The Basis of Processes - Experimenting with Food to Re-Shape the Industry Language

Copyright © 2015 McGraw-Hill Education (Italy), S.r.l. Via Ripamonti, 89 – 20141 Milano Rights of translation, reproduction, electronic storage and total or partial adaptation by any mean whatsoever (including microilms and Photostat copies) are not allowed. Given the intrinsic features of the Internet, the Publisher is not responsible for any possible change in both the addresses and the contents of the mentioned Internet websites. Names and brands mentioned in the text are generally registered by the respective producers.Copertina: Rebecca Squires Programme and Portfolio Manager: Natalie Jacobs Programme Manager: Marta Colnago Programme Manager: Daniele Bonanno Produzione: Donatella Giuliani Prestampa e postproduzione digitale: digitaltypes.it ISBN: 9788838694059 Prooceedings of the Cumulus Conference, Milano 2015 TheVi r t uousCi r c l e Des i gnCul t ur e andExper i ment at i on 3-7 June 2015, Milano, Italy Editors Luisa Collina, Laura Galluzzo, Anna Meroni Publisher: McGraw-Hill Education Italy Politecnico di Milano Design Department School of Design Poli.Design Fondazione Politecnico For further information on Cumulus Association: Cumulus Secretariat Aalto University School of Arts, Design and Architecture PO Box 31000, FI-00076 Aalto Finland E: cumulus@taik.fi W: http://www.cumulusassociation.org ISBN 9788838694059 -v Conference Colophon President of Cumulus International Association of Universities and Colleges of Art, Design and Media. Conference Chair Luisa Collina / Design Department, Politecnico di Milano. Conference Manager Laura Galluzzo / Design Department, Politecnico di Milano. Scientiic Committee Chairs Ezio Manzini / DESIS Network Anna Meroni / Design Department, Politecnico di Milano. Tracks Chairs Nurturing Eleonora Lupo / Design Department, Politecnico di Milano. Sarah Teasley / Royal College of Art Paolo Volonté / Design Department, Politecnico di Milano. Envisioning Giulio Ceppi / Design Department, Politecnico di Milano. Stefano Marzano / THNK, School of Creative Leadership. Francesco Zurlo / Design Department, Politecnico di Milano. Experimenting/Prototyping Banny Banerjee / Stanford University Paola Bertola / Design Department, Politecnico di Milano. Stefano Maffei / Design Department, Politecnico di Milano. Incubating/Scaling Anna Meroni / Design Department, Politecnico di Milano. Cabirio Cautela / Design Department, Politecnico di Milano. Gjoko Muratovski / Auckland University of Technology. Assessing Lia Krucken / Universidade do Estado de Mina Gerais. Pier Paolo Peruccio / Politecnico di Torino. Paolo Tamborrini / Politecnico di Torino. Disseminating/Communicating Elena Caratti / Design Department, Politecnico di Milano. Paolo Ciuccarelli / Design Department, Politecnico di Milano. Mark Roxburgh / University of Newcastle. Training/Educating Luca Guerrini / Design Department, Politecnico di Milano. Pablo Jarauta / IED, Istituto Europeo di design. Lucia Rampino / Design Department, Politecnico di Milano. International Affairs Anne Schoonbrodt / Design Department, Politecnico di Milano. Visual Communication Andrea Manciaracina, Umberto Tolino / Design Department, Politecnico di Milano. Pictures Massimo Ferrari Translations and English Editing Rachel Anne Coad Graphic and Interior Design Tina Fazeli, Elisabetta Micucci Rebecca Squires / Design Department, Politecnico di Milano. International Review Board The conference adopted double blind peer review. Yoko Akama, Royal Melbourne Institute of Technology Jose Allard, Pontificia Universidad Catolica de Chile Zoy Anastassakis, Universidade do Estado do Rio de Janeiro Nik Baerten, Pantopicon Giovanni Baule, Politecnico di Milano Elisa Bertolotti, Politecnico di Milano Alessandro Biamonti, Politecnico di Milano Massimo Bianchini, Politecnico di Milano Luigi Bistagnino, Politecnico di Torino Sandy Black, University of the Arts London Spyros Bofylatos, University of the Aegean Gustavo Borba, Universidade do Vale do Rio dos Sinos Brigitte Borja de Mozota, Paris College of Art Clare Brass, Royal College of Art Caelli Brooker, University of Newcastle Graeme Brooker, Middlesex University London Sam Bucolo, University of Technology Sydney Daniela Calabi, Politecnico di Milano Barbara Camocini, Politecnico di Milano Angus Campbell, University of Johannesburg Daria Cantù, Politecnico di Milano Michele Capuani, Politecnico di Milano Michelle Catanzaro, University of Newcastle Manuela Celi, Politecnico di Milano Eunji Cho, Hunan University Jaz Choi, Queensland University of Technology Matteo Ciastellardi, Politecnico di Milano Carla