Adriana Cabrera 2017

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I am a scientific assistant at Fab Lab Kamp-Lintfort Germany in the faculty of Communication and Environment at the University of Applied Sciences Rhine Waal. Originally from Colombia, I work in different areas of design, art and interaction. Having a background in Industrial Design, I complemented my studies in MFA Media Art and Design at Bauhaus University Weimar, working with the analysis of materials and surfaces and combining traditional techniques with new technologies. In 2013, I began the studies MA Surface and Textile Design at the school of art Berlin WeiĂ&#x;ensee, focusing on material research, which gave me the possibility to introduce textiles as a medium of communication.

For me, designing and making things is more than just my job, it is a work in in the of projects different philosophy. I haveI worked thedeveloping Fab Lab Kamp Lintfortinfrom its be-areas of design, my strengths are directed to the ginning, where I have also implemented a section for textiles. The Strategic Fab Management project conformation, in which outstands Lab is a wonderful space, that permits me to work with different techthe design of interior spaces, product development, niques and materials combining not only the new processes in rapid textile and apparel products (books, planes, specification prototype but also, the diverse experiences through the interaction of sheets, packaging, assembly in store windows) and different communities.

I feel very fortunate for having this experience brand strategies (events, brief development, P.O.P main this creative place. terial).

I am both consciously and unconsciously influenced by the traditional I implement interdisciplinary tools, viewed the deColombian culture.

Since I started my professional studies in from Colomsign experiences and emerging consumer trends. bia, I have had a huge interest in integrating the work undertaken by the indigenous groups of the country. The use of local materials and Provide offer solutions the process, is the set of a well manufacturing processes manyinpossibilities to produce diverse done job ideas and products.Today, I have the possibility to integrate this tradition of materials and techniques with digital fabrication.

My interest and motivation is to continue the research in the field of embodiment interaction combining the expertise in architecture, design and rapid production in the area of smart textiles.

DIGITAL MANUFCTURING - TEXTILES

T E X T I L E

M AT T E R

M a t e r i a l

L i b r a r y

Textiles as material are embedded in most of the objects in our surroundings. Their organic behaviour reflects the nature of the materials nearest to man and recreates a direct connection with our roots like the DNA. Textiles as surfaces are, in material research, the basis of studies and contribute to the creation of new functional materials represented today in the field of tangible interaction.

Looking inside of the weaves we can consider the amount of thousands of threads that are generated in algorithmic series to configure patterns and shapes of textiles. As nature composes fractal constructions, the matter of textiles is reflecting the matter of nature.

Textile Matter is a library that consist of different samples using digital and analog techniques that emulate the creation of natural processes in an evolutionary approach of design and demonstrate itself trough the evolutive process of digital fabrication on materials such as textiles. The exhibition expresses the delicacy of constructing textiles and at the same time how smart and complex is the nature of this process.

Powered by 3D Kompetenzzentrum Niederrhein Germany, Hochschule Rhein-Waal Fab Lab Kamp Lintfort http://textileacademy.eu/adriana-cabrera/textile-matter/

L A S E R

C U T T I N G

E N G R AV I N G

Old carpet

Explosion

ascii woman

Mostaza roots

Textile spring

The Jungle

Matrix

C U T T I N G

Die welle

3D

PRINTING

Folding 1

Folding 2

modular weaving

3D Weave

CONDUCTIVE

Milk Polymer

Unespected drops

Light roots

Light roots

Conductive carpet

Light conductive

Texture conductive

Conductive paper

SCREEN PRINTING CONDUCTIVE

REVISIONING TEXTILES T H E

E X H I B I T I O N

The reVISIONing textile exhibition showcases the result of their research so far. The works and installations build new awareness, propositions and mindsets for the way we relate to fashion and textiles. From dyeing with bacteria, to designing for artificial intelligence and taking part in a fashion assembly line, reVISIONing textile hopes to challenge the way you envision the textiles that are all around you.

