Posts tagged with "3D Printing":

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Video> Optical illusions come to life in Stanford designer's mesmerizing 3D-printed zoetrope sculptures

Nature’s algorithms reign supreme in a series of revolving 3D printed sculptures by designer-cum-artist John Edmark, also an adjunct lecturer at Stanford's Department of Art & Art History. The sculpture sits on a rotating base and animates when it is placed under a strobe light or filmed using a camera with extremely slow shutter speeds. Consisting of petals and cube-like geometric angles arranged at unique distances from the top-center, the sculpture creates an optical illusion whereby the 3D projections appear to seethe from the top down and back again. Herein lies the magic formula: what the viewer is actually seeing is each petal at graduated distances from the top center. The placement of each petal is in accordance with Fibonacci theory, a number pattern inherent in nature which determines everything from phyllotaxy (leaf order) to the whorls in our fingerprint. “The placement of the appendages is determined by the same method nature uses in pinecones and sunflowers,” Edmark is quoted as saying. A third variation of the sculpture resembles stacked hollow donuts perforated with holes, which moves like a coiling snake. In the video, the sculptures are spinning at 550 rotations per minute while being rotated at 24 frames per second with a shutter speed of 1/4000 per second. The rotation speed is synchronized with the camera’s frame rate so that one frame of video is captured every time the sculpture turns 137.5 degrees—the “golden angle” in science based on the golden ratio that leads to the formation of spiral patterns. Animorphs-3D-printed-illusions-on-Instructables_dezeen_468_2 Edmark created the designs as part of his role as artist in residence for Instructables, a popular DIY network that was bought by software giant Autodesk in 2011. The artist rendered the computer models using Rhino software with a scripting program called Python. They were then exported as files and printed using a Z-printer 450. The Blooming Zoetrope Sculptures can be ordered ready-made from 3D printing site Shapeways, but for science geeks or enterprising DIYers, Edmark has offered to share the files to print at home with those who contact him through Instructables.
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3D printed pavilion in Ohio recreates the sun's path at night

A luminous, arched pavilion in Ohio aims to highlight the potential of 3D fabrication techniques, and to so it's mounting a Promethean stunt. The so-called Solar Bytes Pavilion grabs sunlight during the day and radiates light when it gets dark, recreating the day's solar conditions minute-by-minute throughout the night. Brian Peters helped found DesignLabWorkshop in 2008, eventually settling in Kent, Ohio. Their latest project is the Solar Bytes Pavilion, a continuum of 94 unique modules (“bytes”) 3D printed in ceramic bricks covered with white, translucent plastic. Peters and his team then put solar-powered LEDs in each of the bytes, snapping them together in a self-supporting, arched pavilion just big enough for a few people to huddle inside. got some detail on the fabrication process:
...he used a 6-axis robot arm located at the Robotic Fabrication Lab at Kent State. A hand welding extruder, called the Mini CS, was attached to the robot arm to serve as the 3D printhead, and it extrudes plastic material in a sort of FDM-style process. The technology, provided by Hapco Inc. and called BAK/DOHLE, is employed by universities, government agencies, and concerns like the University of Michigan, Oak Ridge Laboratory, the US Department of Energy, and the University of Tennessee.
The pavilion debuted at Cleveland's Ingenuity Fest.
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Custom Fit: 4D Printed Dress Goes to MoMA

Congratulations to Nervous System, whose Kinematics Dress was just acquired by the Museum of Modern Art (a prescient, pre-emptive move that might keep the curators of the Metropolitan Museum's Costume Institute awake for nights to come). While the physical product is certainly a head-turner, it's the underlying technology that's the true wonder—and maybe of greater interest and implication to architects. In order to fit into a 3D printer, the nascent dress design had to be reduced in size. Factoring in idealized, actual, and intuitive aspects of material and performance, a computational folding program optimally shrunk the garment by 85 percent by folding it in half only twice. Comprising 2,279 unique triangular panels linked by 3,316 hinges, the nylon dress was printed as a single piece over the course of 48 hours at the Shapeways facility in New York City. It looks fabulous, but how does it feel? Nervous Systems' creative director, Jessica Rosenkranz, answers, "I would not compare the dress to any other fabrics. It's really quite different. Perhaps I would describe it as a kind of mechanical lace. While each part is rigid and has a textured feel, together they flow and fold. Fabrics often make a rustling sound, but our garment sounds more like thousands of tiny plastic wind chimes." A video documenting the fabrication of the dress was filmed at Shapeways.
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LACE by Jenny Wu, Prêt-à-3D Print

Oyler Wu Collaborative partner delves into jewelry design.

