

relating to knowledge of the

3D printing industry. A list of

questions containing multiplechoice

and textbox answer

opportunities was generated to

explore the theoretical concepts

of the literature review through

primary research. The response

to these surveys established

tangible evidence of the problem

space in the specific context of

the designer.

3D-Printing Technologies

An exploration and analysis

was conducted on the different

3D-printing technologies to

determine the most suitable

manufacturing method for the

current project scope. The HP

Multi-Let Fusion printer was

ultimately appointed as the

primary technology for the final

designed output. In saying this,

due to the accessibility and costeffectiveness

of FDM (Fused

Deposition Modelling) printers,

all initial prototyping and testing

will be conducted through FDM

for rapid prototyping testing.


Design-Led Research

Design-led research was employed to integrate design inquiry and experimentation into the research

process to produce new and unique responses.

Sketching

Sketching was utilised as a

form of idea generation and

communication following

establishing and verifying the

problem space. By releasing

any initial thoughts and ideas

onto paper, the designer

drew out the advantages and

drawbacks of each concept

concerning its problem space

and made an informed decision

based on the quality of their

response to the problem. The

collation of sketches also aided

in communicating ideas to

users and stakeholders through

unstructured interviews. In this

manner, the users were allowed

to loosely examine basic forms

and mechanics regarding

the problem context and as

individual stand-alone pieces.

Ideation through CAD

Once a form had been decided,

iteration was vital in producing

a well-synthesised and refined

design. Users assessed the

designs via sketches, CAD

modelling and prototyping

throughout the iterative process.

Topology Optimisation studies

and stress testing through

CAD were utilised as a fast and

efficient form of testing strengthto-weight

ratios. This allowed for

the creation of printed parts to

be as strong as possible while

reducing the amount of material

and weight.

Prototyping

The combination of 3D printed

and timber components was

tested through small and largescale

prototyping. Multiple

joinery methods were evaluated

for functionality, strength,

durability and aesthetic cohesion.

Interactions between product

and user were observed through

the production of full-scale, insituation

and ergonomic testing.



Design Theory Frameworks

Frameworks for Product

Experience (Figure 11) (Desmet

& Hekkert, 2007) and Positive

Design (Figure 12) (Desmet &

Pohlmeyer, 2013) were essential

in creating a well-considered

response to the research space.

In the context of this paper,

the combination of product

attachment and meaningful

experiences is referred to as

‘positive experiences’

(Figure 13). The framework

for product experience offers

opportunities to design affective

experiences. In most cases, the

desired designed situations are

seen to provoke perceptions

of positivity. The framework for

positive design plays a role in

the deliberate increase of

subjective well-being and,

consequently, human

flourishing. Both these

frameworks for design

encourage the development

of design approaches with

intended consideration for the

user and their experiences.

The combining of product

experience and positive

design allowed for designing

a sustainable, pragmatic and

well-considered product and

encompassed experience.


FIGURE 11 Framework for Product Experience

FIGURE 12 Framework for Positive Design

FIGURE 13 Framework for Positive Experience



RESEARCH PLAN


40 Research Paper I Ethics



ETHICS

As a UTS-supervised project,

this paper and its outcome

adhere to the Australian Code

for the Responsible Conduct

of Research (NHMRC, 2018).

When working with people,

it was essential to take into

consideration the ethics

involved in human participation

and interaction. As a product

designer, there were expected to

be multiple biases in relation to

the research areas and design

decision-making processes.

As a result, user-designer and

user-product interaction were

utilised to limit the consultation

of these personal biases.

Approval from participants was

obtained before the conducting

of any data collection via human

participants. The level of risk

involved in the surveys and

interviews conducted in relation

to this research paper can be

ranked between negligible and

low. This is due to the nature

of the questions and inquiries

requested.

Moving into the prototyping

and testing phase, there lied a

possibility of physical harm to

both participants and designers

if prototypes are constructed

poorly or tested in an inadequate

system. In order to ensure safety

at all times, careful consideration

was taken during construction

and testing conducted in a

controlled and supervisorapproved

environment.

Considering any voices not

accessible for testing, there were

attempts to collate possible

viewpoints through other

secondary sources and means.

Material and environmental

considerations were taken into

account during the prototyping

and production phase. Materials

had to be ethically sourced,

disposed and reused where

possible. In addition, energy

consumption was kept to a

minimum and only used when

required.

It has been acknowledged that

there are multiple researchers

already operating in this field.

Regarding ethical citation

considerations, all literature

utilised in this paper was

correctly cited in APA 7th format

and displayed in a bibliography at

the end of the paper. Any visual

information that is referenced

will, in addition, be cited in a

labelled appendix.

