Fab Lab Report Pages_English.indd

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A MOBILE EXPERIENCE LAB PRODUCTION

THE TEAM

Principal Investigator: Dr. Federico CasalegnoProject Manager & Author: Catherine Winfield

Sponsors:ProsperaCarlo AntoniniGiampaolo Moscati

Prospera Fellows: Coordination and Assessment with ArtisansCristiano MagiFrancesca Mazzocchi

Researchers: Interviews with Artisans and Building PrototypesKarina Lia Penedo SilvesterYiyhun Lim

Participating Artisans:RetaYobelSaskiaCeramiche Toscane

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INDEX0-INTRODUCTION 0.1 OBJECTIVE

1- ARTICUlATINg ThE ECONOmIC STATUS Of TOSCANA 1.1 ITAlIA 1.2 TOSCANA 1.3 ARTISANS 1.4 OppORTUNITIES fOR TOSCANA

2- UNDERSTANDINg DIgITAl mAKERS AND ThE ThIRD INDUSTRIAl REVOlUTION 2.1 DEfININg fAB lABS 2.2 EXISTINg fAB lABS AND ThEIR COmmUNITY mODElS 2.3 fABRICATION mAChINES ThAT DEfINE DIgITAl mAKINg

3- EXplORINg ThE ECONOmIC pOTENTIAlS Of DIgITAl fABRICATION 3.1 ThE ARTISANS 3.2 ThEIR NEEDS 3.3 WhAT WE pRODUCED 3.4 fEEDBACK

4- pROpOSINg fAB lAB TOSCANA 4.1 KEY fACTORS fOR DESIgNINg A fAB lAB 4.2 NEXT STEpS

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0-INTRODUCTION

The Economist poignantly declared digital fabrication the Third Industrial Revolution in its special report on April 21st 2012. The Third Revolution and digital fabrication in general is characterized by the use of computers or robots to control machinery and methods traditionally operated or performed by hand. Just as mechanized looms redefined textile production at the turn of the last century so to the use of digital control is changing products, processes and economies; with this digital mechanization comes smarter, smaller and simpler tools. There is a lower barrier to entry for many processes empowering designers and hobbyists. It would seem

example highlights the ability for more intelligent manufacturing to replace jobs. However, Susan Hockfield, the former president of MIT has been quoted saying “It is true that if you look at the array of manufacturing technologies that are coming out of MIT,many of them are jobs-free, or jobs-light, but that is no reason not to want to do that type of manufacturing in America, because feeding into jobs-light processes is a huge supply chain in which there are lots of jobs and large economic benefits.” It would seem then that manufacturing jobs are not actually disappearing but rather our definition of manufacturing and therefore our metrics

as though the Industrial Revolution pendulum has swung back moving from mass production, once again, to individualized production. However, the term Third Revolution, now widely used by those in the digital fabrication community is more than a colloquialism. It holds significant cultural relevance. The lower barrier to entry that digital fabrication provides into industrial processes is more than a DIY dream. It is creating feedback loops between hobbyists and industrial specialists. Digital fabrication is not only revolutionizing consumer goods it is in turn informing the processes used to make them. This revolution only further complicates theories

of the innovation economy. The potential however, is that developed countries can reclaim manufacturing and positively impact their regional economies. The global economic downturn of the past 5 years has expedited the loss of jobs in the manufacturing sector in most developed countries. The loss of manufacturing can create extreme poverty and urban decay as has been thoroughly documented in a number of America cities such as Detroit, Cincinnati and New Bedford. However, as of 2012 the United States has matched Chinese production in terms of dollar value. Staggeringly, this has been accomplished in the U.S. with only 10% of the workforce. This

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of economic evaluation through job creation must be shifted. The most exciting result of such an understanding is that this type of supply-chain employment is that any regions workforce must become more skilled and specialized. An issue that developed countries are most readily able to address. Therefore, deduction would note that in this Third Industrial Revolution manufacturing will be returning to developed countries. Another key economic impact of the Third Industrial Revolution is regionalism. As machines become smarter, smaller and more precise their geographic location can become decentralized. This

create ripples in the system. Meaning that innovation investments in some would in theory have economic impacts on all. It is this type of infrastructure is something many developed nations are rapidly trying to produce as a direct result of the decentralized manufacturing opportunities afforded by digital manufacturing. It would seem then that Italy is brilliantly situated to capitalize on an infrastructural advantage that many countries are trying to develop fast.

is critical as the fuel to transport goods increases and it also means that smaller decentralized manufacturing plants are better situated to address regional demands. This in turn implies that such facilities require a seamless integration into their direct communities. These decentralized manufacturing facilities instantly act as magnets for innovation clusters. Companies will cluster around such a facility because of its specialized skills, its role in supply chain for its market sector and potential associations to venture capital. These clusters are also most effective when located near a university or research institute. Examples of

such clusters can be found in Silicon Valley and Kendall square where large corporations cluster near universities such as Stanford and MIT. These findings have very specific impacts on Italy and its economic stability following the 2007 crisis. There is extensive research on organisational and economic impact of the Italian industrial district. An entity onto itself the Italian industrial district share divisions of labor within market segments and often act as a co-op. These localized systems do not always produce superior results due to failures in the supply chain. However, impacts made to these districts regardless of how nominal would

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0.1-ObjECTIvE

Fabrication and prototyping is no longer limited to experts and large-scale manufacturing processes. Artists and designers today now have fabrication and prototyping experience as part of their education and professions. At the same time machines are becoming safer and more affordable and processes are simpler and easier to learn. It is easy to imagine that 20 years from now small parts may even be 3D-printed from the average home. The proliferation of these machines and processes means that their uses are becoming more inventive, creative and more in-demand. Within this rapidly developing ecosystem exists

WhaT Is ThE ROlE Of DIgITal fabRICaTION aND fablabs IN REgIONal ECONOmIC sTImUlUs?

opportunities for many arts and crafts industries to strategically position their design business by combining digital fabrication methods with their already learned craft. For designers to stay relevant in a rapidly changing economy the adoption of digital fabrication can aid not only in relevancy but in staying ahead of their market. It is the goal of this document to prove that the proliferation of digital fabrication knowledge inspires a competitive and entrepreneurial spirit among artisan communities that can have far reaching economic impacts. This document hopes to outline the state of the industry today (in regards to digital

fabrication), the machines used currently and what potentials lie around the corner tomorrow, in particular for the Tuscan region of Italy.

aRTICUlaTINg ThE ECONOmIC

sTaTUs Of TOsCaNa

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1.1 -ITalIa

LEATHER, SHOES

JEWELLEWRY

FORNITURES

MECHANICS

PAPER

FOOD INDUSTRY

PLASTICS, RUBBERS

CLOTHING, TEXTILE

The downturn in the global economy has rippled through the Eurozone, hitting Italy almost 18 months after the crash of the U.S. stock market in 2009. This downturn has impacted the entirety of the country and even 3 years later most industries are struggling to recover. As a result of the economic downturn the direction of consumer purchases and retail behaviours have changed drastically. The ways in which people distribute their dispensable income has changed and bespoke items have become luxuries many can not afford. Simultaneously cheap labour in developing countries has moved many industrial processes off-shore, further crippling

economies. As afore mentioned digital fabrication as a means of revolutionizing industrial processes offers a unique set of potentials in Italy. In order to better quantify the magnitude of impact within Italy is important to understand the state of the industry within Italian business districts.

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1.1 -ITalIa

Clothing, textiles and leather represent a significant number of Italy’s exports, therefore suggesting a strong connection between these industries and the country’s GDP. In fact, according to the World Bank 30% of Italy’s GDP was represented by exports. When zooming into central Italy and the greater Tuscan region this percentage becomes significantly larger. This information while singularly insignificant indicates the need for a deeper examination into the economic stability of Tuscany and its role in the Italian economy at large.

JANUARYRYR -Y-Y SEPTEMBER20

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JANUARYRYR -Y-Y SEPTEMBER20

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10

1.2-TOsCaNa

The number of companies registered at the Chamber of Commerce of Tuscany at the end of June 2012 came to a total of 417,184, including 28,295 new registrations and 29,325 terminations over a twelve month period, leaving a net loss in 1030 units.

