Circularity and recycling are gaining increased attention, yet the amount of recycled plastic applied in new products remains low. To accelerate its uptake by businesses, it will be useful to empirically investigate the barriers, enablers, needs and, ultimately, requirements to increase uptake of recycled plastic feedstock for the production of new plastic products. During the six focus group sessions we conducted, a value chain approach was used to map the factors that actors face regarding the implementation of recycled materials. The identified factors were structured based on three levels: determining whether a certain factor acted as a barrier or enabler, identifying the steps in the value chain that the factor directly affected and the category it could be subdivided into. The results were then further processed by translating the (rather abstract) needs of businesses into (specific) requirements from industry. This study presented eight business requirements that require actions from other actors in the value chain: design for recycling, optimised waste processing, standardisation, material knowledge, showing possibilities, information and education, cooperation, and regulation and government intervention. The main scientific contributions were the value chain perspective and the applied relevance of the findings. Future studies may delve deeper into the individual factors identified.
MULTIFILE
De laatste decennia is tijd een strategische concurrentiefactor geworden in de maakindustrie (Demeter, 2013; Godinho Filho et al., 2017a; Gromova, 2020). Naast tijdige levering verwacht de klant ook keuze, maatwerk, hoge kwaliteit en een lage prijs (Siong et al., 2018; Suri, 2020). Om de door de klant gewenste korte doorlooptijd te kunnen realiseren en daarbij ook te voldoen aan zijn andere eisen, zijn flexibiliteit en aanpassingsvermogen essentieel geworden (Godinho Filho et al., 2017b; Siong et al., 2018). Quick Response Manufacturing (QRM) heeft als doel de doorlooptijd te verkorten in productieomgevingen die gekenmerkt worden door een hoge variëteit in producten en maatwerk (Suri, 2020; Siong et al., 2018). QRM kent zijn oorsprong begin jaren negentig van de vorige eeuw (Suri, 2020) en vertoont sterke gelijkenis met lean manufacturing. Het verschil met lean manufacturing is echter dat QRM zich richt op bedrijven in een omgeving met veel productvariatie. Daarnaast heeft QRM nieuwe elementen toegevoegd, zoals Paired-cell Overlapping Loops of Cards with Authorization (POLCA) en Manufacturing Critical Path Time’ (MCT)’ (Godinho Filho et al., 2017b).
This research paper looks at a selection of science-fiction films and its connection with the progression of the use of television, telephone and print media. It also analyzes statistical data obtained from a questionnaire conducted by the research group regarding the use of communication media.
![Does Science-Fiction predict [or change] the future?](https://publinova-harvester-content-prod.s3.amazonaws.com/thumbnails/files/previews/pdf/20240419032400973719.adbf7edd-9619-4d0e-9a17-e0e7096adc7f-thumbnail-400x300.png)
Mondkapjes, of mondmaskers, zijn door de SARS-COV-2 pandemie niet meer uit het straatbeeld weg te denken. De kwaliteit en comfort van de pasvorm van medische en niet-medische mondmaskers wordt bepaald door hoe goed het mondmasker overeenkomt met de afmetingen van het gezicht van de drager. Echter is er geen goed overzicht van de antropometrie van het gelaat van de Nederlandse bevolking waardoor de pasvorm van mondmaskers nu vaak niet optimaal is. Er is dus vraag naar een laagdrempelige en veilige manier om gezichtskenmerken in kaart te brengen en betere ontwerprichtlijnen voor mondkapjes. Driedimensionaal (3D) scannen doormiddel van Light Detection and Ranging (LiDaR) technologie in combinatie met slimme algoritmes lijkt wellicht een manier om gezichtskenmerken snel en laagdrempelig vast te leggen bij grote groepen mensen. Daarnaast geeft het 3D scannen van gezichten de mogelijkheid om niet enkel de afmetingen van gezichten te meten, maar ook 3D pasvisualisaties uit te voeren. Hoewel 3D scannen geen nieuwe technologie is, is de LiDaR technologie pas sinds 2020 geïntegreerd in de Ipad en Iphone waardoor het toegankelijk gemaakt is voor consumenten. Doormiddel van een research through design benadering zal onderzocht worden of deze technologie gebruikt kan worden om betrouwbare en valide opnames te maken van gezichten en of er op basis hiervan ontwerprichtlijnen ontwikkeld kunnen worden. In dit KIEM GoCi-project zal daarnaast ingezet worden om een kennisbasis en netwerk op te bouwen voor een vervolg aanvraag over de inzet van 3D technologieën in de mode-industrie.
Within the film and theater world, special effects make-up is used to adapt the appearance of actors for visual storytelling. Currently the creation of special effects makeup is a time-consuming process which creates a lot of waste that doesn’t fit in with the goals of a sustainable industry. Combine with the trend of the digitization of the movie and theater industry which require faster and more iterative workflows, the current ways of creating special effects makeup requires changing. Within this project we would like to explore if the traditional way of working can be converted to a digital production process. Our research consists of three parts. Firstly, we would like to explore if a mobile face scanning rig can be used to create digital copies of actors, and such eliminate the need to creates molds. Secondly, we would like to see if digital sculpting can replace the traditional methods of sculpting molds, casts and prosthetics. Here we would like to compare both methods in terms of creativity and time consumption. The third part of our project will be to explore the use of 3D printing for the creation of molds and prosthetics.
In this project, the AGM R&D team developed and refined the use of a facial scanning rig. The rig is a physical device comprising multiple cameras and lighting that are mounted on scaffolding around a 'scanning volume'. This is an area at which objects are placed before being photographed from multiple angles. The object is typically a person's head, but it can be anything of this approximate size. Software compares the photographs to create a digital 3D recreation - this process is called photogrammetry. The 3D model is then processed by further pieces of software and eventually becomes a face that can be animated inside in Unreal Engine, which is a popular piece of game development software made by the company Epic. This project was funded by Epic's 'Megagrant' system, and the focus of the work is on streamlining and automating the processing pipeline, and on improving the quality of the resulting output. Additional work has been done on skin shaders (simulating the quality of real skin in a digital form) and the use of AI to re/create lifelike hair styles. The R&D work has produced significant savings in regards to the processing time and the quality of facial scans, has produced a system that has benefitted the educational offering of BUas, and has attracted collaborators from the commercial entertainment/simulation industries. This work complements and extends previous work done on the VIBE project, where the focus was on creating lifelike human avatars for the medical industry.