42 Research Paper I Results Product Design Honours Dissertation


RESULTS

The research conducted

indicates proof of societal

transition in living circumstances.

Preliminary survey findings

provided vital conclusions on the

current housing landscape and

3D printing industry knowledge.

Younger generations were seen

to be moving around more

and planning to relocate in the

future, with most residing in

apartments or small homes. The

second survey indicated a lack

of knowledge and understanding

of the 3D printing industry

among participants who lacked

backgrounds in design or

engineering. It was found that

even knowledgeable participants

seemed unaware of 3D printing

in the furniture Industry. Informal

viewing of concepts seemed

to be assessed with personal

taste and financial situations in

mind. Due to the cost of fully

3D-printed furniture pieces,

3D-printed joinery was chosen to

be the most suitable application

for the context of this research.

The qualities of Multi Jet Fusion

(MJF) printing were proven to

be superior in terms of form

creation and reduced material

waste when compared to other

forms of printing. The inclusion of

birch plywood (one of the more

sustainable types) helped reduce

production and material costs,

making the final product more

affordable to the target market.

44 Research Paper I Discussion



DISCUSSION

Design Development

Adaptability and multifunctionality

are demanding

factors in the functional

optimisation of a small space.

The theories of Despecialisation

and Functionalist design

allow the possibility for highly

functional product generation.

In creating a practical product

that can adapt to the constantly

changing demands of its

user, it was necessary first to

understand the types of products

currently in use. Through informal

interviews, it was determined

that the product, although

designed for small spaces,

needed to adapt to a larger

space if required. As a result, the

product could not consist of a

single module but was required

to be reconstructible for different

uses if needed.

The inflation of goods and

services has pushed people to

purchase cheaper products, often

accompanied by shorter product

lifecycles. These products are

frequently perceived as valueless

due to their throw-away prices

and fragile materials makeup.

The 3D-printed furniture

currently dominating the market

is ultimately out of budget

for middle and working-class

societies due to its extravagant,

sculpturesque nature. It was

accordingly decided that a more

affordable product application

lay in the combination of 3D

printing as a joinery method with

a more conventional material for

structure and form.

The primary structures of

the 3D printed components

were derived from topology

optimisation studies.

Once a basic form had been

decided, the forms were

modelled in Solidworks CAD,

where multiple topology and

static studies were run to

determine the best strengthto-weight

ratio. When shown to

users, these purely optimised

forms were said to have

looked exciting but were too

‘alien’ for ownership. There

was a stark divide between

the aesthetic responses of

design professionals and the

target market. Those in the

field maintained the tendency

to overlook the unnatural

aesthetic of the form in favour

of appreciating the technical

aspects and production methods.

On the other, target users

focused almost entirely on the

aesthetic of form and possible

cohesion to their home interiors.

Once the positive qualities of

46 Research Paper I Discussion


reduced cost and technical

proficiency were explained,

users were more open but not

entirely convinced. As a result,

these optimised forms had to be

‘designed’ to create a finalised

component that appealed to

the target audience as a

retailed product.

The MJF process is known to be

higher in cost when compared

to the more prominent FDM

printers. This minor increase in

the cost of the product can aid in

the preservation of value. When

an object’s cost is higher, people

subconsciously tend to increase

its value to themselves. In saying

this, the reduction of as much

unneeded 3D-printed material

was essential in creating an

affordable product.

User Interactions and

Experiences

Product attachment was

essential in creating positive

experiences. The longevity

of the product is encouraged

through user interaction and

ownership. Ownership of unique

things creates a sense of pride

and satisfaction. The product

leverages the novelty still

accompanying the 3D printing

process by fascinating and

delighting its owners and guests.

Once product-user attachment

is established, users are more

likely to preserve product

life through careful handling,

restoration and postponed

replacement . The creation of

comfort and familiarity, combined

with high spatial functionality,

encourages better productuser

attachment and positive

experiences in the home.

The offering of a bespoke

service can aid in this generation

of positive experiences. The

ability for users to request a

size or system suitable for their

specific circumstances furthers

a product-user connection

through personalisation and

consideration.

The product system has been

named ‘Metanoia’, meaning

“a transformative change of

heart” (Merriam-Webster, n.d.).

The name not only exemplifies

society’s transitioning living

circumstances but also

alludes to our growing

sustainable awareness.


Sustainability

The concept of repair and

restoration has diminished in

importance over the years due to

the user’s lack of tools, space and

skill. In response to the planned

obsolescence in contemporary

furniture, the product encourages

restoration and recycling through

non-permanent fixtures. This lack

of part permanency allows for

the easy replacement of specific

parts without compromising

the remaining furniture system.