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1.2-TOsCaNa

PERFORMANCE OF REGISTERED IN TUSCANY(BUSINESS GROWTH RATE (1): VALUES ANNUALISED%)

0,8%

2005 2006 2007 2008 2009 2010 2011 I 2011 2II 011 III 2011 IV2011

I 2012 II 2012

1,2%1,0%

0,9%

0,4%

1,2%1,0%

1,6%

1,3%1,2%

1,0%

0,5% 0,5%

Source : Unioncamere Toscana - Ufficio Studi Note e approfondimenti 2012-09

This loss has been felt most strong in the industrial, artisanal and craft sectors. When reviewing trends over the past five years it is clear that the artisan sector is not bouncing back from the economic downturn as quickly as other sectors. At the close of 2012 the situation was still critical and the outlook for this year continues to threaten small businesses in the region.

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1.2-TOsCaNa

The craftsmanship in Italy is not only a widespread reality in terms of number of companies, but is a significant source of wealth for the country as a whole. The contribution of the craft sector in terms of added value is nearly 150 billion euro; that is 12.5% of the net national value added excluding agriculture. In addition, about 58.6 billion euro are attributable to small businesses in the industry, 35.4 to those working in construction and 53.9 to craft services companies.

-3,0

2007 2008 2009 2010 2011

0,0

-4,7

-8,2 -7,8 -7,7

-18,5

-14,1

-11,1

-2,9

-10,2

-6,8 -6,5

manufacturingbuildingservice

-15,6

-8,7

PERFORMANCE OF TURNOVER BY SECTOR% CHANGE COMPARED TO THE SAME PERIOD OF THE PREVIOUS YEAR

Source : Unioncamere Toscana - Ufficio Studi Note e approfondimenti 2012-09

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1.2-TOsCaNa

PERFORMANCE OF SALES BY SECTOR AND SUB-ACTIVITIES OF YEAR 2011% CHANGE COMPARED TO 2010

-7,4

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1.3-aRTIsaNs

At the regional level, high crafts comprise a larger percentage of market share Marche (18.8%), Umbria (16.7%) and Veneto (16.3%), Emilia Romagna (15.9%), Trentino Alto Adige (15.4%) and Tuscany (14.9%). On the other hand, “less craft” regions include Lazio and Campania, where the percentage of the total craftsman added value stood respectively at around 6% and 8%.

66,9

57,7

52,3

39,2

38,5

32,3

30,0

29,2

25,4

22,3

16,2

STRATEGIC LEVERS FOR THE DISTRICT PRODUCTION(ANSWERS%)

Raising entrepreneurial culture

Training and improvement of professional skills

Raising the quality of production in the district

Body representing the district to process planning

Interventions for the improvement of infrastructure connecting

More active and efficient local government

A center offering services and advice to businesses district who request

Make room for younger entrepreneurs

Having a trademark of district

Combat undeclared work and unfair competition

Interventions for the conservation of the environment and to prevent environmental damage in the territory of the district

Source: Censis, 2011

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1.3-aRTIsaNs

In conjunction with economic data, censuses conducted within industrial clusters begin to point to strategic levers that could assist in the economic improvement of the industry and region. These censuses point to an interesting level of self awareness on the part of the artisans. Just as the economic data would suggest, artisans too believe that innovation in manufacturing, advanced skills, advanced products and collaborations with research groups would benefit the clusters.

60,2

55,2

15,7

16,0

4,1

6,2

3,6

6,0

3,3

3,1

2,3

2,8

1,0

1,3

COMPETITIVE FACTORS IN RELATION TO COMPETITION: COMPARISON BETWEEN BUSINESS DISTRICT AND DISTRICT(AS A% OF TOTAL)

Business district

Quality / design products

Picture / corporate brand

Innovative capacity and design

Quality of human resources

Support pre / post-sales

Organizational modelcompany

Distribution channels

Companies that are not localizedin a district

Source: Survey Research Center Unioncamere on manufacturing SMEs (20-499 dependents)

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1.3-aRTIsaNs

STRENGTHS AND WEAKNESSES OF THE DISTRICT PRODUCTION(ANSWERS %)

Ability to operate in foreign markets

Capacity for innovation

Creativity of enterprises

Availability of skilled labor

Technological equipment of enterprises

Use of green technologies

Presence of figures managerialia

Availability advanced services for business

Strategic vision of the entrepreneurial class

Infrastructure linking

Level of cohesion between business and Istutuzioni

Collaboration between firms

Sanking systems

Strength Weakness / To be improved

Fonte: Censis, 2011

64 36 61 39

59 41

55 45

51 49

28 72 25 75

24 76

23 77

22 78 18 82

12 88

8 92

Perhaps the most significant aspect of this census data is the deduction that artisans are looking for assistance. They know that improvement along these weaknesses would help them offer more competitive products but they do not at present have access to resources that would make a difference.

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1.3-aRTIsaNs

RELATIONS BETWEEN THE BUSINESS DISTRICT AND OTHER SUBJECTS OF THE TERRITORY(DISTRIBUION % OF COMPANIES FOR EACH TYPE OF RELATIONSHIP)

12,2 5,2 82,6

3,5 6,0 90,5

6,4 3,1 90,5

5,9 4,5 89,6

6,3 4,1 89,6

5,9 6,5 87,6

12,7 11,7 75,6

Links with associations

Relationships with local authorities

Relationships with the Chambers of Commerce

Collaboration between companies

Links with business subcontracting

Links with the banking system

Source: Survey Research Center Unioncamere on manufacturing SMEs (20-499 dependents)

Stronger Links Ties Weakened Stable Bonds

Therefore, a proposal for program within Tuscany which provides these resources would be in a unique position to make a large impact.

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1.3- aRTIsaNs

Both economic data and the census conducted with in companies confirms that artisans are struggling and investments within manufacturing innovation will improve regional economics. This report will prove that digital fabrication and fabrication facilities can provide the manufacturing innovation so desperately need by artisans in Tuscany. This report will also prove that fabrication facilities act as attractors for research institutes and universities. However there is another key need of artisans in Italy; this is a connection to youth.

A severe drop in interest from youth has been documented in a number of artisanal industrial

clusters. Advanced degrees and a lack of educational emphasis on traditional crafts has spawned little interest from youth. In general over 70% of artisanal companies in Italy are comprised of employees over the age of 40. The number of youth working in artisanal companies Italy can be counted in the thousands. Regardless of innovation in manufacturing these crafts will continue to fail and potentially become extinct if youth engagement does not occur. Digital fabrication can provide this connection to the youth. First, as fabrication facilities become magnets for research institutes, students will be naturally drawn to collaborations

with those part of the fab lab community. But most importantly, just as many artisans may not have a strong understanding today of digital making, those students in design programs today may have little visibility as to the traditional methods of artisans. This disconnect could be solved through the development of a digital making community. It can act as a translation tool between both generations and methods of fabrication.

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1.4- OppORTUNITIEs fOR TOsCaNa

Following an analysis of research documenting various drivers and strategies for improving the financial well-being of small artisanal businesses within Tuscany, 4 key drivers were determined. • Access to innovation,

including training and advanced skills

• Increasing entrepreneurial culture

• Connections to Universities and research centres (such as libraries, art centres, or chambers of commerce) including community engagement and open knowledge shares

• Connections with youth and community engagement

These key drivers were determined based on the needs of the market as well as a number of studies examining how companies felt they were performing and what areas of improvement they wished to seek.

UNDERsTaNDINg DIgITal maKERs aND

ThE ThIRD INDUsTRIal REvOlUTION

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2.0- ThE ThIRD INDUsTRIal REvOlUTION

As alluded to in the introduction there are strong ties between digital fabrication and Italy’s economic potential. Digital fabrication and fabrication facilities are now paving the way for public knowledge and community centers. Not unlike the infrastructure of a public library, fab labs have become the new standard for public open source knowledge shares. These resources for knowledge sharing are (like a public library) decentralized and networked. This model of decentralized and community led innovation is part of a well documented trend toward user-centered innovation in services and products. Eric Von Hippel documented this trend in

his 2005 text Democratizing Innovation. Von Hippel argues that the key to this democratic innovation is through a rethinking of manufacturing processes. If companies can openly collaborated upon their supply chains, and their methods of production then new products can immerge. It is a connected and holistic cycle that must begin with this open sharing of knowledge. The development of a decentralized network of fab lab is just the next step of these trends. Just as Von Hippel documented the significance of open source software in his book, now advances in digital fabrication have created a culture of open source hardware. This is the

foundation of digital making.