Oyler Wu Collaborative partner Jenny Wu had long dreamed of designing jewelry—just as soon as she found some spare time. Last fall, she realized that she might wait forever for a break from her busy architecture practice. "At some point I decided, 'I'll design some pieces, and the easiest way to make it happen is just to 3D print them,'" said Wu. She fabricated a couple of necklaces, and brought them on her just-for-fun trip to Art Basel Miami Beach 2013. "I wore my pieces around, and I was stunned by the response I was getting," she recalled. "People kept coming up to me, literally every five seconds. After a while, I thought, 'Maybe I do have something that's unique, especially for a design crowd.'" Back home in Los Angeles, Wu began prototyping necklaces and earrings for retail sale under the name LACE. Though she originally planned to use 3D printing only to mock up her designs, she decided carry the technology through to her finished pieces. "I'd like to do more high-end, low-run pieces," said Wu. "Especially for jewelry, when you're making custom pieces, people are willing to wait for them. It just made sense from the production point of view for me to use 3D printing." Wu's next step was to design additional pieces and test materials. Typical 3D printing materials like nylon "might look great, but they're extremely fragile and brittle," explained Wu. "Especially resins—they don't have the right tensile quality. Like if you're wearing a necklace and someone hugs you too hard [it can break]." Wu's current line includes necklaces in an elastic nylon material. She also offers earrings and rings in polished nylon that takes advantage of selective laser sintering (SLS) technology, plus a premium cast-metal series that utilizes 3D-printed wax molds.
  • Fabricator Jenny Wu
  • Designers Jenny Wu
  • Location Los Angeles, CA
  • Date of Completion ongoing
  • Material elastic nylon, polished nylon, polished sterling silver
  • Process 3D modeling, 3D printing, SLS, casting
Wu, who is collaborating with Stratasys on certain designs in addition to partnering with other professional 3D printing firms, aspires to use the technology as more than just a production expedient. "Pieces that push the technology are important," she said. "There's so much detail you can introduce in 3D printing, even in metals. You can create this nice edge detail—it's something I notice, but it isn't necessarily something you'd see in jewelry." Nor is the speed with which she can materialize a concept typical by jewelry-world standards. "I can make these chain-link pieces as part of one print, because the support material is something like powder that you can basically wash off," explained Wu. "That's what's amazing, where in the traditional jewelry-making process you'd have to make individual links that you'd eventually assemble." In a neat closing of the circle, LACE returned to Art Basel Miami Beach last week, this time in a pop-up shop at Aqua Art Miami. One year into her experiment, Wu is comfortable having one foot each in the worlds of jewelry and architecture. "If you look at the jewelry pieces, you see how they could relate to our architecture: our emphasis on line-based geometries, the interesting bundling and layering of material, and creating something very spatial, not graphic and flat," she said. "I don't see a separation between my architecture and my jewelry." As for the day-to-day reality of spearheading two creative businesses at once, that seems to be working, too. LACE is in Wu's name, but "the work's happening simultaneously with all the same people," she said. "While it may have its own identity, it's very much part of our office in terms of production. We like how it keeps things fun."
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Swedish professor creates a playable 3-D printed saxophone