In addition, once the product’s

life has run its course, the

components can be easily

separated for recycling and

repurposing or disposal. The two

primary materials were selected

due to their opportunities for

reuse and recycling. The Plywood

made from the fast-growing

birch trees can be recycled as

long as there is no chemical

treatment. The same goes for

the printed nylon components.

The printing process of HP’s MJF

allows for a lack of waste and

support material with the ability

for excess material to be reused.

The parts, once printed, can be

converted back into a powdered

filament form and reprinted.

Future Possibilities and

Improvements

As 3D printing technologies

continue to advance, it is hoped

that the outcome of this product

will be used as a method for

future product creation. More

sustainable 3D printing filaments

are constantly being developed.

Although mostly contained within

the FDM printing process for

biomedical applications (Amrita

et al., 2022), it is only a matter

of time before these material

qualities are introduced into the

remaining 3D printing processes.

This future opportunity will

reduce not only material wastage

through disposal but also

production and material costs. In

addition, there lies a possibility

for more advanced customisation

in part creation and replacement.

The bespoke aspect of this

system is currently limited to

configuration and dimensions.

The nature of 3D printing permits

user input into the form of the 3D

printed components, allowing for

more significant value generation

through design experience and

attachment.

48 Research Paper I Conclusion


CONCLUSION

This research aimed to develop

a new furniture application

that combined 3D printing

technologies with more

traditional furniture practices

to address society’s transition

to smaller living spaces. As a

response to increased living

expenses and a collective

increased environmental

awareness, society, especially

the younger generations, has

been seen to move around more

frequently. This has resulted in

a rise of smaller, more compact

living spaces in dense urban

settings. These new living

models offer closer communal

relationships and easier access

to entertainment, public transport

and employment. Therefore,

the furniture created for such

spaces needs to be adaptable

and affordable while adhering to

more sustainable practices.

The skill-based hand-crafting

furniture production techniques

of the past continue to inform the

manufacturing industry today.

These techniques, usually a form

of subtractive manufacturing,

are notable contributors to

energy and material waste in

the manufacturing industry. A

more efficient and sustainable

alternative to these methods is

3D printing, a form of additive

manufacturing. The combining

3D printing and more traditional

production methods have been

proven to produce furniture

applications better suited to the

current living landscape.

This research takes on a design

practice-based approach to

create a response to societal

transition. Multiple case studies

were conducted as market

research on 3D printing in

the furniture industry. It was

found that most of the market

was saturated with products

perceived as extravagant works

of art rather than as functional

products for routine use - often

large - often costly. Other

products that utilised 3D

printing for joinery proved to

look too mechanical or in

contrast against the other

material in use with permanent

fixtures, increasing production

expenses and reducing the

ease of refurbishment.


The preliminary surveys

and interviews conducted

demonstrated tangible evidence

of societal transition and lack of

3D printing knowledge among

those not in related industries.

This factor of unknowing

creates a sense of fascination

and delight when one comes

across a 3D-printed object. This

enjoyment is only heightened

through ownership and user

interaction. The furniture

system produced through this

research leverages the pride and

satisfaction that accompanies

ownership and use of unique

things that keep with personal

goals and morals. The form of

the 3D-printed components

was determined through CAD

strength-to-weight simulations

and then further refined into

a designed piece to reduce

material use and cost. The

non-permanent fixtures allow

for easy repair or disposal in

a sustainable manner without

compromising product and

spatial functionality. The system

incorporates a bespoke and

customisation aspect, which

increases user experience and

product attachment,

encouraging postponed

replacement or disposal.

It is hoped that the

research conducted can

serve as a guide for the

designing of future furniture

applications. Understanding

past circumstances and

considerations of sustainable

awareness are crucial factors

in creating products for current

circumstances and future

possibilities. In assessing the

impacts of our current lifestyles

and experiences, the research

undertaken in this paper

coalesces to promote

the creation of a new epoch

of furniture products, focusing

on more sustainable and

functional applications in order

to improve the quality of life in

limited living spaces.

50 Design Process I

DESIGN



02

DESIGN PROCESS

52 Design Process I Brief


STATEMENT OF DESIGN INTENT

To design and produce a

multi-functional furniture

application utilising bespoke

furniture production methods to

optimise positive experiences in

limited living spaces.


OBJECTIVES

• Multi-functional

Emphasis on Functionality

and Practicality of use.

• Durability

Challenging of planned

obsolescence through non

permanent fixtures to allow

separation and replacement.

• Adaptability

To suit the constantly

changing requirements

and wants of users.

• Compact

Lightweight and portable

allowing for easy transport

and ease of use.

54 Design Process I Inspiration



DESIGN PROCESS

02INSPIRATION



MARKET RESEARCH


3D PRINTING IN COMBINATION

WITH OTHER PROCESSES

Gaudi Bar Stools

Ventury Paris

• Utilises cellular patterns to

create an ‘Alien’ like form.

