3D Printing in AEC

A 3D Printed Model is Worth a Thousand Words

2012-01-25T07:30:00.003-05:00

Today's blog is by Julie Reece.

Every month, we feature a “part of the month” that our customers and dealers can download and print on their own ZPrinters. This month’s part was created by our Russian channel partner, Cybercom.

OMSK Dormition Cathedral
CYBERCOM
Modeled by: Nikita Istratiy
(using 3DS Max)
Printed on ZPrinter 650

Let me stress that this model was not painted. It was printed in full color on a ZPrinter 3D printer. I can talk at length about how the ZPrinter creates far more accurate architectural models than handcrafting models, for a fraction of the time and price, but I believe in the old adage, “a picture is worth a thousand words.” Imagine the possibilities – you can print several of these models at once and give them to the client, zoning board, construction crew, and community groups. The amount of information conveyed in the 3D printed model is infinitely more than a 2D rendering, which results in faster approvals. You can even print several different versions of the design at one time in order to steer the client toward your desired design – the possibilities are mindboggling. Ultimately, what it means for you are better designs and more business.

If you haven’t yet adopted a 3D printer in your architectural firm, I am interested in learning why.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Printing 3D Building Components

2012-01-18T07:00:00.006-05:00

Normally in this space, we write about design process improvement using 3D physical scale models for better collaboration and communication. This week, we will touch on some innovative research being done with 3D printing technology at U. Cal – Berkeley. Prof. Ronald Rael has developed a new process that enables the printing of production-ready building components. Following is his guest blog.

Printing unique, one-of-a-kind building components that are generated quickly and economically to produce large scale -objects, is the current research of Ronald Rael, Assistant Professor of Architecture at the University of California, Berkeley and founding partner of Rael San Fratello Architects. This year, he has developed a cement-based polymer and a new process that, for the first time, employs conventional rapid prototyping hardware to produce strong and durable building components that cost far less than conventional rapid prototyping materials—up to 90% less than comparable printing materials. The material can also reach strengths of up to 4,700psi in compression, which is comparable to the strength of concrete. This advancement in material output from digital modeling software ushers in a new era in building materials, and a new synthesis of design and production.

The SeatSlug, a biomorphic interpretation of a bench, demonstrates how this new digital output process generates end-product structural building components directly from 3D software models. The design is inspired by flabellina goddardi, the newest species of sea slugs discovered in California in 2010, and by the infinite tessellations of Japanese karakusa patterns. It is constructed of 230 unique rapid-manufactured components. The sinuous form, subtle translucency and glossy finish engage viewers with a memorable aesthetic experience—a tactile personal encounter with a technological breakthrough.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create More … Design Process Improvement in 2012

2012-01-04T07:00:00.001-05:00

Two weeks ago, I summarized preliminary 2011 results and commented on industry trends for 3D printing in the AEC community. Final results exceeded expectations – ZPrinter business in the AEC vertical market grew more than 30% in units and 50% in revenues year-over-year. Now, let’s take a peek into the crystal ball for 2012.

Based on a stronger than expected finish in 2011, I will go out on a limb to predict that this year will see many more AEC firms diving into 3D printing to improve/accelerate their design process. This will happen in two ways. First, those firms that are bouncing back from the recession, and have always wanted their own 3D printer, will finally make the investment they could not justify during the past two years. What evidence do I have for this prediction? Z Corp. had a 40% increase in new AEC customers last year compared to the prior year. These new users were not the typical ‘starchitects’ that adopted 3D printing in the past, but rather small-to-medium sized firms that are trying to differentiate themselves from regional and national competitors. Half of these new customers are from North America, which should lead the growth in 2012.

The second way that AEC firms will invest in 3D printing will be through service bureaus on a project-by-project basis. There are service bureaus all over the world that specialize in architectural models. Savvy designers will use their services to print models which will help them collaborate on project teams. Once the clients, principals, and other project participants see the value of 3D printed models during the design process, these firms will move into the first category described above.

Other thoughts for 2012 …

The first release of the new AMF 3D printing export standard http://amf.wikispaces.com/ should have some positive impact for 3D printing as a whole, but will not be really felt until the content creators (i.e. the CAD/BIM suppliers) add this feature to their design software products. Many developers are already finished with their 2012 feature enhancements, so we may not see the AMF export option appear in popular design software until calendar 2013. For those nimble software developers who support AMF early on, their users will benefit by having color, texture, and material properties exported along with their design geometry.

Bigger is better – the trend toward larger build sizes will continue in 2012 as more users migrate toward bigger 3D printers. In 2011, more than half of all ZPrinters shipped to AEC customers were ZPrinter model 650 [15x10x8 inches build size]. The press likes to talk about low-end inexpensive printers, but the fact is that real production work is trending in the other direction. Larger build size has two benefits: scale model size can be increased without splitting pieces; and more design iterations can be printed in one job which increases throughput and helps enable innovation.

More “shelf space” – with Z Corp now part of 3D Systems, the reseller community has the potential to grow dramatically. This means that more companies will be serviced by more local resellers and 3D printing professionals. Those of us in the business are always amazed when we go to industry events and talk to people who have never seen a 3D printer. The fact is that even though this type of technology has been around for 20+ years, many folks (especially in AEC) are just hearing about it. Having more authorized representatives out in the trenches will move 3D printing from the aisle shelves to the end displays.

Wishing all of our readers a happy, healthy and prosperous New Year!

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

3D Printing in 2012 and Beyond

2011-12-28T07:00:00.020-05:00

This week's blog post is by John Kawola, Z Corporation CEO.

2011 was an eventful year for Z Corporation and the 3D printing/additive manufacturing industry worldwide. There is continued strong demand for prototypes, tools, fixtures….all the parts that this industry has been about for the past 20 years. But perhaps more importantly, 3D printing/additive manufacturing is beginning to really make a move to users and applications outside of the engineer trying to see if two parts fit together.

We see architects building a model of a new project, walking into the selection committee and winning the business. We see sales and marketing folks using printed models to attract new clients. We see printed parts being used for real end-use medical applications. We see consumers beginning to experience this industries capabilities through access to parts on-line or with very low cost 3D printer kits. We see 3D printing/additive manufacturing transforming the way that industries think about design, both functional and aesthetic. 2011 was a year where 3D printing/additive manufacturing really started to capture wider public awareness. Unlike any prior year, 3D printing/additive manufacturing really made its way into the mainstream press and consciousness.

In 2011, Z Corporation agreed to be acquired by 3D Systems. This transaction is expected to close early in 2012. We embrace the efforts by the 3D Systems team to think beyond one technology and beyond being simply a machine manufacturer. For 3D printing/additive manufacturing to continue to grow, new applications and new users will need to be continually brought into the mix. They will require software to learn and be creative. They will require printers that are affordable and easy to use. They will require on-line service providers that will deliver parts through the mail as easily and simply as ordering digital photographs today. We are excited to be part of this revolution, to bring our style of 3D printing into the mix and to contribute in any way we can.

We expect that all of the trends that we saw in 2011 will continue to grow and expand in 2012. The use of 3D printers in education and architecture will become a normal part of what people expect. A custom 3D printed part will become common as birthday, anniversary and workplace gifts. New engineers for the first time will really begin to optimize their designs based on the fact that AM removes practically all manufacturing constraints. All of these trends bode for a strong and bright future for this industry.

I am excited to be a part of it.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

'Create more' Business in AEC … A Look Back at 2011

2011-12-21T07:00:00.001-05:00

Last year in this blog I made the following predictions for 2011:

What does Professore DeMarco foresee for 2011?

Continued strong interest in the AEC community in 3D printing, with spending catching up later in the year to drive market growth.
AEC firms doing 3D printing stretching the limits on build sizes to accommodate larger scale models.
Software vendors will deliver better tools to make physical models from their BIM software.
Reprographic suppliers, now entrenched in 2D solutions, begin to understand the business opportunity for 3D printing.
More engineering and construction firms investing in 3D printing (a trend we see in Japan).
Continued consolidation in the AEC reseller community with larger firms offering more complete solutions including both digital and physical prototyping.
More guest blogs from sharp minds in our community … volunteers?

Let’s look at each of these predictions to see how the ‘Professore’ did …

Continued strong interest in the AEC community in 3D printing, with spending catching up later in the year to drive market growth. With still two weeks remaining in the year (as of this writing), Z Corp. increased system sales into the AEC market segment worldwide by more than 22% (units) and 40% (revenue) YoY. These growth numbers include commercial and educational business for architectural, engineering, and construction firms and schools. The year started out comparable to 2010 in terms of units shipped, but picked up considerably in the second half, especially in Q4 in which sales have almost doubled Q4 of 2010. In addition to healthy growth in new commercial business, we experienced quite a bit of repeat business with customers upgrading from their old workhorse Spectrum Z510 printers to the newer generation ZPrinter 650. We also witnessed a few accounts purchasing more than one ZPrinter 650, and two multinational architectural firms buying ZPrinters for multiple locations. This indicates that 3D printing has become a strategic component in their design processes, not just a tool for final presentation models.

Aside from the actual sales numbers, another measure of community interest this year was the high activity level at trade shows and conferences such as SmartGeometry, ACADIA, RAPID, imagina, BeTogether (Bentley user group), Autodesk University, Revit Technology Conference, ArchiFuture, and the Construction Industry Institute conference. In March, Z Corp. and authorized ZPartner Microsol Resources hosted a panel discussion at The Cooper Union in NY featuring four prestigious AEC firms talking about how 3D printing is used in their respective design processes. Initially, we expected 50 to 100 attendees in the new building auditorium at 41 Cooper Square, but interest level was so high that we had to move the event across the street to The Great Hall where almost 300 people attended!

AEC firms doing 3D printing stretching the limits on build sizes to accommodate larger scale models. As you may have surmised from the higher revenue growth (versus unit growth), we sold more large printers this year; the top-of-the-line ZPrinter 650 became the most popular model, even among the colleges that bought this year. In fact, the ZPrinter 650 accounted for more than half the shipments in AEC -- in 2010, the ZPrinter 650 accounted for a third of the AEC shipments. The ZPrinter 650 total was double the total of the next most popular model, the ZPrinter 350. The primary reason that AEC users prefer the ZPrinter 650 is the large build size (15x10x8 inches). Larger scale models can show more design detail. Also, users can stack up several smaller scale massing models in a single build, thus being able to do quick design studies and concept iterations with the project team, clients, and regulatory boards.

Software vendors will deliver better tools to make physical models from their BIM software. Sadly, this blogger was wrong on this one (or just too optimistic). As the economy trudged through the recession, the CAD/BIM suppliers focused on other areas to improve their digital solutions and differentiate themselves from competitors. Some design tools like Rhino, form*z and bonzai3d already have robust ZPR export which can be read directly by ZPrinters. Many users that I visited in 2011 use these tools for conceptual design before using their BIM tool for design development and CDs. For the most part though, users made do with the tools they knew to help prepare files for 3D printing. On a positive note, the new AMF standard moved forward with approvals, and this will enable users to export more than just geometry (STL format) by adding color, texture, and material properties.

Reprographic suppliers, now entrenched in 2D solutions, begin to understand the business opportunity for 3D printing. Once again, your Professore was overly optimistic. On the plus side, some reprographic houses took on 3D printing as service providers. A few acted as facility managers for architects who wanted ZPrinters installed and operated at their sites. On the down side, most reprographic firms remain entrenched in their existing 2D business model and are reluctant to enter the 3D market.

More engineering and construction firms investing in 3D printing (a trend we see in Japan). This happened in 2011, but not to a large degree. In addition to Japanese firms, we added large engineering/construction customers in Taiwan, Russia, and Canada over the past year. Applications included plant models, site planning, 4D construction, and marketing models for pre-construction sales. Z Corp exhibited at the Construction Industry Institute in July, and there was quite a bit of excitement over the possible uses for the technology in the field. Let’s all stay tuned on this emerging segment within the AEC industry.