Here is is important to note that without an open-source culture fab-labs would do little to promote innovation within their communities. Additionally, not all fab labs are created equal. There are open source fab labs for art restoration techniques and fab labs for open source genetics. The tools and resources needed for each is radically different. However, it is a unified culture of decentralized open knowledge sharing that ties facilities and communities together.

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2.1- DEfININg fab labsWhaT aRE ThEY?

A fab lab (fabrication laboratory) is a small-scale workshop offering digital fabrication. A fab lab is generally equipped with an array of flexible computer controlled tools that cover several different length scales and various materials. This includes technology-enabled products generally perceived as limited to mass production. While fab labs have yet to compete with mass production and its associated economies of scale in fabricating widely distributed products, they have already shown the potential to empower individuals to create smart devices for themselves. The fab lab program was started in the Media Lab at Massachusetts Institute

of Technology (MIT), a collaboration between the Grassroots Invention Group and the Center for Bits and Atoms (CBA) at MIT.

The scale, design and functionality of a fab lab can vary widely based on the intended outcome of goods produced or skills highlighted. Digital making has found its way into any number of fields and its proliferation only further emphasizing the significance of this revolution. Digital fabrication facilities can be tailored to any number of use cases including furniture making, art restoration, robotics, naval architecture, jewelry and handicrafts. When determining the

typology of fab lab to construct, one must examine issues such as intended use, fabrication machines, space, ventilation and safety requirements.

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There are a number of uses for digital fabrication spanning many market sectors. Each discipline within the arts, design and sciences approach digital fabrication machines in a new way. Varying disciplines will see the same machine differently, while in other situations specialized applications require an entirely different type of machine. However, in general “rapid advances in manufacturing technology point the way towards a “maker” culture.”(Igoe)

One must answer questions such as :

•Whoarethedesignersthat will be using this facility and what types of activities will they perform?•Whatmachineswillmeetthese needs?•Whatsafetyandbuildingrequirements are needed for these machines and the facility to function?•Howcanafabricationlaboratory be best designed to enhance the performance of the designers?Addressing these questions will require an understanding of many logistics and the success of this project lies within the details.

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STUDIO ART An applied example

of digital fabrication in the arts can be seen an exhibition conceived by designer by Michele de Lucchi. The exhibit hopes to take Piranesi’s sketches and detailed paper speculations and move them into the physical world. “The exhibition offered a variety of avenues that bring Piranesi into our time: a full-scale facsimile of the Caffe degli Inglesi, the Roman coffee shop decorated by Piranesi, and a digital animation that allows the viewer to slide (virtually) through the dense and contradictory spaces of the Carceri. The most provocative items on display, however, were the elaborate decorative

objects – two meter high candelabra, massive vases, Greco-Roman altars—whose designs had appeared in Piranesi’s publications of the 1760’s and 1770’s, but which had only now been given three-dimensional form.”(Lowe)These objects could not have been brought into a 3D realization had it not been for the digital fabrication techniques. In many cases the drawings of the work are scanned and then reproduced as digital 3D models. Once the digital models are completed, sterelithographic 3D prints can be created. These prints can be used as molds for casting in precious metals or in some cases, the 3D prints themselves can be put on display.

1] Lowe, Adam. “Messing About with Masterpieces: New Work by Giambattista Piranesi (1720-

1778)”; ArtINPrint, Issue 1 Volume 1

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RAPID PROTOTYPINGAs a stark contrast

to the use of the fab labs for studio art, such facilities can also be used for simple rapid prototyping in developing countries. The CBS MIT Fab Lab initiative has built a number of fab labs in developing countries as a means of empowering communities and spreading education initiatives. This type of a fab lab would be useful for building rough prototypes. Once such example of a fab lab collaboration in developing country is the leveraged freedom chair. Developed as part of a joint initiative the between MIT DLab and design consultancy companies to prototype a wheel chair for undeveloped contexts.

The intent was to design and produce a wheelchair that can manoeuvre in unsteady terrain. This meant rapidly prototyping chairs in fab labs in the US, testing them in developing countries. Then making adjustments or in some cases rebuilding the chair in facilities located within those countries. Eventually, an industrial design consultancy was brought in to produce a market ready solution. However, all of the rapid prototyping occurred in fab labs . Most of which was done in small labs in the developing countries where the chair was tested.

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CULINARY ARTSNot very long ago,

the idea of going up to a machine, pressing a “hamburger” button and receiving a hamburger instantaneously seemed like something straight out of “Star Trek” or “The Jetsons.” But with the advent of 3D food printing, that machine might be in kitchens very soon.

Scientists are already close to using 3D printing, the process of adding a material layer by layer to create an object, to create food for astronauts. But the technology could be useful on Earth as well. Dr. Jeffrey Lipton, a scientist at Cornell’s Fab@Home lab, explained in a HuffPost Live segment how 3D printing

can make food more exciting.

“We took masa dough and 3D-printed it into an octopus so that we can show kind of the artistic flair you can get with a 3D printer,” Dr. Lipton said. “You could imagine also, instead of using masa dough you do it with celery puree, and now it’s a lot easier to convince your kids to eat their vegetables because it’s an appealing shape. Fun shapes don’t have to just be for chicken nuggets.”

1] http://www.huffingtonpost.com/2013/02/14/3d-printed-food_n_2687028.html

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BIO-MEDICAL3D printing has

brought us all sorts of neat household gadgets and delightful statuettes and toys, but the real advances made possible by the technology might not be in the home, but in the lab. Take, for example, this replacement human ear, engineered from rat tail cells and cow cartilage and given shape in a 3D printed mold of a patient’s own ear.

The Cornell team reported it’s success with the ear today in the the journal PLOS ONE. The process starts by taking a digital scan of the patient’s intact ear and transforming that scan into a 3D printed mold. The mold is then filled with a substance composed of

collagen (derived from the tail cells of rats) and about a quarter billion cartilage cells (taken from a cow, though it’s not clear which part) and allowed to harden before being placed in a nutrient bath to culture and take shape, the collagen offering a scaffold for the cartilage grow into a replica ear.

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SMART TEXTILESWearable computers

may be pushing the boundaries of fashion accessories such as bags and jewellery, but fashion is still about clothing and the feel of textiles against our bodies. Numerous artists, designers and researchers have been studying how to build electronic circuits entirely out textiles in order to distribute the potential to collect and sense data as a means of generating a new typology of textiles.

Smart textiles are those which are able to change over time and change visually or in its structure. Moreover, these types of fabrics can sense the environment and respond to certain stimuli. These

stimuli can be electrical, mechanical, optic, thermal and even magnetic.

Some of these commercially available textiles are shown at the right and suggest that the future of fashion may lie in the designer’s ability to develop products with increasing levels of functionality and responsiveness.

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2.2-EXIsTINg fablabs

WOOD-WORKING

General wood-working includes traditional wood-working craft skills. These skills are used in carpentry, whittling, furniture making and in some cases, architectural construction.

There a number of machines from hand tools to digital mills that can be included in wood-working facilities:

• Air Compressors• Bandsaws• Power-Carving• Circular Saws• Drills• Grinders, Buffers• Joinery• Jointers• Lathes• Miter Saws• Mortisers• Planers• Routers• Sanders• Shapers• Table Saws• Chop Saws

METAL-WORKING

General metal-working includes a number of standard machines and processes for working with metal. The term covers a wide range of work from large ships and bridges to precise engine parts and delicate jewellery. In many cases machines for working with wood and metal are similar in function however, the machines themselves often have special requirements to move between materials. For example bandsaws are used for both metal and wood however, metal band saws require water hoses, cold air and separate ventilation and plumbing lines, as well as special blades.