Cipolla, Universidade Federal do Rio de Janeiro Luisa Collina, Politecnico di Milano Chiara Colombi, Politecnico di Milano Sara Colombo, Politecnico di Milano Marta Corubolo, Politecnico di Milano Vincenzo Cristallo, Sapienza University of Rome, Italy Robert Crocke, University of South Australia Heather Daam, Institute without Boundaries Toronto Chiara Del Gaudio, Universidade do Vale do Rio dos Sinos Alessandro Deserti, Politecnico di Milano Loredana Di Lucchio, Sapienza Università di Roma Jonathan Edelman, Stanford University Davide Fassi, Politecnico di Milano David Fern, Middlesex University London Silvia Ferraris, Politecnico di Milano Venere Ferraro, Politecnico di Milano Alain Findeli, University of Nimes Elena Formia, Università di Bologna Marcus Foth, Queensland University of Technology Silvia Franceschini, Politecnico di Milano Teresa Franqueira, Universidade de Aveiro Carlo Franzato, Universidade do Vale do Rio dos Sinos Karine Freire, Universidade do Vale do Rio dos Sinos Marisa Galbiati, Politecnico di Milano Laura Galluzzo, Politecnico di Milano Giulia Gerosa, Politecnico di Milano Miaosen Gong, Jiangnan University Carma Gorman, University of Texas at Austin Francesco Guida, Politecnico di Milano Ashley Hall, Royal College of Art Michael Hann, University of Leeds Denny Ho,The Hong Kong Polytechnic University Stefan Holmlid, Linkoping University Lorenzo Imbesi, Sapienza Università di Roma Ayelet Karmon, Shenkar - Engineering. Design. Art Martin Kohler, HafenCity University Hamburg Cindy Kohtala, Aalto University Ilpo Koskinen,The Hong Kong Polytechnic University Peter Kroes,TU Delft Peter Gall Krogh, Aarhus University Carla Langella, Seconda Università degli Studi di Napoli Yanki Lee, Hong Kong Design Institute Elisa Lega, University of Brighton Wessie Ling, Northumbria University Cyntia Malagutti, Centro Universitário Senac Naude Malan, University of Johannesburg Ilaria Mariani, Politecnico di Milano Tuuli Mattelmaki, Aalto University Alvise Mattozzi, Università di Bolzano Mike McAuley, University of Newcastle Lisa McEwan, Auckland University of Technology Stuart Medley, Edith Cowan University Western Australia Massimo Menichinelli, Openp2pdesign Cynthia Mohr, University of North Texas Nicola Morelli, Aalborg University Afonso Morone, Università degli Studi di Napoli Federico II Francesca Murialdo, Politecnico di Milano Andreas Novy, WU Vienna University of Economics and Business Marina Parente, Politecnico di Milano Raffaella Perrone, ELISAVA Escola Superior de Disseny Margherita Pillan, Politecnico di Milano Francesca Piredda, Politecnico di Milano Marco Pironti, Università di Torino Paola Pisano, Università di Torino Giovanni Profeta, Scuola Universitaria Professionale, Svizzera Italiana Agnese Rebaglio, Politecnico di Milano Livia Rezende, Royal College of Art Dina Riccò, Politecnico di Milano Francesca Rizzo, Università di Bologna Rui Roda, University of Aveiro Liat Rogel, Nuova Accademia di Belle Arti Valentina Rognoli, Politecnico di Milano Margherita Russo, Università degli studi di Modena e Reggio Emilia Dario Russo, Università di Palermo Fatina Saikaly, Cocreando Giuseppe Salvia, Nottingham Univesity Daniela Sangiorgi, Lancaster University Daniela Selloni, Politecnico di Milano Anna Seravalli, Malmo University Giulia Simeone, Politecnico di Milano Michele Simoni, Università Parthenope Eduardo Staszowski, Parsons The New School for Design Cristiano Storni, University of Limerick Shehnaz Suterwalla, Royal College of Art Kate Sweetapple, University of Technology Sydney Virginia Tassinari, MAD Faculty Genk Carlos Teixeira, Parsons The New School for Design Adam Thorpe, Central Saint Martin Paola Trapani, Unitec Institute of Technology Auckland Raffaella Trocchianesi, Politecnico di Milano Federica Vacca, Politecnico di Milano Fabrizio Valpreda, Politecnico di Torino Francesca Valsecchi,Tongji University Beatrice Villari, Politecnico di Milano Katarina Wetter Edman, University of Gothenburg Robert Young, Northumbria University Salvatore Zingale, Politecnico di Milano 443 The Basis of Processes - Experimenting with Food to Re-Shape the Industry Language Camilo Ayala Garcia, Assistant Professor - c.ayala954@uniandes.edu.co Design Department Universidad de los Andes, Colombia The language of products that we shape today is influenced mainly by the way manufacturing processes let us do things. The more flexible a process becomes, the broader shapes we can produce. This paper aims to document an experimentation process held at the Los Andes University as a different approach to teach that topic to designers. By this mean, a chance of empowerment is given to students with the