Some architects dream of 3D-printing houses. Some even fantasise about 3D-printing entire cities. But what is the real potential of 3D printing for architects? This issue focuses on another strand of 3D-printing practice emerging among architects operating at a much smaller scale that is potentially more significant. Several architects have been working with the fashion industry to produce some exquisitely designed 3D-printed wearables. Other architects have been 3D-printing food, jewellery and other items at the scale of the human body. But what is the significance of this work? And how do these 3D-printed body-scale items relate to the discipline of architecture? Are they merely a distraction from the real business of the architect? Or do they point towards a new form of proto-architecture – like furniture, espresso makers and pavilions before them – that tests out architectural ideas and explores tectonic properties at a smaller scale? Or does this work constitute an entirely new arena of design? In other words, is 3D printing at the human scale to be seen as a new genre of 'body architecture'? This issue contains some of the most exciting work in this field today, and seeks to chart and analyse its significance. Contributors include: Paola Antonelli/MoMA, Francis Bitonti, Niccolo Casas, Behnaz Farahi, Madeline Gannon, Eric Goldemberg/MONAD Studio, Kyle von Hasseln/3D Systems Culinary Lab, Rem D Koolhaas, Julia Kӧrner, Neil Leach, Steven Ma/Xuberance, Neri Oxman/MIT Media Lab, Ronald Rael and Virginia San Fratello, Gilles Retsin, Jessica Rosenkrantz/Nervous System, and Patrik Schumacher/Zaha Hadid Architects.

Loose-Fit Architecture: Designing Buildings for Change September/October 2017 Profile 249 Volume 87 No 5 ISBN 978 1119 152644 Guest-Edited by Alex Lifschutz The idea that a building is 'finished' or 'complete' on the day it opens its doors is hardwired into existing thinking about design, planning and construction. But this ignores the unprecedented rate of social and technological change. A building only begins its life when the contractors leave. With resources at a premium and a greater need for a sustainable use of building materials, can we still afford to construct new housing or indeed any buildings that ignore the need for flexibility or the ability to evolve over time? Our design culture needs to move beyond the idealisation of a creative individual designer generating highly specific forms with fixed uses. The possibilities of adaptation and flexibility have often been overlooked, but they create hugely exciting 'loose-fit' architectures that emancipate users to create their own versatile and vibrant environments. Contributors include: Stewart Brand, Renee Chow, Ellen Dunham-Jones and June Williamson, John Habraken, Edwin Heathcote, Despina Katsakakis, Stephen Kendall, Ian Lambot, Giorgio Macchi, Alexi Marmot, Andrea Martin, Kazunobu Minami, Peter Murray, Brett Steele, and Simon Sturgis.

We are now on the brink of a new era in construction – that of autonomous assembly. For some time, the widespread adoption of robotic and digital fabrication technologies has made it possible for architects and academic researchers to design non-standard, highly customised structures. These technologies have largely been limited by scalability, focusing mainly on top-down, bespoke fabrication projects, such as experimental pavilions and structures. Autonomous assembly and bottom-up construction techniques hold the promise of greater scalability, adaptability and potentially evolved design possibilities. By capitalising on the advances made in swarm robotics, the collective construction of the animal/insect kingdom, and advances in physical computational, programmable materials or self-assembly, architects and designers are now able to build from the bottom up. This issue presents future scenarios of autonomous assembly by highlighting the viability of decentralised, collective assembly systems, demonstrating the potential to deliver reconfigurable and adaptive solutions. Contributors include: Marcelo Coelho, Andong Liu, Robin Meier, Kieran Murphy and Heinrich Jaeger, Radhika Nagpal and Kirstin Petersen, and Zorana Zeravcic. Featured architects: Aranda\Lasch, Arup, Philippe Block, Gramazio Kohler Architects, Ibañez Kim, Achim Menges, Caitlin Mueller, Jose Sanchez, Athina Papadopoulou and Jared Laucks, and Skylar Tibbits.

Workflows are being rethought and remodelled across the architecture, engineering and construction (AEC) spectrum. The synthesis of building information modelling (BIM) platforms with digital simulation techniques and increasing access to data, charting building performance, is allowing architects to engage in the generation of new workflows across multidisciplinary teams. By merging digital design operations with construction activities, project delivery and post-occupation scenarios, architects are becoming instrumental in the shaping of buildings as well as the design process. Workflows expand the territory of architectural practice by extending designers’ remit beyond the confines of the design stage. The implications for the AEC industry and architecture as a profession could not be greater. These new collaborative models are becoming as important as the novel buildings they allow us to produce. Contributors include: Shajay Bhooshan, John Cays, Randy Deutsch, Sean Gallagher, Ian Keough, Peter Kis, Jonathan Mallie, Adam Modesitt, Rhett Russo, Dale Sinclair, and Stacie Wong. Featured architects: Arup, Diller Scofidio + Renfro, GLUCK+, GRO Architects, PLANT, Populous, Young & Ayata, and Zaha Hadid Architects.

The “2019 DigitalFUTURES — The 1st International Conference on Computational Design and Robotic Fabrication (CDRF 2019)” provides an international platform for advanced scientific research papers on the digital technology of architectural design and construction. The themes of the papers include, but are not limited to, architectural theories, tools, methods and procedures in material intelligence, data intelligence; computational intelligence, and robotic intelligence.

3D Printing for Product Designers closes the gap between the rhetoric of 3D printing in manufacturing and the reality for product designers. It provides practical strategies to support the adoption and integration of 3D printing into professional practice. 3D printing has evolved over the last decade into a practical proposition for manufacturing, opening up innovative opportunities for product designers. From its foundations in rapid prototyping, additive manufacturing has developed into a range of technologies suitable for end-use products. This book shows you how to evaluate and sensitively understand people, process, and products and demonstrates how solutions for working with additive manufacturing can be developed in context. It includes a practical, step-by-step plan for product designers and CEOs aimed at supporting the successful implementation of 3D printing by stakeholders at all levels of a manufacturing facility, tailored to their stage of technology integration and business readiness. It features a wide range of real-world examples of practice illustrated in full colour, across industries such as healthcare, construction, and film, aligning with the strategic approach outlined in the book. The book can be followed chronologically to guide you to transform your process for a company, to meet the unique needs of a specific client, or to be used as a starting point for the product design entrepreneur. Written by experienced industry professionals and academics, this is a fundamental reference for product designers, industrial designers, design engineers, CEOs, consultants, and makers.

Homing the Machine in Architecture is a series of conversations on the ways designers, practitioners, historians, and theorists orient themselves within the world of architectural digital fabrication. To “home” a digital fabrication machine is to send it back to its origin point—a point that can be specified by the fabricator in advance of the fabrication process or by the defaults that are pre-programmed into the machine. The homing process is necessary and productive since it determines the physical point at which the machine (and the maker) begin making—every time that architectural designers begin to digitally fabricate something new, they first need to home the machine. This book gathers first- and second-hand accounts of the origins of individual “digi-fab” practices from the emergence of advanced prototyping tools to the contemporary moment. It features interviews, essays, and case studies organized around three questions: What are the possible histories of digital fabrication in architecture? How do designers orient themselves in this emergent discipline? What conceptual original points do architectural designers return to when they home their machines? The discourse that emerges from this collection aims to reach practicing architects using digital fabrication, as well as upper-level students and academics of digital architecture, architectural theory, and architectural history.