Continued consolidation in the AEC reseller community with larger firms offering more complete solutions including both digital and physical prototyping. Well … there was consolidation in the industry, but not so much with resellers as with the 3D printing suppliers. Most readers know that Z Corp. is in the process of being acquired by 3D Systems, the original rapid prototyping manufacturer founded in the late 1980s. 3D Systems has acquired several technology and service suppliers over the past two years, and is well positioned to offer customers a wide breadth of solutions for their design process needs. With very little overlap in products and distribution channels, the combination of Z Corp. and 3D Systems (once the deal is completed) should result in more solution options for AEC, Manufacturing, Education, and other markets going forward in 2012.

More guest blogs from sharp minds in our community … volunteers? Your Professore nailed this one. With a little prodding, we had so many good volunteers step up in this space in 2011, both from the academic and commercial community. The applications for 3D printing were exciting to read about. If you haven’t kept up, please take this opportunity to scan some of the past guest blogs to read what our users are doing with ZPrinting.

If you are one of those sharp minds out there, I am certainly looking for more guest blogs in 2012.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

A Tradition of 3D Printed Holiday Ornaments

2011-12-14T07:00:00.027-05:00

This week’s blog is by Julie Reece, Z Corporation’s Director of Marketing Communications.

Last week Z Corporation hosted its annual employee holiday party. It’s always a great event, filled with the generous spirit of giving, good food, laughter, and the camaraderie of wonderful colleagues.

One of our holiday party traditions is a Z Corp. 3D printed ornament that every employee receives at the party. The ornament is always a tightly kept secret until its much anticipated unveiling during the party. David Russell is one of our most senior engineers and for many years he has volunteered to design and print these ornaments for every employee.

You’ll find below a chronology of Z Corp.’s ornaments. It is interesting to observe that, over time, color was introduced and features became smaller and more delicate to correspond with enhancements in both the hardware and materials technologies.

2001

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011!!

Photos above and below of 2011 3D printed 2011 ornament

On my tree!

Happy Holidays!

http://www.zcorp.com

'Create more' Disruptive Technology - Digital Fabrication with 3D Printing

2011-12-07T07:00:00.002-05:00

Autodesk held its annual worldwide user meeting, known as Autodesk University, last week at The Venetian hotel in Las Vegas. Approximately 8000 people attended. Z Corp. was among the 50 exhibitors on hand, and we were very busy in our booth this year. Here’s what the booth looked like before the crowds converged.

The event is largely intended for user education with hundreds of live classes held over 3 days plus more than 200 ‘virtual classes’ in 20 different tracks that can be viewed online free of charge. For the AEC community, in the Advanced Visualization track, there is a class titled Design Process Improvement with Fast Inexpensive 3D Printing (course number AV5500)
My colleague, Julie Reece, also prepared a virtual class titled Physical and Digital Prototypes Belong Together (course MP6661)
3D printing continues to gain momentum year after year at AU. During the main stage presentation, Autodesk CTO Jeff Kowalski talked about the Five Waves of Disruption:

1. Access and Experience

2. Business Unusual

3. Digital Fabrication

4. Ambient Intelligence

5. Infinite Computing

Here is the AU Blaug summary on Digital Fabrication:

Wave #3—Digital Fabrication

3D printers are making it easier to design and create things. This ability to create (literally “on the fly”) is being tested in gravity-free environments so parts can be created as needed in outer space. Other efforts are being directed at intergenetic engineering competitions where students are taking on the problem of global malnutrition or teaching bacteria to heal cracks in concrete or grow bricks.

Architect Jeffrey McGrew of Because We Can took the stage to talk about his design-build studio which he runs with his wife Jillian Northrup. They use digital fabrication to design and build just about anything. Jeffrey said that they are able to make things that use very little materials and almost assemble themselves.

Next, Mark Hatch CEO of TechShop explained how today the largest untapped resources are free time and disposable income. TechShop is taking people off the street and giving them tools—and they are launching products in just a few weeks. For example, Square enables small businesses and other users to accept credit and debit purchases by swiping cards through a small dongle that plugs into a mobile device's audio jack. Solum designed a measurement system that allows growers, service providers, and agronomists to make immediate and accurate measurements of soil nitrate levels,

What does this mean? Open innovation “just went nuclear.” More than 60% of innovations today come from the consumer.

For the entire blog, visit: http://au.autodesk.com/?nd=blaug&und=20

For Kowalski’s talk and the entire Keynote Session, visit: http://au.autodesk.com/?nd=auv2011_player

This was my 6th AU since 2005 (two with Autodesk and four with Z Corp.). All in all, it felt much more upbeat than the past few years. Our heightened booth traffic was indicative of the activity and energy level. Perhaps the economy has turned the corner? If you were at AU last week, let me know what you thought of the event.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

3D Printing Ultra Thin Architectural Models...Sometimes Less is More!

2011-11-30T01:00:00.000-05:00

This week’s guest blog comes from David Munson – http://www.munson3d.com/.

Fund-raising concerns for the construction of Palm Beach Day Academy's new expansion in Florida, designed by HMFH Architects, Inc. of Cambridge, Massachusetts, lead to a large 3' square at 3/32” = 1' scale, finished architectural model to communicate their vision. We were hired to make a finish model and it was primarily 3D printed in many pieces and assembled on a wood base along with traditionally made elements like the ground and roof planes. The facades, canopies, awnings, cars, people and brick sidewalk, were all 3D printed.

All elements were very thin including the facades which had hidden structures behind them. This allowed for handling during depowdering and infiltration which prevented warping and provided a structure to glue the foam core roof to. The facades here are really being treated as a curtain wall for 3D printing.

For the paper thin canopy which has a minimal structural design, we created a temporary structure to protect during depowdering and hold it so it didn't lose shape during infiltration:

Since this model resides under a dust cover and no one will be touching, it opened up the possibility of going so thin and delicate. I've noticed that as long as the whole part is light and perhaps has a temporary structural support, we can even simulate canvas like we do here in the main canopy. The only trick is getting it through the depowdering stage because after it has been infiltrated, it’s quite strong. The awnings in this project are also ultra-light and the curved ones had special structural temporary elements which protected it until it was infiltrated.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

How to 'Create more' Efficiencies in Graphic Production Workflows for 3D Visualization Using 3D Printing

2011-11-23T07:30:00.018-05:00

This week’s guest blog comes from David Munson, www.munson3d.com.

In the 3D visualization business we look for efficiencies in our graphic production workflows. The recycling of 3D data is a good place to find such time savers. We take the Building Information Model into 3dsMax Design, eliminating the initial step of creating the basic 3D model. In 3dsMax we texture map, light, render, animate, export to GoogleEarth, etc. and most certainly, we 3D print. When one is working on the visual model it’s best to plan for 3D printing as well and work in solids rather than surfaces. Then the fun can start! Visually rich, well crafted 3dsMax models come out 3D printed as visually rich, well crafted physical models. While we are used to thinking of THE model as in one, the ability to reproduce multiple copies at varying scales brings new opportunities. Where there are efficiencies there are opportunities! For most of our large architectural projects we also create a very small scale version which is able to be reproduced very inexpensively with ZPrinter technology. For the Monastery of the Society of Saint John the Evangelist in Harvard Square, Cambridge, we have produced thus far one large model, four medium sized and about 50 very small versions.

For Tsoi/Kobus and Associates we created one model of their UPENN Proton Accelerator project following a team members’ hunch. So we crafted a model, printed one and the client loved it and asked for nine copies with no adjustments.

Taken to the urban scale is our New World Trade Center model which has been reproduced at three different scales. The largest resides in the Fire Museum of New York and measures 17” square (each of three) and the smallest is 4” square.

Using high resolution texture maps allows one to print large scale as well as small. Here is the Woolworth building separated out and printed a foot tall. There is much detail which just keeps coming out the more you enlarge when you start with high resolution images.

Below are photos of small and large versions of the same base 3d data with only minor geometric differences between them. This efficiency allows for our clients to get multiple small versions for a low enough cost that even if they weren't planning to make them, become interested. Our Palm Beach Day Academy client is using these models for fund raising in order to realize their expansion. We made the large model first and then the small versions.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

LUMINESCENT LIMAÇON

2011-11-15T06:50:00.001-05:00

Today’s guest blog is from Andrew Saunders; Saunders is a practicing architect and an assistant professor in the Rensselaer School of Architecture.

FLATCUT_ACADIA 2011 Design+Fabrication Competition Winner: Lighting

The Luminescent Limacon is a lighting design based on research from the Equation-based Morphologies workshop taught by Andrew Saunders. The project was chosen winner for lighting, one of three prizes in the Association for Computer Aided Design in Architecture (ACADIA) 2011 Design + Fabrication Competition. As part of the prize, the design was manufactured in the Brooklyn studio of FLATCUT_ design, and the completed lamp is on display at the annual ACADIA conference in Banff, Canada. In addition the design was also printed by Z Corporation on their ZPrinter 650 and exhibited as part of their ACADIA sponsorship.

Borrowing from the affects of the Dutch ruff as renderd by Flemish baroque painters, the Luminescent Limaçon, integrates equation-based geometry, material performance and sartorial fabrication techniques to produce unique diaphanous and volumetric lighting affects.

1. Dutch Ruff

The portraits by Flemish baroque painter Cornelis de Vos (1584-1651) and his contemporaries are renowned for their precise articulation and illumination of the flamboyant linen collars considered fashionable during this period. In relationship to performance and affect the Dutch Ruff is transformed into a vehicle for manipulating light. This occurs at two levels, both as an ephemeral reflective source and as a figural volume with a material presence. This dense accumulation of light is achieved through a combination of the chiaroscuro painting technique, which uses dramatic contrast of light to build volume, and by trapping light through a process of periodic folding that creates a deep translucent ruffle.

2. Equation-based Geometry

One of the advantages of a script-based, computational approach to design is that it enables geometric parameters to be defined with variables. The changeability of these flexible relationships allows quick, fluid, and iterative design evolution.

The global geometry of the Luminescent Limaçon is defined by the polar equation-based Limaçon curve. This roulette curve rolls at varying speeds to generate precisely choreographed self-similar profiles that are combined vertically to construct a number of volumetric formations.

At the local level, a similar roulette curve is plotted using the surface domain of the Limaçon variants. These produce profiles for folds that are nested diagonally and can be interconnected when they meet flush. Extension lengths of the folds alternate periodically to blur the profile of the global geometry and mimic the diffused lighting affects of the Dutch Ruff.

4. Sartorial Fabrication Techniques

All individually folded ruffles used to compose the Luminescent Limaçon are constructed as ruled, developable surfaces. Just as a tailor constructs and measures two-dimensional patterns on rolled fabric, pieces of the fixture can be unrolled flat and cut from planar material.

For fabrication and assembly, these surfaces are embedded with a number of parameters including placement of apertures for connection points, material thickness, tabbing and indexing. Each individual unrolled developable surface contains a unique and specific location and assembly instruction. This piece-specific DNA ensures a precise and accurate re-construction of the global equation-based Limaçon.

5. Integration

The Luminescent Limaçon is the product of an integral design process that combines computation, mathematics, material performance and fabrication. The process privileges neither of the predominant design approaches of bottom-up (internally driven) nor a top-down (deterministic). Instead, it is emblematic of an emerging design process of multiplicity, characterized by an intelligence that is motivated to generate difference through repetition in order to accommodate and respond to both intrinsic and extrinsic criteria simultaneously.

Z Corporation

As part of the exhibition, finalists in the competition were printed by Z Corp. In order to print, the developable surfaces were offset to thicken to the build tolerances. These surface overlap slightly so that the entire model is linked structurally in one build. The 3D print is one in a number of prototypes that have been developed for this project. The model will serve as three-dimensional reference for the exact geometry of the digital model and will guide future full-scale fabrications.

At this phase in the project, Saunders is pursuing multiple fabrication techniques to produce a version that involves less manual assembly (full-scale mock-ups require a lengthy and intricate assembly) in order to mass-produce the lamp at an affordable price point. One of the options being pursued is three-dimensional printing a working lamp in a variety of materials.