•MetalDrills•ColdSaws•MetalLathes•EdgeFinders•MetalGrinders•Drawbars•TappingadRollingTools•Vises

SCANNING

Just as there is the proper printer for each job so is the case with scanners. There are general purpose models but size, form, color and fidelity all matter. 3D scanners capture information from a 3D object and translate it to a digital model for use and manipulation in a variety of software programs. They include 3D scanners, laser digitizers and CT scanners. Again the machines included are only a sample.

MILLING

Milling is a subtractive process which removes material to create a desired form. In most traditional settings mills are part of daily wood-working or metalworking shops. However, advances with computer-controlled, CNC milling almost mandates that this type of tool be called out as separate from their traditional carpentry-focused counterparts.

ADDITIVE MANUFACTURING

3D printers range not only in printed material (from metal to plastic, even food!) but in the processes they use to print. A 3D printer typically involves some type of material being laid down in an additive process to slowly build a 3D form. Different design disciplines use various printers based upon that design’s needs. Printer processes can range from Stereolithography to Form Deposition Modeling and the machines included in this section are only a sample.

SOFTWARE

All of the machines reviewed have proprietary software that accompanies them. In addition most machines require prior knowledge of various 2D and 3D computer aided design programs. A sampling of both types of software are reviewed in this section.

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FAB LAB SEED FUNDS BUSINESS MODEL

NORTH BENNET STREET SCHOOL UNIVERSITY DESIGN RESEARCHMIT MEDIA LAB UNIVERSITY DESIGN RESEARCHSTRAUS CENTER UNIVERSITY DESIGN RESEARCHARTISANS ASYLUM PUBLIC DESIGN INCUBATOR/ DESIGN WORKSHOP/ DESIGN STUDIO/ DESIGN CONTRACTINGDANGER AWESOME PUBLIC DESIGN STUDIO/ DESIGN CONTRACTINGFAB LAB TORINO PRIVATE DESIGN INCUBATOR/ DESIGN STUDIOFAB LAB RE PUBLIC DESIGN INCUBATOR/DESIGN CONSULTANCYPROMO DESIGN BOTH DESIGN RESEARCHFAB LAB AALTO OPENP2PDESIGN UNIVERSITY DESIGN RESEARCHFAB LAB AMSTERDAM PUBLIC DESIGN INCUBATOR/DESIGN CONSULTANCYFAB LAB BARCELONA PUBLIC DESIGN CONTRACTINGFAB LAB KOLN COLONIA PRIVATE DESIGN CONTRACTING

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NORTH BENNET STREET SCHOOL

As part of the research in preparation for fabrication facility design several site visits were conducted to create a standard for fabrication facilities of varying kinds.Located in Boston, Massachusetts, the North Bennet Street School(NBSS) offers intensive, hands-on training in traditional trades and fine craftsmanship, helping students to achieve meaningful lives and livelihoods. For more than a century, the exceptional programs, master faculty and inspiring community have encouraged individual growth, curiosity, technical mastery and commitment to excellence. The school’s

reputation for excellence and value attracts students from around the world. Pauline Agassiz Shaw, the school’s founder, was a visionary educator and proponent of the Swedish system of manual training known as “sloyd” which means “craft” or “hand skills.” The sloyd method focused on the development of character and intellectual capacity, as well as technical skills. The method encourages students to systematically develop hand skills along with an understanding of tools, materials, processes and a sense of care and commitment to excellence. Shaw saw the school’s mission as teaching the “whole person” both how to make a living and how to live

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a fuller life.Today, the philosophy of sloyd remains at the heart of the school. Full-time programs provide intensive, hands-on training in a structured framework with a focus on practical projects. The North Bennet Street School has evolved over its more than one hundred year history while retaining its core commitment to train individuals for employment using time-honored methods and skills.

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MIT MEDIA LAB

The MIT Media Lab applies an unorthodox research approach to envision the impact of emerging technologies on everyday life— technologies that promise to fundamentally transform our most basic notions of human capabilities.Unconstrained by traditional disciplines, Lab designers, engineers, artists, and scientists work atelier-style, conducting more than 350 projects that range fromneuroengineering, to how children learn, to developing the city car of the future. Lab researchers foster a unique culture of learning by doing, developing technologies that empower people of all ages, from all

walks of life, in all societies, to design and invent new possibilities for themselves and their communities. MIT’s Center for Bits and Atoms manages a facility for making and measuring things on length scales from atoms to buildings. Rather than requiring user fees, it is funded by CBA’s research programs for use by participating researchers, with additional available time shared with collaborating programs.

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THE STRAUS CENTER

The Straus Center for Conservation and Technical Studies provides analysis and treatments for the Harvard Art Museums’ more than 250,000 objects in all media, ranging in date from antiquity to the present, from Europe, North and South America, North Africa, the Middle East, India, Southeast Asia, and East Asia. In addition to serving the conservation needs of the Art Museums, the Straus Center also operates as a regional conservation facility, offering fee-for-service treatments, surveys, and consultations for museums, libraries, historical societies, historical sites, and private art collectors.

Training and education are fundamental activities of the Straus Center, maintaining a tradition established at its founding over 80 years ago, when it became the first institution in the UnitedStates to use scientific methods to study artists’ materials and techniques. The center’s Advanced-Level Training Program provides formal hands-on training in the conservation of works on paper, paintings, and objects and sculpture, as well as in conservation science.This program was formalized in 1972 with support from the National Endowment for the Arts and offers three 10-month fellowships each year.Supervised by the Straus Center’s conservators and

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conservation scientists, fellows refine their practical and analytical skills as they examine and treat works of art from important collections from within the Art Museums and around the country, and publish their original research.As a research institution, the Straus Center specializes in performing and publishing integrated technical and art historical studies of works of art in a variety of forums. Its facilities support a comprehensive range of analytical services, including pigment, stone, ceramic, and metal identification, as well as spectroscopic analyses of organic materials including pigments, paint-binding media, and surface

treatments and coatings. Much of the analytical staff’s time is devoted to supporting student, faculty, and curatorial research. The center has recently been relocated to Somerville temporarily while the Fogg Art Museum (the original home of the center) is under renovation. This was an exceptional set of circumstances. Due to the relocation efforts many of the construction requirements were recently designed and available for Mobile Experience Lab’s review. Overall the Straus Center is at the cutting edge of technology for conservation, preservation and analysis.

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THE ARTISANS ASYLUM

Artisan’s Asylum is a grassroots community based fab lab located in Somerville, MA. The group occupies a 31,000 square foot warehouse and hosts around 250 monthly members. The space includes 119 studios, 25 pallet storage units, and over 80 shelf storage units available for rent. Primarily staffed by volunteers they organize classes and community events. Many of the courses are taught by other artisans creating a self-sustaining community. The funding model for the asylum is based upon monthly and daily membership plans for the general public including access to the facility on

weekends and after working hours. The emphasis here is to encourage DIY culture and community craftsmanship.

This grassroots engagement model also informs how they structure their machines. Many of the machines are built by trained artisans or donated by members. Overall, the attitude towards production is open source.

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DANGER AWESOME!

This shop focusing solely on laser cutting provides a service to local artists, artisans, makers and even the general public. The service is provided in as simple a manner as a copying or print shop. The shop provides both the cutting service and training with a membership fee for those interested.

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PROMO DESIGN

Promo Design is a fabrication facility located outside of Florence. The facility focuses on the replication of historical art pieces. By replicating these pieces a digital archive can be developed preserving historical significance and saving a loss in the knowledge of the original as the pieces decay or become damaged. During the researcher’s visit the shop was working towards replicating the baptistry doors from the Battistero di San Giovanni. The design shop was scanning and milling the panels in foam. This not only creates a digital documentation of the doors but also generates replicas. The replicas are

then sent on tour as part of museum exhibitions globally.

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2.3- maChINEs ThaT DEfINE DIgITal maKINgWhaT CaN ThEY DO?

CT scanner

Object to be scanned Laser scanning Digitized objectas a 3D model

above: 3D scanning feet for custom shoes by Derville Above: e-tape measure, 3D scanning for custom-fi t laser cut clothing

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3D SCANNING

COMPANIES : NEXT ENGINENIKONKONICACYBERWAREARTEC

COST WINDOW:$2,000 - $120,000

COST VARIABLE : ACCURACY OF THE SCAN

SIZE OF OBJECT SCANNED


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3D printer Material: ABS, acrylic,resin, powder

Digital input

3D output

3D printing: Additive process by building layers

y

x

z

1. 2. 3.