Participantion with the project “Textile Matter�

Waag Society Textile Lab Amsterdam Location: Schatjes arts + event, Oudezijds Voorburgwal 119, Amsterdam Powered by 3D Kompetenzzentrum Niederrhein Germany, Hochschule Rhein-Waal Fab Lab Kamp Lintfort https://waag.org/en/event/revisioning-textile-exhibition

DIGITAL MANUFCTURING - ASSISTIVE DEVICES

M Y O R T H O T I C S A s s i s t i v e

D e v i c e

Case Frank Miller is 58 years old and has a semi paralysis in the left part of his body. A condition that he suffered after brain tumour removal. He wants to recover the movement of the hand in order to be independent in different daily activities. Being at home, he would like to be able to do things like grasping a coffee mug, opening an envelope and using the mouse and keyboard. He lives in the most industrial region of Germany, nevertheless there isn’t any kind of orthosis that can help his symptoms. Furthermore, the treatment therapies and infrastructure, in his situation implicate a huge cost. It is expected that he will recover a little bit of the movement of the hand in the long run.

What will it do?

MyOrthotic is the solution to this case. Using digital Manufacturing to actuate in an individual case implementing 3D scanning, electronics and different 3D Printing techniques, to produce a proper solution in an efficient procedure for Frank. The Modelling: The model has a semi parametric design The arm is scannable and you can easily modify the 3D Scan in the 360 Fusion autodesk. The phalanges were modelled in a parametric design in order to adequate for each finger and also for in future to adequate this model for different patients. http://archive.fabacademy.org/archives/2016/ fablabkamplintfort/students/124/

D e s i g n

C r i t e r i a

The model has a semi parametric design. The arm must be scanned in order to modify the 3D scan model and to produce a parametric 3D model.

The phalanges were modeled in a parametric design, in order to make them adequate for each finger and also for in the future to adjust this model for different patients. Each phalange is connected to the splint and each finger to the corresponding servomotor.

The splint is designed to perform the following tasks: to immobilize the forearm, and place the hand and wrist in an adequate position.

The first part covers the back of the hand

and the wrist, stabilizing the position of the hand. In order to attach and stabilize the whole function of movement in the fingers, the external surface at the same time supports the electronics, the micro controller board, and servo motors.

The assembly of the joints and the structure is responsible for distributing the force in the fingers.

The exoskeleton enables the transfer of strength to the fingers through the phalanges and is connected with the servomotors. The servomotors are connected to the Myo Sensors in the tricep and bicep muscles, in order to generate analog values and send the impulses to the microcontroller board. More details will be presented below, in the Interaction section

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MyOrthotics would not have been possible to realize without the interest and case of Frank.

The goal is to finish the orthosis in order to help Frank with his disability. Understanding how the digital fabrication can contribute to the improvement of this disability, and combining traditional techniques, for better results.

Bringing the Lab and the experiment from a very abstract and technical point of view to reality was a huge surprise for Frank, and it also brought hope and expectations for his new orthotic.

With the visualization of the 3D Scanning, model and prototype of his orthotic, he could live and understand the whole process. Making the the first prototype of the orthotic for my own hand, put me in the shoes of the patient, having only one hand for adjusting the things as the other one was occupied with the prototype, simulating the disability.

This work also argues the benefits of the open source of the parametric design and the contribution for future works, encouraging patient’s families and practitioners in the collaborative spaces to learn and share this knowledge.

For more information, please visit: h t t p : / / a r c h i v e . f a b a c a d e m y. o r g / a r chives/2016/fablabkamplintfort/ students/124/18.10.FinalResults. html

DIGITAL MANUFCTURING - COMPOSITES

J U T E

O R T H E S I S

Group task in which was built a machine that MAKEs something.

The Pixel Planter is a “precision farming� machine. controlled by x,y,z axis. Using an extruder mechanism, that plants seeds in programmed pixel grid.