Design:
Andrew Saunders

Fabrication Research:
Andrew Saunders
Caressa Siu

Computational Geometry Research:
Andrew Saunders
Florian Frank

Equation-based Morphology Seminar Participants:
Florian Frank
Kate Lisi
Travis Lydon
Luca Tesio
Andrea Uras
Olesia Kruglov
Stefano Campisi
Alex Rohr

FLATCUT_Project Team:
Tomer Ben-Gal
Daniel Ramirez
Michael Licht
Francis Bitonti

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

'Create more' Photorealistic 3D Printed Models; Natural Color in Architecture

2011-11-09T07:30:00.004-05:00

This week’s blog comes from David Munson – http://www.munson3d.com/.

While the point at which an architectural project gets into photorealism is an ongoing debate for every design team, all projects do eventually. More engaged owners may request it at the onset or early in design development. At the very latest, when the building is being built, all want to see it realistically, in a reproducible medium in order to promote it. This was the case for the new Federal Courthouse in Jefferson City, Missouri with Kallmann, McKinnell and Wood as the lead designers, for which dozens of 4” diameter, 1:1000 scale 3D printed models were made.

Historically, color in 3D printing started out as a palette of primary colors for mechanical parts in engineering. When I started 3D printing in architecture five years ago, the quality was already well enough along to use for architectural finish models. Today it is simply a fantastic tool in reproducing natural color for physical model creation. At Munson3D we have produced scores of such models over the years. Below is our model of the Monastery of the Society of Saint John the Evangelist in Harvard Square, Cambridge.

Using 3dsMax Design we work with the same texture mapped model that we use for visualizations. Then we print small test pieces to nail down the final color definitions. Generally we build custom color palettes which are 3D printed to then pick what feels right. For solid colors we make coded bars which depict families of colors:

For texture mapped elements we do the same type of color bars representing textures of larger elements in the model. Each swatch has slightly different settings of hue, saturation and/or brightness:

This specific effort yielded a large, multiple pieced, 3/32” = 1' scale full color 3D printed model. Note that the glass is not monochromatic, just like in real life. One of the most common aesthetic errors made is to define glass as a solid blue color which gives an unnatural feel. Glass is reflective and therefore full of many colors and is perceived to be lighter towards the top than the bottom of a building.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create More Furniture Designs With 3D Printing – Lithocubus

2011-11-02T07:30:00.002-04:00

Today’s guest blog is from Wilson Peterson of Wedge Studio; Wilson is a practicing architect and teaches at the University of Arizona School of Architecture

Lithocubus is a seating device that was produced for the Acadia 2011design + fabrication competition, where it placed as a finalist in the furniture category. Lithocubus takes its inspiration and its name from the Radiolarians, a variety of plankton described by Ernst Haeckel, a zoologist from the University of Jena. In the 1860s and 70s Haeckel made scientific expeditions in the Mediterranean and to the Canary Islands during which he made precise drawings of the organisms he observed under his microscope.

Radiolarians are unicellular, but are divided into a membrane containing endoplasm and outer membranes containing ectoplasm. They have skeletons made of silica, that form by accretion between the bubble-like vesicles of ectoplasm surrounding the organism. In his book, On Growth and Form, D’Arcy Thompson described the minimal surface geometry apparent in the Radiolarians.

The structure of Lithocubus follows that of radiolarians. The aluminum frame of Lithocubus is defined by the interstices between adjacent bubbles. The resulting arched forms are rigid in compression. Affixed to this skeleton is an outer fabric membrane. The organization into a compressive frame and a tensile membrane follows the logic of large-scale tensile fabric structures. The membrane is a mesh fabric with an open weave, relatively transparent, to allow the internal frame to be seen.

As a seating device, Lithocubus can be placed on any of its six sides, affording three seating heights. The aluminum frame protrudes through the fabric to elevate it off the ground. The fabric supporting the body is held by tension rings at the corners and does not contact the frame. All faces of the aluminum frame are developable approximations of the synclastically curved forms derived from the minimal surface geometry of the bubbles. The fabric surface, a complexly-curved, tensile membrane, has a more fluid geometry.

Making a 3D print of the design presented a challenge: the design proposed a transparent fabric stretched over a rigid frame. If the fabric were printed as a surface, it would completely obscure the frame. I modeled the fabric as an open weave using Rhino Paneling tools. The model was printed on a ZPrinter 650 from Z Corporation. This allowed the frame and skin to be printed in contrasting colors all at once (no assembly), so the frame is visible through the skin. This was a much clearer expression of the design intent than would be possible with a monochrome print.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Tricks, Treats, and 3D Printing for Halloween

2011-10-26T07:30:00.002-04:00

This week’s guest blog is by Julie Reece, Z Corporation’s Director of Marketing Communications.

3D print of my face in honor of Halloween because it's a bit creepy.

Every Halloween, we like to have a little fun here at Z Corp. There’s nothing like tricks, treats, and, yes, 3D printed models created on a Z Corp. ZPrinter to add some zest to Halloween.

Since this blog is devoted to the architecture, engineering and construction (AEC) community, I thought that a pure white 3D printed model of a haunted house would do just the trick (pun intended).

Props to Z Corp. partner Russ Ogi of Rapid Technology LLC for this model. Enjoy!

Front

Back

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

3D Printed Model a Money Maker for New Stockholm Arena

2011-10-19T07:30:00.003-04:00

This week’s blog is from Julie Reece, Z Corporation’s Director of Marketing Communications.

I recently learned about how a Swedish creative studio, WE DO, 3D printed an incredibly detailed physical 3D model of an arena in Stockholm that is helping promote Stockholmsarenan until 2013, when the 30,000-seat sports and entertainment arena is expected to be completed.

What never ceases to amaze me is how every detail in the architects’ 3D digital model of the arena is precisely represented in the physical model, a cross-section that includes 7,400 highly detailed seats, each 4 mm wide. It simply could not have been created in any other way. This 1.2 meter x 1.2 meter model is so impressive, it’s the centerpiece of the Multimedia Information Center, which offers a multimedia experience of the project.

Patrik Lindberg, owner of WE DO, said, ‟Stockholmsarenan is a monument to world-class sports and entertainment, activities that can stir passion like few others. Until the arena is complete, this ZPrinted model is helping generate the excitement for the arena, helping the owner and operator rent the space, sell seat licenses, plan events and entice sponsors – in other words, make the business a success. The architect and prospective patrons are blown away by the piece.”

How the model was made
Lindberg describes how the model was created. ‟We chose to ZPrint this model on our ZPrinter® 450 because it creates a model faster, more affordably and more accurately than handcrafting. We worked toward a tight deadline and printed different sections of the model nonstop for two weeks. It would have taken us at least three times more time and money to make this by hand, and the result would have been far less detailed. In other words, ZPrinting made this project a success.”

It turns out that Lindberg is a trained industrial designer, and uses ZPrinting constantly to create product prototypes for design clients and models for architects. Although Stockholmsarenan was ZPrinted in classic architectural white, his clients are increasingly asking for color. ‟Companies are becoming enlightened on the possibilities for rapid prototyping. Color, in addition to speed and cost, are why we selected the ZPrinter.”

Additional information on Stockholmsarenan.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

'Create more' Nature, Design, and Fabrication with 3D Printing

2011-10-12T07:30:00.014-04:00

Today’s guest blog is from Daniela Bertol of space ink.

Geometry is present in the world of nature, at any scale. Almost every form found in our physical environment —waves, clouds, galaxies, cells, bird wings, leaves, seashells— follows geometrical configurations, either resembling the familiar shapes of our elementary school geometry or more complex fractals and recursions. The understanding of the geometric rules and forms underlying natural forms can hold lessons for the design of the manmade world, by capturing the structural efficiency of the form itself and leading to the proper choice of materials.

In my latest book, Form Geometry Structure From Nature to Design, I explored many familiar forms found in nature. I tried to understand the geometry behind each form and recreated it as a digital model from the algorithmic rules the form is based on.

Of the many shapes explored, I found the nautilus shell one of the most intriguing and valuable for design applications. The nautilus has a bone structure externalized in a shell, which is divided into chambers and delineated by septa. The nautilus grows and creates a new larger camera, where it moves its body and seals the previous smaller chamber with a septum. The shell shape is based on a logarithmic spiral, a geometrical configuration which remains unchanged at any scale of growth. Inspired by the nautilus for the design of a large span structure, I recreated a parametric associative model of the shell in Bentley GenerativeComponents. The design model followed the nautilus morphological characteristics: the septa represent the main structural system connected by a secondary system of ribs.

The digital model, although visually and formally complex, was fairly easy to generate thanks to the associative parametric software, which allowed many explorations to finally achieve the appropriate proportion and thickness of the structural ribs. Renderings of the nautilus models were chosen for the book cover, as one of the forms which best explains the main theme: how the geometry found in forms from nature can provide design models.

The publisher was also interested in including in the cover photos from a 3D printed physical model. The fabrication of the nautilus model resulted instead into a quite laborious process: the level of detail caused several 3D printers to fail in their fabrication effort. Finally the digital model file was sent to Z Corporation and successfully printed with the ZPrinter 650, which was able to produce a high level of detail.

Seeing and touching the 3D printed model of the nautilus represents a demonstration of the theme of the book and closes a loop from the physical to the digital world, as interpreted by a designer: from nature to geometry to design and finally back to objects.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create More Communication at the Construction Site with 3D Printing

2011-10-05T07:30:00.008-04:00

I recently returned from the Windy City -- although there was more rain last week than wind, but then again, Chicago’s nickname has nothing to do with the weather* -- where our ZPartner arranged a number of meetings for us with architects, engineers, and general contractors. While 3D printing is well understood by architects, and some engineers, as a valuable tool for innovation and communication, the construction community is just learning about the benefits of 3D printed physical models.

For example, the Construction Industry Institute (CII) has an annual conference. This past July, the event was held in Chicago, and the event organizers invited Z Corp. and our local ZPartner, MasterGraphics, to exhibit our ZPrinter and ZPrints as one of several ‘Breakthrough Technologies.’

During the 2-day event, I was surprised at the number of industry professionals who were not aware of 3D printing as an available technology. Most were seeing a ZPrinter for the first time and could not believe that such a tool existed outside of science fiction. Many were impressed with the models on display, and some went away thinking about how their firms could utilize 3D prints.

Two of these firms invited us in last week to talk about 3D printing applications for construction. We are seeing some firms in North America using color ZPrints for 4D construction to depict project timing sequences. In Japan, there are full-service AEC companies who routinely print 3D models with ZPrinter 650s. Other AEC firms print models to communicate complicated designs more clearly at the construction site, using standard color codes for concrete vs. steel vs. electrical vs. MEP systems. This can be more practical, and cost-effective, than gathering the contractors around a BIM model on a computer screen.

If you work for a general contractor, and your lead architect delivers an electronic model along with the CD set, have you considered printing 3D models? We would love to hear the pros and cons of this approach, and how it might reduce RFIs.

Gabriel Dadi, E.I.T. LEED AP, Graduate Assistant/PhD Candidate, Construction Engineering and Project Management, Department of Civil Engineering, University of Kentucky sent me this link summarizing the CII conference -

Breakthrough Technologies at the CII Annual Conference

*I highly recommend the historical novel The Devil in the White City by Erik Larsen for a fascinating read about the late 19th century design, engineering and construction of the World’s Fair “white city” coupled with the frantic search for a serial killer who preyed upon young women who were moving to Chicago to work at the Fair. You will learn about the first Ferris Wheel and the origin of the moniker “windy city.”

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Z Corporation 3D Printed Model of Historic Homestead to Be Featured on New Season of 'This Old House'

2011-09-28T07:30:00.004-04:00

This week's guest post is by Julie Reece, Z Corporation's Director of Marketing Communications.

This Old House, the beloved public TV series for home renovation enthusiasts, will use a highly detailed 3D printed architectural model from Z Corp. to communicate planned improvements to a historic Bedford, Mass., homestead once owned by a prominent Revolutionary War figure, Nathaniel Page. The model will be featured in the Oct. 6 and Oct. 13 episodes, and make other appearances during the 16-episode season (check local listings or www.thisoldhouse.com/tvschedule for dates and times in your area).

The 14-piece multicolor physical 3D model – 28 inches x 21 inches x 9 inches – can be assembled in two ways, depicting the Nathaniel Page Homestead before and after two additions and a thorough renovation. The model includes removable rooftops and second floor, and a fully detailed interior. See a movie of the house building.