4. 5. 6.

above : 3D printed shoes

above : 3D printed knit textilesabove : 3D printed corsets above : 3D printed corsets

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above : 3D printed shoes

above : 3D printed knit textiles

3D PRINTING

COMPANIES : Z-CORPFORM LABSOBJECTMAKERBOTSTRATASYSDIMENSION3D SYSTEMS

COST WINDOW:$800 - $60,000

COST VARIABLE : THE SIZE OF THE PRINT

THE RESOLUTION OF THE PRINT

THE MATERIAL PRINTED

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Material: Sheet plasticsVacuum former

Material heated and formed around postivevia vacuum pressure

Positive the plastic is forming around

above : molds for vacuum formed shoes

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VACUUM FORMING

COMPANIES : BEL-O-VACFORMECHZMD

COST WINDOW:$300 - $20,000

COST VARIABLE : THE SIZE OF THE VACUUM BED

MATERIALS THAT CAN BE FORMED

STRENGTH OF SUCTION

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x

y

Laser cutter Laser head detail

1. Plan view of material in laser bed 2. Partially cut file 3. Fully cut sheet

Detail pieces fit together

Press fit laser cut pieces

Laser

Materials: Cardboard, paper, plastic sheets, plywood, fabric

above : laser cut dress by Elena manferdini

above : laser cut shirt by pERf

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LASER CUTTING

COMPANIES : EPILOGBEAM DYNAMICSCOHERENTMAZAKMITSUBISHIKOMATSU

COST WINDOW:$15,000 - $200,000

COST VARIABLE : THE SIZE OF THE CUTTING BED

NUMBER OF LASERS

MATERIALS THAT CAN BE CUT

PRECISION THE LASER

AXISES IN WHICH THE MATERIAL CAN BE CUT (2 TO 5 AXIS)

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x

y

Waterjet cutter Cutter head detail

Waterjet cutting process

Diamond abrasive

Material submerged in water

Materials: Metal, plastic, glass, ceramics, composites, wood

Plan view of sheet material Cut files

Assembled pieces

above : Waterjet fabric by Craftedsystems

above : path Responsive Ornamentation, waterjet cut copper by sjET


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WATER jETTING

COMPANIES : OMAXFLOW WATERJETJET EDGEKMTACCUSTREAM

COST WINDOW:$115,000 - $1,000,000


THE ABRASIVE USED TO CUT

THE TYPE OF PRESSURE OR COOLING SYSTEMS UTILIZED

PRECISION THE JET STREAM


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y

x

z

CNC machine Drill bit detail

Plan view of sheet material

Milling: subtractive process

CNC milling file Constructed chair

Cut files

Drill bit

Materials: Wood, MDF, foam, plastics

above : CNC shoe by Taylor gilbert


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CNC MILLING

COMPANIES : SHOPBOT ROLANDTECHNOTORMACHINTELITEK

COST WINDOW:$3,000 - $100,000


TYPES OF END MILLS USED BY THE MACHINE

ACCURACY OF THE CONTROLLER

STRUCTURAL STABILITY OF THE BED : TIED TO ACCURACY


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5-axis mill Subtractive process

y

x

a

b

z

Materials: Wood, MDF, foam, plastic

above : bed by Radlab above :5-axis laminated wood chair by Daniel Wildrig


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ROBOTIC ARMS

COMPANIES : KUKKASTROBOTICSNEWARKDENSOUNIVERSAL

COST WINDOW:$15,000 - $1,000,000

COST VARIABLE : THE ACCESSIBILITY OF THE CONTROLLER (EASE OF USE)

TYPES OF JOINTS WITHIN THE ARM

OPPORTUNITIES FOR ADAPTING TO DIFFERENT TOOL CONFIGURATIONS

SIZE AND REACH OF THE ARM


EXplORINg ThE ECONOmIC pOTENTIals

Of DIgITal fabRICaTION

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3.0- EXplORINg ThE CONNECTION

During the fall and winter of 2012-2013 researchers from MIT and Prospera approached a number of artisans and small business owners to engage them in a collaborative digital fabrication workshop.

Based on the research conducted it was hypothesized that: “the small scale production offered within fab labs would afford artisans the potential to expand their skill sets and prototype new and innovative products. These products could then be produced at a larger scale within their own workshops. It was also hypothesized that fab labs could connect

artisans with advanced contemporary digital production techniques that better inform their processes and could inspire new innovations in manufacturing. Additionally, Fab labs could be excellent places for artisans to produce tools that they would traditionally purchase at a high cost or with long lead times from outside vendors. This would allow artisans to innovate on their production processes and become more competitive with their fabrication methods.”

The primary goal of this collaborative workshop was to test this hypothesis with artisans and students. It was a real world test of what a fab lab and digital

maker community might do for Tuscany.

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3.1- pRImaRY REsEaRCh

PHASE 01

Bringing expertise in digital fabrication students from MIT interviewed artisans to conduct a needs assessment. This considered both design and production needs and interests they held within manufacturing innovation.

PHASE 02

Following these interview MIT students kept open communication with the artisans studying their products and methods of production. The MIT students then returned to Florence for a brainstorming session.

PHASE 03

The MIT students returned to Florence for 1 week at the end of January 2013 to brainstorm with the artisans regarding advancements in their production and design. The assumption for this brainstorming what that a digital fabrication facility was to be built in Florence.

PHASE 04

Returning to Boston with artifacts of their brainstorming the MIT students produced a series of products through rapid prototyping. These objects produced innovation in the manufacturing methods and objects produced by

artisans. PHASE 05 A few of the artisans were then flown to Boston to view the prototypes, provide feedback and brainstorm around future design phases

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3.1- pRImaRY REsEaRCh

PHASE 01

OCTOBER

PHASE 02

PHASE 03

PHASE 04

PHASE 05

NOVEMBER

DECEMBER

JANUARY

FEBRUARY

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WhO aRE ThE aRTIsaNs ?3.1- pRImaRY REsEaRCh

SASKIA

Saskia is a small business focusing on high-end hand made shoes. The business is comprised of three people, the owner and 2 apprentices. The business makes use of techniques from the 5th century, working with leather to produce bespoken leather shoes. Any single pair of shoes can take up to 5 months to make and the take on approximately 17 clients each year. Such a low production rate places an extreme emphasis on craft and quality. A large part of this strive for quality relies on specific and delicate tools. These tools are now primarily antiques and are difficult to find since they are not longer

manufactured. Following our discussion with the owner of Saskia it became clear that the role of Fab Lab in her business would not be for the production of goods but the production of these rare tools.

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CERAMICHE TOSCANE

Ceramiche Toscana is a medium sized business with large contracts in the United States. The company designs and hand paints all goods on the premises. The sell units in the millions annually and have the capabilities for large production. Currently, their designers make a design for a dish by hand and then make a production mold from the design. The production mold does not often meet the proper tolerances for casting as a result of the inaccuracies caused by hand production. Following conversations with the owner Roberto, it seemed clear that a Fab Lab could aid in the creation

of production molds. Increasing accuracy when making production molds means an increase in unit production output.

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YOBEL

Both Yobel and Reta are medium sized companies that work with luxury design houses to produce hand crafted high-end goods. These businesses take the files from the design companies and produce the leather goods. These companies are at an interesting tipping point. Both companies struggle to balance bespoke hand quality goods, while increasing production to increase economic success.

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RETA

Again here it seemed that a Fab Lab would aid in the production of manufacturing innovation. Both companies utilize some CAD CAM technologies to increase production but in very strategic ways so has to maintain hand quality goods. Tools such as templates, patterns, stamps and possibly even more intelligent industrial machines could aid both companies.

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WhaT DO ThEY NEED?3.1- pRImaRY REsEaRCh

SASKIA

Following two visits and a brainstorming session with Saskia it was determined that many of the rare tools she uses could be built in a digital fabrication facility. She felt strongly that her shoes, as products, should not be touched by the fabrication as she took great pride in her bespoke traditional methods. Therefore, researchers took samples of her tools including the foot lasts. These lasts are actually the molds of customers feet. The process for making these molds is a long manual process. The precision and speed of production from these lasts could also be enhanced by digital fabrication.

