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A LIFETIME OF SUMMERS | WITH NIKE SAVVAS & UAP

A Lifetime of Endless Summers from below

There is a dusting of jolly confetti falling gracefully from the ceiling of The Exchange, Sydney, the spiralling, light-filled hive, commissioned by Lendlease Australia, and designed by Kengo Kuma & Associates. A Lifetime of Endless Summers by renowned artist Nike Savvas, cascades in shades of yellow, orange, pink, green, and blue, capturing the wind, coaxing the harbour breeze indoors. In order to deliver this piece, in collaboration with Savvas, Urban Art Projects (UAP) experimented with interaction design using Augmented Reality (AR) and Virtual Reality (VR) technology.

The view from inside the HoloLens
Interaction Design (Wind)

The freedom to explore and experiment consistently drove this project forward, into new and unexpected territory, not least because this was a complex and varied piece. The artwork covers a 12-metre diametre and comprises 9,200 aluminium tabs finished in numerous fluorescent paint finishes. Each component was suspended via a system of 715 ultra-fine wire cables that fixed directly into the ceiling.
Once Savvas and Lendlease reached a consensus regarding the immersive experience, wind testing was employed at the UAP’s Brisbane foundry.  In fabrication, the team determined the precise spacing requirements. This involved regulating clear gaps to prevent individual wire drops from getting knotted and twisted. This kind of optimised precision enabled each wire drop to gently oscillate, delivering a range of sensations via an interplay between gentle breezes and the kinetic field of colour.
In production, the aluminium components were carefully designed and mounted to sway at random angles between an approximate range of 0-45 degrees. Each wire was placed at a minimum midpoint of 300 millimetres, with an extra 600-gram weight appended at the end to ensure just the right amount of gravity and sway.

AR & VR Solutions

The piece was successfully delivered using AR HoloLens headsets and Fologram VR mixed-reality software to manage the complexities of the installation on-site; a process that flawlessly encapsulates Savvas’ sense of playful ingenuity, and UAP’s commitment to delivering cutting-edge solutions built on a combination of value-added processes and technological innovation.
UAP also employed these tried and tested AR and VR technologies during the documentation and installation stage. This allowed the installation team to move freely, whilst skillfully navigating and visualizing each focal point via a direct overlay of digital elements amidst what already existed in the physical world.
Using Hologram and Fologram allowed UAP’s craft makers to execute the exact placement of the drill holes. The same holes were then carefully matched with the suspended wire drops and ceiling trays, which sat over-and-above a circular ceiling between the market hall and mezzanine restaurant. All those involved across the process remain extremely positive and enthusiastic about their experience and its impact on the outcome. Seamlessly combining AR and VR construction not only made for a safer work environment but saved days of time, opening up opportunities to integrate human creativity and intuition into the process.
Advanced manufacturing systems and technologies helped reduce the occurrence of human errors, which reduced the risks and costs traditionally involved in bespoke design and construction. As such, the use of Fologram and HoloLens delivered continuous engagement, and the opportunity to expand the scope of vision systems in design-led manufacturing.

Detail, confetti components
Delivering Bespoke Outcomes

As in many industries, technological advances and human artistry in manufacturing and design are converging. Whilst some fear that automation will kill jobs, Design Robotics and UAP recognise the important role technological advances play in supporting skilled workers. Human/robot interaction not only assists in the completion of tedious and repetitive tasks but also reduces risk. In this context, human partners are free to explore creative tasks, which has a direct impact on productivity and wellbeing.
Via the support of the Innovative Manufacturing Cooperative Research Centre (IMCRC), Design Robotics and UAP have partnered to present a range of new possibilities. The goal is simple – to design for human intelligence and optimize the relationship between people and machines. Watch this space as Design Robotics and UAP are committed to operating at the forefront of novel solutions, meshing technology with human creativity to explore a myriad of new possibilities.
A Lifetime of Summers launches a long-term commitment to robotic vision systems and software user-interfaces that enhance and support skilled workers. Associate Professor Dr. Glenda Caldwell, Cheif Investigator, Design Robotics described the process as “…the opportunity to work collaboratively with robotic technologies to decrease human risk in manufacturing and increase innovation and creativity”.
Reimagining the design process and pushing boundaries in industrial robotic capabilities empowers people to navigate increasing workplace complexity. At its heart, this work identifies what robots and machines do best – problem-solving, and matches it with what humans do best – social intelligence and contextual understanding. This symbiosis creates resilient outcomes, and enhanced processes, firmly placing Australia at the forefront of innovation and enterprise.
https://www.facebook.com/uapco/videos/2906429592742845/

Entering the artwork
The Concept of Freedom

Thanks to collaborative partnerships, like Design Robotics and UAP, embracing technology ensures value-added mass customization. With an eye on addressing logistical complexities, solving engineering challenges, and meeting tight deadlines. In this context, artists, like Savvas, can focus their attention on creative potential. This not only informs the work of the Design Robotics team but fosters a culture of cross-germination and skills acquisition, which impacts UAP’s crafts makers and the manufacturing sector Australia-wide, and internationally.
On one hand, A Lifetime of Summers is playful, teasing the vibrant kinesis between form, wind, and colour. Equally, it is profound in the pursuit of meaning. By simply standing beneath it, viewers are transported into a hypnotic trance, revelling and reflecting whilst charmed by a sense of freedom and the optimism of endless summers. Yet, few will appreciate the cutting-edge approaches that were applied in its making – that’s our little secret.