ZPrinted model of home pre-construction

ZPrinted model of home post-construction

© May's Photography www.maysphotography.com

Dan Quaile, the architect for the This Old House Bedford Project said, “The 3D model powerfully communicates the architect's vision for the finished home before we pry off the first clapboard. The designers, contractors, viewers and homeowners get a much clearer image of the project than they could through 2D plans and conversation alone.”

This Old House plans to use more of Z Corp.'s models down the road, most immediately for their next project in Barrington, RI.

The Nathaniel Page Homestead belongs to Rebecca and Joe Titlow. Joe is Z Corp.’s vice president of product management and in one of the episodes explains to host Kevin O’Connor how 3D printing works. “It was a lot of fun to bring my work home with me this time. I was thrilled that the crew was able to use the model.”

Slideshow: http://www.thisoldhouse.com/toh/photos/0,,20496787,00.html

Project details: http://www.thisoldhouse.com/toh/tv/house-project/overview/0,,20496798,00.html

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create More Future Fossils with 3D Printing

2011-09-21T07:30:00.103-04:00

This week’s guest blog comes from Jenny E. Sabin, a Philadelphia-based architectural designer and artist, and professor of Design and Emerging Technologies in the Dept of Architecture at Cornell University.

The Greenhouse and Cabinet of Future Fossils 2011 was commissioned by the American Philosophical Society Museum, funded by Heritage Philadelphia Program, a program of The Pew Center for Arts & Heritage.

Through its dynamic material configuration, The Greenhouse & Cabinet of Future Fossils attempts to gather, digest, and disseminate information about nature while also incorporating cutting edge design and fabrication techniques to ultimately produce a greenhouse of the future.

The pavilion structure is populated with cold frame modules and futuristic ceramic and 3D printed curiosities, pre-fabricated and assembled in the Jefferson Garden, Philadelphia. Taking inspiration from the artifacts in the exhibition, Of Elephants and Roses: Encounters with French Natural History, 1790-1830, the Greenhouse encapsulates the open and dramatic spatial attributes of the outer-body in the field--defined as a 3-dimensional tapestry of organic and synthetic material layers--while simultaneously expressing the closed and steady gaze of the inner-body confined within the boundaries of the cabinet—geometrically materialized as a wall grid of cold frames and display vitrines.

Greenhouse & Cabinet of Future Fossils, view looking West, 2011, photo credit: Brent Wahl

Greenhouse & Cabinet of Future Fossils, view looking northeast, 2011, photo credit: Meagan Whetstone

ASSEMBLY

The entire structure is pre-fabricated locally in Philadelphia and assembled on site. The primary rib system consists of CNC cut recyclable plastic ‘plywood’ parts and 100% recycled plastic lumber board sections serve as a cross-bracing system. The ribs and cross bracing are bolted into place for easy assembly and disassembly. The 2’ x 1’ x 1’ cold frame boxes clip into the rib structure. Each cold frame module features a colorful acrylic plastic lid. The structure is populated with live vines and each cold frame houses a variety of plants and soil. The Cabinet of Future Fossils is constructed from the same rib and cross-bracing system. Display modules with sealed polycarbonate sides clip into the rib system and contain ZCorp. 3D prints and cast porcelain forms generated from 3D printed positives.

Greenhouse & Cabinet of Future Fossils, cross rib assembly, 2011, photo credit: Jenny E. Sabin

Greenhouse & Cabinet of Future Fossils, material systems, detail, 2011, photo credit: Meagan Whetstone

The interior gallery or wall grid within the structure houses the Cabinet of Future Fossils, a modular system holding newly fabricated 3D printed and ceramic artifacts inspired by nature, complexity and generative design processes. Importantly, the ceramic forms made of porcelain clay, make references to the French porcelain objects displayed in the exhibition. Each Future Fossil is either 3D printed or cast from a plaster mold generated from an original 3D print.

The Cabinet of Future Fossils, 3D prints and Cast Ceramic Forms, 2011, photo credits: Jenny E. Sabin; Printing provided by Z Corp.

The production of ceramic form includes three distinct phases: greenware, bisque firing, and glaze firing. Greenware is the initial state of the clay form before firing. It is during this phase, that the clay may be manipulated through hand forming, throwing, casting, and now 3D printing. The actual clay modules in this project were cast from 3D printed positives made of zp150 advanced composite material. Slip casting requires liquid clay or what is commonly called ‘slip.’ Initial studies incorporate high-fire white clay for its translucency and for ease in casting. Slip casting affords rapid production of multiple parts, but with limited variation. Complexity and variation of each part is governed by the mold and the initial 3D print. In this project 2 and 3-part plaster molds were made of each 3D printed part. Slip is then poured into the mold. Once it is set, the part is released and is ready for firing.

FACTS

The Greenhouse

Designer and Artist: Jenny E. Sabin

Consulting Engineer: Tristan Simmonds

Fabricator: Mikael Avery, Draft Works LLC

Design and Production Team: Mikael Avery, James Fleet Hower, Jason Jackson, Anooshey Rahim, Kathryn Rufe, Meagan Whetstone

Dimensions

Overall = 52’(l) x 14’(w) x 12’(h)

Cabinet structure = 20’(l) x 2’(w) x 4.5’(h)

Materials

CNC cut recyclable high density polyethylene sheets

Recycled plastic ‘lumber’ board
CNC cut polycarbonate
Laser-Cut acrylic sheets
Stainless Steel hardware
Live vines: “mooneye” – small black-eyed Susan Blossom, White and Lavender Clematis, Scarlett Runner Beans
Nylon cables

Cabinet of Future Fossils

Designer and Artist: Jenny E. Sabin

3D printing sponsorship provided by Z Corporation

Materials

Cast Porcelain Ceramic forms from Z Corp. 3D printed positives

3D printed forms in Z Corp. zp150 advanced composite material
Plaster
Porcelain slip
Glaze

For additional information on this exhibit, please visit:

http://www.apsmuseum.org/greenhouse/

http://www.newsworks.org/index.php?option=com_flexicontent&view=items&id=26109:greenhouse-of-the-future-on-display-now-in-philly

http://www.zcorp.com/

Create more stronger, colorful 3D printed models

2011-09-14T07:30:00.001-04:00

Today’s guest blog comes from Charles Overy of LGM Model in Colorado

The start of the academic year is, for me, a benchmark for how fast things change. I just sent my youngest kid off to kindergarten, and walking back from the school is one of those moments when you try to get perspective. At LGM we have been 3D printing architectural models since 1999, and we bought our first of 5 Z Corporation machines in 2001. Pushing the analogy this makes us high schoolers in the 3D printing community. When I look at 3D printing, and particularly the applications to Architecture, there is always a great deal of discussion about this machine or that machine. However the underlying technologies by which parts are built up have not changed that much. What have really changed recently are the materials.

I stopped by the Z Corporation booth at the SME RAPID show this year and immediately latched on to some benchmark models. Many of these were run from the same files that I had seen for years. What caught my eye this time were the materials that made colors jump, fine features finer, and edges crisper. My local rep had actually been trying to get us to move to the new zp150 powder for a while but, like most high schoolers, I thought I knew it all. I was sure we did not need to invest the time and effort into re-evaluating materials. We had become used to making primarily monochrome models, and we are good at running our bank of printers with efficiency and high yields. I got back from the show, ordered a pail of zp150 material, and got our team to run some benchmarks of our own. That quickly gave us the confidence to sell color when the call came a few weeks later for a particularly challenging job.

For the Aspen Burlingame model the designer, Oz Architecture, needed to show a proposed housing development.

Great -- that is what we do and do well.

Then there was the “but...”

The plans would require 54 buildings

On a 4' x 8' base

With trees

And grass

On a steep site

With a river

And ponds

In 3 weeks for a sales launch

And most of the buildings needed to be in COLOR.

(And did we mention that the plans aren't quite done yet and we have a tight budget.)

In the past I would have said that it could only be done in monochrome, but I stalled and we ran a test. The geometry was in Autodesk’s Revit which provides great geometry for 3D printing and which we are good at processing . For the quick test we ran one side in monochrome:

and one side in color:

The client signed off on the color.

We spent a week preparing the surface mesh for the site and revising the color scheme with Oz. We 3D printed a sample board for final approval and the approved colors (row C) were the ones sampled directly from the PDF screen colors.

In other words, the on screen to final 3d print color is very close; something that eludes many 2D print processes! It is also something that could not have happened two years ago and saved hours, if not days, of time.

After we had a composited digital model that included the terrain and buildings, CNC Machining of the terrain and 3D printing ran in parallel, almost. With our three ZPrinters the buildings took one night to run and ½ a day to post process. Machining took longer, but to be fair the terrain had to be machined from 48” x 96 “x 18” stock.

Assembly took place over 5 days actually ending on Friday. The model was delivered on Monday. No weekend work!

The customer was thrilled. Many thanks to the new zp150 material!

3D printing is a tremendously successful technology for architectural modeling. We use it every day and have provided thousands of models to clients including Fentress, Gensler and HOK, as well as regional and local firms. It provides the ability to rapidly demonstrate design intent and provides the opportunity to communicate with clarity and detail. Please feel free to contact us at LGM if we can be of any assistance as you explore 3D printing for your next project.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create More Lasting Memories with 3D Printing

2011-09-07T07:30:00.021-04:00

With the 10th anniversary of 9/11 upon us this weekend, let’s take a moment to pay tribute to the heroic work and sacrifice of the New York Fire Department and many, many others on that tragic day. It’s hard to believe that ten years have passed since that cool sunny Tuesday. Everybody remembers where they were that morning – I was at my local bank, and wondering why the tellers had the television on. The kids were sent home from school early that day, and we had to explain what was happening. I was shocked to find out later that one of my college buddies was on AA flight 11. All of us were touched in some way by 9/11.

To memorialize the event, a Boston-based architectural visualization firm, Munson3D, created a ‘Triptych’ which depicts lower Manhattan before 9/11, just after, and 10+ years later.

WTC Triptych printed on Z Corp ZPrinter 650

Using a variety of data sources, Munson created 3D virtual models and then printed the physical models on a ZPrinter 650 to capture fine details and realistic colors. The WTC Triptych is on display now at the New York City Fire Museum at 278 Spring Street in SoHo, Manhattan.

Damon Campagna, director of the NYC Fire Museum tells us, “It’s an amazing tool that helps visitors grasp the enormity of the event and expresses the scale of the ongoing WTC reconstruction. Everyone is in awe of the way the incredible amount of detail and accuracy of the models depicts the site through its original form, devastation and rebirth.”

WTC Triptych exhibit area in the NYC Fire Museum

More information: New York City Fire Museum Showcases Highly Detailed Ground Zero Model, Created with Z Corporation 3D Printer: ‘WTC Triptych’ Documents the Cityscape Before, Shortly After the 9/11 Attack, and Rebuilt, All in Astonishing 3D Printed Detail.

David is also documenting the project in text, video and images on his microsite: http://www.munson3d.com/wtc.html.

Where were you and what were you doing on that fateful day?

Create More Client Enthusiasm with 3D Printing

2011-08-31T07:30:00.001-04:00

Andrew Chary Architect, P.L.L.C. is a seven person residential design firm in upstate NY. As their website states, "(We) strive to create 'Heirloom Architecture.'" This timeless approach to design produces superior built environments that hold the capacity to be cherished by patrons and family for countless generations.

As Andrew Chary describes it …“We enrich our clients’ lives through immersion in the design process, and nothing works better for immersion than a 3D physical model. We first saw a ZPrinter at a trade show in 2007, and we were so impressed that we bought one within weeks. I quickly figured out that I could transform my business process to use ZPrints in many different ways to communicate and inspire my clients.”

Multi-piece large home ZPrinted model, with Andrew Chary Architect, Lake Placid printed on top of driveway.

Andrew continues … “We practice architecture to have very personalized projects built and enjoyed. With ZPrints, we have been able to get quicker approvals of details.”

Realization of Details with screen shot and close up of ZPrint on boat house corner column.

"The ZPrinter has enhanced our credibility as gifted artist architects, and has made us the “go-to” firm in our region for winning difficult municipal applications."

Lake house and boat house.

