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black leather cinema seats with fog coming out from below

Kraftwerk Living TechnologiesAdditive experience, additive manufacturing

1zu1 Prototypes manufactured a crucial component for the world's largest 5D cinema in China – the outlet nozzle for the fragrances and water vapor, which is integrated into the cinema seats. The production of this part was only possible by means of 3D printing. The experts from Dornbirn assisted the audio/video integration specialists from Kraftwerk Living Technologies with the design.

11. July 2016

A spectacular 3D film is shown on the gigantic screen. One thousand seats containing audience members shake and vibrate amid pungent scents, hissing sounds and plumes of steam. Special effects such as rain, fog or special lighting effects ensure that the visitors feel they are right in the heart of the action. Finally, an airplane rushes across the hall, just above their heads.

This very special cinema opened on June 1, 2015 in the Chimelong Ocean Kingdom, a huge amusement park near Hong Kong. The 180-degree curved screen is 88 meters wide and 18 meters high – a world record. According to the Guinness Book of Records, its 3D projection system is also the largest in the world.



The Upper Austrian multimedia specialist Kraftwerk Living Technologies is responsible for the impressive technology inside the 5D cinema. In January 2014, the company's managing director Christian Hofer knocked on the door of 1zu1 Prototypes with a very special request – a nozzle for the armrests of the seats, from which scents and steam can escape.

In close collaboration with the customer, 1zu1 sales manager Thomas Kohler and his team finally realized the complex component and produced 1,500 pieces in accordance with the highest quality standards. The project clearly shows the advantages of additive manufacturing (AM) for the production of small series.


Mr. Hofer, Kraftwerk Living Technologies implements huge multimedia projects worldwide. How did you hear about 1zu1 Prototypes?

Christian Hofer: Through interviews with other companies, recommendations and online research. We had very specific ideas about how the component would function during the design phase. Within dimensions of six by five by four centimeters, we had to integrate channels for fragrances, steam and also lighting elements. It soon became clear that this would be next to impossible with conventional injection molding.

So we looked around for specialists in additive manufacturing. However, because we had little experience of designing for 3D printing and its limitations, we needed a partner to help us do this.

Thomas Kohler: The special requirements for this highly complex component necessitated close collaboration with Kraftwerk Living Technologies. The internal channels are curved. Their diameter also varies in order to create specific kinds of turbulence in the outflowing air. Something like this can only be produced additively.

Were there any disadvantages to using 3D printing technologies?

Hofer: Not really. The surface roughness can't be removed via this manufacturing process. Apart from that, I can only see positives. In the end, we were even able to integrate a snap mechanism for the assembly so that no screws are visible on the seat. The rapid availability of small quantities also enabled us to carry out extensive durability tests, even during development. After all, the parts will be repeatedly exposed to moisture over many years. The requirements in this cinema are very extreme.

How did the collaboration with 1zu1 Prototypes develop?

Hofer: These special-effects elements were our first joint project. Following our positive experience, we have ordered many other parts since then. I think that says it all.

I was impressed by the high flexibility of 1zu1 Prototypes – by how quickly the components are produced and delivered – and the high level of quality awareness. Added to this is a fantastic range of additive manufacturing processes. This gives us great freedom in terms of design and function, and opens up completely new possibilities. For example, we've had transparent cover caps for loudspeaker cabinets manufactured for the first time.

Mr. Kohler, you and your team are in daily contact with your customers. How has the market for 3D printing changed in recent years?

Kohler: We now receive daily inquiries for series production of parts. A year ago, we received those kind of inquiries at most once per month. 3D printing technologies are moving away from the manufacture of prototypes and individual parts into the production market, at least for small series. However, we receive many inquiries that aren't suitable for additive manufacturing. Simply replacing a well-established production process with 3D printing is rarely profitable. Real added value is only created when designers make full use of the additional possibilities.

Does that mean 3D printing also requires a rethink in terms of the design?

Kohler: Yes. With many inquiries, we can see that the developers are still thinking in conventional terms.

How should a developer approach 3D printing?

Kohler: They can detach themselves from the manufacturing processes and concentrate fully on the component's functionality. Instead of wondering how a part should be designed so that it can be milled or cast, in additive manufacturing the only question is: What must this part be able to do and how can I optimally achieve this function?

This change of approach takes time. One of our customers, a mechanical engineering group, hired two external 3D printing specialists for several months to examine all production processes, in order to identify savings and innovation potential. This illustrates how difficult this new approach is for seasoned developers.

Can you help customers with this process?

Kohler: Close coordination with our customers is a matter of course for us anyway. In addition, we now also offer support for design projects as a service. This allows the customer's development team to benefit from our many years of experience. Better solutions often emerge very quickly when we work together.

Hofer: “This is exactly what we experienced. Our designers learned a lot from 1zu1 Prototypes.
 


Interviewed:
Christian Hofer is managing partner and technical director of Kraftwerk Living Technologies GmbH, which currently has 70 employees at its location in Wels (Upper Austria). The company sees itself as a specialist in audiovisual-system integration for complex, large-scale projects. Thomas Kohler is sales manager at 1zu1 Prototypes. The interview was conducted by Wolfgang Pendl.

Copyright Fotos: Darko Todorovic (pictures 3, 5), Kraftwerk Living Technologies (pictures 1, 2, 4)


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