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CERAMICHE TOSCANE

Following the two visits to Ceramiche Toscana it was clear that the production of molds for the company’s archive would benefit greatly from digital making. The current methods of production lack accuracy and longevity. By addressing the creation of molds digital fabrication would make it easier for the company to have both a physical and digital archive and ensure that the molds more accurately matched original artisans design intent. Therefore, both the product design and method of production could be impacted.

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YOBEL

As with the previous two companies it was clear that the needs of the artisans was not focused around their products but on their processes and tools. With these two companies it was a unique problem. As the companies produce goods for fashion giants like Gucci and YSL their standards and product specifications were given to them. There was little that could be changed to the design of the product itself. However, both companies worried about their competitors and strived for ways to improve methods for their industrial cluster or supply chain.

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3.1- pRImaRY REsEaRChWhaT DO ThEY NEED?3.1- pRImaRY REsEaRCh

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RETA

As both companies produced high end leather goods many of their tools overlapped. They both used plastic templates that were highly specialized and very expensive. Additionally, both companies were interested in producing their own fashion lines but did not at that time have the creative capital to do so. Therefore, a portion of the prototyping effort was put towards research innovation in product development in hopes that the team would be able to assist with innovation in design.

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WhaT DID WE pRODUCE?3.1- pRImaRY REsEaRCh

SASKIA

After researching the fabrication methods to make many of Saskia’s tools it was determined that digital fabrication would not be able to address all of their requirements. The tools would need a forging process into order to make them strong enough. Many digital fabrication techniques could have been used to make the tools but they would have been brittle and too soft. However, there were a series of glass tools that the team was able to replicate through the waterjetting of glass. This particular tool is normally made when Saskia breaks glass. This production method is much more customizable, precise and

safe. Therefore, the team moved onto the design and production of the foot molds. A new method of production was developed for these lasts. By scanning human feet and sample lasts a set of key parameters for the molds were determined. These represented dimensions that Saskia has to alter most often when making lasts for her clients. Then the team developed a graphical interface. This interface would allow Saskia to change the dimensions of a foot and have a nearby fab lab mill the new last in half the time and for half the cost of her current production method.

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CERAMICHE TOSCANA

As mentioned previously the primary focus for Ceramiche Toscana was their product molds. Their molds, currently created by hand do not always match the designers original prototype. Additionally, when a dish needs to be altered slightly for a new design the original mold is often destroyed in the process. The team developed a new process of production for the molds that would allow for a more accurate mold as well as a digital archive that would afford the company considerable flexibility in making minor changes to standard designs.

The team first scanned an existing standard cup design. This produced a digital model that could be considered an artifact for the digital archive. They the team explored milling foam to produce a 3 step slip cast. This created a highly accurate physical artifact. The innovation in this process is that now a digital and physical archive of products exists. Should an artisan want to make a small change to a design made in past seasons he can cut through the physical prototype as needed, knowing it can easily and accurately be replicated without losing the original design integrity.

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3.1- pRImaRY REsEaRChWhaT DID WE pRODUCE?3.1- pRImaRY REsEaRCh

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YOBELFor Yobel and Reta a number of prototypes were produced. First, the companies were interested in advanced in hardware for their leather goods. The team digitally reproduced the sample hardware given and made design adjustments eventually designing and printing and interlocking set of hardware. Additionally, as afore mentioned the companies were in need of sewing templates. Many of these templates cost and upwards of 700 euro. The researchers reproduced these templates in just a few hours using lasercutter and for 30 US dollars. This serves as an excellent example of the kind of time and financial benefits of digital fabrication.

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RETA

In addition to tools and accessories the researcher looked into advanced in leather design for the two companies. Through laser cutting and laser etching a number of new products were suggested and developed. In these cases the products were then sewn by hand. Demonstrating the importance of coupling both traditional and digital techniques in these new crafts.

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ThE fEEDbaCK3.1- pRImaRY REsEaRCh

At the end of the workshop, both Reta and Yobel expressed satisfaction and enthusiasm at potential demonstrated combining technology and craft. For both, the opportunity to develop new products and processes with new techniques and resources on one side, and the opportunity to streamline processes, optimise time and costs of production, through the use of customized tools on the specific working requirements, on the other, is of high significance.According to the respondents a Fab Lab in the Tuscan region, would be a highly useful initiative. A space that could be used, for example with a small annual subscription, as

a service center in which order to use the equipment located and find assistance by technicians would be used by all of the artisans. A structure for sharing tools, focused upon the production aspects of the district was seen as most interesting. This type of a facility was also seen as an ideal place to try out new techniques and products and to collaborate with other production companies, professionals and technicians.

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3.1- pRImaRY REsEaRChThE fEEDbaCK3.1- pRImaRY REsEaRCh

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Following the workshop an interview was conducted with the companies present in order to best capture their feedback.

1) WAS THIS PROjECT AND, IN PARTICULAR THE WORK WE HAVE DONE, USEFUL FOR YOUR OWN WORK?

“Yes, this has been a job well done. There is great potential in the possibility to work with machines. However, right now this type of work doesn’t exist for artisans right now. There would need to be a trial period to better clarify the potentials with artisans. The objective of this meeting was to test prototypes. I think I can say that there is a great appreciation for these

prototypes as functional tool to improve the production cycle. However, in this instance the creation of these prototypes required the knowledge of MIT and students. The prototypes and tools the students produced were authentic and exactly what I hoped for. After only speaking with us for a short time the students immediately understood our needs. I am impressed by this and I think that putting a fab lab in our district would help both leather goods as well as other forms of craftsmanship. The fab lab can also be useful not only to produce tools, but also new products. It can help companies design these products.

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2) FROM YOUR POINT OF VIEW, IF WE BEGIN TO IMAGINE THE FAB LAB, WHAT KIND OF BUSINESS MODEL YOU SEE?

Education, training and access to machines. In addition to the technology itself it would be good to have flexible services that can fit artisans varied needs. We need to have the availability of machines that could not buy, assistance and training to understand how to use them and even advice for prototyping. The fundamental issue is that small businesses that could not afford services and technologies so advanced, so if not through this type of organization (a fab lab) the we must be supported by

institutions and universities. One model to provide artisans with these skills might be an annual fee for access.It is hard to imagine a fab lab that operates and shares knowledge with everyone. For me it would be most useful to share the cost of specific machines with other leather companies and then have shared access through an online scheduler and have monthly fee. Machines like 3D printers are less useful for my field and therefore it is hard for me to understand how I might fit into such a large ecosystem of machines.

3) WHEN COMPARING THE MACHINES I WAS CURIOUS ABOUT SOMETHING IN

PARTICULAR? WHICH MACHINE HAS AN IMPACT ON YOUR FIELD? The machines themselves could be more or less advanced. Its really just technology. What would have the biggest impact on my field is the social structure and community that such a facility would bring. Making available the connection and support from foundations and institutions would give a new birth of things. There exists facilities with advanced machines but they do not radically change the way we work. The most interesting thing is learning what we can invent with these machines. Therefore, it is more important to have a structure with the specific personnel.

4) PEOPLE + FAB LAB = IS THERE AN ECONOMIC ADVANTAGE?

For leather goods the greatest economic advantage is making tools for creating. For making these templates like the prototypes. Tools like this help us improve our quotas.There is the possibility of giving birth to other projects. A blend of craftsmanship and technology.

5) WHAT ARE EXAMPLES OF THESE NEW PRODUCTS AND NEW POSSIBILITIES?

An example of the bag with solar panels ....We want to consider new product lines, experience in a fab lab could help us.

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6) WHAT CHALLENGES DO YOU FACE IN PRODUCING NEW PRODUCTS RIGHT NOW?

Right now companies hire us and bring their design and distribution channels with them. We produce products and send them back. We do not at this time have these distribution channels or marketing skills. This puts a serious brake on the creation of new products. We no ability to deliver them. These issues go beyond the creation of a fab lab because it requires a number of other resources.

7) FINAL COMMENTS?

