Large-scale assembly through human-robot collaboration (HRC) is increasingly explored in architecture, engineering, and construction. However, prior research in HRC has primarily examined interaction scenarios for tabletop assembly. As a result, we lack task-level insight into how different levels of automation and user interaction shape workflows and user experience in large-scale assembly. To address this gap, we present RoboticTerritories, a phone-based Augmented Reality system for human-robot block assembly that supports three interaction modes: Inference, Mimic, and Realtime Mimic. Each mode offers distinct automated functionalities and user-defined control across stages of a pick-and-place assembly process. We evaluate RoboticTerritories through a formative study (n = 8) and a within-subject study (n = 12) to identify the opportunities and limitations of each interaction mode. Our results show that varying levels of automation provide complementary benefits by supporting different forms of efficiency across modes, indicating a need for multimodal HRC workflows for large-scale assembly.

Figure 1: AniMate supports the creation of animated sequences through a combination of natural language and direct manipulation controls via narrative motion blocks.Example 1: A) The animator creates a narrative motion block and uses natural language to specify an action (e.g.roll tomato ).The system processes the request and generates a set of custom sliders parametrizing the action.B) If the animator wants to add irregularities in the motion path (e.g. to avoid a rock ), C) they can directly move the points of the tomato's motion path around the rock.Example 2: D) The animator can also draw the motion path directly by moving the visual element (e.g. the butterfly ), which automatically generates a narrative motion block.E) To add specificity, stylization or secondary motion to the animation, the animator can edit the narrative motion block by using natural language input to generate additional controls (e.g.add loops, and align to path ).F) Using the newly generated sliders, the animator can modify the new effects (e.g.change the amplitude of the loops).

Proponents of digital fabrication argue that future technologies will fundamentally reshape manufacturing; however, we still have a limited understanding of the relationship between contemporary digital fabrication technologies and the values and labor of people who make things. Contemporary materialist theories can offer insights into how interaction modalities with machines and materials influence human production activities. We aim to implement these theoretical principles in technical system development. We focus on action as a bridging concept between abstract notions regarding human-machine-material relationships and concrete digital fabrication system features. We use CNC-milled surface texture production on wood as a case study. We follow a research-through-design process to develop Millipath, an action-oriented programming platform enabling the parametric design of machine toolpaths. Through the analysis of autobiographical data from fabricating artifacts, we investigate how digital fabrication systems informed by materialist theories support expressive modes of production and design decisions in response to material behaviors.

Building new software tools for professional digital fabrication requires that HCI researchers understand domain-specific materials and fabrication workflows to ensure software operations align with professional manufacturing requirements. To bridge the research-practice divide, we adopt a practice-driven software development methodology for digital fabrication in an artist-in-residence program. In our method, HCI researchers and craft professionals collaboratively develop software tools over three months. We piloted our methodology through two consecutive computational ceramics residencies with five professional craftspeople. The teams produced five novel software tools for clay 3D printing and hundreds of ceramic artifacts. We provide a detailed description of our methodology through artist and HCI researcher accounts and an analysis of the integration of software ideation, implementation, and debugging with professional art and craft production. Our work demonstrates a systematic mechanism for achieving meaningful digital fabrication software contributions with mutual benefit for artists and researchers.

Skilled potters use manual tools with direct material engagement. In contrast, the design of clay 3D printers and workflows reinforces industrial CNC manufacturing conventions. To understand how digital fabrication can serve skilled craft practitioners, we ask: how might clay 3D printing function if it had evolved from traditional pottery tools? To examine this question, we created the Digital Pottery Wheel (DPW), a throwing wheel with 3D printing capabilities. The DPW consists of a polar mechanical architecture that looks and functions like a pottery wheel while supporting 3D printing and a real-time modular control system that blends automated and manual control. We worked with ceramicists to develop interactions that include printing onto thrown forms, throwing to manipulate printed forms, and integrating manual control, recording, and playback to re-execute manually produced forms. We demonstrate how using a physical metaphor to guide digital fabrication machine design results in new products, workflows, and perceptions.