As the world of 3-D printing advances, it's becoming possible to create more and more complex shapes and systems. Now, the technology is making waves in the music world. Olaf Diegel, a professor of product development at Lund University in Sweden, recently produced the first ever 3-D printed saxophone. The saxophone isn't Diegel's first foray into musical printing—the professor has created other instruments including a guitar and drums—but this prototype appears to be the most ambitious yet. He believes the technology has great potential in creating customized instruments tailored to the individual needs or aesthetic choices of each musician. The prototype of Diegel's 3D printed alto saxophone, which he can actually play, took about six months to create using 3D modeling software. "I first designed the saxophone in 3D CAD software. Then, I sent the model to the 3D printer which sliced it up into very thin slices, and then 'printed' each slice, one on top of the other until the whole sax was printed," Diegel said in a statement. "In this case, it 'printed' each slice by spreading a very thin layer of plastic powder, and a laser then scanned the shape of the sax for that layer. After that, it spread another layer of powder on top of the first, and repeated the process again and again until the whole sax was done." The 3D printed saxophone is comprised of 41 different parts (not including springs and screws) and is a quarter the weight of a traditional metal sax. He admitted that a few notes on the instrument are out of tune due to air leaking between the parts, a flaw he is aiming to correct in future versions. For instance, the prototype was designed essentially as a clone of a traditional sax, but Diegel said a future version designed specifically for the digital manufacturing process might look different. "The next version will be even better looking, as 3D printing allows me to create shapes that would be impossible to make with traditional manufacturing," he said. A new version is expected later this year.
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IIT Students Explore the Potential of Carbon Fiber

Composite materials are on display in the undergraduate-built FIBERwave PAVILION.

Carbon fiber’s unique properties would seem to make it an ideal building product. Untreated, carbon fiber cloth is flexible and easy to cut. After an epoxy cure, it is as hard as steel. But while the automobile and aerospace industries have made widespread use of the material, it has gone virtually untouched by the architectural profession. Alphonso Peluso and his undergraduate students at the IIT College of Architecture set out to change that with their FIBERwave PAVILION, a parametric, sea life-inspired installation built entirely of carbon fiber. "We want to make the studio an expert resource for people trying to get into carbon fiber in terms of architecture," said Peluso, whose students designed, funded, and built the pavilion this spring. "There’s a studio in Germany that’s in their second year of working with carbon fiber, but I don’t think anyone in the United States is working with it." Peluso’s studio began with an internal competition. Because the spring semester course followed a class dedicated to the exploration of various composite materials, many of the students were already familiar with the pros and cons of carbon fiber. "Toward the end of the first semester we started working with carbon fiber, and it wasn’t the greatest result," said Peluso. "But we knew we had to keep working with it. That played a big part in the selection of the design for the second semester." The students judged the submissions on constructability as well as aesthetics, he explained. "It was interesting to see the students as the pavilions were being presented, see their minds turning on: ‘Okay, this one is feasible—this is one we can actually build.’ Sometimes the design was a little better, but the overall project seemed less possible within the time frame." The winning design is based on a bivalve shell structure. The student who came up with the idea used parametric design software to explore tessellations of the single shell form. "What I was pushing them to do in the first semester was large surfaces that weren’t repetitive," said Peluso. "In the second semester, it was like they intuitively knew there had to be repetition of the unit." As a group, the class further developed the design in Rhino and Grasshopper. But while the students used parametric software to generate the shell pattern, in general FIBERwave PAVILION was "less about designing in the computer," said Peluso. "Most of it was fabrication based." The studio was hands-on from the beginning, when students were asked to submit a small-scale carbon fiber with their competition entries. They went back to Rhino to make the molds. "We had to make six molds," explained Peluso. "Even though it was one identical shell unit we had to produce 86 of these shells. When you make a composite unit, if you have one mold you can only make one shell per day." In the end, the students fabricated a total of 90 shells (including several extra to make up for any defects) over the course of about four weeks.
  • Fabricator IIT School of Architecture CARBON_Lab
  • Designers IIT School of Architecture CARBON_Lab
  • Location Chicago
  • Date of Completion Spring 2014
  • Material carbon fiber, epoxy from West System Epoxy
  • Process Rhino, Grasshopper, 3D printing, cutting, molding, curing, painting, bolting
"The actual assembly was pretty quick, the pavilion itself went together in less than a day," said Peluso. Laterally, bolts through CNC-drilled holes connect the shells at two points on either side. The overlapping rows of shells are secured vertically through bolted pin connections. The installation remained on the IIT campus for one month, after which the students disassembled it in just 25 minutes. The Chicago Composite Initiative, which provided crucial technical guidance during the project, has since erected FIBERwave PAVILION in one of its classrooms. The fundraising component of the project was as important as its design and fabrication elements. Peluso initially hoped that the carbon fiber industry would donate materials, but "we didn’t have as much luck as we anticipated because we hadn’t done anything before that would warrant their interest," he said. "That’s one of the goals of the pavilion itself, to create an awareness in architecture that this could be a great material to use." Peluso’s course did have help from West System Epoxy, which provided the curing resin at a discount. To fill the funding gap, the students ran a successful Kickstarter campaign, raising $6,937 from a $6,500 goal. They made incentives for the donors, including 3D-printed necklaces and earrings. "I don’t think we realized how much work was going to go into that," said Peluso. To raise additional funds, the class held bake sales on campus. For Peluso, the process of designing and building FIBERwave PAVILION proved as valuable as the finished product. "The way the students collaborated made the project a success," he said. "Sometimes in group projects you get a few drifters, and some really strong ones. But all twelve students really stepped up. This wouldn’t have happened if they hadn’t all come together as a group."
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Researchers Train Robots to 3D Print Architecture