• SLA printed in a singular

part and cast with bronze.

• Considered a High-end

luxury Item.

• Pays homage to Architect

Stephen Sauvestre.

FIGURE 14 Gaudi Bar Stools

Table basse Etoile

Imprime-moi Un Mouton

• Incorporates timber, glass

and 3D printed nylon.

• Inspired by arts and crafts

technique Marquetry.

• Use of lattice structures for

light weighting and visual

interest.

FIGURE 15 Table basse Etoile



3D PRINTING

AS THE PRIMARY MANUFACTURING TECHNIQUE

Truss Chair

Alejandro Estrada

• Sculpturesque

• Expression of the capabilities

of 3D Printing.

• Printed in biodegradable and

weatherproof PLA.

• Printing time exceeds 6 days.

FIGURE 16 Truss Chair

Woven Concrete Benches

Studio 7.5 & XtreeE

• Printed using a 6-axis 3D

printing robot.

• Incorporates a continuous

woven pattern of concrete.

• Process allowed for

reduction of material and

carbon emissions.

FIGURE 17 Woven Concrete Benches


3D PRINTING

AS A METHOD OF JOINERY

Unknown - Titanium-Tawa Table

Think & Shift

• Combination of hand craft

and 3D printing.

• Utilises SLS titanium and

natural New Zealand

materials.

• Reminisant of the growth of

bones or branches.

FIGURE 18 Unknown - Titanium-Tawa Table

Digital Joinery For

Hybrid Carpentry

Shiran Magrisso, Moran

Mizrahi & Amit Zorann

• CAD generated joinery to

achieve unusual angles.

• Utilises traditional carpentry

with SLS printed Nylon joins.

FIGURE 19 Digital Joinery For Hybrid Carpentry



FIGURE 20 Moodboard


62 Design Process I Design Development


DEVELOPMENT

DESIGN


PROCESS

02DESIGN DEVELOPMENT



INITIAL IDEATION




Simple CAD block model for corner component

CURVATURE EXPLORATION

Through the exploration of the

different 3D printed connections

on the market, it was found that

most consisted of very blocky

and industrialised forms. In

reaction to these precedents, a

more natural form was generated

utilising the smooth curvature

capabilities of the 3D printing

process. This model was then

printed in 1:4 scale and attached

to 3mm plywood. Due to a

technical issue while converting

the solidworks model into an

STL, one of the faces of the

part failed to print. As a result

a second model was printed to

assess the strength and visual

appeal of 2 opposing corners.

The 1:4 model allowed for

proportional visualisation and

possible reconfiguration testing.

The rounded silhouette created

by the curvature of the part

was favoured when compared

to the more geometric designs

on the market.


1:4 model using block models of corner and

possible leg components.



CAD MODELING

AND RENDERING

Once the basic form of the

printed joinery was finalised,

an assembled model was

rendered. Much like the 1:4

model, this method allowed for

the consideration of aesthetic

cohesion between the print

and timber. The printed parts

were also run through an online

Voronoisator. The tessellated

model created, allowed for

understanding of the visual effect

of viewing the timber through

peak-a-boo holes in the print.


CAD render with block modeled Components.

CAD render with Voronised Components.



TOPOLOGY OPTIMSATION

EXPLORATION

Effect of Design Process

• Effect of Design Process

• A different way to design

• A way to safely inform the

generation of form

• Forms have an

engineering basis

Features

• Provided a single output

• Requires a shape envelope

in CAD

• Requires a load case

(FEA-finate element analysis)

• Can produce Exuberant

forms make manufacturable

through 3D printing.

• Typically used to achieve an

efficiency goal.

What can be Achieved

• Optimise and inform the

shape of the component

• Reduce material use but

maintain part stiffness.

• Generate lattice structures

for a part that responds to

FEA data.

• Generate lattice structures

to minimise use of

Support material.




INITIAL OPTIMISED FORM

FDM PRINTED

This first print was printed at a

1:3 scale so as to slide onto 3mm

plywood. Due to the fragility

and organic shape of the part,

in addition to the FDM printing

process, unfortunately the print

failed half way through. Even in

this state, the model provided an

insight into the strength of the

part, allowing small amounts of

pressure to be applied before

deforming. The connection

between the timber and the

printed cavity seemed to be

quite sturdy but started to form

scratch marks along the timber

face upon application and

removal. This was mostly due

to the quality of the extruded

material and FDM process, and

was proven to not be an issue

when printed through MJF.

The curved stem connection

the two armed section in the

previous model proved to be

much too thin for the pressure it

was intended to hold as well as

the aesthetic cohesion for the

rest of the part. As a result this

curve was thickened up for the

next test prints.


