Design for Additive Manufacturing (DfAM) is a growing field of enquiry. Over the past few years, the scientific community has begun to explore this topic to provide a basis for supporting professional design practice. However, current knowledge is still largely fragmented, difficult to access and inconsistent in language and presentation. This paper seeks to collate and organise this dispersed but growing body of knowledge, using a single and coherent conceptual framework. The framework is based on a generic design process model and consists of five parts: Conceptual design, Embodiment design, Detail design and Process planning and Process selection. 81 articles on DfAM are mapped onto the framework to provide, for the first time, a clear summary of the state of the art across the whole design process. Nine directions for the future of DfAM research are then proposed.

Additive Manufacturing (AM) technologies are widely adopted in design practice for prototyping. However, the extent to which practitioners are knowledgeable and experienced in designing components for series production using AM remains poorly understood. This study presents the results of an online survey aimed at uncovering this emerging design activity, with additional evidence provided by semi-structured interviews with 18 designers. One hundred ten practising designers responded. The majority of the respondents remain sceptical about the potential for AM as a process for series production, citing cost and technical capabilities as key barriers. Only 23 reported experience in designing components for series production using AM, with the majority of these designing parts to be produced from plastic. The survey revealed that these designers have developed their own ‘design rules’ based primarily on personal experience. These rules, however, tended to focus on ensuring ‘printability’ and did not provide support for taking advantage of the unique capabilities of AM processes. The designers tended to treat AM processes as a uniform set of production processes, and so the design rules they used were generic and not directed to the capabilities of specific AM processes.

Additive Manufacturing (AM) has become an established discipline in both research and education. However, to achieve its full potential AM requires a step-change in design thinking, which makes Design for AM (DfAM) education and training crucial. This paper reports results from the first attempt to investigate the uptake of DfAM in higher education. This research required the development and administration of an articulated online survey, in which educators worldwide who teach AM and DfAM have participated. The results show that DfAM is taught in a considerable number of courses. However, the survey revealed that DfAM is seldom recognised as a distinct course or topic and the relevance attributed and proportion of teaching dedicated to DfAM within wider AM is typically marginal. DfAM is being mostly taught in North America and Europe and is also typically taught in institutions that are research active in AM or specifically DfAM, suggesting the subject has not yet reached maturity or diffusion into mainstream design and engineering curricula. It was interesting to find that currently, the contents of courses do not differ significantly between engineering and design programmes.

Additive Manufacturing (AM), one of the nine enabling technologies of Industry 4.0, is experiencing rapid growth

This paper seeks to understand the interplay between the acts of pen-and-paper-based sketching and the use of mental imagery. A protocol study of four novice designers was conducted in two different environments: with access to sketches only; and blindfolded and delayed sketches. In total there were eight 45 minute design sessions. This study confirms that sketches and mental imagery support ideation stages in unique ways and both are equally germane. Identified interplaying roles when only sketches are utilized are: supporting, co-evolving, and reflecting roles. In addition, interplay can happen at the exact moment or distantly; and the order of an interplay depends on the designers’ strategy. In sessions where sketches are for externalizing design proposals only at the end, identified roles are: generative and provocative to idea exploration. It is also observed that gesture does not compensate for the absence of external representation, although it conveys important design messages.