For Andrew Chary Architects, it’s all about leveraging 3D printing for design inspiration and client enthusiasm. For a more comprehensive view of Andrew Chary’s design process, view the webcast: How Andrew Chary Architect Leverages 3D Printing for Smarter, Competitive Design

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create More: Design Detail with 3D Printing

2011-08-24T07:30:00.010-04:00

Pelli Clarke Pelli Architects (PCPA) of New Haven, CT, has a strong culture of model making. In the words of Wesley Wright, designer and director of digital fabrication at PCPA, “Model making is a given in our design process. We make. We make models to communicate.”

PCPA owns several different model making tools and chooses the appropriate tool for the job at hand. Most of their early concept models are created with Z Corp printers. They used an older generation Spectrum Z510 for several years, and recently installed the newer generation ZPrinter 650 which has become their workhorse for in-house model production.

For a recent conceptual design study, PCPA printed a highly detailed (and extremely thin) canopy model using zp150 composite build material on the ZPrinter 650.

This type of intricate organic model would be difficult to impossible to build with other construction tools. And, the beauty is that the model was printed in 3.5 hours using only 8.7 cubic inches of materials (approx $35 material cost).

Here is a view showing the canopy in context with the rest of the building massing model.

You can see from the plan view below how fine the features can be printed. The thinnest sections (really the entire print) measure only 0.6 mm (0.025 in) thick.

For PCPA, it’s all about creating more design iterations to refine their designs and communicate more clearly. View this free online Webcast for a more comprehensive view of PCPA’s design process.

Creativity and Constraints

2011-08-17T07:15:00.000-04:00

This week's guest blog is from Scott Harmon, Z Corp VP of Business Development.

Creativity and Constraints.

These two go together like oil and water, or here in Boston, Yankees and Red Sox. They are the great paradox of design and engineering. Constantly at war with each other. Battling for supremacy. When constraints win out, designs and products are dull and uninspiring. When creativity wins out, designs and the final products are novel and catch the notice of customers, but budgets are wrecked, timelines are blown and no one seems to notice.

Inside this conflict is where innovation lives. Innovation is when companies deliver products that exceed customer expectations, and do it on time and under budget. Failure on either attribute is still failure.

So the question is, how do you wrestle these two beasts to the ground? How do you deliver a design and final product that your customer wants, and do it faster and less expensively than ever before? It shouldn’t come as a big shock that a 3D printer company would say “prototype more,” and we do. But the new frontier of prototyping is less about completing the job faster at less cost, and more about creativity. How do you make sure that the final product that you are delivering is the product your customer wants?

The answer is obvious, but relatively few companies actually do it. How about showing your customer the product long before it’s a product? How about creating with them?

When I was a product manager, I was always frustrated by how we showed new product ideas to consumers. We would brainstorm some ideas and have an artist draw them up on a sheet of paper. The images would have explanations for various features and such. Then we would show it to groups of consumers and discuss it. I’m sure you have all been there. It was maddening. You’d get really helpful feedback like “That’s not possible.” or “Would it come in yellow?” The boss was not happy to see the bill for a focus group with those kinds of results.

These days you can put a physical prototype in front of the focus group for less than the cost of the focus group. You can get a real response from your customers about what works for them and what does not from a prototype with the color and feel of an actual product. If you want to make sure you customers love your products, give them the product long before it is actually a product.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Create more…innovation: MIT School of Architecture and Planning Completed research on Palladio’s Unfinished Villas

2011-08-10T07:30:00.005-04:00

In his blog on July 20th, Z Corp. CEO, John Kawola outlined Z Corp.'s "Create more" vision for continuous innovation. Our next few blogs, by Julie Reece, highlighted real examples of our how customers are creating more with 3D printing.

The Massachusetts Institute of Technology (MIT) is an independent, privately endowed educational institution committed to teaching and research. MIT is world renowned, with eight Nobel Prize winners on its faculty, and comprises five schools and one college encompassing 34 academic departments, divisions, and degree granting programs, as well as numerous interdisciplinary centers, laboratories, and programs whose work cuts across traditional departmental boundaries. The Department of Architecture, within the School of Architecture and Planning is the oldest architecture department in the United States. The department offers degree programs in Architectural Design, Building Technology, Computation, History, Theory and Criticism, and Visual Arts.

Challenge: Accelerating Architectural Model Development
The Department of Architecture at MIT is the oldest and one of the most highly respected architectural programs in the United States. For years, faculty and students employed manual modeling techniques, using a variety of materials ranging from paper and cardboard to foam board and plastic, to create scaled, architectural models. However, manual modeling carries drawbacks that from a practical standpoint limit its actual use in architectural courses and MIT-related research projects, according to Lawrence Sass, assistant professor in MIT’s Department of Architecture.

“Models are important for visualizing, imprinting, and sharing architectural ideas and concepts,” Sass says. “But manual modeling takes too much time; requires manual skills and a level of craftsmanship not directly related to architectural ability; and cannot adequately represent complex buildings or ornate architectural features.”

Sass speaks from personal experience. As a Ph.D. student at MIT in the late 1990s, he undertook as a research project the completion of Palladio’s Italian Villas. Andrea Palladio, who is revered today as the greatest architect who ever lived, revolutionized Western architecture in the 16th century by authoring definitive texts that remain valid today. The principles Palladio set forth are evidenced in the 40 villas he designed for rich, powerful nobles in the Veneto area of Italy, which surrounds the island city of Venice. While Palladio designed floor plans for all 40 villas, only 19 were actually built.

When Sass set out to construct models of Palladio’s unfinished villas, he discovered that the ornate columns, cornices, and moldings were difficult to model by hand, especially within the time allotted for his project. Sass suggested that MIT purchase a rapid prototyping system that could produce the model components needed to complete his research on Palladio’s villas, support future architectural researchers, and enhance the school’s educational experience by accelerating the development of architectural models.

Solution: Z Corp. 3D Printer Produces Fast, Clean Architectural Components
The requirements for a rapid fabrication system devoted solely to the production of components for architectural models are similar to the criteria for machines used to prototype consumer and industrial products. The system had to be fast, so that many students and educators could access it; had to produce complex geometries, to represent ornate architectural features; had to produce clean models, without internal support systems or breakaway parts; and had to operate in a classroom setting, without the need for specialized laboratories and/or operators. These selection criteria narrowed the choice down to a 3D Printer, and MIT did not have to look far to find the system best suited to its needs.

Sass and his department advisors at MIT chose a Z Corporation 3D printer to meet its architectural modeling needs because it was the fastest 3D printer available, produced clean models with no internal support structures, produced models with complex shapes, could be operated in the classroom, and utilized technology first developed at MIT. “As a Ph.D. student, I saw the benefits of using a 3D printer to produce architectural models to complete my Palladio project,” Sass recalls. “As a future member of the faculty, I saw even greater benefits for using the Z Corp. 3D printer to improve the educational experience of students.”

After successfully completing his Ph.D. dissertation with the help of the Z Corp. models of Palladio’s unfinished villas, Sass later joined the faculty of the Department of Architecture and began thinking about ways for students to use the 3D printer in an actual course. Because the 3D printer handled the complex geometries involved with the Palladio’s work well, Sass realized it was more than sufficient for producing more modern architectural concepts. The graduate-level “Advanced Course in Digital Fabrication” that Sass developed in 2002 was the first architectural course of its kind. Its purpose is to teach students about how to apply rapid prototyping techniques to architectural design. During the course, students collaborate within design teams to produce a skyscraper or tower design as both a digital model, using solid modeling software, and an actual physical model, using the Z Corp. 3D printer.

“We want our architectural students to stretch the limits of their creativity, which usually results in complex geometrical shapes that you simply cannot build with your bare hands,” Sass explains.

Results: Cutting-edge Course in Architectural Design, Ties with Top Firms
By installing the Z Corp. 3D printer, MIT’s Department of Architecture not only helped Sass to complete his research by constructing accurate, scaled models of Palladio’s unfinished villas but also to implement a cutting-edge architectural course in digital fabrication that has garnered the notice of leading architectural firms. “The class has been a huge success,” Sass stresses. “The students enjoy the collaboration process, learn a lot, and establish contacts that can help them build professional careers.”

Students in the heavily over-subscribed course had the opportunity to present their tower models to representatives of the Computer Modeling Group at Norman Foster and Partners, a leading architectural firm based in the United Kingdom, during a class trip to London. Another top firm — New York-based Kohn Pederson Fox Associates — is already working to apply some of the concepts developed in the class by incorporating aspects of building prototyping into their professional practice.

“From the time of Michelangelo up through the current day, architects have always used models to represent important buildings. The Z Corp. 3D Printer enables us to create clean models and components quickly and easily and allows us to expose the architects of tomorrow to cutting-edge modeling and fabricating technology,” Sass says.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Check out the viral 3D printing YouTube video!

Create more…communication: Multicolor 3D Printer a ‘Bargain’ for OBM International

2011-08-03T07:30:00.004-04:00

In his blog on July 20th, Z Corp. CEO, John Kawola outlined Z Corp.'s "Create more" vision for continuous innovation. Our next few blogs, by Julie Reece, will highlight real examples of our how customers are creating more with 3D printing.

Clients hire OBM International (OBMI) to think in three dimensions. The world-class architectural firm demonstrates its prowess in this skill every day by designing luxury hotels, resorts and mixed-use developments around the world.

The creations speak eloquently for themselves. When designs are still in the concept stage, however, OBMI conveys the impact of its ideas through 3D printing.

Before turning to 3D printing, the 72-year-old firm, headquartered in Coral Gables, Fla., USA, presented project concepts to clients by creating vivid, two-dimensional photorealistic renderings or computer animations. In its early years, the firm used traditional 2D plans, sketches or the occasional handcrafted model.

Challenge: True Client Understanding
Although these approaches were effective, the third dimension, depth, was sorely missed. Two-dimensional renderings failed to accurately convey a sense of space, mass or scale, nor any clear line between landscaping and building. Wide angle and telescoped perspectives altered shapes. Still images and animated fly-throughs told the observer where he must look rather than giving him the freedom to walk around the model and look where he pleased.

“Two-dimensional renderings can be deceiving,” says Robin Lockhart, Associate and Senior Production Manager for OBMI. “They’re simply not quite ‘there’ for the lay person.”

Handcrafted models, on the other hand, are laborious, time consuming, expensive, and less accurate than 3D printed models. The rare laser cut model could cost OBMI upwards of $100,000 – more than the cost of two or three 3D printers – and take months or more to arrive.

OBMI had monitored the development of 3D printing for several years from afar, but for most of that time the equipment was out of reach due to its high costs.

OBMI’s CEO, Doug Kulig, noticed that 3D printers were reaching a tipping point in their market. Costs were plummeting and printer capabilities were soaring. Assigned to study the 3D printing options, Lockhart performed an extensive investigation of 3D printers from three vendors. “Z Corporation had the best combination of quality, color capability, footprint and office friendliness, ”Lockhart says. “Moreover, we distributed 3D files to prospective vendors, and Z Corporation was the only one that could print us a sample model.”

Z Corporation 3D printers are the fastest 3D printers and the only ones capable of printing in multiple colors – two layers per minute in 24-bit color at 600 x 540 dpi resolution. Other 3D printers billing themselves as color capable are in fact monochrome machines that can print only one color at a time. Another vendor’s expensive offering had intrigued Lockhart until he realized OBMI would have to build a “science lab” to house it. The ZPrinter consumes far less space (42 x 31 x 50 inches), without the odors, noise, and caustic chemicals of other technologies. “We feel great about the choice we made,” Lockhart says today.

Strategy: “3D Printing” Architectural Models
OBMI architects perform their 3D design work in Google SketchUp CAD software. They use the ZPrinter’s multicolor capabilities for landscaping, topography, streets and other surrounding features, and then set off the designed buildings or interior in white, the architect’s traditional choice. This combination provides visually stunning models that are also easy to comprehend by all parties.

In house, OBMI uses 3D printed models for design critique and assessment. Lockhart anticipates the practice will yield increasingly superior designs and service.

