Samuel Canning - Academia.edu (original) (raw)
Papers by Samuel Canning
IGI Global eBooks, 2020
<jats:p>In 2012, a Belgian company called Materialise hosted a fashion show featuring desig... more <jats:p>In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlights the challenges and possible implications for preparing trans-disciplinary research teams. </jats:p>
IGI Global eBooks, 2020
In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worl... more In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlights the challenges and possible implications for preparing trans-disciplinary research teams.
Product Design as an academic discipline is a relative newcomer to higher education. As a result ... more Product Design as an academic discipline is a relative newcomer to higher education. As a result it has had to adapt to the teaching practices and organisation already in place in Universities. However, with the viability of the current business model of higher education under threat from economic pressures, the dominance of established practice could conceivably be challenged, suggesting the time is right for a review of Product Design education as it operates within academia. Product Design educators need to focus on developing an innovative, practical approach to the organisation of learning based on sound design practice-based principles and provide leadership in pedagogy rather than adapting to the pedagogy of others. Design is a unique discipline that can impact on other disciplines as it is necessarily predicated on ideas of leadership and innovation. The role of Product Design in higher education should not deviate from that. Product Design has a real world heritage that is ...
Engineering and design in the twentieth century were conventionally taught from opposite ends of ... more Engineering and design in the twentieth century were conventionally taught from opposite ends of an educational spectrum. Engineering education built certainty on a strong foundation of fundamental knowledge, with students engaging with applications only once those fundamentals were ingrained. Design, in contrast, involved challenging certainty, with divergent thinking, experience mapping, problem framing and exploratory research. Over the last twenty years, elements of creativity and design process education have progressed into the majority of engineering curricula, but change is still slow. Yet, meanwhile, the pace of technological change impacting engineering futures and has been rapid. Arguably, the ability to be open and responsive to radical changes in thinking will become increasingly vital for engineering educators and practitioners with the unknowns of rapid change, both technical and social. For future engineering professionals to be able to be responsive to each wave of ...
Planning the teaching of design process inevitably leads to the iterative process of design devel... more Planning the teaching of design process inevitably leads to the iterative process of design development broken down into finite steps during discussion, if not during an active design project itself. Design development is often focussed in the sketch development and rough modelling stage, with working drawings produced and final outcomes fixed before the student embarks on making a prototype. Making is valued in Technology studies as a medium for learning about the constraints and characteristics of different materials and processes, however, the additional benefits of learning through making in terms of its impact on design development can be overlooked. This paper considers the challenges and opportunities of expanding further the role of learning through making as a design development tool and broader implications of learning through making in Technology in schools.
Disruptive Technology, 2020
In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worl... more In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlight...
Creative Technologies for Multidisciplinary Applications, 2016
In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worl... more In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlights the challenges and possible implications for preparing trans-disciplinary research teams.
Procedia Technology, 2015
This paper is a reflective opinion piece suggesting that the Industrial Design discipline has an ... more This paper is a reflective opinion piece suggesting that the Industrial Design discipline has an opportunity to react proactively to disruptive practices made possible by innovations in digital technology, by developing a field of practice in ' Industrial Design Digital Technology' that challenges the boundaries of the current Industrial Design discipline and potentially stimulates new directions for the profession and for graduates. This would also provide an opportunity for new research collaborations that are in line with the demand for more interdisciplinary work in higher education, creating genuinely transdisciplinary practice that will attract funding and attract students.
Additive manufacturing (or 3D printing) broadly refers to a group of technologies that create obj... more Additive manufacturing (or 3D printing) broadly refers to a group of technologies that create objects using material deposition rather than by reductive means, which describes most means of traditional manufacturing. This study is interested in the use of these additive manufacturing technologies by craftspeople located around the world. Craft practice has a tendency to be associated with manual processes and not with technology. This study questions whether these ideas are relevant to a new generation of craftspeople. The studio component of this study aims to push the boundaries of what is possible to create using additive manufacturing and the related technology of computer-aided design (CAD).These examples, which take the form of a baseball hat and a gown, are deliberately complex in nature in order to push the technology to its very limits. The baseball hat is significant for sheer complexity of a single 3d printed part, while the gown represents the World's first full leng...
Handbook of Sustainability in Additive Manufacturing, 2016
Additive manufacturing, more commonly termed 3D printing, could be criticized as contrary to the ... more Additive manufacturing, more commonly termed 3D printing, could be criticized as contrary to the principles of sustainability, as it enables unregulated production that can have a negative impact on the environment if misused. However, this technology can also support value added, invested design by putting accessible digital fabrication within the reach of the designer-maker. In an increasingly homogenized world, this technology has the potential to improve sociocultural sustainability (retaining social and cultural diversity as a factor of sustainability) by supporting the practice of the individual designer-maker. The technology has the potential to contribute to the economic viability of the designer-maker, providing an effective mechanism for an artisan to compete in a global market utilising distributed manufacturing, the availability of increased geometric complexity, and the ability to customize products. This chapter provides an argument for the potential role of 3D printing in supporting sociocultural sustainability and is based on practice-led research. The impact of digital fabrication on practice for designer-makers is explored in relation to its potential to support the retention of craftsmanship skills, values and cultural referencing particular to a community, and community of craft practice.
IGI Global eBooks, 2020
<jats:p>In 2012, a Belgian company called Materialise hosted a fashion show featuring desig... more <jats:p>In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlights the challenges and possible implications for preparing trans-disciplinary research teams. </jats:p>
IGI Global eBooks, 2020
In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worl... more In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlights the challenges and possible implications for preparing trans-disciplinary research teams.