possibility to reshape the way things are produced. Understanding the basic configuration of the industry in a different way may open further possibilities to create better products in the near future. Keywords Design methodologies, Project based research, Experimentation, Manufacturing. INTRODUCTION Design is a profession that allows a unique way to reshape the future. For little more than two hundred years we have been shaping our world in the same way, thanks to the language the machines have told us to. Nowadays when technologies have settled and we are surrounded with mass production, design is the ultimate tool mankind has to shape its tools and environment (Papanek 1971) [1]. It is amazing how the industry has evolved in order to produce more and better products by increasing the accuracy of the tools, optimizing time and energy consumption.Today is incredible how fast an idea of a project reach the market and get worldwide distributed in a span of time never imagined in the past. Thanks to the development of our global economy systems, nowadays we can design things in one country, manufacture them exactly the same way in ten different others and spread it around the globe. Other times we design something, model it using state of the art CAD tools and send it to a specific country to receive, some weeks after, a brand new product born without the need of the designer to get in contact with any of its composing materials. Thanks to the collective knowledge about processes we have established as civilization, designers can relatively guess how a product will look and let the engineers at the other side of the world, figure out exactly how to do it. In terms of evolution of technology we can say that we are surpassing a peek of development very important for the history of mankind. 444 - The Virtuous Circle - Cumulus conference June 3-7, 2015, Milan Based on the previous statement, it may sound that product design today is an easy task, and why not, a profitable one. For today’s new generations becoming a designer is the right and desirable path to follow. Things get complex though; when the market becomes oversaturated with meaningless products and even worse, when the language of products gets unified and bored. Designers are in need to reevaluate the methodologies that guide that development. Norman (1988) in his book The design of everyday things states how tools like affordance and constraints can not only give shape to a product but also suggest the way is operated and therefore its final form will be different from other typologies of products [2]. Some years later we face by contradiction, that several typologies of products that have evolved historically different in terms of use and shape now look alike, behave alike and even worse, cost alike. For example, televisions and mobile phones have reached a state of design unification that the only difference one can find among them is the scale. Interactions, shapes and functionality are barely the same. Perhaps we are entering in a global unification of design language and both designers and users are agreeing in the way everyday objects may look like, but could be likewise, that the languages of the machines and the manufacturing processes are guiding the way we do things. Ashby and Johnson (2010) in their book materials and design affirm that processes classification is not as easy as material selection (p. 95) [3]. Mainly because material behaviors and properties are dictated by nature, while manufacturing processes are devised by man. Processes need to be selected based on the purpose or a design intention; therefore there is a constant question that emerges: "how can I transform a material?”. The answer can be solved in countless different ways depending on the purpose or design intention. So, if we as humans have the capability to transform matter based on our intentions of usage, why we still shape objects the same way? At Los Andes University a research started in order to teach students about materials and processes, separating one from the other (Ayala, 2014). By breaking the automatic connection between a material, its manufacturing process and the application, new ways of languages of products arise.The idea of that research is strongly connected and inspired with the concept of sustainable development (Birkeland 2002) (McDonough & Braungart 2002) (Ashby 2009), where in order to succeed as species, we need to understand the differences and similarities between the natural and industrial systems [4] [5] [6]. Although the methodology is presented in other work, the focus of this paper relies in one exercise developed as a