This project is initiated by Stan Buckens, a radiologist from the RadboudUMC, who believes in realizing passive four-dimensional (4D) CT scans for the wrist. At this moment the wrist is mainly scanned and reviewed statically in 3D. However, it is desirable to see what happens on a CT scan during movement (the fourth dimension) of the wrist, as many clinically significant, debilitating and painful wrist pathologies are dynamic in nature and cannot be fully appreciated statically. Recently it has become technically feasible to have patients actively move their wrists in specific directions (e.g. flexion/extension or ulnar-/radial deviation) to create the fourth dimension, so that the wrist can be reviewed dynamically. However, according to S. Buckens (2019) active movements of the wrist are less desirable than passive movement as patients are typically able to (partly) compensate for wrist instability using forearm muscles, masking potentially significant pathology. During this project a suitable solution is designed to passively move the patient’s wrist in a precise and safe way in the gantry during scanning. Within the analysis phase, a context analysis and state of the art research resulted in six focus areas. Subsequently, in the research phase these focus areas were used to obtain optimal understanding of the product’s solution space and to create and evaluate possible solutions for the design problem. For the focus areas market- and literature research was conducted, various experts were consulted and prototypes were developed and tested. Based on the outcomes of all focus areas a set of design decisions was made throughout the project, eventually leading to the final design of the product. The product makes use of a cable-pulley system in combination with stepper motors which facilitate the desired passive wrist movements. Patients are able to place their arm on top of a standard, where special 3D printed parts (with an integrated adjustment mechanism) are able to fixate their forearm. Additionally, velcro straps are used to account for the variation in arm size. Furthermore, the patient’s hand can be fixated by another 3D printed part; again a velcro strap is used to improve fit and fixation. Electronic parts are integrated in the system to automate the movement, while at the same time allowing the radiologist and laboratory technicians to operate the product. A first evaluation showed that the product is able to facilitate the desired passive wrist movements and is able to fixate both the patient’s forearm and hand well. However, concerning future development the product should be improved on several aspects. Therefore, a set of recommendations is given together with a testing- and implementation plan for the hospital.

The aim of this project was the design of a new exhibit for Science Centre Delft, using lifelike reproductions of historic paintings created by the research project "3D fine art reproductions". Using reproductions of paintings opens up doors to interact with paintings like never before. The main challenge was researching how the use of these reproductions of paintings can create an added value in experiencing art for the young audience of the Science Centre (7 to 12 years old), and finding a way to incorporate the research outcomes in the design of an exhibit.
Experiencing art is different for everybody. Although the content of the aesthetic experience is personally dependent, a general structure of the experience can be identified (Csikzentmihalyi & Robinson, 1990). The viewer can be involved with the art on multiple dimensions: the perceptual dimension, the intellectual dimension, the emotional dimension and the conversational dimension. For an engaged aesthetic experience, it is important that the challenges of the work of art on one or more of these dimensions are in balance with the skills of the viewer. If these two are not in balance, the viewer should be facilitated in the process to enable him/her to have an engaged experience.How this facilitation should look like and on which of the dimensions of art it should focus, depends the interests and skills of the user.Research showed that because of the young audience of the Science Centre, the focus in this project should be on the perceptual dimension: facilitating the process of exploring the canvas and consciously looking at the art. This fits best with the aesthetic development of the target group and will enable the Science Centre visitor to have an aesthetic experience relevant to them (Housen, 2008).
The final design of this project makes the aesthetic experience into a tangible experience, by providing the user with clear goals and tools to explore the painting. This way, an engaged aesthetic experience can arise that fits well within the Science Centre context. The design consists of three parts, combining different goals and stances.1) The first part focusses on the formal elements of art: the building blocks of an artwork. Small pieces of the painting are printed separately, for the user to find back in the painting. All search pieces are based on one of the formal elements, making the user aware of their existence.2) For the second part, flowers from the painting are printed separately. The visitors can create extra flowers onto the painting. Doing this, the user can experience how the formal elements are used, and how their actions have effect on the composition and balance of the painting.3) The third part evolves around a personal question. The painting is split into a grid, and the visitors are asked to choose and vote for their favorite piece. This question functions as a probe to look at the painting from a personal point of view.
The design was evaluated in a thorough user research. The research showed that the exhibit enabled the Science Centre visitor to have an engaged aesthetic experience, in which they consciously explored the painting.

The project is part of 3D fine art reproduction program in the faculty of industrial design engineering.
The Smart Frame, as the name of the exposition setup for 3D printed fine art reproductions, was designed to provide specific information regarding the content of the painting and the technique of the painter in an universal way. However, there is no clear proposition of the valuable outcome for a target user group in a certain context. Hence, this follow-up project will first gain insight from the current user experience of the Smart Frame, then define target group based on the various expectation of art museum visitors. In order to make the new design of the exposition setup more convincing and promising, this project will also illustrate the future vision of art museums. Followed by the proposition, an user-orientated design goal and interaction vision will be formulated. Finally, there will be a redesign of the Smart Frame (the Smart Frame 2.0) aiming at the fulfillment of the design brief. Therefore, the design assignment for this graduation is:
“To redesign the Smart Frame for optimizing user experience after clarifying its proposition”