Yes, we want to thank the students who helped us formulate new solutions

in a multi-disciplinary way. I’m glad I came here. I saw something very interesting to use in our production processes. This type of robotics is very interesting. This could really help us to produce better. Rather than inventing new products, I have to find ways to streamline processes. And I know that there are robots that can assist in this process. I see a collaboration from this point of view. My main focus is to optimise the production process in reduced time. I can see how a fab lab would help me do this.

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Perhaps, the most exciting feedback was from Saskia during her call. During initial brainstorming at her shop she mentioned that she would not use digital fabrication directly in the making of her products. However, researchers were open to explore her manufacturing methods. However, when she saw what was produced in the leather for the other companies she was excited and surprised by the options. She also said that while she would not have originally considered using digital fabrication in her products, having seen what could be produced without altering her traditional methods, she would be happy to further explore digital fabrication in her

work.

This feedback felt like a small victory for the team. Having converted a skeptic was a significant hurdle. Not all traditional artisans approached by such a project will be open to working with digital fabrication. Technological determinism will be openly criticized, especially by a generation not born technologically savvy. However, to collaborate between generations to share knowledge between those with varying backgrounds; this is a true success. This is served as a shining example of what the culture of digital fabrication can produce and how this hypothesis is correct. A fab lab in Tuscany, staffed

with eager and talents students, in collaboration with efforts from the chamber of commerce and local universities is true. It will make a difference and it can assist not only with innovation but regional economic stability.

Elated by this conclusion, there needs to be one point of clarification. In order to be as successful as this case study as been a fab lab in Tuscany must be executed carefully. The staff, connections, physical location, facility design, culture and attitude of the project must be delicately calibrated. Such factors are elaborated on more clearly in the next chapter.

pROpOsINg fab lab TOsCaNa

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4.0- pROpOsINg fab lab TOsCaNa

Given the body of research produced thus far and elaborating upon the key design factors that feed into a successful fabrication facilities a more specific model is proposed in this chapter. Attempting to consider all of the variables this model includes community engagement, revenue streams, strategic partners and resource specifications. It is in fact a proposal for something much greater than a fab lab Toscana. It is a proposal for a new way of thinking about knowledge sharing, open hardware and production in Italy in general. It is the manifesto for the Third Industrial Revolution Italia.

Given the success of the small and brief case study several key design factors were determined. These factors include:

• Community Engagement• Physical Location• Facility Design• Marketing Initiatives• Research Initiatives• Revenue Models

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4.1- KEY faCTORs fOR fab labs

Prior to defining the revenue models for a fab lab clarifying the organisational structure of such an entity is critical for its success. The research proved that investing in the physical structure and machines is not enough. A fab lab can be maintained by a minimal number of staff as long as it is tied to Universities and research centres. The knowledge produced at the facility should be open in nature creating an community innovators, inventors and entrepreneurs. The culture of the lab and its role in community engagement is fundamental to its success. The fab lab is more than a brick and mortar location to produce objects it is a community of fabrication

ThE COmmUNITY mODEl

expertise and design services. Collaborating with such a wide array of users and stakeholders can be particularly challenging. In this case a strategic or management committee could help By having members that represent each party of stakeholders, the committee would ensure the mutually beneficial development of the lab. It could also be helpful to have a panel of advisors who are experts in their field that inform the development of the lab.

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4.1- KEY faCTORs fOR fab labs 4.1- KEY faCTORs fOR fab labsThE COmmUNITY mODEl

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4.1- KEY faCTORs fOR fab labsThE phYsICal lOCaTION

Physical location is important for the success of the fab lab as its proximity to infrastructure and industrial clusters is critical. It should be located within a reasonable distance of key artisanal industrial clusters. However, it should be in more urban area. Many of these clusters are located within the countryside. Locating a fab lab in the countryside would not be ideal. Students, researchers and the general public would not be able to access the facility. Therefore, the fab lab should be located in an urban area near a school or research institute. This location would give maximum visibility to the fab lab and in an urban area it would be close to

infrastructure like trains. This would not only help bring people to the facility but such a location would make it easier for resources such as machines and materials to be integrated into the lab.

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4.1- KEY faCTORs fOR fab labs 4.1- KEY faCTORs fOR fab labsThE faCIlITY DEsIgN

Surprisingly, facility design is not the most critical factor for the larger success of a fab lab. A facility with even the most digital fabrication tools can succeed if it is properly integrated. Proof of this can be found in the case study of the artisans asylum, documented with in this report. Many of their machines are older because they have been donated. Yet, they have great success as a result of their community model.

Regardless, facility design is in fact important. Building a fab lab is not as simple as purchasing a machine and plugging it in. As a result of the machining techniques harnessed by digital fabrication

issues such as ventilation, structural stability and fire safety become critical to consider.

Additionally, as mentioned earlier in the report the types of machines to be specified for the facility really depends upon the use cases for the space. The machines needed for a general crafts space is radically different than that for glass blowing artisans. And as most things the fab lab must be fluid enough to meet the changing demands of the community it engages. This includes even the most simple things like storage and workspace.

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4.1- KEY faCTORs fOR fab labsThE maRKETINg INITIaTIvEs

As with any community endeavour visibility it important. There are a number of strategies that can be deployed for the success of a fab lab. THe external marketing strategies should be varied depending on their targets. This is challenging for a fab lab because they have such a wide variety of community members.

Digital making communities are (for obvious reasons) tied closely to digital media. Meaning, initiatives that engage twitter and Facebook will reach more youths. However, in order to attract the attention of artisans and community leaders many more traditional marketing

strategies must be deployed.

It is important for the fab lab to properly manage such diverse communication channels. There should be teams dedicated to both online and offline public relations.

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4.1- KEY faCTORs fOR fab labs 4.1- KEY faCTORs fOR fab labsThE REsEaRCh INITIaTIvEs

As discussed at length within this report the types of research conducted within the sphere of digital fabrication is numerous. The research connected to digital fabrication spans medical applications to hobbyists. However, regardless of the topic of study the key point is that fab labs must be connected to universities and take on these research initiatives in order to succeed. By hiring students the facility is always pushed to adopt cutting-edge technologies. Students and researchers then gain professional experience through the facility by being connected to industry leaders. This type of knowledge-share between generations and between the industry

and students is critical to the success of the facility. When designing the facility and specifying machines strategies should be developed not only on the types of resources needed by artisans but by research institutions within proximity to the facility. This coupled with digital media marketing campaigns will attract students and nurture these research initiatives.

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4.1- ThE REvENUE sTREams

This section provides a brief overview of how a fabrication facility could become a framework for linking universities, local businesses, young entrepreneurs and larger corporations.

Design innovation and technology barriers are territories offering exciting challenges to businesses today. Larger firms and corporations have the advantage of numbers, business expertise and market experience. At the same time, start-up firms, academia and young design firms are at the forefront of testing new technologies and their applications to design.

Fabrication facilities offer

an exciting meeting point where both business and design can engage in a mutually beneficial relationship. The following sections propose a variety of ways in which fabrication facilities can embed themselves within both the academic and the business communities. While this is by no means an exhaustive list, it sets out the basic framework with which businesses, governmental and academic institutions could conceive how to integrate a fabrication lab into their businesses.

The models described include:

01. DESIGN RESEARCH

02. DESIGN CONSULTANCY

03. DESIGN INCUBATOR

04. DESIGN WORKSHOP

05. DESIGN STUDIO

06. DESIGN CONTRACTING

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01. DESIGN RESEARCH

The fabrication lab acts as a research facility existing within an university campus. In this model, the fabrication lab would be funded through a combination of the school and outside investors who may be interested in supporting a particular area of research. An example of this model is MIT’s own Media Lab.

Below are several use models targeting specific user groups:

STUDENT + FACULTY: Within a university this becomes a learning facility offering training, research and lab space for the

university’s student body and faculty research.

UNIVERSITY + CORPORATIONS: The fabrication lab acts as a partnership between the university and outside firms and designers.

UNIVERSITY + UNIVERSITY: The fabrication lab links multiple universities to create an extended network of design labs where participating institutions could mutually benefit from one another’s resources and expertise

02. DESIGN CONSULTANCY

Using their knowledge of fabrication and manufacturing methods, the fabrication lab could act as their own advising firm. Many larger design firms such as IDEO or Continuum offer in-house fabrication facilities to demonstrate ideas or complete form studies for clients.