mean to re shape (at least in the heads of the designers to come) the way we do things. The exercise is called the basis of processes and the central goal lies in the explanation of manufacturing processes not by looking at the industry, but by looking at the kitchen. Experimenting & Prototyping - 445 METHOD The experimentation idea started as a reflection around the difficulties we have to get access to industry visits in Colombia as a way to validate manufacturing processes theory. The reflection withdraws two major concerns. On one side we have faced that the industry is strongly disconnected form the academy, therefore is not as easy as anywhere else to gain access inside the factories to permit students to see how a machine mold, draw or cut. It is unknown if the reason for that to happen has to do with the fact that companies may fear that by open their doors some know how will become exposed to their competitors, but is a very strong idea that cross minds. It is clear as contrast that nowadays the internet and television [7] [8] provide complete explanation about processes of bigger companies with higher technology as an open and detailed source. Sadly though, with that media the physical interaction of the student with the process is missing and thus, that path breaks the linkage between the designer and the matter that will help him or her to create a project. The second concern is that in Colombia, the industry that is able to produce things like "industrialized" countries is lacking and therefore a high percentage of manufacturing processes that nowadays are the standard to produce products are out of our physical reach [9]. Regardless of making a positive or negative judgment about that matter, makes no sense to teach about manufacturing processes to designers by showing how the others make things, but instead presenting possibilities of how we can construct with what is available for us locally becomes the best path. In order to solve the issue an idea arose as a possibility to replicate the industrial processes with an approach that were closer to the “hands on” manner instead of the “look, but don’t touch” idea that a factory visit provide. Thanks to a closer contact in the past with a Chef colleague who present a lecture about eatable materials and by looking at the way some dishes were prepared, it came up the idea that all the processes we see in the industry may have a way to be explained with less complex tools like the ones the kitchen provides.With that approach perhaps, a possibility to the students that in the past was unavailable starts to emerge:To replicate a process that they see immediately with the same tools. Surprisingly when the explanation of common industrial processes to the Chef started, like for instance, how to do rotational molding, die casting or ultrasonic welding, he start interrupting by saying, "that is how we do chocolate " or "this is exactly the same as doing caramel bubbles”. Based on that exchange of technologies between two fields, a decision was made in order to prepare a list of processes that share similarities in both industries (product and food) and develop a workshop in which the students can validate information acquired previously through the lectures. With that methodological tool in the pocket and by experimenting and exploring with their own hands, one day designers will transform the industry by proposing new ways to do things by learning from other fields or areas of knowledge. 446 - The Virtuous Circle - Cumulus conference June 3-7, 2015, Milan THE WORKSHOP The workshop is developed in two phases.The first one called “Mise en Place”, which is a French term that means, "putting in place", used in the food industry to set up.The term refers to organizing and arranging all the ingredients in place before a dish or a set of dishes are prepared. In this first phase the Chef generates a detailed explanation of each process and the designer (the professor) connects the explanation with the previous theory in order to link up the students with the industrial manufacturing process. For this phase ten processes have been selected, which can be easily compared with the industrial counterparts, but with a lower level of technology closer to the designers hand without any restriction of usage. Most of the times the usage of the technology lies in the hands of engineers who control the machines in the industry and of course due to the risk, complexity and knowledge required, the designer is out of the scene in that particular phase.The processes presented some times can may look like traditional handicraft techniques, but is certain