Product Design as an academic discipline is a relative newcomer to higher education. As a result ... more Product Design as an academic discipline is a relative newcomer to higher education. As a result it has had to adapt to the teaching practices and organisation already in place in Universities. However, with the viability of the current business model of higher education under threat from economic pressures, the dominance of established practice could conceivably be challenged, suggesting the time is right for a review of Product Design education as it operates within academia. Product Design educators need to focus on developing an innovative, practical approach to the organisation of learning based on sound design practice-based principles and provide leadership in pedagogy rather than adapting to the pedagogy of others. Design is a unique discipline that can impact on other disciplines as it is necessarily predicated on ideas of leadership and innovation. The role of Product Design in higher education should not deviate from that. Product Design has a real world heritage that is ...
Engineering and design in the twentieth century were conventionally taught from opposite ends of ... more Engineering and design in the twentieth century were conventionally taught from opposite ends of an educational spectrum. Engineering education built certainty on a strong foundation of fundamental knowledge, with students engaging with applications only once those fundamentals were ingrained. Design, in contrast, involved challenging certainty, with divergent thinking, experience mapping, problem framing and exploratory research. Over the last twenty years, elements of creativity and design process education have progressed into the majority of engineering curricula, but change is still slow. Yet, meanwhile, the pace of technological change impacting engineering futures and has been rapid. Arguably, the ability to be open and responsive to radical changes in thinking will become increasingly vital for engineering educators and practitioners with the unknowns of rapid change, both technical and social. For future engineering professionals to be able to be responsive to each wave of ...
Planning the teaching of design process inevitably leads to the iterative process of design devel... more Planning the teaching of design process inevitably leads to the iterative process of design development broken down into finite steps during discussion, if not during an active design project itself. Design development is often focussed in the sketch development and rough modelling stage, with working drawings produced and final outcomes fixed before the student embarks on making a prototype. Making is valued in Technology studies as a medium for learning about the constraints and characteristics of different materials and processes, however, the additional benefits of learning through making in terms of its impact on design development can be overlooked. This paper considers the challenges and opportunities of expanding further the role of learning through making as a design development tool and broader implications of learning through making in Technology in schools.
Disruptive Technology, 2020
In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worl... more In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlight...
Creative Technologies for Multidisciplinary Applications, 2016
In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worl... more In 2012, a Belgian company called Materialise hosted a fashion show featuring designs from a worldwide millinery competition. The featured pieces were paraded down a catwalk by professional models, and an overall winner chosen. What made this fashion show unusual was that the attendees were predominantly clinical and industrial engineers, and the host was a specialist engineering and software development company that emerged in 1990 from a research facility based at Leuven University. Engineers and product designers rather than fashion designers created the millinery and the works were all realized through additive manufacturing technology. This chapter provides an example of how fashion design has become a creative stimulus for the development of the technology. It illustrates how disruptive creativity has the potential to advance scientific research, with the two worlds of engineering and fashion coming together through a collaboration with industrial design. The chapter highlights the challenges and possible implications for preparing trans-disciplinary research teams.
Procedia Technology, 2015
This paper is a reflective opinion piece suggesting that the Industrial Design discipline has an ... more This paper is a reflective opinion piece suggesting that the Industrial Design discipline has an opportunity to react proactively to disruptive practices made possible by innovations in digital technology, by developing a field of practice in ' Industrial Design Digital Technology' that challenges the boundaries of the current Industrial Design discipline and potentially stimulates new directions for the profession and for graduates. This would also provide an opportunity for new research collaborations that are in line with the demand for more interdisciplinary work in higher education, creating genuinely transdisciplinary practice that will attract funding and attract students.
Additive manufacturing (or 3D printing) broadly refers to a group of technologies that create obj... more Additive manufacturing (or 3D printing) broadly refers to a group of technologies that create objects using material deposition rather than by reductive means, which describes most means of traditional manufacturing. This study is interested in the use of these additive manufacturing technologies by craftspeople located around the world. Craft practice has a tendency to be associated with manual processes and not with technology. This study questions whether these ideas are relevant to a new generation of craftspeople. The studio component of this study aims to push the boundaries of what is possible to create using additive manufacturing and the related technology of computer-aided design (CAD).These examples, which take the form of a baseball hat and a gown, are deliberately complex in nature in order to push the technology to its very limits. The baseball hat is significant for sheer complexity of a single 3d printed part, while the gown represents the World's first full leng...
Handbook of Sustainability in Additive Manufacturing, 2016
Additive manufacturing, more commonly termed 3D printing, could be criticized as contrary to the ... more Additive manufacturing, more commonly termed 3D printing, could be criticized as contrary to the principles of sustainability, as it enables unregulated production that can have a negative impact on the environment if misused. However, this technology can also support value added, invested design by putting accessible digital fabrication within the reach of the designer-maker. In an increasingly homogenized world, this technology has the potential to improve sociocultural sustainability (retaining social and cultural diversity as a factor of sustainability) by supporting the practice of the individual designer-maker. The technology has the potential to contribute to the economic viability of the designer-maker, providing an effective mechanism for an artisan to compete in a global market utilising distributed manufacturing, the availability of increased geometric complexity, and the ability to customize products. This chapter provides an argument for the potential role of 3D printing in supporting sociocultural sustainability and is based on practice-led research. The impact of digital fabrication on practice for designer-makers is explored in relation to its potential to support the retention of craftsmanship skills, values and cultural referencing particular to a community, and community of craft practice.