Under this structure, they could act as advisors to other designers and corporations who may be interested in exploring a particular fabrication method or design process. With the ability to rapidly prototype concepts and test different forms and materials, fabrication labs can leverage their facilities

and expertise to help other firms launch products and ideas.

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03. DESIGN INCUBATOR

In this model, the fabrication lab acts as a place to foster and develop ideas for local talent and young entrepreneurs. Given that the fab lab acts as a testbed for new ideas, it offers the perfect environment for allowing young firms, who might otherwise be unable to afford the large overhead costs of setting up a fabrication facility, to advance their ideas. The fabrication lab would act as its own facility and physical location, renting out office space and equipment usage to young firms.

Furthermore, the lab could in turn become a way for young designers to

04. DESIGN WORKSHOP

Similar to the Design Incubator in the sense that space and equipment could be rented out, in the Workshop model, the fabrication lab acts as more of an independent, community-driven, educational organization.

Here, the fabrication lab is accessible to the general public or smaller, local designers, who may be looking not just for renting time on the machines, but also may be looking for training on a particular machine or software platform. As a publicly accessible workshop space, the lab could offer courses or membership to the local community.

network with one another, share expertise and access contacts to larger firms.

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4.1- ThE REvENUE sTREams 4.1- ThE REvENUE sTREams

05. DESIGN STUDIO

In this model, the fabrication lab exists as an integral part of a design firm’s business. This is a common model for firms who design and manufacture their goods in house, such as custom bicycle or furniture designers.

In these cases, the firms are working in quantities not yet large enough to justify being produced by a larger manufacturer and/or may prefer the hands-on, craftsmanship detail operating their own shop may afford.

06. DESIGN CONTRACTING

Due to their ability to be flexible and offer small-scale production, fabrication labs can also take on contractual work from other firms or designers who may not have access to shop facilities or be ready to go into production for themselves. In these cases, the design of a product may be completed or nearly completed and they are simply looking for a design to be produced or prototyped in a set, but small quantity. In this case, the fabrication lab could bill for material, machine time, labor, etc.

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4.2- NEXT sTEps

To move forward with Fab Lab Toscana the following clarifications are required.

1) Specifically which artisan sectors should be targeted?

2) Specify the machines

3) Partner with a university or research institute

4) Find a suitable location

5) Build up Community Engagement

6) Begin specific initiatives with local artisans

Based upon the research conducted the following suggestion can be made

1) Leather working, Textiles, Clothing, Ceramics (Furniture making could be a possibility but would require different constraints

2) In addition to a large number of traditional machines (including wood, metal and sewing) the suggested list of digital machines can be found on the subsequent spaces

3) Here polytechnic schools and design schools would be ideal matches

4) Here a location with high visibility such as downtown Florence would be ideal

5) Through a digital presence as well as a events an awareness can be built surrounding the fab lab and its community can grow (these events could be gallery openings of work built there, or classes and workshops.

6) By building up specific relationships within industrial clusters artisans can be directly engaged with the facility. This effort is required to reach out to those who may be at first intimidated by technology

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4.2- NEXT sTEps 4.2- NEXT sTEps

Machines Model #

Laser Cutter

Epilog Legend 36EXT 120W

Beam Dynamics LightCell

Vinyl Cutter

Roland GX24CNC Mills

Roland Modela MDX20

Techno Isel CNC LC Series 4896Intelitek

Waterjet

OMAX Waterjet 2652Vacuum Forming

Formech 6863D Printer

Dimension Elite (ABS)

3D Systems Invision SI2 (Acrylic)

3D Scanner

NextEngine 2020i

Dimensions Requirements Power Materials

50.5" x 33" x 42"

Air Compressor, Vaccum Hood, Ethernet

30, 40, 50, 60, 75, or 120 Watts

Wood, acrylic, glass, plastic, stone, fabric, marking metals, anodized aluminum

(64.2 x 78.4 x 52.0 in.)

Vacuum material hold-down plenum External high pressure exhaust blower required, Ethernet 150/375

Metal, Plastics, Wood, Paper, Composites, Fabric, Rubber

33"x12"x9" NA 30 W Vinyl, paper, mylar, etc.

18" x 15" x 12" NA 10w

Wood, Plaster, Resin (modeling wax, styrenform), Chemical wood

74" x 125" x 60


Woof Plastic Foam Metal Machinable Wax, Ren Board, Vinyl Coated Panels, Gypsum, Butter Board, Fiberglass, Magnetic Rubber Mats, Composites, Leather, Mother-of-Pearl, Wood Veneers, G10, Delrin, Mat Board, Rubber, Modeling Clay.

18.1’’x5.5’’x9.6’’

139" x 67"

Water heater, noise level is below 80 dBA at 1 meter for submerged cutting

3-Phase, 380-480 VAC ±10%, 50-60 Hz

cuts complex flat parts out of most materials including metal, plastic, glass, ceramics and composites up to 6” thick directly from a CAD drawing or .DXF file

940 mm X 1280 mm X 1900 mm, 260 kg

80 psi / 5 bar, compressed air

220 V, 60 Hz, 7550 W, 3 phase optional (380/415V) Plastics, ASK

686 x 914 x 1041 mm (27 x 36 x 41 in.), 136 kg (300 lbs)

Ethernet TCP/IP 10/100Base-T, Windows® XP / Windows Vista® / Windows® 7

3 phase optional (380 / 415V)

ABSplus in ivory, white, black, red, olive green, nectarine, fluorescent yellow, blue or gray.

W 77 x D 124 x H 148 cm, 254 kg

Network ready with 10/100 Ethernet interface, 1.8 GHz Pentium IV with 512 MB RAM (with OpenGL ICD), OS Support Windows XP Professional/2000/NT 4.0/Me/98

100–127 VAC, 50/60 Hz, single-phase, 15A;200–240 VAC*, 50 Hz, single-phase, 10A;

Acrylic (Accura® VisiJet M100 model material,VisiJet S100 support material)

No special facility requirements 110-240 volts

sUggEsTED DIgITal maChINEs

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4.2- NEXT sTEpsMachines Model #

Laser Cutter



Vinyl Cutter


Roland Modela MDX20


Waterjet





3D Scanner

NextEngine 2020i


50.5" x 33" x 42"


30, 40, 50, 60, 75, or 120 Watts


(64.2 x 78.4 x 52.0 in.)




18" x 15" x 12" NA 10w


74" x 125" x 60



18.1’’x5.5’’x9.6’’

139" x 67"


3-Phase, 380-480 VAC ±10%, 50-60 Hz


940 mm X 1280 mm X 1900 mm, 260 kg



686 x 914 x 1041 mm (27 x 36 x 41 in.), 136 kg (300 lbs)




W 77 x D 124 x H 148 cm, 254 kg






117

4.2- NEXT sTEps 4.2- NEXT sTEps

Machines Model #

Laser Cutter



Vinyl Cutter


Roland Modela MDX20


Waterjet





3D Scanner

NextEngine 2020i


50.5" x 33" x 42"


30, 40, 50, 60, 75, or 120 Watts


(64.2 x 78.4 x 52.0 in.)




18" x 15" x 12" NA 10w


74" x 125" x 60



18.1’’x5.5’’x9.6’’

139" x 67"


3-Phase, 380-480 VAC ±10%, 50-60 Hz


940 mm X 1280 mm X 1900 mm, 260 kg



686 x 914 x 1041 mm (27 x 36 x 41 in.), 136 kg (300 lbs)




W 77 x D 124 x H 148 cm, 254 kg






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5- REsOURCEs

Texts

Lowe, Adam. “Messing About with Masterpieces: New Work by Giambattista Piranesi (1720-1778)”; ArtINPrint, Issue 1 Volume 1Von Hippel, Eric Democratizing Innovation The MIT Press (February 17, 2006)

Journals

The Economist. “Special Report The Third Industrial Revolution”; April 21 2012The Economics of Open Content Symposium: New Models of Creative Production in the Digital Age Collaboration and the Marketplace

5- REsOURCEs

Documents

Fab Lab Report Pages_English.indd