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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.
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.
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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.