1:3 Model with failed print of topology

optimised FDM printed corner components.



1:3 Model with successful print of topology optimised

FDM printed corner component.

SUCCESSFUL OPTIMISED FORM

FDM AND SLS PRINTED

After multiple failed prints in

different orientation, a corner

component was finally successful

in printing through FDM. Due to

the print orientation, this part was

extremely fragile and prone to

creaking and snapping with even

the smallest amounts of pressure.


1:3 Model with successful print of topology optimised

SLS printed corner and leg components.

Following the success of this

print, this corner component,

in addition to an optimised

form of a leg component, was

printed in SLS to verify the

part’s fragility in a material and

process similar to that of the final

product. This models allowed

user analysis for the overall

forms and connectivity between

the components and a sheet of

cardboard. User’s with a non

design background seemed to

find the forms to “Alien Like” and

“Interesting” but not something

that they would personally

purchase. I was made apparent

that the forms needed to be

more refined to be considered

for domestic and regular

residential use. The parts went

through multiple iterations in

order to create a visual

language that was aesthetically

appealing, cohesive and retained

the strength of the original

topology studies.



BLOCK MODEL

TOPOLOGY OPTIMISATION

STRENGTH TEST

DESIGNED FORM


CORNER LEG SHELF



FORM ITERATION




CORNER

PRINTED COMPONENTS

RENDERSW


LEG

SHELF



1:3 printed corner component models.




POSSIBLE CONFIGURATIONS




1:1 Cardboard block model of corner component.

1:1 PROTOTYPING

CARDBOARD MODELLING

The block forms of the parts

were modelled in cardboard at

a 1:1 scale. This allowed for the

understanding of size and well

as thicknesses. Theses models

proved that the use of 3 sheets

of 6mm plywood would be

suitable in terms of silhouette

thickness and strength. This

overall thickness of 18mm

allowed the sturdiness of both

the printed and timber parts of

the project, as well as a suitable

thicknesses to allow for screw

connections between the two.

In addition, It was found that the

taper of the leg would be too

thin to support any substantial

weight, and thus was thickened

to 27mm diameter.


1:1 Cardboard block model of leg component. 1:1 Cardboard block model of shelf component.



184

130 193

184

20

184

TOP VIEW

368

18

193

193

469

275

275

LEFT SIDE VIEW

FRONT VIEW

RIGHT SIDE VIEW

R175

18

27

BOTTOM VIEW

ORTHOGRAPHIC DRAWING




Print Sits Flush

Contrasting Plugs

HP MJF Printed Nylon

(Optimized Topology)

Mortise and Tenon

Tapered Leg


Symmetrical Forms

Threaded Insert Dowel

Domed Screw

Laminated 6mm Birch Ply

HP MJF Printed Nylon

(Optimised Topology)

TECHNICAL DETAIL

92 Design Process I Production



DESIGN PROCESS

02PRODUCTION



1:1 COMPONENT PRINT

MJF CORNER PRINT

One corner component was

printed at full scale on the HP

Multi Jet fusion printer. Due to

the cost of full scale printing,

only one component was printed

so as to test tolerances and

strength before continuing with

the remaining prints. An inner

recess was added to the inside of

each of the dowel joiner cavities.

This was to allow the dowel and

screw joints to pull tight around

the print and plywood to lock

them in place.

The weight of the part

complemented the value of the

product, being quite hefty but not

heavy enough to deter people

from use. Users found the colour

of the nylon prints to be patchy

and unrefined.

The curves and uneven divots

on the surface were favoured

as opposed to the smooth

surfaces presented in previous

models. User’s found the

organic nature of the form to

be unique and exciting, with

some complementing on the

components likeness to Butterfly

wings wrapping around a table.







PRINTED COMPONENTS

RAW MULTI JET FUSION PRINTS




COMPONENT DYEING

The 3D printed components

were dyed black using an all

purpose fabric dye. Powdered

dye was added to a large pot

of boiling water. The prints

slowly submerged, and weighed

down by some pebbles and

wire to allows the dye to flow

freely around the entirety of the

objects. Due to the nature of

the powdered dye, the mixture

needed to be stirred frequently

so as to prevent the dye settling

to the bottom of the pot. After

boiling the parts in the dye

for two hours, the prints were

removed and washed in cold

water to remove any excess

dye to reduce markings on

the timber.




PRINTED COMPONENTS

DYED BLACK




PLYWOOD PREPARATION

The timber components of

Metanoia were created by

laminating three layers of 6mm

Birch plywood together. The

layers were first laser cut into the

desired shapes to accommodate

the 3D-printed components and

dowel joinery during assembly.