You can upload a picture and proceed to plant your Image http://archive.fabacademy.org/archives/2016/ fablabkamplintfort/students/124/13composites.html

INTERACTIVE SURFACE DESIGN

U N D E R C O D I N G Experimental study that explores ways of embodying new types of codes in textiles

Textiles in their various expressions are carriers of subtly coded information that communicate our identity through patterns, colours and material choices. All of us express individuality through our preferences and we make use of textiles through a deeper reflexion of social and cultural influences. Textiles also contain patterns and codes rooted in a collective consciousness and thus link their owner with his/her cultural heritage. They transmit series of complex information about oneself: time, social status, gender and demonstrate the development of humanity. Thus textiles act as a medium and their design as a code for communication.

For more information, please visit:

w w w. u n d e r c o d i n g . o r g

MA Textile and Surface Design Berlin Weissensee School of Art 2014

Advisers: Prof. Dr. Zane Berzina, Mika Satomi, e- Lab KĂźnsthochschule Berlin WeiĂ&#x;ensse

Identity textiles

CODES

Worlds Media

My work consists of the implementation of QR codes as an additive element in the decoration of textiles. Emulating the construction and the logic of textile design. In fact, I used the parameters in the reproduction of QR codes, combining them with the parameters used making ornamentation on textile. I selected embroidering and screen printing as both provide parameters in the tangible and virtual representation of data.

Parameters

Graphic

Material\Fabrics\Thread

Techniques

QR code

Transparency

Embroidery

Cross stitch

Satin stitch

Fly stitch

Blanket stitch

ECC level Pixels per dot Dots Finder patterns Background Geometric forms Mirror Lines Squares Houndstooth

Satin Silk Organza Double side

Cotton Wool MĂŠlange Special light behavior

Solar thread Glow in the dark

Screen-printing

Dyeing Cotton/ Silk Discharge Devore

From Concept

Code

Textile

First Collection

Calling virtualities

Magic World

Virtual World

Universal context

Undercoding creates a reflection on the duality of virtual and real world, bringing together the traditional work of textiles and their material effects and the interaction with digital media content. In the first collection, Undercoding encodes messages for individual reflection.

Exploring the boundary between virtual and real world

Groups

Content

Based on the codification of ID information, the project extends the multimedia content

Content

into a compilation of different elements such as quotes, music and video with the topic “magic

Definition of

realism� presented on the website: w w w . u n d e r c o d i n g . o r g

Quotes

Multimedia

Quotes Video Music Locations

Class of the Content Shape Pattern Color Fabric Stitch To realization

“GABO PATTERN�

This is a composition of three curtains each of them containing two QR codes and more than a million stitches. The information is a collection of quotes from the writer Gabriel Garcia Marquez, who talks about the existence of multiple realities that take place in our imagination.

“Magic World�

The pattern contains a quote from Neil Gaiman that provides a reflection about the world of fantasy, showing the choices we have in the real and fantastic world. The metaphor of this quote is reflected as an object in the pattern of the curtain. This code composition can only be decoded depending on the place of the user and, especially, the inside and outside light conditions, which are crucial to fully appreciate the quotations.

The texture and the translucent effects through the natural light produce a special atmosphere and filigree appeal, transforming the places during the day. This constantly varying character emphasizes the element of magic in the Undercoding collection.

2m

1m

23.09.2014

23.09.2014

23.09.2014

18:00

19:00

20:00

. Capruting the light changes. through the transparent areas, testing the aqurancy of the QR codes.

INTERACTIVE TANGIBLE DESIGN

IN- TOUCH Interactive Tangible Cards Design Concept: Remote Communication through an Interactive Responsive Postcard System The project develops a concept for a remote interaction using tangible interactive cards, allowing the sender and the receiver to communicate via tangible messages with the card and internet. Printed electronics allow different input and output signals to be embedded in the card. The sender and the receiver connect via the interactive cards system to a computer or a smartphone. The In-Touch Interactive Cards System allows a playful and haptic interaction through light and interactive folding patterns. This interface is meant to make long distance communication more sensual allowing partners to stay in touch through tangible messages.

