Amsterdam-based firm MX3D has completed the full span of its 3-D-printed stainless steel bridge, designed by Joris Laarman Lab, a multidisciplinary team located in the Netherlands. The bridge will cross one of the city’s oldest canals, the Oudezijds Achterburgwal, and is approximately forty feet in length and over twenty feet wide. Often using digital fabrication and 3D printing, the Joris Laarman Lab has over seventy projects featured in thirty-seven museums across ten countries including MoMa and the Centre Pompidou. Utilizing software specifically designed by MX3D, the bridge was constructed by four multi-axis industrial robots. In total, it took six months for the robots to print the nearly five-ton 3-D printed bridge. While the construction process did require human input, the overall project tested the feasibility of robots printing bridges without human intervention and ultimately validated such an approach for future projects. In a collaboration with The Alan Turing Institute, the long-term management of the bridge will rely on the use of a smart sensor network that is capable of testing structural measurements, such as vibration, strain and displacement, along with air quality and temperature. Through data collection, engineers will create a ‘digital twin’ of the new bridge, a constantly adapting computer model that reflects the structures altering state. This model allows for the effective repair of the bridge and provides insights and guidance for future construction. The bridge will be subject to further structural testing as well as decking and coating. The expected installation date is October 2019.
Posts tagged with "joris laarman":
The new year may signal a turn to fresh beginnings, but before we close the book on 2017, this is the last chance to catch a range of thoughtfully-curated exhibits centered on design, history, planning, technology, and architecture. From a photographic survey of U.S.–Mexico border monuments to Isamu Noguchi's internment camp archive and a showcase of MacArthur genius grant winner Hector's work on urban processes, these shows engage the present and past of architecture in provocative ways. Don't sleep on these shows! Tu casa es mi casa Neutra VDL 2300 Silver Lake Blvd, Los Angeles, CA Closing January 13, 2018 This exhibit sheds light on the porous boundary between Mexico City and Los Angeles, with a focus on "architectural space, mass production, and domesticity within the legacy of modernism." The show displays site-specific installations by three Mexico City–based design teams, Frida Escobedo, Pedro&Juana, and Tezontle, who responded to letters from three California-based writers, Aris Janigian, Katya Tylevich, and David Ulin, who each spent time in the Neutra house. Joris Laarman Lab: Design in the Digital Age Cooper Hewitt, 2 E 92st Street, New York Closing January 15, 2018 The Cooper Hewitt is hosting the first major American exhibition of the Dutch designer Joris Laarman, who mixes traditional craftsmanship with modern fabrication to produce unique furniture design. On display is a range of Laarman’s work, arranged thematically to reveal each shift in his firm’s investigation of digital design. Scaffolding Center for Architecture, 536 LaGuardia Place, New York City Closing January 18 Greg Barton’s Scaffolding is an examination of the broad uses of scaffolding as a tool of utility in creating spaces of inhabitation and facilitating access to such spaces. With the widespread use of scaffolding across New York City, measuring an approximate length of 280 miles, the exhibit allows the audience to reimagine the ubiquitous temporary structures as potentially engaging features of the city’s streetscape. No. 9 Columbia University Graduate School of Architecture, Planning and Preservation, 1172 Amsterdam Avenue, New York Closing January 19, 2018 No. 9 is an archival collection of the public sculpture program initiated in Mexico City for the 1968 Olympics. Termed the La Ruta de la Amistad (Route of Friendship), the network of nineteen monumental sculptures was influenced by multinational and modernist aesthetics, the only caveats of their design being abstract, composed of concrete and monumental in size. All the Queens Houses The Architectural League of New York, 594 Broadway, Suite 607, New York Closing January 26, 2018 The Architectural League’s All of the Queens Houses is a collection of 273 photographs of residences in Queens taken by architect Rafael Herrin-Ferri. The collection explores the vernacular, low-rise housing stock of the borough and the demographic diversity therein. Although Herrin-Ferri’s project contains over 5,000 photographs, those presented by the League are located in 34 neighborhoods across the borough.