The timber edges and faces

were then sanded to remove

any remaining burn marks from

the laser-cutting process. The

timber sections that directly

interacted with the printed

components were tested with the

components to ensure assembly

was possible once the adhesive

had been applied. Once the

timber had been laminated, the

edges were run along a table

router to achieve a rounded

surface matching that of the

printed components. Any marks

or blemishes were once again

removed by sanding and the

timber coated in a soft clear

wax to retain the natural beauty

of the grain while creating a

polished surface.


1 layer of laser cut plywood clamped

to table for sanding.

Laminating 6mm plywood

layers together.

Laminated timber component on

table router.



LAMINATED PLYWOOD




DOWEL JOINTS

In order to create the dowel

joints, timber disks with a hole

in the middle were laser cut

out of 6mm and 3mm plywood.

These rings were then laminated

together to form a dowel joint. A

flat disk without ant blemishes

was secured to the top face to

create a flush, closed-off surface

when assembled. The hole

created in the middle was used

to accommodate a threaded

insert. The inner face of the

threaded insert and a screw

were coated in petroleum jelly,

and glue applied to the inside of

the dowel. The threaded insert

was then carefully inserted into

the hole and slowly tightened

until the outer face became

flush with the dowel face. This

was repeated multiple times

to produce the 16 dowel joints

that hold the printed corner

components to the timber

components.


Dowel Threaded Insert and Screw.






TIMBER LEG

The timber leg was turned on

a lathe to create the tapered

effect. This process, although

subtractive, was necessary for

creating a surface that upheld

the uniform design language of

the additional components. The

largest diameter of the leg was

required to be 27mm. As a result,

a 28mm diameter Tasmanian oak

dowel was used. This allowed

for the least amount of material

wastage while allowing 1mm of

leeway for any accidental errors.

This process also allowed for the

easy creation of the tenon joint

for the timber component to slot

into the printed leg. Once the

taper was produced, a sanding

block was used to smooth the

leg and create an even surface.

The leg was then treated with the

same soft wax as previously used

on the other timber features to

allow for a uniform surface finish

across all timber components.

Once removed from the lathe,

a hole was drilled through the

tenon to allow for the dowel

connection during assembly.


Close up of tenon joint on lathe.

Dowel loaded onto lathe.

Tapered leg turned on lathe.







“Limitation makes the

creative mind inventive.”

Walter Gropius



PRODUCT ASSEMBLY

AND EVALUATION

Due to the financial and time

constraints of the project,

the components could only

be produced once. The first

3D-printed corner was used as

an experiment on form, strength

and surface finish. A discrepancy

was found on the surface, and

upon closer inspection, it was

found to be a result of an uneven

surface on the CAD model. The

sharp edge was sanded down

to the desired surface finish.

This proved to cause issues

in the dyeing process, as the

sanded areas seemed to take

the dye quite differently from the

remaining section, producing

shinier patches. Unfortunately,

there was no way to rectify

these inaccuracies, yet over

time the print surface disparities

were seen to naturally even

out slightly - not entirely. In

the following corner print, the

surfaces of the CAD model were

edited, removing any issues and

resulting in a perfect print.

The HP multi-jet fusion

printing process tends to leave

powder residue on the printed

components. Post-processing

procedures usually remove the

majority of this excess powder,

but in tight spaces, the powder

cannot completely be removed

easily. Subsequently, during

the dyeing process, the excess

powder soaks up the dye but

remains adhered to the printed

components. When these

components came in contact

with the light-coloured timber,

the residue transferred onto

the timber surface in the form

of dark black markings. These

were quite hard to remove by

regular means and had to be

lightly sanded off with fine-grit

sandpaper. The components

were washed thoroughly, multiple

times, using a dishwashing brush

and toothbrush for the harderto-reach

sections. This process

removed any of the excess

powder, as well as dye on

the printed components

eliminating the possibility of

undesired markings.


As this was the primary

experimentation for the

final product assembly,

minor inaccuracies were

to be expected. One such

inconvenience was uncovered in

securing the corner components

to the timber. While laminating

the timber components together,

it was concluded that the edges

were not completely flush. As

a result, when assembling the

corner components, the holes

made to hold the dowels did

not perfectly align. In order to

manage this issue, the dowels

were sanded down slightly

to accommodate the smaller

hole size. In future, a jig will be

made up to hold the timber

components in place while

laminating; this will ensure

accurate placement before

adhesion.

When constructing the dowel

joints, the outer lip of the

threaded inserts was not

considered. As a consequence

of this, the timber dowel face

and screw head face could not

sit flush, allowing excess space

in the joinery. This has resulted

in the joinery being loose and

caused the screw heads to stick

out further than expected.

Another issue was made

apparent when securing the

printed leg component to the

timber. Due to the excess gap in

the dowels, the leg connection

could not be fully tightened into

place and became wobbly and

unstable.