In- touch Interactive Tangible Cards

Anschluss Ăźber Antenne

In- touch Advisers: Prof. Dr. Jens Geelhaar, Michael Market.

Chair Interface Design Bauhaus-Universität Weimar

In- touch

Sharing experience between people through postcards .

The idea is to allow the sender and the receiver to communicate through tangible messages with the card via Internet.

In- touch

In- touch

Connecting

Tangibility

Emotional Background

Design of the System: First use case scenario In-Touch system communication via antenna The design consists of a pair of cards. The sender keeps one of the cards and the other one is sent per post (as a postcard) to the receiver.

The In-Touch Cards can transmit their unique ID via the RFID antenna embedded in them.

This establishes the connection to a smartphone or a computer. A short digital message can then be sent via internet between sender and receiver (e.g. Facebook, SMS, ...).

In-touch card of the sender

In-touch card of the sender In-touch card of the receiver

In-touch card of the receiver

In-touch card of the sender

In-touch card of the receiver

Second case scenario In- Touch system communication via “In-Touch Box�

The design consists of a pair of cards. The sender keeps one of the cards and the other one is sent per post (as a postcard) to the receiver.

The In-Touch Cards can transmit their unique ID via the RFID antenna embedded in them.

This establishes the connection to a smartphone or a computer. A short digital message can then be sent via internet between sender and receiver (e.g. Facebook, SMS, ...).

- touch

Insert the card

In- touch

In- touch

In-touch box of the sender

In-touch box of the receiver

Connection of the pair of cards in both alternatives

computer of the sender

In-touch box of the receiver

smart phone of the sender In-touch box of the receiver

Design of the Interactive Postcards

In- touch Basic

Tangible Interactive Cards

The postcard as a responsive surface has an important role because it is designed to generate a haptic and sensorial experience for the user. The electronics of each of the patterns of the postcard can be printed and combined with different techniques depending on the level of interaction and complexity of the output.

The design of the interactive cards is based on three levels of interaction:

SSantiago Sant Sa anti antiago ntitiago tiag ag dee Com Co Compostela om omp mpost mpo postel po ostela ost tela la W Way aayy

In- touch

Status activities and connection with other users.

The he Cam Camino amin mino noo de d Santiago SSantiag Sant ago goo dde Com CCompostela, omp mposte pos ostel ela, iss a sy system ystem of of his historic storric sto Each Santiago Compostela, ppilgrimage gge routes. route ro outees.. Ea ach chh path en eends nds ds in SSan antia iago ago dde CCom mpostel mpos mposte ostela laaa, SSp Spain p in, n, where wh where the he apostle apo apost p stltle James's Jam mees's re elics css are bbel be elieve eveed to be b kkept.

Spain, relics believed TThou Thousa h ussands ands of pilgrims pilgri pililgr lgrims ims walk w lk thee Camino CCam Caamino mino noo every eve e ry yea year. ar.

Thousands year.

The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

Mode of Use Move closer your card to the device

Destination route

Estella Es s

Sahagún Sah ahagú a agú gún Burgos Burg B gos

Santiago de compostela Sarria

Send a life signal to your friend!

First Model In-Touch Basic This first level applies in situations like travelling, or finding out the loca- tion of a person.

InIn n- ttouch tou toouch uch ch

In- touch Basic

In- touch intimacy

Tangible Interactive Cards

Design Concept: Remote Communication through an Interactive Responsive Postcard System

Hand-slap the hand-slap game,[1] is a children's game which can be played by two players.

In- touch

One player (the slappee) places his hands palm down, hovering above the other player's (slapper) hands. The other player hovers his hands below the first, palms up. The two players' hands should be barely touching each other, and all the hands should be around mid-torso height.

