Posts tagged with "Furniture":
An ambitious designer used Rhino to design and fabricate 20 variations on a chair in four months.For a designer aiming to streamline the gap between design and manufacturing, parametric modeling tools are a natural solution. LA-based Alexander Purcell Rodrigues found a place to work in just such a way at the Neal Feay Company (NF), a 60-year old fabrication studio in Santa Barbara, California, that is known for its exceptional metalworking. Together, the designer and the fabrication studio created the Cartesian Collection of chairs, aptly named for the analytic geometry that helped facilitate close to 20 design variations on the same aluminum frame in just under four months. “Not only were we pushing the boundaries of aluminum fabrication, the aim was to simultaneously create a lean manufacturing process,” said Rodrigues. Using Rhino with a Grasshopper plugin, Rodrigues developed a design for a chair that weaves together the simplicity of Western design with the complex ornamentation of traditional Eastern aesthetics. While the lines of the chair are clean and smooth, intricate embellishments on the back traverse multiple planes and angles, all on a shrunken scale. The time savings involved in designing with Rhino allowed the creation of another 19 variations on the theme. Rather than working with large billets of aluminum, Rodrigues and NF’s Alex Rasmussen opted to fabricate the chair from ½-inch stock, with an option for wooden legs or an upholstered seat. “The most difficult thing was the back rest because it required the most unconventional process,” said Rasmussen. “Once it was bent into a the basic form, the back was put into a four-axis machine that works in an X, Y, Z, and rotational axis to apply texture.” An anodized finish, which transitions between two colors for an ombré effect, adds to the bespoke appearance. Working collaboratively to solve hiccups in the fabrication process was a key component to the success of the project, and experimenting with tool paths helped create new patterns. Manipulating the original design in Grasshopper accounted for even minute deflections in the real-world fabrication scenario. “With this formula, you can play with variables that go in a hundred directions and multiply quickly,” Rodrigues said of the freedom of working in the program. “The world is your oyster in Grasshopper.” The team worked with aluminum for the frame of the chairs, a material choice that was made in part due to the fact that NF specializes in the material. In addition, the lightweight metal allowed a greater degree of accuracy than injection or press molding. “You can get all the screw caps and holes so exact with a precision of perfection you can’t recreate in other materials,” said Rodrigues. “And experimenting with the ombré anodized finish, NF pushed the boundaries very well, for something so thin and elegant.”
Seven design variations are applied across 17 custom wooden benches, fabricated by Mark Richey Woodworking.Sited above a vehicular tunnel and therefore bereft of old growth trees, the Plaza at Harvard University, with its aggregate porcelain paving and curvaceous, sculptural benches, stands in stark visual contrast to the school’s notably shady yard and north campus. Designed by Stoss Landscape Urbanism, the plaza serves as a multi-functional space for staff, students, and the local community. A large part of accomplishing this goal fell to the unique seating solution, a collection of custom-designed, wooden slat benches that aim to increase the function and user comfort of the public space. Some of the benches are meant for lounging with no back and a low seat height, while others are higher with full seat backs. Some twist in the manner of a Victorian tete-a-tete settee, while still others support a touchdown working posture. Stoss's design for the benches, sliced like a loaf of bread, was achieved in Rhino with a Grasshopper plugin. The parametric modeling tool was instrumental in defining the benches' complex geometries. "At every change, the curves meet two general sections so there's a morphology of that form work," said Erik Prince, an associate at Stoss who worked on the plaza. "The wooden slats are an incremental radial splay of the overall geometry so every rib has a unique angle to it." The design team produced a 3D model for each of the 17 benches. Since the benches were manufactured based on information contained in the digital files, a substantial portion of time was spent developing accurate models that could be extrapolated for the fabrication process. "It was a deep model, so even the smallest changes would cascade throughout the design," said Greg Porfido, chief operating officer at Mark Richey Woodworking, which fabricated the benches. Further intricacies of the manufacturing process came from the slight change in the angle of each rib to accomplish the complex twists and turns of unique forms. The centermost rib stands vertically erect, while those radiating out to either side increasingly angle outward along the length of each bench, culminating in as much as a 30 degree lean at each end. Mark Richey Woodworking fabricated the ribs on a 5-axis CNC mill. The sharp angles of the intersecting slats, which have parallel reveals, were achieved with mitered connections fixed with epoxy and mortise and tenon joints. Once fastened together as a "bread slice," they were laid over a metal substructure and screwed from beneath. Removable metal caps on both ends conceal drivers for LED base lighting, power and data hookups, and deliver a smooth, clean edge. Reflecting on the process of parametric design and fabrication, both Stoss Landscape Urbanism and Mark Richey Woodworking were in agreement about the success of the process and the outcome of the project. "It's a great way to communicate, but it requires a very collaborative approach," Porfido said. "The stakeholders have to have trust in the process; otherwise it doesn't work."