In the proceeding production

instance, these learnings will

be considered, and the product

components adapted to produce

a more suitable furniture piece.

120 Design Process I The Product



DESIGN PROCESS

02THE PRODUCT



SIGNIFICANCE


Adaptable

To suit the constantly

changing needs of users

Ownership

Encourages user-product

attachment

Lack of Permanent Fixtures

Challenges Built-in

Obsolescence

Unity

Combination of New

Technologies with more

Traditional Methods

3D Printing

Waste and Cost

Reduction

Minimalist Approach

Finding meaning through

non-consumerist attitudes

Compact

Response to our

transition to smaller

living spaces

Bespoke

Encourages Attachment

Lightweight and Portable

For temporary dwelling and

constant travel

Sustainable Material Choice

Response to Fast Furniture

trends and growing

hyper-consumerism

Positive Experiences

Through Playful engagement

and interaction



USER EXPERIENCE


PURCHASE

Requirement for new furniture piece

Consultation with a Designer

Selection of Features

Production of components

Delivery to User

Made into new Components

Assembly

Recycling of Old Components

Use

Exchange of Components

Consultation with a Designer

Damaged Component

REPLACEMENT

























142 Bibliography I

BIBLIOGRAPHY



03

BIBLIOGRAPHY

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152 Appendices I



04

APPENDICES

154 Appendices I


APPENDIX

A

CNC in the Furniture Industry

Computer numerical control (CNC) machining

is one such SM process, offering precision, efficiency,

safety, and greater adaptability (Alhoutary and Karoui,

2022). In most circumstances, subtractive CNC is utilised

to control the relative motion of a tool and a workpiece,

subtracting unessential material to produce a part with

the desired geometry (Müller and Wings, 2016). Despite

the various advantages of SM, multiple considerations

hinder its further evolution. The manufacturing industry

has proven to be one of the most significant contributors

to industrial energy consumption, with an expected

increase in the future (Newman et al., 2012). In addition,

although minimised to some degree, the machining

waste produced through SM processes cannot entirely

be eliminated (Jayawardane et al., 2022).

The combination of digital fabrication with parametric

tools enables easy modifications of specific features

and attributes of a digital model (Rohrbacher et al.,

2017). Over the years, it has become common to refer

to a distinctive sectioned asymmetric furniture design

style as ‘Parametric’ (ODonnell, 2018). This furniture

style is noticed through the design of the Parametric

Bench produced by Architect Oleg Soroko. The bench

is constructed using CNC-cut layers of plywood, joined

together through iron rods (Oxman, 2015). Due to the

ease of customisation and production, the furniture

market has been saturated with products of similar

design and construction.

FIGURE 14 Parametric Bench

Two of the most recognised applications of subtractive

CNC in the furniture industry include basic CNC milling

in parametric furniture design (Barros et al., 2014) and

complex 3-dimensional CNC joineries (Thoma et al.,

2018).

Note. From Parametric bench NEW, by Soroko, O. n.d., Archello (https://archello.com/

product/parametric-bench-new).


Multi-axis CNC machines present opportunities for

FIGURE 15 Molloy Chair and Table

flexibility in production volume and product diversity

due to interchangeable cutting heads and increased

efficiency (Koc et al., 2017). The first instance of CNC

machinery in the furniture industry worked within

3-axis capabilities. Present-day models now offer 4-6

axis manufacturing, supporting more complex profiles

(Ratnasingam, 2022). Adam Goodrum’s Molloy Chair

and Table represent how 5-axis CNC can be used to

enhance a product’s material and designed elements

(Cult Design, 2016). The furniture pieces utilise CNC

timber components that fit seamlessly together while

accentuating the differing natural timber grains to

create a balance between individuality and uniformity.

Exploiting the latest CNC capabilities and the complexity

of these designed elements discourage the possibility

of replication or appropriation (Cult Design and

Goodrum, 2016).

Note. From CULT MOLLOY CHAIR, by Goodrum, A. 2016, Good Design Australia

(https://good-design.org/projects/molloy-chair/).

156 Appendices I


A References

Alhoutary, I., & Karoui, H. (2022). The impact of

utilising CNC on architectural engineering and interior

design pedagogies. In EDULEARN22 Proceedings (pp.

8348-8357). IATED

Newman, Nassehi, A., Imani-Asrai, R., & Dhokia,

V. (2012). Energy efficient process planning for CNC

machining. CIRP Journal of Manufacturing Science

and Technology, 5(2), 127–136. https://doi.org/10.1016/j.

cirpj.2012.03.007

Barros, M., Duarte, J. P., & Chaparro, B. M.