Results: Clients Are Impressed, and “They Get It”
“‘Wow!’ That’s the usual response to the models,” reports Lockhart. “Someone inevitably asks, ‘how the heck did you do that?’ Clients are fascinated with the model and impressed with us for presenting it. The mood of the meeting brightens. Their choice in architects is affirmed. Before we’re done, clients usually order more models for marketing their hotels and resorts.”

As fun as it is to impress, the models also inform. “We now have a new way to communicate to clients in a form they can deeply comprehend,” Lockhart says. “The spatial element really comes through. You can’t really know a building from a flat screen any more than you can drive a car by watching a Formula 1 race. And there’s something about walking around a site, even a scale model, that reveals the truth of the proposal. Clients crouch down to see it at eye level. They can touch it. They can peer down a hall. This transparent communication produces informed decisions, eliminates costly redesigns and increases client satisfaction. 3D printing has proved to be the ‘Jewel in the Crown’ of our architectural presentations.”

“Both in house and with clients, 3D printing has brought that missing dimension to our daily practice fairly easily,” Lockhart adds. “We now have the best machine to suit our needs, all the options, at an affordable price. The many and varied benefits of 3D printing make the machine a bargain.”

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Check out the viral YouTube 3D printing video!

Create More...Ideas: Oversized Architectural 3D Prints

2011-07-27T07:30:00.002-04:00

In last week's blog by Z Corp. CEO, John Kawola, he outlined Z Corp.'s "Create more" vision for continuous innovation. Our next few blogs will highlight real examples of our how customers are creating more with 3D printing. Today’s guest blog and customer example comes from David Munson of Munson3D.

There is an inevitable conflict that arises from time to time when creating architectural models. We typically work out a desired scale and model extents to get a final model size. The scale is driven by the level of detail desired. The extents may include contextual buildings beyond the property line needed to tell the story of its design.

When the size of the model is beyond the machine's build chamber, some division of the model is in order. For many models this can be accomplished in Z-Edit Pro. Users of Revit and/or 3ds Max Design may prefer creating 3D printer files in their native programs. For complicated 3D splitting, which may be needed to hide seams in more sophisticated model designs, I believe that Max Design is the way to go.

In Revit, Section Boxes work really well. They break the model into geometrically clean sections quickly and easily. However, they are limited to boxes, so more complicated divisions are not supported. But if one is dividing into simple rectangular pieces, using Revit is much easier than using Max Design where one may need to invoke the dreaded Boolean command.

For a more complicated scenario let me take you through a New York City School project I recently completed. Working from the Max Design model used to create the renderings, we settled on the scale and model extents. Note that we are making a traditionally large architectural model using 3D printing techniques along with some traditional made elements.

Next, the Max Design model is divided into .02” thick slice planes. The model goes through a phase of designing for 3D printing. Even the elements that are not going to be 3D printed should be modeled. Then you can communicate with your client the model design with visual precision before physical production starts and have templates for the hand or laser cutting of foam core, plastic, etc. along with the precise files for 3D printing which will fit together like a sophisticated, custom architectural puzzle. .

For this model I printed about 20 parts. It is more important to slice where you can hide the seams than to fill out a build chamber. The sidewalk in the front is on an incline and has curb cuts, etc. so I decided to 3D print it. I made a notch on the building facade where the sidewalk connects so this was a complex 3D connection. Thanks to the precision of 3D printing, it came out great!

Fitting them all together, even the non-3D printed parts, was made easy by computer modeling all the pieces first. The facades are 0.1” thick with a structural grid behind them to prevent warping.

Even the cars and people were 3D printed!

The texture mapping created for the renderings is actually printed in the final, physical model!

For examples of how AEC customers create more with 3D printing, visit: http://www.zcorp.com/en/Company/Customers/Case-Studies/spage.aspx#AEC
and
http://www.zcorp.com/en/forward/events.aspx?c=15

See the now famous viral 3D printing YouTube video

Create more: Z Corporation's Vision for Continuous Innovation

2011-07-20T07:30:00.004-04:00

Today's guest blog is from John Kawola, CEO, Z Corporation.

Some people punch the clock. Others live to make a mark.

If you get out of bed in the morning to push the boundaries of the possible, Z Corporation can help you get there. We exist because you are an inspired designer or engineer who wants to create more. More ideas, more communication and more innovation.

We believe that invention is exhilarating. You discover ideas in your imagination, the natural world or the built world. You transform ideas into digital concepts. Then you push astonishing creations into the physical world where they make a difference.

Sometimes, however, business constraints hold you back. Like limited time and budgets; the complex dynamics of working with colleagues and external partners; and the technical limitations of design tools.

That’s where we come in. We exist not to get around those realities, but to help you use them to your advantage.

We believe that innovation should drive every phase of design, from concept through data capture, sketching, modeling, detail design, analysis, manufacturing and inspection. We make that possible with 3D printing and 3D scanning solutions for high-volume, low-cost use by virtually anyone, so that you can innovate early and often throughout the design process.

And that puts you in a powerful position to synch your goals with those of your organization. You’ll explore more ideas while saving money. You’ll present iterations in a way that encourages group development. You’ll inspire prospective customers. You’ll get the green light to make your designs real. And you’ll see your designs succeed in the marketplace.

Like you, we live to stretch the boundaries of what is possible. We work with the most productive designers and engineers to create solutions that streamline manufacturing, and we lead the way in emerging applications in architecture, education, entertainment, healthcare, art, historic preservation and geographic information systems. No other vendor enables so many applications.

Within each industry, we’re bringing the value of our solutions to the entire organization. We enable management teams to drive investments; marketing teams to generate demand; sales teams to secure orders; and teachers to develop the innovators of tomorrow.

More ideas.

More communication.

More innovation.

Z Corporation. Create more.

Read our complete Vision Paper.

Revit Technology Conference - Redux

2011-07-13T07:00:00.001-04:00

The Revit Technology Conference (RTC) held its inaugural event in North America at the Hyatt Huntington Beach, California on June 23 - 25, 2011.

Z Corporation was represented by one of its authorized channel partners in Southern California, 3D Rapid Prototyping, Inc. (3DRP). 3DRP, a sponsor for RTC, brought their ZPrinter 450 demo system and interacted with the Revit users throughout the 3-day event.

“Bill Craig and his team from 3D Rapid Prototyping were terrific!” said Phil Read, the lead organizer for RTC North America. “3DRP took the time to explain 3D printing technology to the Revit users, whether or not there was a sales opportunity – their collective knowledge of the ZPrinter technology for AEC applications was impressive.”

At the show, 3DRP printed some Revit models from files that random attendees had given them.

The image below shows a ZPrint of a home designed in Revit:

The elephant and cow below were designed in Revit to show that it is possible to do complex shapes. The designer was Marcello Sgambelluri of John Martin Assoc.

Many thanks to our friends at 3DRP for sponsoring the RTC event and educating the Revit users about ZPrinting.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

The Fun, Innovative 3D Printing Company

2011-07-06T07:30:00.003-04:00

Today’s guest blog is by Julie Reece, Z Corp’s Director of Marketing Communications.

I generally prefer to purchase products from companies whose employees really, I mean REALLY, love what they do. They’re passionate about their designs. The lines between their work day and home lives are blurred because what they do for work is also their hobby. They’re fun, creative and brilliant. Because of these attributes, they produce better designs. You know the types of companies I’m talking about…Google, Apple, Foster+Partners, Converse, Cisco, and yes, Z Corporation.

This summer, each Z Corp department is taking turns hosting a themed lunch of their own choosing for the rest of the company. Last Thursday it was our executive team’s turn. They hosted a Casino event in our first floor café and outside on our lawn under the watchful eye of our company mascot, a pink flamingo named Zeke.

Maybe it was partly because our home team heroes, the Boston Bruins ice hockey team, had just won the coveted Stanley Cup, or maybe it was because it was a gorgeous summer day, or perhaps it was the offer of great prizes from several of our customers that the air was electric. My colleagues yelled with glee as their buckets of fake money filled.

I was the designated photographer for the event, and was able to step back and get a different perspective than my colleagues. Through my lens, I saw a Z Corp vice president in a tuxedo jacket, Bermuda shorts and flip flops.

I saw our CEO, John Kawola, manning the roulette table and good naturedly chiding players for taking too long to place their bets.

I saw employees from all departments and all levels playing together, talking, laughing and building team and company spirit.

But, I think the thing that struck me most was when I finally noticed that the poker chips we were using were actually 3D printed in-house at Z Corp on a ZPrinter. Take a look at the photos below. How cool is that?! There were hundreds of them being thrown in buckets and on tables.

Oh, and the Bruins? Well, we didn’t forget about them either. One of our application engineers who lives, eats, and breathes the Boston Bruins quickly created this 3D print that morning, in time to display it during our Casino celebration.

This is the type of creative, passionate, innovative company I like to do business with, and I’m happy to say, lucky enough to work for.

New 3D Printing in AEC Mini-Webcast Series:
Part I: The Client Meeting
Part II: Building Team Collaboration

http://www.zcorp.com/

How Do You Teach Innovation?

2011-06-29T07:30:00.001-04:00

Today's guest post is from Scott Harmon, Z Corp's Vice President of Business Development.

An earlier blog asking the question, “Can you teach innovation?” received a large number of responses on this and many LinkedIn forums. Many of them quite interesting. Generally, responses were quite diverse with much of the discussion paralleling the more general debate about human behavior summed up as ‘nature vs. nurture,’ or as Curt Moreno mentioned, ‘entity vs. incremental.’

One of the interesting things about teaching innovation is that innovation is hardly a single skill. In responding to the previous post, Emmanuel Garcia made the distinction between ingenuity / creativity and implementation. Paul Jordan reminded readers about the importance of gumption. Surely, Edison would have agreed mightily with the role of gumption. Innovation is clearly all of these things and more.

My personal belief is that some people possess more or less of the various capabilities required to be great innovators. However, I also believe pretty strongly that these innate capabilities can be improved with practice. Interestingly, most of the respondents to the last posting felt like current primary and secondary schools weren’t doing a terribly good job of teaching these skills. (Interesting article here on that subject.). A few respondents mentioned various resources and books on the subject.

That got me thinking. I’d personally love to know more about how people teach and learn the skills required to be great innovators. I’m not so interested in the curriculum. Curriculum is important, and it’s almost certainly part of the problem. I’m more interested in your experiences. How did you learn to innovate? If you’re a teacher, what do you find most effective for teaching kids to innovate?

I’ll share a quick story. I was an electrical engineer in college and was pretty good at math and science my whole life. I took an introduction to electrical engineering course as a sophomore, and I remember explicitly one of the early tests. I don’t remember the exact question, but I do remember being 100% convinced that it was unsolvable. It had no answer that could be derived from the formulas and methods we had been taught. I approached the professor, with an air of indignation, thinking the question must be wrong. He just smiled and said, “Some questions don’t have an answer,” obviously recognizing that is just the beginning, but it’s an important one.

So what are your favorite stories about learning innovation? Are there any resources you have found to be especially valuable?

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Make the World a Better Place

2011-06-22T07:30:00.001-04:00

Today’s guest blog comes from Matt Sederberg, CEO of T-Splines, Inc.

I'd like to thank Z Corporation for sponsoring our 2011 T-Splines design contest, "Make the world a better place," where we are giving away over 100 prizes, including CAD software, iPads, and 3D prints.

If you haven't heard of T-Splines, it's a plug-in that provides a new, easier way to make organic surfaces for manufacturing/building in Rhino and SolidWorks. Where T-Splines really shines is how fast it lets you make changes - the entire model can be one unified surface, so by pushing and pulling you can explore many design iterations. Watch this video to learn more.

The 2011 T-Splines contest has five categories: architecture, transit, jewelry, consumer products, and miscellaneous.

The architecture category comes with a special offer: Z Corp will ship 3D prints of your model to you during the contest so you can see your design evolve in real life! What a cool opportunity! You'll need to get moving quickly, though - to be eligible for the Z Corp prints during the contest you need to be registered for the contest and submit your first design by July 5. Judges will determine the top designs eligible for 3D printing.

I look forward to seeing your contest entries. Here are a few images of 3D prints from last year’s contest.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Are 2D Product Comparison Grids Useful for 3D Printers?