The future of architecture is upon us, and thanks to a team of researchers led by Sasa Jokic and Petr Novikov, construction workers may soon be made obsolete. A team from the Institute for Advanced Architecture Catalonia (IAAC) is currently tackling the challenge of making “mini-builders”: drones that are capable of applying 3-D printing at a large, architectural scale. While the minibuilder robots are original inventions, the idea of using robots to 3-D print architecture is not a new one, and many, including a team from Gensler Los Angeles, are exploring the usefulness of the technology. The idea dates back to 2008 when Caterpillar began funding Behrokh Khoshnevis of the University of Southern California. These mini-builders are unique because of their relatively tiny size, which makes them easier to mass produce and much more convenient to haul places. Currently there are three robots that have been unveiled to the public by the IAAC team: the foundation robot, the grip robot, and the vacuum robot. The foundation robot is equipped with tracks and a sensor to keep it in position and lays down the base of the structure for the other two robots to work on. Next, the grip robot actually attaches itself to the structure via rollers and is responsible for raising the printed structure vertically. Finally the vacuum robot utilizes suction cups to cling onto the surface of the structure and reinforces the walls. The robots are currently working with concrete as a building material.
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Meet MUPPette, Gensler's marriage of 3D printing and unmanned drones

Two of the most talked about new technologies in our world today—3D printing and unmanned drones—are beginning to merge. A good example: Mobile 3D Printing, a research project in Gensler's Los Angeles office attempting to create an Unmanned Aerial Vehicle (UAV) fully capable of digital fabrication—freeing the technology from the constraints of boxes, robotic arms, and X-Y-Z axes. Young Gensler architects Tam Tran and Jared Shier are spearheading the effort. Their vehicle's name—MUPPette—stands for Mobile Unmanned Printing Platform. It consists of a carbon composite hexacopter,consisting of six blades, a gimbal beneath to stabilize the printer, and the battery-powered printer itself below, enabled with PLA plastic filament, the same material used in Makerbots and other fabrication machines. When the copter, controlled via laptop, takes off, its legs retract, allowing for more maneuverability. It can shoot out a relatively limited amount of PLA and can fly for about ten minutes at a time. The project concluded its first year this spring, and the group recently received a second grant to hone the concept for another year. Improvements that the team wants to work out include adding sonar sensors to make real time flight and stabilization adjustments, adding localized GPS for greater precision, addressing the impact of blades' wind currents on the PLA projection, and teaming the vehicle with others for more efficient and complex fabrication. "It's been exciting, exhilarating, and agonizing at the same time," said Shier. "Unless you try to solve the problems you're not advancing the technology." In the future—perhaps in a third year for the project—the group hopes to advance the technology to take on construction, which could be especially useful for producing humanitarian structures or for producing buildings in areas cut off from conventional modes of transit. Mobile 3D Printing is one of over 50 research projects funded firm-wide by Gensler. "This is a frontier that we clearly hadn't entered into before," said Tran. "We want to see what can be done."
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Shanghai Company 3-D Prints Village of Humble Concrete Homes