however that the existence of a specific machine in a particular industry responds as a way to improve with accuracy a traditional form to do things, like for instance forging, cutting or weaving (Thompson 2007) [10]. The processes are explained to the students as follows: Note that the order presented is not randomly selected, but it responds mainly to explain the ones who require an oven or temperature (hot or cold) to be completed first, and the other ones that can be elaborated without temperature afterwards.That will help to guarantee at the end of the session that all processes will be completed. Additional Note: the processes presented in the class are supported by three main sources of literature. Manufacturing processes for design professionals (Thompson 2007), Materials and Design (Ashby and Johnson, 2010) and CES Edupack [11]. Casting: the process of casting is represented with chocolate. Chocolate needs to be melted and therefore tempered before is poured into the mold. Once is poured into the mold (figure 1), excess is removed when the shell is hardened in order to represent what happens with the slip casting process (ceramics). In the other molds where the matter is not hollow on the inside, like the ones needed to produce metals, the chocolate is left to be hardened and therefore removed either by breaking the mold to represent sand casting and investment casting or by opening the mold like what happens with pressure die casting. Extrusion: for extrusion related processes meringue is used, which is made from whipped egg whites and sugar (figure 2). The consistency of the mixture that is used in pastry allows to show the different types of extrusion (metal, polymer and ceramic) thanks to the wide range of dies available. Experimenting & Prototyping - 447 FIGURE 1 - C\asting Chocolate FIGURE 2 - Students Extruding 448 - The Virtuous Circle - Cumulus conference June 3-7, 2015, Milan Stamping / Punching and Blanking: for this processes representation, two materials are used. Plantain allows to show how stamping is made. Plantain is cut into small discs, then placed in the mold and pressed (figure 3). Cookies mixture allows showing punching and blanking. As is a common home-style process with different dies available, the connection with the industrial process occurs automatically. FIGURE 3 - Stamped Plantain Roll Forming: for this process the same cookies mixture is utilized. Instead of punching, for this process a series of pastry rolls (modified specially for the workshop) pass over the mixture pressing and bending like in the industry ones. Reaction Molding:To represent this process muffins are created. Muffins behave very similar to polyurethanes by how mixture grows (figure 4). In that sense the material is poured in different molds, place them in the oven and see how after some time, grows and take the desired shape. Contact Molding: for the process Phyllo Dough, which is a layered type of matter, is used. This dough, when is layer by layer covered with sugar and butter (figure 5), allow us to show how GFRP and CFRP are conformed and the wide range of shapes that are possible. The mixture needs to be cooked in oven in order to maintain shape (figure 6). Machining: here a different sort of fruits and vegetables are used. By carving them with several tools in order to create multiple shapes, the students understand how by removing matter a desired shape can be achieved. Ultrasonic / Vibration Welding: By heating to separate hollow parts of chocolate (previously made) in their borders with a hot plate of aluminum, a welding process similar to an ultrasonic or vibration welding is obtained. Here is important to show how the welding strip is almost imperceptible and therefore very sleek joints can be achieved. Experimenting & Prototyping - 449 FIGURE 4 - Reaction Moulded Mufins FIGURE 5 – Layering 450 - The Virtuous Circle - Cumulus conference June 3-7, 2015, Milan Chroming, Galvanizing, and Dip Molding (shown as one process due to similarities): for this set of processes sugar glaze is used. Some coating layers made in the industry are for protecting the surface of the material; other ones are to achieve aesthetical finishes. In that sense, the glaze provides the idea of both intentions by submerging previous shapes produced during the workshop. Screen-printing, Labeling and Transfer (shown as one process due to similarities): For this set of processes are used different chocolate transfer sheets in which the hot chocolate is spread and afterwards when cooled, the decoration attaches to the surface.Although here the similarities with industrial processes differ around the