2011-06-15T07:30:00.007-04:00

This week’s guest blog is by Julie Reece, Z Corp’s Director of Marketing Communications.

I am not a fan of product comparison grids. I understand that in theory they are meant to make it easy for purchase decision makers to compare competitive products and services in what their authors proclaim to be fair comparisons. You know the kind I’m talking about…they provide a short list of capabilities or criteria down the left column of the grid and various competitive products/services across the top row, and use check marks or some other type of indicator within each box to indicate whether or not that product or vendor offers each listed capability. They’re everywhere – across industries and markets. I remember first seeing such a grid early in my career at a very large software development company, and even used them myself at the time in my marketing role at that company. I haven’t used one since. Recently I've seen product comparison grids crop up from reputable, third-party industry organizations and manufacturers in the 3D printing space.

So, why am I so anti-grid? Yes, I’ll admit they bring back vivid memories of my less-than-stellar performance studying charts in high school math class. But more importantly, the validity of the picture grids intend to paint is guided solely by their authors and therefore they inherently come with the author’s bias or, at the very least, assumptions about which criteria is important to include and exclude. And, grids don’t enable product evaluators to assign an importance weight or score to different purchase criteria given differing sets of needs.

For example, if the author comes from one of the competing companies included in the grid, he/she is going to list the criteria where they feel they ‘win’ and conveniently omit criteria where competitors win. Even worse, a chart I saw recently from another 3D printing company contained false information. But if it’s on a chart, it’s true, right? Not necessarily.

You might say, sometimes highly knowledgeable, objective and well-meaning third parties develop product comparison grids. But do they always know all of the important criteria and capabilities to include? One of the industry grids I saw did not include all of our relevant products for the topic, resulting in a slanted picture of the available product offerings. Another grid omitted a few key criteria that purchase decision makers in our industry consider.

Even if the industry-savvy authors include a complete list of evaluation criteria in their grids, how can purchase decision makers prioritize, or assign an importance score to, the criteria within those grids? They can’t. Take 3D printing for example. Every company and department application for 3D printing is unique. Criteria that might be critical to one company or department (things like build size, speed, color, surface finish, materials, printer cost, material cost, method of post-processing, type of material used, office-friendliness, and so on) might be completely insignificant to another. If you’re an educator, low cost of operation, build speed, throughput and safety might be your top priorities and you might be willing to do without color or a specific material property. If you’re a manufacturer of consumer goods, color, speed and low material cost might be your top priorities and you might not be concerned about material properties. If you need flexible, functional parts, then material properties will likely be your primary concern, and you might be willing to sacrifice low cost, color, build size, and so on. The point is there isn’t a nice, neat grid that can address your individual company and application needs.

Careful product evaluation isn’t always easy, but it is critical. So, when you see a 3D printer product comparison grid, be wary. Instead, I encourage you to schedule a personal appointment with representatives from the 3D printing companies. Describe your application needs to their representatives and listen to how their solutions can solve your application challenges and open new doors to success. Ask each representative to focus on how their solution can satisfy your application needs. See a demonstration. Talk to their customers. Do your homework. Perhaps create your own customized grid based on your needs. Then, and only then, can you begin to narrow your list of possible solutions and make an informed decision.

http://www.zcorp.com/

Related Resources:

Following are a few Z Corp-focused product and technology selector resources:

Interactive Product Selector (enables you to identify your application needs and prioritize different criteria)
Webcast: How to Choose the Right Rapid Prototyping System (free, online)

The Revit Technology Conference

2011-06-08T07:30:00.002-04:00

Today’s guest blog comes from Phil Read. Read Phil’s blog ARCH+TECH at http://www.architecture-tech.com/

Having been run in Australia for the last 6 years, with overwhelming success, the Revit Technology Conference (RTC) will hold its inaugural event in North America – to be held at Hyatt Huntington Beach, California from 23 - 25 June 2011.
RTC is a unique, independent conference covering all things Revit - BIM and the whole ecosystem that supports it, and that goes to ensuring your success in the marketplace. No other event brings so many opportunities and benefits together in a single location in the 'by users, for users' format. RTC is the best place to get unvarnished advice from the people who use the technologies to drive their businesses, and the industry as a whole, forward. Business leaders, thought leaders, innovators and implementers; they are all here, and all ready to give away their secrets to aid in the quest for a better, smarter industry, and a stronger, more sustainable environment.

One of the coolest ecosystem technologies is 3D printing. As more and more 3D models are created in Revit (and other BIM software), enlightened AEC firms are printing physical 3D design iterations to improve collaboration and innovation. Early adopters such as Foster+Partners, Pelli Clarke Pelli, Morphosis, Kohn Pedersen Fox, Antoine Predock Studio, Amanda Levete Architects, Yazdani Studio of Cannon Design, Jerde Partnership, Friedmutter Group, Steven Holl Architects, Pei Cobb Freed, RTKL, Shubin & Donaldson, NBBJ, SHoP Architects, Beck Group, HNTB, Goettsch Partners, Kiewit Engineering, Moody Nolan, Populous, and others have integrated 3D printing into their design process as a strategic advantage.

Z Corp and their southern California channel partner, 3D Rapid Prototyping, are sponsoring RTC. 3DRP will have their ZPrinter 450 at the conference with several architectural models. If you are attending the event, please take some time to visit and learn how 3D printing might improve your design innovation and collaboration! And if you're not attending - what are you waiting for? Register today!

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Using 3D Printing to Speculate Manhattan in 2030

2011-06-01T07:30:00.004-04:00

Today’s guest blog comes from Peter Macapia at labDORA.

The project I am blogging about emerged from a design project sponsored by Audi. I was one of five top emerging architects from New York City selected to design interventions for Manhattan that would speculate on the shape of the city in the year 2030. There were two essential elements to my proposal. One was to develop a street that would function as a constantly shifting network of different kinds of movement based on embedded road sensors. This would make the grid of the city flexible permitting areas to suddenly transform in to public spaces.

The other aspect which was crucial to the architectural logic, as well as instrumental for constantly shifting flows, was the development of designs that would lift buildings off the ground allowing pedestrian and vehicular traffic to flow beneath buildings. This required two things -- a structural and a spatial intervention beneath buildings. Rather than insist on a specific building typology, we left the identity of the building generic and concentrated on the structure and space beneath. Using SolidThinking's Morphogenesis tools for structural optimization studies as well as Boolean scripts for massing; we calculated structures and spaces which shifted from cantilevers to asymmetrical trusses. Ultimately the design decisions required 3D physical models, generously provided by the assistance of Z Corp and their partner Microsol Resources. For although computer aided design can simulate certain qualities of geometry and by extension space, one ultimately requires material studies in order to apprehend the spatial effects of these designs at the scale of the city. It is one thing to imagine looking down an avenue from one side of Manhattan to the other, and something entirely different when buildings are lifted off the ground. It is hard to understand what that liberated space feels like without a physical three dimensional experience. Insofar as our intervention was a model more than 20 ft x 20 ft, and the exhibition involved thousands of viewers, using 3D Z Corp models was crucial not only for the design, but ultimately for its communication to a large and general public.

Check out the building intervention models below.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Z Corp’s Dedicated Channel Partners

2011-05-25T07:30:00.001-04:00

This week's guest blog is by John Kawola, Z Corporation Chief Executive Officer.

We just wrapped up our three regional 2011 ZNet channel partner conferences in Denver, Istanbul and Phuket. We had a fantastic turnout. First I want to thank the many people involved in organizing and pulling off all of the meetings conducted in the past six weeks. They required a lot of work and travel, but it was clearly well worth it. Equally important, I want to extend a special word of thanks to our partners.

I am often reminded when I attend these events of the importance of the relationship with our channel partners and customers. While we often think about Z Corp in terms of our technology and what we can do for our customers, none of this would work without the dedication of our dealers and distributors worldwide and the personal relationships we have built with them.

Many of our partners are small business owners. They have invested their own time and money into building something truly great. The fact that they carry the Z Corp product line, demonstrates their commitment and investment in us. We know it’s our job to return that favor by delivering a strong lineup of products, providing first-class support and training and, perhaps most importantly, being their partner.

http://www.zcorp.com

AUDI Urban Future - New York Project 2011, MARC FORNES & THEVERYMANY™: 3D prints by Z Corporation

2011-05-18T07:30:00.001-04:00

Today’s guest blog comes from Marc Fornes & THEVERYMANY™

“Beyond Likely” is a case study within Manhattan / NYC based on Jurgen Mayer’s Urban Future Award 2010 which was a vision of mobility as an augmented experience of motion resulting in an understanding of the city as constant flow of information. Flows that are physical such as pedestrian and cars or digital information as bits or pixels require as a premise a substrate based on continuity - from an infrastructure scale (network,...) down to every single bits of a habitation scale (surfaces,...)

Although they have the best intentions, visions or holistic understandings from a single architect have too often generated urban failures/drama when translated directly into urban planning or regulations, resulting in many new cities or projects that are witnesses of such holistic visions.

While on another hand we strongly believe in a certain form of organic growth, a more bottom up system where local decision making can hopefully shape a self balanced higher order and urban global coherency. Such processes are based on simulation and monitoring: test, trial, failures, evaluation, re-run... the basic principle of evolution. Yet such a principle needs time - a luxury that too often the design world can't afford.

Design implies the responsibility of a proposal. Therefore within such a short charrette “Beyond Likely” is a proposal for a taxonomy on the theme of continuity – an investigation of the Manhattan urban block and its morphology. These are not a catalogue of choices but a history / trail of a variation on a theme.

The study on the block morphology is investigated as a continuous hull – an empty shell (as opposed to a sum of 3D pixels) resulting from the development of custom computational protocols of precise indetermination: - precise because protocols are sets of geometrical build up, transformation, algorithmic relationships, all hierarchied - indetermination since - although it is the result of very deterministic steps - the entire routine must be run in order to be able to evaluate as inherent resonance (due to the high number of steps).

3D rapid prototyping models are extremely useful physical tests of any iteration – allowing the display of complex topological relationships beyond possible mental representation in potentially the blink of an eye and aid to push further the development of rules.

Central Park West came as a logical placement for such local morphological investigation as a long alignment of 49 city blocks at the limit of the park - some sort of long "lisiere" - an edge as the best spot to observe any microcosms, a linear fringe of singular possibilities.

Continuity as organic habitation units - smoothed surfaces at the difference of edges increase the perception of space
Continuity through density/cluster
Continuity of voids and outside space - public or private
Continuity through facade and roof becoming hard to differentiate which one is which
Continuity of flows through ramping threshold infrastructure (represented as pixilated lines)
Continuity through gradients of colors enabled by Z Corporation 3D printers.

Although the sequence has been created block by block there is a resultant continuity of mismatch. One section does not exactly match the next one yet they follow similar generative principles which results in the sum of local breakage and imperfection of the whole at local moments - rather than global failures – with surprises as urban quality...

Misfit as a new form of urban coherency? For sure a very different & colorful universe still to be developed…

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

3D Printing in AEC: Gaining Client Approvals

2011-05-11T07:30:00.022-04:00

Have you ever met with a client to review your design in hopes of gaining their swift approval, only to have the client request more changes? You’ve probably had this experience. You walk away from the meeting feeling as though you’ve taken two steps backwards on the project.

Would it have been helpful if you could have shown your client a series of physical 3D models depicting design iterations to steer the client toward your recommended design? Probably, because perhaps your client didn’t completely understand your 2D renderings or BIM walk-through, resulting in ineffective communication.

You might think that building physical 3D models is cost-prohibitive and takes too long to complete. That’s certainly true of traditional model-making methods which are normally reserved for final presentation models. In fact, by the time handcrafted models are completed, you have probably further modified your design.

What if you could create physical 3D models in a few hours and very affordably? How about several models at once – of either the same design or different designs – all in the same amount of time and for the same cost? Imagine those models could be white or multicolored or both.

Architects worldwide, of all sizes - from under 10 employees to more than 1,000 people - improve their design processes and break through project bottlenecks using 3D printing early and often.

Take a look at the six massing models below. The material cost, assuming you owned your own ZPrinter, is less than $150. The actual printing time is under 3 hours, and the turnaround time to have all six pieces in your hands is less than 5 hours. That means that you can bring your design iterations to life in less than a day! Your clients will be impressed, and you’ll find that your meetings move along more smoothly.