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BRINGING THE JOY | WORLD OPEN INNOVATION CONFERENCE

Dr Claire Brophy
Design Robotics Research Fellow

Dr Brophy presented a research paper on how design methods were employed to map the ARM Hub ecosystem at the World Open Innovation Congress (WOIC) in Rome in December 2019. Open Innovation is a way of thinking about and managing innovation where firms purposely manage their approach to innovation by bringing in innovations from outside their business and also allowing innovations from inside their business to be developed further by others. 
Tell us about what WOIC is about. What were you doing out there?
Claire: This was the 6th annual World Open Innovation Conference. It’s an annual event that brings together representatives from industry and academia to focus on the emerging field of open innovation. The attendees were predominantly from Business and Management backgrounds. My presentation was about the ARM Hub – (the Advanced Robotics for Manufacturing Hub) and a design workshop we conducted to visualise what the ARM Hub could be, and who it would represent. The workshop used participatory design approaches, so really tangible, creative ways to explore the abstract concept of open innovation. At the conference, it was perhaps the only one that took this kind of approach to the concept of open innovation. 

The paper about the Design Robotics Workshop on Open Innovation was presented at WOIC. It featured design approaches such as the Tangible Mapping Method.

 
Given that you presented design approaches, how do you think it was received in this business-academic setting?
Claire: I was nervous about presenting to an entirely new field,  but it was actually really well received. One of the conference chairs thanked me later for “bringing the joy” to our session. It  felt great to bring design in approaches and invigorate the conversation around open innovation. After the session, a lot of the attendees agreed that taking this tangible approach levelled the playing field and was a creative, engaging way to approach unfamiliar concepts. Educators in particular, shared their own experiences about how they are trying to incorporate engaging methods like this into their teaching.
 
Do you have any favourite sessions?
Claire: Yes, so many good ones. The one by Francesco Starace, CEO of Enel, the Italian utilities provider He spoke at length about the way he introduced open innovation approaches in this massive, traditional Italian company and the challenges that he had around that. They tried out different creative approaches such as encouraging staff to share their failures in order to change the culture around “don’t come to me with problems only come to me with solutions”.  And he also talked about the way they are finding transformative and innovative ways to adapt and retrofit advanced technologies to old machines. He talked about “listening to the machines” which struck a chord with me within regards to my work in Design Robotics. He explained how traditionally technicians would be able to “hear” that the machines are having problems; that there is a language in the sounds of the machines. His story was really interesting around that kind of successful approach to innovation.
Another one was from notable Professor Anita McGahan of University of Toronto. The broader theme around the conference was around how to address the United Nations Sustainable Development Goals. She gave this impassioned call-to-action at the end of her keynote. That we cannot possibly carry on the way that we are carrying on and we need widespread dramatic changes of perspective. Her talk resonated with me for quite some time after the conference. 
Professor Henry Chesbrough (he coined “open innovation”) had an interesting wrap-up. He spoke wanting to open up the conversation between industry and academia to better facilitate this flow of knowledge from academia into industry. He shared that the main feedback that had received over the conference was that this relationship between academia and industry is underdeveloped. It is important to bridge this gap. I feel that design – and the work the Design Robotics team is doing in our partnership between academia (QUT/RMIT) and industry (UAP) is a great example of this.
 
Do you plan to head to WOIC in 2020? What do you think you would do?
Claire: Yes, it would be great to go back. It was a really nice opportunity to present our work to a global audience and introduce the creative open innovation approach we are taking. I think for next time, it would be good to run our work as a workshop at the conference. I’ll be bringing joy back!
 
Conference Name: World Open Innovation Conference 2019
Date: 12-13 December 2019
Location: Luiss University, Rome, Italy
Program: Link
 
Related work
Advanced Robotics Manufacturing: Arm Hub Announced

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Knowledge Sharing

Design Robotics 'Mudpit' Presentation with QUT's Design Lab

Design Robotics recently presented their research at an informal gathering, called a Mudpit, to QUT’s Design Lab Research group.
The mission of the Design Lab Research group at QUT is to ‘Change by Design.’ That is, Design research at QUT aims to demonstrate how design can be applied to achieve solutions to broader social, cultural, economic, and environmental problems.
The Design Lab website explains that ‘Design is no longer just the pursuit of creating objects or artefacts. It is a method and a research approach able to drive Australia’s National Innovation agenda. Harnessing this potential, the QUT Design Lab was founded in 2016 to employ bold, fresh, and rigorous design-led research to tackle major societal challenges facing society, industry, community, and the environment. Acting as a hub and home for a diverse team of academics, research students, and industry professionals, the QUT Design Lab supports transdisciplinary collaborations that result in tangible impact and engagement, and which transfer knowledge and technology into beneficial applications for industry and society.’

At the presentation Al Burden, the Design Robotics PhD Candidate, gave a short demonstration with the UR10s at QUT.
The Mudpit is an informal way of sharing research between colleagues to share knowledge and develop opportunities for collaboration.