A Shanghai building company has erected a small village of pitched-roof, 3-D printed structures—in about a day. WinSun Decoration Design Engineering Co is behind the series of humble buildings, a fully fabricated unit is expected to cost less than $5,000. The homes were created through the use of a 490- by 33- by 20-foot 3-D printer that fabricates the basic components required for assembly. Rather than plastic, the machine behind these structures spits out layer upon layer of concrete made in part from recycled construction waste, industrial waste, and tailings. WinSun intends to construct 100 factories that will harness such waste in order to generate their affordable "ink," which is also reinforced with glass fibers. Purists will note that the WinSun productions are not 3-D printed structures in the traditional sense. Rather than projects like these, or the contour crafting processes championed by USC Professor Berokh Khoshnev, the Shanghai homes are not printed on site layer by layer. Instead they are composites of 3-D printed parts that require human intervention in order to be assembled into something resembling a house. WinSun estimates that their methods can cut construction costs in half and sees the potential for "affordable and dignified housing" for the impoverished.
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An Impossible Stair by NEXT Architects

A folly in a Rotterdam suburb draws on residents' complex relationship with the city.

The residents of Carnisselande, a garden suburb in Barendrecht, the Netherlands, have a curious relationship with Rotterdam. Many of them work in the city, or are otherwise mentally and emotionally connected to it, yet they go home at night to a place that is physically and visually separate. When NEXT architects was tapped to build a folly on a hill in the new town, they seized on this apparent contradiction. “This suburb is completely hidden behind sound barriers, highways, totally disconnected from Rotterdam,” said NEXT director Marijn Schenk. “We discovered when you’re on top of the hill and jump, you can see Rotterdam. We said, ‘Can we make the jump into an art piece?’” NEXT designed The Elastic Perspective, a staircase based on the Möbius strip. “The idea of the impossible stair [is] you’re not able to continue your trip. At first it seems to be a continuous route, but once you’re up there, the path is flipping over,” explained Schenk. “That’s a reference to the feeling of the people living there.” To catch a glimpse of Rotterdam, users must turn their backs on Carnisselande. Yet while the view is in one sense the destination, the staircase ends where it started, in the reality of the garden suburb. NEXT began by experimenting with strips of paper and thin sheets of steel to form the staircase’s basic shape. The architects then turned to AutoCad, where they finalized the design before 3D printing a 1:200 scale model. NEXT worked with engineers at ABT throughout the process. They relied heavily on 3D design software, Schenk said, “because all the steel was sort of double-curved.”
  • Fabricator Mannen van Staal
  • Designers NEXT architects
  • Location Carnisselande, Barendrecht, Netherlands
  • Date of Completion June 2013
  • Material Cor-ten steel
  • Process modeling, AutoCad, CNC milling, bending, hand welding, cutting, robot welding
Mannen van Staal fabricated the staircase from seven steel panels custom-cut with a CNC machine, said project architect Joost Lemmens. They bent the plates, largely by hand, and assembled the entire structure in their factory, temporarily welding the pieces together. They then disassembled the structure for transport to the site, where the components were re-welded by hand and using a vacuum-cleaner-sized robot. Cor-ten was a practical choice on the one hand because the rust obscures the stitches used to reconnect the seven panels. In addition, said Schenk, “It’s weatherproof, and sustainable in the sense that we’re not using a toxic coating.” The choice of Cor-ten also holds aesthetic and cultural meaning. The orange of the staircase contrasts with the green of the hill. Plus, “it’s a material quite often used in artworks, so of course it refers to the work of Richard Serra [and others],” said Schenk. “I think in short what it’s about is the idea of making a jump, make people be able to make a jump to see the skyline of the city,” he concluded. “We’re using the Möbius strip to express the ambiguity of the people living there: feeling connected to Rotterdam but being somewhere else.”
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Among the Sequoias, a 3D-Printed Refuge by Smith|Allen

Smith|Allen's 3D-printed forest refuge is inspired by the site's patterning and historical cycle of deforestation and regeneration.