Self-Interned, 1942: Noguchi in Poston War Relocation Center The Noguchi Museum, 9-01 33rd Road (at Vernon Boulevard), Long Island City, NY Closing January 28, 2018The show is centered on sculptor Isamu Noguchi's decision to voluntarily report to Poston, a Japanese internment camp in Arizona, in order to contribute his designs and skills to support the forcibly displaced residents. It features over two dozen works by Noguchi from 1941 to 1944, created pre- and post-internment, evoking this dark moment in American democracy and the impact of this experience on his art. Damon Rich and Jae Shin: Space Brainz—Yerba Buena 3000 Yerba Buena Center for the Arts, 701 Mission Street, San Francisco, CA Closing January 28, 2018
In Space Brainz–Yerba Buena 3000, the gallery becomes a laboratory for dissecting power in the built environment through Hector’s recent projects in architecture and planning in North American cities. A colorful structure that fills the space is the framework on which Hector's models, photographs, and mock-ups take viewers on a journey of urban issues on many scales, from broken sidewalks to riverfront projects, suggesting that the city is a place where negotiation and conflicting interests are the only constants.Monuments: 276 Views of the U.S.–Mexico Border by David Taylor The Museum of Fine Arts, Houston, Caroline Wiess Law Building, 1001 Bissonnet Street, Houston Closing January 28, 2018 Almost a decade ago, photographer David Taylor set out to photograph the 276 obelisks that mark the U.S.–Mexico boundary established at the end of the Mexican–American War in 1848. This project took him along the 690 miles of border, often on foot, requiring special permissions, and culminated at a time when the border has re-emerged as a political flashpoint. This exhibit, in the artist's own words, a glimpse of what the border actually looks like, at a time when it seems to mostly exist in the realm of caricature and threat. Every Building in Baghdad: The Rifat Chadirji Archives at Arab Image Foundation LAX ART, 7000 California State Route 2, West Hollywood Closing February 17, 2018 The current instability of Iraq and Syria has destroyed and threatened countless structures of architectural significance, erasing large swaths of heritage in the Cradle of Civilization. A respite from this loss is the archival collection of organizations such as the Arab Image Foundation with their collection of photographs by Iraq architect Rifat Chadirji, who was pivotal to Baghdad's postwar modernization between the 1950s and 1970s. LAX ART is currently showing 60 photographic paste-ups of Chadirji's body of work, as well as hundreds of the architect's photographs of the streets of Baghdad in the 20th century. Never Built New York Queens Museum, New York City Building, Flushing Meadows Corona Park, Queens, NY Closing February 18, 2018 AN‘s Contributing Editor Sam Lubell with contributor, critic, and writer Greg Goldin, shows a New York that could have been, featuring original prints, drawings, and models that never made it past the drawing board. Combed from over 40 different public and private collections, the show brings together the visions of Frank Lloyd Wright, Robert Moses, Eliot Noyes, and Steven Holl, among many others, and also shows a glimpse of the city's famous icons as they were originally planned. A bouncy castle version of Noyes' Westinghouse Pavilion and an insertion of 70 models into the Panorama of New York City, the scale model of the city, are among its highlights.
The Cooper Hewitt Smithsonian Design Museum hosted its annual National Design Awards last week, handing out hardware to an illustrious group that included Mass Design Group, Deborah Berke Partners, Surfacedesign, and Susan Szenasy. But if you couldn't make it to the invitation-only event, you can stop by the museum to check out one of the city's most interesting design exhibitions: Joris Laarman Lab: Design in the Digital Age. The first major U.S. exhibition on the Dutch designer, the show explores Laarman and his team's naturally and industrially-inspired, digitally-manufactured products, like the Bone Chair, generated from algorithms that mimic bone growth, and a pedestrian bridge built in midair using 3-D printing. The Adaptation Chair, created from welded strands of coated polymer, draws on the complex patterns of growing branches and roots, changing its geometry to adapt to different needs throughout. Throughout the Cooper Hewitt's galleries you'll encounter tables, chairs, lights and other pieces made of wood, metal, fabric, vinyl and plastic that have been knitted, stacked, puzzled, electroformed, cut, welded, folded, lathed and extruded, all using computer-powered fabrication techniques. Laarman is obsessed with the transition of the industrial world to our digital one. This work perfectly bridges the two. The show is on view through January 15. [youtube https://www.youtube.com/watch?v=13o_qSatv3s]
New to the list of job functions up for replacement by technology: bridge construction. Dutch designer Joris Laarman has founded MX3D, a research and development company currently tinkering with a never-before-seen 3D printer that can weld steel objects in mid-air. In 2017, Laarman will deposit the robot on the banks of a canal in Amsterdam and walk away. When he returns two months later, a 24-foot steel bridge will arc over the canal, built utterly without human intervention yet capable of accommodating normal foot traffic for decades. This potentially revolutionizing technology by MX3D and Autodesk can “draw” and fabricate city infrastructure on location, which has radical implications for the construction industry. Far from being makeshift, the finished bridge will feature an intricate design that looks more handcrafted than the detailing on a typical bridge. 3D printing allows for granular control of detail that industrial manufacturing does not, accommodating designs that are more ornate and bespoke than the detailing on most bridges. While 3D printers normally transact in resin or plastic, Laarman’s bridge will be fabricated from a steel composite developed by the Delft University of Technology in the Netherlands. It will be as strong as regular steel but can be dolloped drop by drop by a 3D printer. The unique printer itself has no printer bed. Using additive printing technology, it “works like a train,” according to Fast Company. “Except instead of running along existing tracks it prints out its own as it goes along.” The six-axis robot can move horizontally, vertically and even diagonally, and can hence traverse gaps like a canal or the empty space between walls. “We thought to ourselves: what is the most iconic thing we could print in public that would show off what our technology is capable of?” Laarman told Fast Company. “This being the Netherlands we decided a bridge over an old canal was a pretty good choice. Not only is it good for publicity, but if MX3D can construct a bridge out of thin air, it can construct anything.” Laarman enlisted design and engineering software company Autodesk to help rectify common 3D printing glitches – namely, designing a robot with a real-time feedback loop capable of correcting itself when errors occur. Typically, when a drop of resin is misplaced, the robot has no way of “knowing,” so that all subsequent drops are misplaced and the design is maimed. Given that the robot will build in public, foreseeable errors extend beyond internal mechanical failures. The machine must be primed to withstand temperature fluctuations that cause metal to expand and even “kids hurling beer bottles at the robot.” “Robots tend to assume that the universe is made of absolutes, even though that’s not true,” said Maurice Conti, head of Autodesk’s Applied Research Lab. “So we need to program them to have real-time feedback loops, and adapt in real time without even being told to.” If successful, MX3D’s technology could open up avenues for unprecedented design possibilities and cost efficiency in the fields of construction, architecture, design, and more.