Hand-slap

F K

In- touch In- touch

Move closer your card to the device

In- touch

The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

Move closer your card to the device

Second model In-Touch intimacy

Adriana Cabrera Industriedesignerin | MFA Medienkust/gestaltung | +49176 78549157 | adriana.cabrera.g@gmail.com Bauhaus-Universität Weimar Interface Design Group Betreuern: Prof. Dr. Jens Geelhaar

The user activates a function in a responsive touch panel, which produces a higher level of intimacy and can express more variable messages.

In- touch Intimacy

In- touch Object

Tangible Interactive Cards

Design Concept: Remote Communication through an Interactive Responsive Postcard System

Touch Touch uchh sounds uc so ssound soun sounds dss

F K

In- touch The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

Move closer your card to the device

Listen music with your friend!

IIn- to touch touc uccchh

Third model In-Touch Object This model represents the functionality and aesthetics of an object

In- touch Object

Design User Experience

Panel A

Panel B

Transferring data

Connection feedback

Panel B is a c omplementary panel which provides more extensive information of the main panel.

This function is expressed only with the button function, in order to confirm that the information was seen.

Light function, which confirms that the In-Touch System functions correctly.

Communication from the sender to the receiver The interaction by both users through the InTouch System evokes an emotional response characteristic and it suggests the effectiveness of the system by simulating touch over distance.

Controls and Feedback The design of interaction areas leads to a different feedback experience. In fact, the user can interact with each element and transform them from 2D to a 3D form.

The exchange of the messages between the pair of cards permits a simultaneous interaction.

In this panel I visualize the principal aspects of the information in the patterns; this panel is used for the SSantiago Sant Sa anti antiago ntitiago tiag ag dee Com Co Compostela om omp mpost mpo postel po ostela ost tela la W Way aayy main Interaction.

In- touch

The he Cam Camino amin mino noo de d Santiago SSantiag Sant ago goo dde Com CCompostela, omp mposte pos ostel ela, iss a sy system ystem of of his historic storric sto p pilgrimage gge routes. route rooutees.. Ea ach chh path en eends nds ds in SSan antia iago ago dde CCom mpostel mpos mposte ostela laaa, Each Santiago Compostela, SSp Spain p in, n, wh where the he apostle apost apo p stltle James's Jam mees's re elics css are bbel be elieve eveed to be b kkept.

Spain, where relics believed TThou Thousa h ussands ands of pilgrims pilgri pil ilgr lgrims ims walk w lk thee Camino CCam Caamino mino noo every eve e ry yea year. ar.

Thousands year.

The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

Move closer your card to the device

Estella Es s

Sahagún Sah ahagú a agú gún Burgos BBurg gos

Santiago de compostela Sarria

Send a life signal to your friend!

Hand-slap the hand-slap game,[1] is a children's game which can be played by two players.

In-Touch Basic

One player (the slappee) places his hands palm down, hovering above the other player's (slapper) hands. The other player hovers his hands below the first, palms up. The two players' hands should be barely touching each other, and all the hands should be around mid-torso height.

In- touch

With the first line of buttons the user can visualize activities with the other pair of cards and share this information in social communities.

It extends InIn n- ttouch tou toouch uch ch the experience in a complementary internet platform service such as Facebook.

Communication with more people

Verification

The postcard functions as a bearer that communicates a personal message. The In-Touch System implements internet as a platform, exchanging information through the cards, for that reason the user has the possibility to share contents on the interactive cards in social networks.

Location

Activity

Move closer your card to the device

In- touch

Touch sounds

The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

In-Touch Intimacy

Mood

In- touch The interactive cards establish an interaction by sending and receiving short messages / signals through a responsive tangible system.

Move closer your card to the device

Facebook

Listen music with your friend!

In- touch

In-Touch Object Community

light resource

Prototype

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Graphic layer substrate

The pilg Cami n Spa rimag o de e S Tho in, wh rout antia usa ere es. E go d nds the ach e C of p apo pat omp ilgr stle h en oste ims Ja ds la, wa mes in S is a lk t 's r an sy he elic tiag ste Cam s a o d m o ino re b e Co f his eve elie mp tori ry y ved oste c ear to b la, . ek Sa ept nti . ag

In order to achieve the connection between the sender and the receiver in the ideal scenario, I planned to integrate printed electro- nic components in the design of the In-Touch Tangible Interactive Cards.