technique, the final result is the same (figure 7). The second phase of the workshop consist in a design project called“Ephemeral Products” in which the students by knowing the processes, understanding the way to do them and being able to experiment with in the previous phase, are able to produce an ephemeral more robust experimentation (because of the materials used). They need to present a project proposal in which they need to justify by design means the intention behind the project. That forces the designers to produce and elaborate over an idea, instead of merely play with food and see what comes up.The results are exhibited and discussed by the two professors, the designer and the chef in order to validate the concept behind, the design intention, the accuracy of the manufacturing process and the language of the result (figures 9, 10, 11). RESULTS The result of the exercise is normally analyzed in two ways. On one hand the Chef (that most of the times gets overwhelmed by the tremendous creative capability of designers and how they can re-shape food by using techniques learned) revises if the consistency, structure, appearance of texture and stability of the proposal meets the defined standards. On the other hand and the one that catch the attention the most, is the way how design students who are nowadays used to imagine, build and produce a project entirely digital (mainly because of the restrictions of the technology used, similar to a previous design made by somebody somewhere in the past), start to produce content and language of products entirely different of what is commonly produced. Is in a way like having a machine (injection-molding for example) to play and explore with, but without the economic risk and tooling cost that no industry is willing to provide. Some of the results produced by the students suggest different ways to shape products and therefore suggest new languages; others suggest new product lifecycles and others suggest product usage very difficult to see with industrybased materials and with traditional ways of manufacturing. Important as well is to underline that thanks to this workshop, the students are loosing the fear of shaping matter, which is overall one of the goals of the course. By simply understanding that caramel or chocolate and polymers Experimenting & Prototyping - 451 share the same behavior, Muffins and polyurethane grow with a correct mix of ingredients and take the shape of the mold, or metals as well as vegetables can be carved to produce a desired shape even producing some waste that needs to be considered, around the design department is perceived that, the amount of graduation projects around the topic of material exploration [12] new ways of producing a product typology [13] and exploration of new languages of product [14] have been increasing notoriously in the past two years since the beginning of the course. DISCUSSION The subject of manufacturing processes and materials development is strongly linked to design culture. No designer can achieve the right project without any basic knowledge around this topic. It is the responsibility of the designer to understand and manage the material capabilities and the possibilities to shape it in order to produce meaning and emotions through the project. Therefore is mandatory to schools the implementation of theory and practice around materials and their development. Lamentably the path to teach these topics is not as engaging as other subjects of the discipline of design, primarily based on the fact that traditionally the matter belongs to the science and engineering fields. Thus complex learning is demanded in order to understand many of the physical behavior of materials and processes linked. Thanks to this workshop, the students face a material exploration phase with joy, twist the processes without any concern about industry restrictions and produce new and significant content around materials. That statement doesn´t intent to say that traditional ways of doing things need to be eliminated; it is our in belief that the industry have reach a tremendous robustness in terms of quality, velocity of response and stability never seen before, but this it is an alternative to push industry into new meanings and maybe reduce designer’s impact into the world by twisting the common view of production. As Ashby (2009) affirms, we human’s don’t "use" materials; we are totally dependent on them. Therefore dependency leads to exploitation of resources in a bigger scale, and if we do the things we do and produce the things we produce in the same way, with the same materials in that vast scale, no possible