Goetz Composites fabricated the Granoff Collection of modular furniture for a new Diller, Scofidio + Renfro-designed building at Brown University.Brown University’s Granoff Center for the Creative Arts, completed by Diller, Scofidio + Renfro in 2010, was a direct result of the institution’s studies on how students and faculty interact today. Since most interdisciplinary exchanges were taking place in stairwells over classrooms, the architects designed a central escalier with five landings where the school’s population could meet among rotating student installations. One year after the building opened, the users realized that something was missing on the escalier: a place to sit. To rectify the situation, graduate students from the Rhode Island School of Design (RISD) collaborated with Brown alumni to design a unique collection of furniture named for the building’s patrons, Perry and Marty Granoff. The alumni designers—Taylor McKenzie-Veal, Scot Bailey, Ian Stell, and Yumi Yoshida—crafted a line of modular furniture that includes a sofa, a chair, and a table that doubles as a stool. The line caters to local industry in materiality; namely the state’s maritime history. “The boating and composite expertise in Rhode Island has a long-standing history of excellence and [we] consulted and collaborated with a local composites and engineering firm while developing and prototyping the design,” said McKenzie-Veal. Bristol, Rhode Island-based Goetz Composites worked to realize the designers’ vision for a flexible line of furniture that could be used in various configurations. The sofa, for example, is constructed from a large corner section, a small corner section, and a small center section that can be pulled apart and put together in whatever way the user wishes. “The designers had a very specific look in mind, both in texture and color,” said Chase Hogoboom, president of Goetz Composites. “A lot of time and effort was spent working with the designers to develop the [fabrication] process and achieve the results they were looking for.” To develop a prototype, the design team gave Hogoboom three-dimensional Rhino files outlining each section’s shape and dimensions. The fabricator used RhinoCAM to program the form and a CNC mill to cut medium density fiberboard to the exact shape specified by the designers’ files. “There were very strict requirements for the radius of the edges,” said Hogoboom. Additionally, the design schematic called for two A surfaces, so the front and back of the sofa had to be identical. Once the designers approved the prototype, the fabricators used a custom CNC-cut tool to make the shells of the furniture sections from fiber reinforced plastic (FRP). “The furniture was built for an institutional environment, so it needs to withstand heavy use from students, staff, and visitors,” explained Hogoboom. “Based on the profile of the pieces, it had to be low and streamlined, and we were able to achieve that through the materials we used.” Once the FRP was cut, the fabricator wet sanded—with 1,200 grit—and buffed the sections. Linear polyurethane—air craft-quality paint—was applied in crayon-inspired hues and the sections were bolted into metal frames with integrated cleats. The series is finished off with bright cushions from local upholsterer AJ Read. The sofa is currently on display in Milan as part of the exhibition, Risk and Certainty in Uncertain Times, curated by RISD president John Maeda, and will travel to the States for New York’s Design Week in May.