I suggest the following circuit and layer designs that can hopefully be realized in the near future.

Assembly SMD Electronics components (In the case that the LEDs and others components are integrated in the card) Circuits board Printed Electronics

Paper substrate

In this case, the RFID Tag is a passive component embedded onto the In-Touch Card, and the tag establishes the communication with RFID reader, which is connected to a computer, smartphone,

NFC reader Smartphone RFID Tag

RFID Tag

RFID reader

Antennas

Readers

Network

Database (internet)

Realization of the Prototype Demo 1 This prototype describes the simulation of the inputs and outputs of the model In-Touch Basic with conductive paint and conductive foam.

The circuits were printed with con- ductive paint and using the screen printing method. In the second part I integrated the SMD LEDs. The ma- nufacturing of this model achieves a visualization of the aesthetic func- tions and interactions of the In-Touch Card.

Demo 2 In this case, Lilypad main board acts as a data storage element and operates the inputs and outputs of the card sending the information between Xbees via wireless

INTERACTIVE SURFACE DESIGN

SUSTAINABLE SURFACE

INTERACTIVE

The performance of surfaces are evolving day per day. It has even, become a frequent topic of research in different areas such as architecture, media, fashion (textile) and more. This has resulted in the creation of smart surfaces, which can be applied in the innovation of several products.

A surface is something that people still can touch, see, and smell in a world where everything is changing to virtual space. Further- more, in many cases the surfaces have become the interface bet- ween the real world and virtual world.

The surface is seen as tangible interactive interface in this context, the project aims to generate a live surface which can interact with the environment and have a natural characteristics.

The tangible interface was proposed as sensitive membrane, for this reason, the natural fiber was selected not only as a structural element but also as a sustainable material. In order to contribute to the traditional work of fique fiber production of Colombia, reduce the impact and recycle the electronic components in our environ- ment.

http://vimeo.com/50877249

Advisers: Prof. Dr. Jens Geelhaar, Chair Interface Design Bauhaus-Universität Weimar Co- Worker: Diana Cano

INTERFACE DESIGN

MEDIA ARCHITECTURE DESIGN

SIHEYUAN CITY CITY SIHEYUAN A Siheyuan is a historical type of residence that was commonly found throughout north China and specially in Beijing[1] . This residential distribution is referered to a chinese squares, where the axis to build is a courtyard. We worked with this concept to generate a typical architectural order with the similar hierarchy in a town plan.

We analysed the configuration inside the Sihuyang. How can we generate different types of squares?. Then we wonder how can we do a city planning? and how can we programme this organization through Processing program?.

GRANDSON

SERVANTS UNMARRIED DAUGHTERS

FATHER AND MOTHER

SONS OF FATHER

FATHER´S YOUNGER BROTHER

PRINCIPAL ENTRANCE

OTHER ENTRANCE

1 TASK Direct spatial changes only happen inside the courtyard composition. Every spatial change beyond a courtyard composition must have occurred through the courtyard. The courtyard was the medium and in- terposition[ 3].

Connecting thourgh courtyard

No courtyard No conections building

Figure 2. Relationship between the Siheyuan Layout and the processing

No boundary void space

Liu´s Book (2000 p 319).

building

building building

Definition of * Axis * Simetry * Axis point

Definition by: real boundaries

2 TASK We make a representation of city planning with the help of the Squarified treemap this is constructed via recursive subdivision of the initial rectangle. y1 [5] (figure 4)

4 6 6

6

6

6 step 2

step 3

6

6

6

6

6

step 1

4

6 step 6

step 5

step 4

6

2

6

4 3

step 7

2 2

6

4 3

6 step 8

6

2 2

6

4 3

6

2 21

6

4 3

step 9 step 10

Adviser: Sven Schneider Chair computer science in architecture Bauhaus-Universität Weimar Co- Workers: Che Xinda, Long Fan, Lie Qianan, Zou Peng