(2014). Integrated generative design tools for the mass

customization of furniture. In Design Computing and

Cognition’12 (pp. 285-300). Springer, Dordrecht

ODonnell, N., (2018, November 23). Parametric

Style Furniture - The Definitive Guide. Terraform Design.

https://www.terraform-design.com/news/2018/11/16/

parametric-style-furniture-the-definitiveguide#:~:text=Apart%20from%20the%20technical%20

Cult Design (2016). Molloy Chair Nau. CULT

Design. https://cultdesign.com.au/products/molloy-chair

definition,or%20otherwise%20uniquely%20organic%20

shapes

Cult Design and Goodrum, A., (2016). CULT

Molloy Chair. Good Design Australia. https://gooddesign.org/projects/molloy-chair/

Oxman, R. (2015, August). MFD: Material-

Fabrication-Design: a classification of models from

prototyping to design. In Proceedings of IASS Annual

Symposia (Vol. 2015, No. 13, pp. 1-11). International

Jayawardane, H., Davies, I. J., Gamage, J. R., John,

Association for Shell and Spatial Structures (IASS)

M., & Biswas, W. K. (2022). Investigating the ‘technoeco-efficiency’performance

of pump impellers: metal 3D

printing vs. CNC machining. The International Journal of

Advanced Manufacturing Technology, 1-26

Ratnasingam. (2022). Furniture Manufacturing:

A Production Engineering Approach (1st ed. 2022.).

Springer Singapore

Koc, Erdinler, E. S., Hazir, E., & Öztürk, E. (2017).

Effect of CNC application parameters on wooden

surface quality. Measurement : Journal of the International

Rohrbacher, G., France, A., K., and Filson, A.,

(2017). Design for CNC: practical joinery techniques,

projects, and tips for CNC-routed furniture. Maker Media

Measurement Confederation, 107, 12–18. https://doi.

org/10.1016/j.measurement.2017.05.001

Thoma, A., Adel, A., Helmreich, M., Wehrle, T.,

Gramazio, F., & Kohler, M. (2018, September). Robotic

Müller, M., & Wings, E. (2016). An architecture

for hybrid manufacturing combining 3D printing and

CNC machining. International Journal of Manufacturing

fabrication of bespoke timber frame modules. In Robotic

fabrication in architecture, art and design (pp. 447-458).

Springer, Cham

Engineering, 2016


158 Appendices I


B

Living Circumstances Survey

20 randomly selected people were asked to complete

a survey regarding their past, current and possible

Question 4

future living circumstances. All questions were made

mandatory.

Question 1

Question 5

Question 2

Question 3

Question 6


Question 7

Question 8

160 Appendices I


C

3D Printing knowledge Survey

25 randomly selected people were asked to complete

Question 6

a survey regarding their knowledge of 3D printing.

Questions involving previous use of a 3D printer were

made optional while all others were mandatory.

Question 7

Question 1

Question 8

Question 2

Question 9

Question 3

Question 10

Question 4

Question 5

If you have not used a 3D printer, Why not?

Convenience, I don't own one.

Haven't had a need

Don't have access to one

Don't have one

no need for one

Lack of knowledge and access

Haven’t needed to use one

Don't have access to one

Never had access to one.

Don't have access to it

I don’t have access to any

Not needed

Not had an opportunity

Don't have one


Question 11

Question 13

Question 12

Question 14

If you owned a 3D printer, what would you use it for?

Prototyping

making small projects and fixing things around the house.

personal projects

Most probable hobby type thing

no Idea

Personal Projects and DIY

Make stuff

fixing things

I probably wouldn't use it

Printing

Use it to make things

Personal project's

Printing

food to trick people

If I was informed with how it should be used at its best, then, yes.

Make cute small projects. Or use it to create parts to replace a bigger

thing.

Prototyping

Projects

Prototyping

Printing

N/a

Desigining art stuff

Making stuff

Prototyping

Personal Projects

Over the years, our requirements for physical space as individuals

have condensed to create a closer relationship with one’s community

and more comfortable access. This epoch of new living requirements

demands a transition in the designs and functions of the furniture

inhabiting such spaces. Our transition has encouraged a lack

of ownership and product-user attachment, prompting a more

disassociative society. This change has especially affected furniture’s

context and the characteristics we prioritise, with mass-produced fast

furniture becoming the primary response. Yet, recently, society has

come to scrutinise these unsustainable consumption models due to a

collective increased environmental awareness.

Metanoia is a modular furniture component system that can be

combined to form multiple configurations to suit compact and

sustainable lifestyles. The product is the culmination of emerging

technologies, specifically 3D Printing, and traditional production

methods as a strategy for facilitating positive experiences in limited

living spaces.

Metanoia: Furniture for Compact Living

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