Software-first digital fabrication workflows are often at odds with material-driven approaches to design. Material-driven design is especially critical in manual ceramics, where the craftsperson shapes the form through hands-on engagement. We present the Craft-Aligned Scanner (CAS), a 3D scanning and clay-3D printing system that enables practitioners to design for digital fabrication through traditional pottery techniques. The CAS augments a pottery wheel that has 3D printing capabilities with a precision distance sensor on a vertically oriented linear axis. By increasing the height of the sensor as the wheel turns, we directly synthesize a 3D spiralized toolpath from the geometry of the object on the wheel, enabling the craftsperson to immediately transition from manual fabrication to 3D printing without leaving the tool. We develop new digital fabrication workflows with CAS to augment scanned forms with functional features and add both procedurally and real-time-generated surface textures. CAS demonstrates how 3D printers can support material-first digital fabrication design without foregoing the expressive possibilities of software-based design.

Clay 3D printing provides the benefits of digital fabrication automation and reconfigurability through a method that evokes manual clay coiling. Existing design technologies for clay 3D printing reflect the general 3D printing workflow in which solid forms are designed in CAD and then converted into a toolpath. In contrast, in hand-coiling, form is determined by the actions taken by the artist’s hands through space in response to the material. We theorized that an action-oriented approach for clay 3D printing could allow creators to design digital fabrication toolpaths that reflect clay material properties. We present CoilCAM, a domain-specific CAM programming system that supports the integrated generation of parametric forms and surface textures through mathematically defined toolpath operations. We developed CoilCAM in collaboration with ceramics professionals and evaluated CoilCAM’s relevance to manual ceramics by reinterpreting hand-made ceramic vessels. This process revealed the importance of iterative variation and embodied experience in action-oriented workflows.

Surface ornamentation is a rich component of ceramic manufacture wherein craftspeople use multiple methods to create intricate patterns on vessels. Computational fabrication can extend manual ceramic ornamentation through procedural pattern generation and automated fabrication; however, to be effective in traditional ceramics, computational fabrication systems must remain compatible with existing processes and materials. We contribute an interactive design workflow, CeramWrap, in which craftspeople can procedurally design and fabricate decorative patterned stencils tailored to radially symmetrical vessels. Our approach extends manual techniques through a workflow where craftspeople design and edit repetitive motifs directly on a 3D digital model of a vessel and then interactively adjust the unrolling of the 3D design to a 2D format suitable for digitally fabricating stencils and templates. Through a series of example artifacts, we demonstrate how our workflow generalizes across multiple vessel geometries, supports manual and digital clay fabrication, and is adaptable to different surface ornamentation methods.

Digital fabrication courses that relied on physical makerspaces were severely disrupted by COVID-19. As universities shut down in Spring 2020, instructors developed new models for digital fabrication at a distance. Through interviews with faculty and students and examination of course materials, we recount the experiences of eight remote digital fabrication courses. We found that learning with hobbyist equipment and online social networks could emulate using industrial equipment in shared workshops. Furthermore, at-home digital fabrication offered unique learning opportunities including more iteration, machine tuning, and maintenance. These opportunities depended on new forms of labor and varied based on student living situations. Our findings have implications for remote and in-person digital fabrication instruction. They indicate how access to tools was important, but not as critical as providing opportunities for iteration; they show how remote fabrication exacerbated student inequities; and they suggest strategies for evaluating trade-offs in remote fabrication models with respect to learning objectives.

Live coding-the real-time procedural creation of audiovisual works-suggests opportunities to extend hand-drawn animation; however, existing live coding systems are incompatible with manual animation workflows. Manual input is not a primary datatype in existing live coding languages and live coding tools require using symbolic programming environments. We theorize that by applying direct manipulation to the domain of live coding, we can enable animators to create expressive mappings between hand-drawn animations and audio effects in real time. We present Megafauna, a sketch-based system for audiovisual performance, informed by interviews with professional animators. Megafauna supports the integrated generation and control of hand-drawn animation and audio sequences by enabling animators to directly sketch mapping functions between animation frames and sound oscillators. We demonstrate the expressive potential of Megafauna by reproducing animated compositions from procedural and manual domains and show how the system supports manual expression and exploration in live performance.