Figure 4. Subdivision algorithm

4 32

INTERFACE DESIGN

SIHEYUAN CITY

Min area: no buildings green spaces. when H >= 3 or W >= 14 for Ex. ( W > 3 && W <= 11 )

More than a Courtyard> Different courtyards with symmetry if ( H > 68 && H <= 150 )

No courtyard: Only buildings in a line. ( W > 3 && W <= 11 )

Central building Central building and more elements in a courtyard. if ( H > 150 )

1 Courtyard: The courtyard connects the principal house, the lateral buildings and the inferior wall or build ( H > 11 && H <= 68 ).

GAME DESIGN Angriff im Untergrund Hilfe, die Kanalratten kommen!

Concept and story board Visual communication and illustration E-learning Serious Game September 2013 to april 2014 Directors: Bauhaus Universität Weimar Heinrich SÜbcke LearnFreak - Raban von Buttlar

GAME DESIGN MY MAGIC BALL 8

Need to make a decision? Donâ&#x20AC;&#x2122;t drop the ball! Consult the Magic 8-Ball anytime you need fast, fun guidance. :)

This app is inspired in a classical game Magic 8 Ball by Albert C. Carter, to create a program in iOS , which can be used for fortune-telling or seeking advice.

Adviser: Michael Market Chair interface design Bauhaus-Universität Weimar

How can be use the app Essentially the front view of the ball is the In this simulation each of the 20 faces has an number 8, after the user formulate a yes or no affirmative, negative, or non-committal statequestion, and shake the iPhone , then the ball ment , which function with a random factor. will come with the expected answer.

PRODUCT DESIGN

REMOTE CONTROL ELTAKO ELECTRONICS Development of hand-held transmitter FHS8 in the collection of the wireless sensors.

Focus of the proposal: better grip, material savings and user-friendly design.

First Design

Co-Worker: Franzi Kohlhoff

â&#x20AC;&#x153;The batteryless hand-held transmitter FHS8 contains two identical wireless modules the same as the cordless wireless pushbuttons FT4 and has 2 double rockers. It can transmit 8 evaluable wireless telegrams.â&#x20AC;?

Wireless modules

(http://www.eltako.com/fileadmin/downloads/en/_ catalogue/wireless_system_low_res.pdf)

Double rockers laser engraved

ELTAKO ELECTRONICS The redesigned version works well as a single element in serial production.

The control appearance is ergonomic, functional, conventional and highly integrable in room situations.

Second Design

Coated/aluminium paint

Anthracite-soft blue painting

Glossy black painting

TEXTIL DESIGN

RIPLEY RIPLEY FASHION AND DESIGNS FOR RIPLEY S.A SANTIAGO CHILE FILA: Design of clothes and sport accessories REGATTA, AZIZ, PEPE JEANS: Development of the patterns and packaging for kids and teenagers clothing.

QUALITY CONTROL in: pattern clothes items, rib, embroidery, printed, bar codes labels and hangtags

embroidery, printed, bar codes labels and hangtags

CONTRAST COLOR RONT E PIPING ETALIC P LL

/

IP

PIPING CONTRAST

TEXTIL DESIGN

AC

RIPLEY FASHION AND DESIGNS FOR RIPLEY S.A SANTIAGO CHILE FILA: Design of clothes and sport accessories REGATTA, AZIZ, PEPE JEANS: Development of the patterns and packaging for kids and teenagers clothing.

