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A cross-section of postdigital design work illustrates the role of parametrics in the built environment.
Spawned from his 2011 show on Patrick Jouin, Museum of Arts & Design (MAD) curator Ronald Labaco conceived Out of Hand as a more comprehensive show that clarified the role of digital design, from its capabilities to its significance in our daily lives. “People just didn’t get it,” said Labaco of Jouin’s 2011 MAD show. “Unless you’re immersed in it, it can be hard to understand so I thought if we showed something like this in the galleries again, we needed to provide information that can be digested more clearly.”
Staged across three floors of the museum, with two exterior sculptures, Labaco said the show is an important program for MAD among other New York art institutions like MoMA, Cooper Hewitt, and the New Museum. The goal to raise awareness of 3D printing is timely, by chance. “Paolo Antonelli’s Design and the Elastic Mind, and two shows from Material Connection were complements to my show for the uninitiated,” Labaco explained. Out of Hand’s broad scope includes digital designing and fabrication processes like CNC milling, digital weaving and knitting, laser cutting, and 3D printing to display how these technologies influence the built environment. “It’s a historical look at the last 8 years and works from as early as 2005 are incorporated because, in my mind, that was when the major shift between rapid prototyping and 3D printing really occurred,” said Labaco. Read More
The rise of 3D printing, the design and creation of objects using a material printer, is currently hindered by accessibility. Few own personal printers or know where to go to use one. However, according to Lara Piras of PSFK, commercially viable 3D printing is now a possibility with Netherlands-based 3D Hubs. The online company allows at-home designers to connect with locals who own 3D printers, arrange for payment for the printing of their creations, and then receive their material products, ideally without leaving their community.
We are excited to announce that Ronald Rael, founding partner of Emerging Objects, will join Ronnie Parsons of Mode Collective at our facades+ PERFORMANCE conference in San Francisco in less than two weeks!
Emerging Objects is a pioneering 3D printing design and research company that reaches beyond using plastic and focuses on using innovative, sustainable, and recyclable materials—paper, nylon, salt, wood, clay, acrylic, and cement polymer—to create 3D printing objects for the built environment, including facade elements such as “The Wave Curtain.”
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A team of SCI-Arc–trained architects establish a sweet set up in Southern California.
Liz and Kyle Von Hasseln wanted to bake a birthday cake for a friend but, unfortunately, their rented apartment didn’t have an oven. Not to be deterred, the Southern California Institute of Architecture (SCI-Arc) alumni hit upon a solution that would leave most bakers scratching their heads: They decided to 3D print one.
Earlier that year, the couple had been awarded the school’s inaugural Gehry Prize for their work on Phantom Geometry, a 5-axis fabrication study of UV-cured resin within a shallow vat system that responded to real-time feed back and feed-forward mechanisms. “In our graduate work, we were really interested in the way free form fabrication would influence architecture,” Kyle recently told AN. “We thought a lot about the potential for the intersection of culture and technology that would be accessible to the public, so printing sugar was that.” Read More
If you need yet another reason to go to DesignX next week at ICFF, Mode Collective has got it covered with their 3D printed bracelets. Stop by their booth to watch the 3D printing extravaganza live and to pick up a bracelet of your own. I [Heart] DesignX bracelets will be available in different colors and for a limited time only. See you there!
DesignX presenter Skylar Tibbits, the founder of SJET, Director of Self Assembly Lab, and Senior TED Fellow, will host a hands-on lab introducing interior designers and architects to the future of additive manufacturing and programmable matter. Discover how matter programmers design materials to self-assemble when exposed to the elements. Additional topics include 4D printing and how 3D printing technology is changing. Tibbits will utilize self-assembling structures to touch base on what these changes mean for design practices. The workshop takes place on Tuesday, May 21, 2013 from 12:30 to 1:30 PM and offers 1 AIA CEU. Registration is available online.
In the 1800s, a French mathematician named Jules Lissajous began using parametric equations, beams of light, mirrors, and vibrating tuning forks to investigate harmonic motion creating what is known as the Lissajous curve. More than a century later at NYU’s Interactive Telecommunications Program, students Manuela Donoso and Luisa Pereira began using the Lissajous’ curve to further explore ways to visually represent musical harmony, using 3D printing technology to produce harmonic sculptures. Last fall, the pair also started using speakers, mirrors, and lasers to create devices and software that make prints and sculptures. They call their project The Harmonic Series. But they aren’t the only ones 3D printing music these days. Richard Dahlstrand of Sweden hacked a Lulzbot 3D printer to play and print classical pieces of music.
Dutch firm DUS Public Architecture has switched gears from soap and water to polypropylene as they join the race (alongside British collective SoftKill Design and fellow Dutchman Janjaap Ruijssenaars) to complete the first 3D printed house. Their sights are set on a full-sized four-story canal house in Amsterdam, entirely printed and built on site by the KamerMaker, their own purpose-built 3D printer housed inside a verticle shipping container. Starting work in the next six months, DUS plan to have the entire facade and first room of the house printed and erected. With the “welcoming room” established, the architects hope to complete the rest of the house in the following three years.
While President Obama may have called out the economic potential of 3D printing in his State of the Union, one prominent Republican is trumpeting the new technology. In an article posted on the conservative website Human Events, former Speak of the House and presidential candidate Newt Gingrich claims, “the greatest difference in our generation may not be between liberals and conservatives, but between the pioneers of the future and prisoners of the past.” Among the technologies he praises, 3D printing is nothing less than “revolutionary.”
Gingrich has long been a fan of futurist thinking and advanced technology. He campaigned for a colony on the Moon, another place where 3D printing would come in handy:
3D printing may revolutionize logistics and save an amazing amount of money in the Defense Department. It may also revolutionize our capacity to go into space by allowing manufacturing on asteroids and the Moon with minimum weight requirements. 3D printing may also return manufacturing to the United States by eliminating the advantages of low cost mass produced production runs.
Did you miss 3-D printing guru Skylar Tibbits at this year’s TED conference? Never fear, there’s an opportunity to hear Tibbits in New York City on April 12. And not just hear but participate in a hands-on workshop that Tibbits will lead as part of Facades + PERFORMANCE, a two-day conference on high-performance building enclosures sponsored by The Architect’s Newspaper.
Earlier this week at TED, Tibbits gave 3-D printing another dimension, quite literally, when he presented the possibility of “4-D printing,” or programming materials to self-reassemble into new structures over time. Tibbits unveiled a 4-D printer concept developed with MIT that he argues could have far-reaching implications for not just manufacturing but also for architecture. Will architects one day be able to design structures that build and mend themselves? Here’s the idea, as Tibbits told TED:
“If we combine the processes that natural systems offer intrinsically—genetic instructions, energy production, error correction—with those artificial or synthetic—programmability for design and scaffold, structure, mechanisms—we can potentially have extremely large-scale quasi-biological and quasi-synthetic architectural organisms.”