When Brian Allen and Stephanie Smith first visited the sequoia forest in Gualala, California, they saw patterns everywhere. “We were really intrigued by patterning at many scales, from bark on the trees to light through the trees and also, at a micro scale, [the cells of] the sequioas,” said Allen. Two months later the pair was back, this time with 580 sculptural bricks forming the world’s first 3D-printed architectural installation. Translucent white and 10 by 10 by 8 feet in size, Echoviren resembles a cross between a teepee and a tree stump, a mass made light by the organic porosity of the bricks. Echoviren is intimately tied to its site on the grounds of Project 387, the residency in which Smith|Allen participated last fall. Besides the sequioas’ patterning, the designers drew inspiration from the primitiveness of their surroundings. “The overall form was driven by what is the most basic space we could make,” said Allen. “It turns [out to be] just a small oblong enclosure with an oculus, a small forest hermitage.” The oculus draws the eye up, to the natural roof formed by the sequioas’ branches. In addition, Smith|Allen address the history of the site as a place where regrowth followed the trauma of deforestation. Built of bio-plastic, Echoviren has an estimated lifespan of 30-50 years. “The 50 year decomposition is a beautiful echo of that cycle” of deforestation and resurgence, said Allen. Smith|Allen took a flexible approach to Echoviren’s design, alternating between analog and digital tools. They used tracing paper to extract patterns from photographs of sequoia cells, then trimmed and propagated the patterning by hand. “We initially tried to do it parametrically in Grasshopper, to replicate that cell structure as a generative tool, but we weren’t getting good results,” explained Allen. “For us, the parametric tools were more of a tool set than a generator.” 
  • Fabricator Smith|Allen
  • Designers Smith|Allen
  • Location Gualala, California
  • Date of Completion August 2013
  • Material plant-based PLA bio-plastic, silicon adhesive
  • Process drawing, tracing, 3D printing, Illustrator, Rhino, Grasshopper, KISSlicer, snap fit, gluing, digging
Smith|Allen used KISSlicer to estimate the time required to print Echoviren, 10,800 hours in all. The designers ran seven consumer-grade Type A Machines Series 1 desktop 3D printers for two months straight. They used plant-based PLA bio-plastic, which in addition to being biodegradable, is also readily available. “We wanted to use something commercially available and easy to get our hands on,” said Allen. “The project was not about using inaccessible materials; accessibility gave us the tools to do this.” On-site assembly took four hours. Echoviren is a snap fit system, with dovetail joints in the XY and a pin and socket in the Z. Silicon adhesive secures each layer of bricks to the next. The bottom ring of bricks nestles within a hand-dug trench. Pyramidal in section, Echoviren is a compression structure. Its components vary in thickness from 6-8 inches at the bottom to less than an inch at the top. For Smith and Allen, the magic of Echoviren is twofold. First is the anticipation of the future, of the way the form will change as it decomposes. Just as important is how the installation came to be, how the technology of 3D printing enabled a firm of two to build Echoviren in less than a season. “As young designers, we struggle with getting our work out there and getting it built,” said Allen. “Using 3D printers, we’re able to really increase the amount of stuff we can do in a given time and transition it from a tool of prototyping and model building into real things.”
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Makerbot debuts three new 3D printers

In a press conference helmed by CEO Bre Pettis, 3D Printer manufacturers Makerbot revealed three new printers set to become commercially available in the near future. The announcement came as a part of CES, the annual consumer electronics and technology trade show currently taking place in Las Vegas. Among the products launched is the Z18, a larger machine capable of producing objects that are up to 12 inches wide and 18 inches long. The launch represents Makerbot's latest attempt at reaching the entire spectrum of the 3D printer consumer market. The Z18 is joined by the Mini, the cheapest of the machines, tailored for ease of use, and a 5th generation update of their Replicator model. The printers feature built-in cameras and LCD displays that allow for external monitoring of internal building as it progresses. While their various functionalities are accompanied by differing price points, even the least expensive product in the line will retail for well over $1,000. Makerbot is quickly rising to the fore of the 3D printing market. Pettis claimed that over 44,000 of his machines are currently in use around the world. Along with the new printers, the Brooklyn-based company also announced plans for a digital store where designs can be purchased and downloaded were also announced. While the Replicator can already be ordered, the other two models are expected to be purchasable sometime this Spring.