future will be promised. One of the major concerns to be addressed in the decades to come in order to re balance our relationship with the planet as sustainable specie is to reconsider the way we are doing things and the paths we are following to shape our world by respecting diversity (McDonough & Braungart 2002) (p.118). The aim of the workshop in order not to get a wrong interpretation of the way designers should be taught around the subject of materials and manufacturing processes, is based on the previous statement, but is not the only one. Although is one of the goals of the course, we based all the content that is provided to the students with the highest standard in materials education and processes 452 - The Virtuous Circle - Cumulus conference June 3-7, 2015, Milan literature [6] [10] [11] [15]. It is believed that once the students acquire all the information, is important to give freedom of experimentation and let ideas take shape by using standard and conventional tools like the ones we can find in our kitchen like for instance a roll, a vase or a knife. In a way is not so far from traditional design methodologies like Scamper (Eberle 1997) Heuristic Ideation, (McFazdean 1999) or STP Method (Butler 1996) which are widely used in design schools and studios to unlock creativity for project development, therefore it can be utilized as part of academic curricula to help addressing one of the major responsibilities around teaching design, which is based in the concept of moving students to think different [16] [17] [18]. CONCLUSIONS The research in a stage in which is uncertain to know if the methodology will be successful, but assertively is that by mixing this two areas of knowledge, designers are empower with a different tool that can be used in professional life as a way to imagine, experiment and evolve new languages for products. With time one can believe that if some day the industry will allow designers to intervene the machines, hack the traditional processes, connect with the new technologies of rapid manufacturing and invite engineers (who have the knowledge needed to make that happen) to join the idea of reformulating the manufacturing processes and therefore re-shape the industry language, we will be closer to that alternative future that has been imagined by all the most influential design thinkers of the last century [19]. Acknowledgments Thanks to Chef Luis Guillermo Pulido Flores, for the development of the workshop and knowledge share. REFERENCES [1] Papanek, V. (1971), Design for the Real World. New york: Pantheon Books. [2] Norman, D. (1988).The Design of Every Day Things. New York: Basic Books. [3] Ashby, M., & Johnson, K., (2010). Materials and Design:The art and science of material selection in product design, (2nd ed.). Oxford: Butterworth-Heinemann. [4] Birkeland, J. (2002), A Sourcebook of Integrated, Eco-logical Solutions. London: Routledge. [5] William McDonough, (2002). Cradle to Cradle: Remaking the way we make things, New York: North Point Press. Experimenting & Prototyping - 453 [6] Ashby, M., (2009). Materials and the Environment: Eco-informed Material Choice. Oxford: Butterworth-Heinemann. [7] Series of audiovisual visits to top world factories that show all the processes involved into manufacture their products. http://natgeotv.com/uk/ megafactories [8] Series of audiovisual visits to different factories from all fields that show all the processes involved into manufacture their products. http://www.sciencechannel.com/tv-shows/how-its-made [9] Ayala, C., Quijano, A., Ruge, C., (2011). Materials as a method of stimulating the creative process, Dearq, 08, 44-53. [10] Tomphson, R., (2007). Manufacturing Processes for Design Professionals. London:Thames and Hudson. [11] CES Edupack 2011, Copyright Granta Design Limited. [12] Chinchilla, S. (2011). Fique: nuevos escenarios de transformación. Retrieved from https://biblioteca.uniandes.edu.co (746.0454 CH352 TD) [13] Phillips, D. (2013). Canvas expression machines. Retrieved from https:// biblioteca.uniandes.edu.co (796.22 P334 TD) [14] Perez, C. (2014). Monilium Vite. Retrieved from https://biblioteca.uniandes.edu.co (NA) [15] Kula, D., & Ternaux, E., (2008). Materiology:The Creative Industry's Guide To Materials And Technologies. Amsterdam: Frame Publishers. [16] Eberle, B.,(1984). Help! In solving problems creatively at home and school. Carthage, IL. [17] McFadzean, E., (1989). Creativity in MS/OR: Choosing the appropriate technique. Interfaces, 29 (5), 110–122. [18] Butler, A., (1996).Teamthink. New York: Mcgraw Hill. [19] Branzi, A. (2014) Una generazione esagerata. Milano; Baldini & Castoldi.