QUALITY CONTROL in: pattern clothes items, rib, embroidery, printed, bar codes labels and hangtags

ARTAC S

security fly label

PLASTIC P LL

STOPPER / DRAWSTRING LINING

ES INNER CONTRAST COLOR

ELASTIC C

IP

E

C . body

19-4024 TPX

FOG 13-0607 TPX

color A

white

19-4024 TPX

color B

pop red 18-1658 tpx

pop red 18-1658 tpx

embroidery color A

pop red 18-1658 tpx

pop red 18-1658 tpx

color B

white

19-4024 TPX

dark 19-3906 TPX pop red 18-1658 tpx white pop red 18-1658 tpx white

DIGITAL MANUFACTURING

3 D P R I N T ERS REP RAPS FAB@SCHOOL Workshop “We build togheter a 3D Printer and 3D technologies“

Direction of workshops with students from the university and especially from the high schools of the Wesel region in North Rhine Westphalia, Germany. In the workshops we are building 3D RepRap printers and passing on knowledge of how this new generation can learn from additive and subtractive processes.

For more information, please visit:

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Cordination Project: fab@school ZDI Zentrum: Dr Martin Kreymann Student assistence: Luiz Enrique Bueno Heinz Andreas markwart

High Development of materials

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Digital fabrication

Physical computing

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U nivi e r si t y O r i e n t a t ion course we build a 3d Printer Rep-Rap!

1. Frame assembly 2. Y axis assembly 3. X axis assembly 4. Zaxisassembly 5. Heated bed assembly 6. Extruder drive assembly 7. Hot end assembly 8. Power supply 9. Wiring 10. Commissioning & SoftwareInstallation 11. Printing 13. Maintenance 14. Troubleshooting

U nivi e r si t y O r i e n t a t ion course we build a 3d 3D scanner FABSCAN PI !

1. Frame assembly 2. Electronics and soldering 3. Wiring 4. Commissioning & SoftwareInstallation 5. 3D scanning

Wir bauen einen RepRap-3D-Drucker Kurs

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FabLab Kamp-Lintfort I

Kommunikation und Umwelt | Hochschule Rhein-Waal

U nivi e r si t y O r i e n t a t ion Contest Ballon Racing

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ZDI Zentrum Kamp Lintfort

TEACHING

Interactive Textile Academy BootCamp Rhine-Waal University of applied science, Fab-Lab Kamp-Lintfort This is an intensive course of 40 hours with hands on training on digital fabrication regarding new materials, textiles, fashion design, and its sustainable production.

During the course, participants explore new possibilities and alternatives to current textile and clothing manufacturing systems. The course is guided by technologists, textile and fashion designers, computational experts and other specialists in the field from all over the world. Adriana Cabrera was mentored the group locally in germany There were live-feeds from FabLab Barcelona and other nodes in Brazil, Chile, Miami and Paris among others. In addition we presented recitations from Neil Gershenfeld, director of the Center for Bits and Atoms, in the Massachusetts Institute of Technology in Boston. Fab Lab Kamp-Lintfort is the first Lab in Germany to offer this bootcamp.

This is a preparation course of the global Textile Academy, as part of the official courses of the ACADEMANY, directed also from the Center of Bits and Atoms, MIT, which covers the â&#x20AC;&#x153;digital fabrication principles in almost everythingâ&#x20AC;?.

The first edition of the global Textile Academy will take place in September 2017 in different Fab Labs around the world.

Day 1

Day 1

FABRICADEMY A new textile academy

Computational Couture 3D modelling 3D scanning 3D scanning

Day 2

Day 2 Smart textiles, embedded electronics

New Materials & Processes

Dying with Bacteria Biomaterials

Making composites

ADRIANA CABRERA GALINDEz MFA FabMedienkunst/gestaltung Lab Instructor Bauhaus Universität Weimar M.A. Textile and Surface Design- Material Research M.F.A. Media Art and Design Bauhaus-Universität Weimar Industrial Designer INDUSTRIAL DESIGNER adriana.cabrera.g@gmail.com Mobile: (+49) 17684351504 adriana.cabrera.g@gmail.com Eyller Straße 8a Handy: 0176 78549157 47475(49) Kamp-Lintfort Germany Thomas Muntzer str. 18 99423 Weimar. GERMANY