Here are links to two Webcasts in which architects of varying sizes and specialties describe firsthand how they use 3D printing, and the results they see after bringing the technology into their firms:

Andrew Chary Architect, PLLC: How to Win Architecture, Engineering, Construction (AEC) Business with 3D Printing

OBMI International: Bringing the Third Dimension to Architectural Design

If you haven’t introduced 3D printing into your firm, why not? If you have, what are the benefits you’ve noticed?

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Smart Geometry Redux

2011-05-04T07:30:00.001-04:00

This year, the SmartGeometry conference was held from 28 March to 2 April at the Royal Academy of Fine Arts, School of Architecture Center for Information Technology and Architecture (CITA) in Copenhagen, Denmark. Z Corp was a Silver sponsor for this event which draws the best and brightest minds in the industry worldwide.

The event was divided into distinct sections – a four-day Workshop where ten separate group clusters explored specific design challenges; a Talkshop day where Workshop participants reflected on their projects with colleagues; and a Symposium day where invited keynote speakers showcased their latest initiatives. With ZPrinter 650 and personnel support from Z Corp’s local partner, 3D Print Nordic, and also using the existing ZPrinter 450 at CITA, workshop participants used 3D printing to test their design concepts.

Here is a summary of one Workshop taken from the Archinect blog … In the far corner of the space, students were building and testing spaces for sound. “Responsive Acoustic Surfacing” focused on the parameterization of hyperbolic paraboloid geometry as used by pre-digital parametric architect Antoni Gaudi and it explored the sonic potential of this geometry. The participants investigated sound scattering and a 1:1 wall was designed and built using this geometry. The design of the wall was based on feedback from the physical acoustic testing of 3D printed 1:10 scale models using a scale reverberation chamber.

The 3D printed prototypes were created on the ZPrinters and measured 300mm in diameter. The photos below show two different textures for these acoustic surfaces.

Learn more details about this particular Workshop.

See a summary of several Workshops.

3D printing continues to have a major presence at leading AEC events like SmartGeometry and it comes as no surprise that many of the SG participants work for firms who own their own 3D printer. If you or a colleague attended SG2011, I would love to get your feedback on this year’s event, especially as compared to Barcelona (2010), San Francisco (2009), and prior years.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Instant Arch: Self-supporting masonry with Vasari and Z Corp 3D Printing

2011-04-27T07:30:00.001-04:00

Today’s guest blog is from Zachary Kron, Architectural Designer and Software Analyst for Autodesk.

Have you ever seen those elegant, light masonry arches that seem impossibly thin? Along with a little mortar to just help things stick together, they only use gravity and careful form making to stand up. How can you find that kind of arched form where the bricks are held together by gravity? And how could you make a cool 3D model of it?

I did a little masonry experiment in Autodesk® Project Vasari, a design tool for creating building concepts that is freely available for download as a Technology Preview from Autodesk Labs. Along with integrated analysis for solar, energy, and carbon data, Vasari includes a physics based form finding tool called Nucleus. This feature allows designers to simulate gravity, wind, constraints, and collisions on surfaces with different physical properties. Combined with the paneling tools in Vasari, I was able to simulate a compression masonry structure.

Starting from a rectangular surface, you can turning gravity upside down and making “hanging chain” models. These structurally efficient catenary curve based forms function entirely in compression.

If you break the surface down into individual “masonry bricks” with tiny gaps between them, you can 3D print out the results and test if the form is operating in compression.

The result of such a study should be a single form made out of many unconnected pieces.

In most fabrication scenarios, assembling this sort of structure out of individual pieces would be a nightmare of numbering, finding neighboring pieces, and creating temporary scaffold structures. In this experiment, however, the entire assembly was printed out on a Z Corp ZPrinter 450 pre-assembled, and the “scaffolding” was simply vacuumed out from underneath. No assembly required!

http://www.youtube.com/watch?v=AGOy8_9uRV4

The biggest problem I encountered was that the joints were a little too perfect. They were so tight that I needed to sprinkle a darker pigment into the joints to demonstrate that it wasn’t actually a monolithic form.

I couldn’t find any instant coffee, so I used hot chocolate mix.

This form was relatively conservative in terms of stressing the compression system and creating tight joints. Next time we run this experiment, we’ll try creating a more pronounced gap on a more dynamic form.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

3D Printing Critical to Symmons Industries’ Design Studio Live Virtual Design Studio

2011-04-20T07:30:00.000-04:00

Today's guest post is from Julie Reece, Z Corporation Director of Marketing Communications.

Bathrooms matter in the design world. The room itself is a canvas for architects and interior designers to showcase their talents in a way that helps set a property apart from the pack. More fundamentally though, the bathroom “experience” is a critical factor in the discriminating consumer’s willingness to spend and select one property over another.

For these reasons, bathroom fittings – the faucet, showerhead, towel rack and even the doorknob – are too important to overlook when building or remodeling hotels, luxury condos and high-end homes. Property owners are increasingly demanding one-of-a-kind fittings to deliver a unique experience.

Symmons Industries, 70-year-old manufacturer of commercial and residential plumbing products, has long served this market with custom design and manufacturing services. The company broke new ground with the launch of a first-of-its-kind virtual design studio for architects, designers and property owners, called Design Studio Live.

Design Studio Live is a Web-based program that allows users to create their own products and receive color 3D physical concepts of their designs within four days, metal prototypes in approximately 15 days, and delivered product for their property in as little as 16 weeks. With the help of this innovative new tool, architects and designers can create unique ideas that translate into exclusive fittings for their projects right from their desks. Users can begin by digitally paging through a virtual catalog of ready-made designs, dragging them to a virtual light box, and modifying them with Google SketchUp™, Adobe® Photoshop®, SolidWorks®, or any other 3D CAD program.

Eric Spear, Symmons’ director of custom services said, “Symmons is the only manufacturer offering fully customized plumbing fittings, and Design Studio Live makes it easier than ever for a designer to complete their bath design with products tailored for each project. We’ve built a process in which we can execute a custom design in the time it takes to flip through a catalog.”

Symmons design consultants are available for program guidance or design advice. However, users are encouraged to experiment as much as they’d like because the tool is designed to encourage creativity. The Design Studio program is also a tool for tracking and managing the progress of a project.

Challenge: fast-turnaround concept prototypes

Critical to the Design Studio Live formula is the ability to quickly and affordably churn out physical 3D models at high volumes. With this demand, handcrafting models was out of the question due to the time and labor involved. For Symmons, a 3D printer was the answer to creating a great custom service for its customers.

Long before Design Studio Live was conceived, Symmons owned a Dimension® 3D printer. Design consultants only used the printer intermittently because it took too long to get a prototype. Spear said that a single faucet took 15 hours to print.

Solution: ‘ZPrinting’

A local Z Corp. reseller told Symmons it could fix the turnaround problem with a printer from Z Corp. Symmons designers said, “Prove it.”

They did just that; instead of taking 15 hours to print a single faucet, Z Corp.’s 3D printer printed 12 models in 3.5 hours at half the price of the single model produced by the Dimension machine. Put another way, the ZPrinter could produce 48 prototypes in the time it took the Dimension machine to print one. Convinced, Symmons purchased the ZPrinter to create prototypes on demand, giving them the final piece of the puzzle they required to realize the vision of Design Studio Live.

Results: a thriving Design Studio Live

The ZPrinter and its 3D printed prototypes are turning out to be the driving force behind Design Studio Live.

Spear said, “The design process itself is exciting, but there comes a point when it’s really helpful to see a tangible, physical example of it. By ZPrinting 3D models, designers can stop looking at their screens and see what the part really looks like in context and feels like in their hands.”

The Z Corp. 3D printed prototypes also strengthen the relationship between an architect and a property owner. Spear said, “Architects can slide a set of ZPrints across the table – perhaps faucets of different sizes and shapes – along with a red pencil. The property owner gets a rare opportunity to handle the models and mark them up. The architect comes back with revised models a couple of days later, and the owner is blown away by the architect’s responsiveness.”

3D printing has also helped enable Symmons, known for the superior workmanship of their internal plumbing parts, to show their design capabilities. For example, the Mandarin Oriental, New York wanted a distinctive look and feel for its bathrooms, and their design firm turned to Symmons to help create the details of the design. The bath design called for a shower system that incorporated fittings with a ceiling-mount drench showerhead and a Roman tub filler that was both stylish and simple to operate. Symmons developed custom concepts for its client with an elegantly simple, single control for on/off, hot/cold operation, a feature that helped to overcome the language barrier many international guests experience. ZPrints helped Symmons communicate a range of options to the client, which enabled the team to quickly close on a final solution. It was the same story at a Miami hotel where ZPrints helped Symmons refine the design of a vertical showerhead surrounded by chandeliers. Other satisfied Symmons clients include the Wynn Resorts, Four Seasons and The Ritz-Carlton, to name a few.

The Z Corp. 3D printer was printing at full tilt five days a week, 20 models a run, according to Spears. In the first four months of use, Symmons produced 4,000 prototypes for a wide range of applications. Most were for client projects, but models also went to tradeshows, “lunch and learn” seminars with designers and architects, and to Symmons industrial designers. “You can push the print button during morning coffee break and be passing around prototypes at lunch. Z Corporation is enabling the kind of speed and part quality that is indispensable for Design Studio Live and all of our design work here,” said Spear.

The ZPrinter and its unique color capabilities have also produced other surprising benefits. They help Symmons stretch design concepts and prototypes beyond conventional stainless steel, using color to accurately represent the popular finish of Onyx. Color prototypes also make great promotional handouts – for instance, a brightly colored faucet model with an architect’s name on it. Symmons even brings its ZPrinter to tradeshows and prints nonstop, making its booth a popular stop for designers and architects witnessing the possibilities of both Symmons designs and instant prototypes.

Whether at tradeshows or in Design Studio Live, 3D color printing enhances Symmons’ business and brand by helping the company focus as much on the aesthetic considerations as the internals. The company is now able to prove that it can make the most beautiful “facades” – or better yet, help customers make them.

Spear said, “It’s a great experience to be the first in market to do this. Our unique ability to host a full-service virtual design studio with 3D printing capabilities, and do it so painlessly, is a real differentiator and a powerful one that keeps us in top of mind to our clients. Z Corporation’s unique speed, color and affordability make this possible.”

http://www.zcorp.com

3D Printing Helps Architects of African American Museum Save Time and Money

2011-04-13T07:30:00.005-04:00

Today’s guest blog is from Julie Reece, Z Corp.’s Director of Marketing Communications.

Moody•Nolan, an award-winning architectural firm designing the International African American Museum, is using Z Corp.’s 3D printing technology to accelerate the design cycle, save money on concept models, and help ensure the building properly expresses the story of Africans in America. Moody•Nolan architects streamline design and review by printing physical 3D models using a ZPrinter 650.

The Charleston, S.C., edifice will reflect the fact that more slaves entered North America through the city than any other. Now in the conceptual design stage, the $80 million museum will also chronicle African American progress in the ensuing centuries. It is slated to open in 2015.

“We’ve considered the entire African American narrative, the bad and the good, as we select materials, conceive the spaces and forms, and review our work with the project founders,” said Michael Woods, Moody•Nolan, Inc. associate and one of the project designers. “ZPrinting enables us to quickly create early massing models and produce presentation models with accurate detail we never could have obtained even after weeks of handcrafting. The steering committee, mayor and city planners were simply amazed by our most recent models.”

Moody•Nolan, Inc. uses Z Corp.’s ZPrinter® 650, because it delivers the industry’s biggest models, highest throughput, highest-quality color and finest resolution.

The museum is intended to be a “window” into the African American story, a concept embodied in the glassy façade overlooking Liberty Park. During gatherings in the park, guests will be able to see glimpses of the museum’s interior. The East-facing facade can also be viewed as a window looking back to Africa.

Courtesy of City of Charleston Website

“This is a sophisticated building with a lot to say, and ZPrinting helps us convey concepts and details to numerous audiences, each in a way that makes the most impact,” said Woods. “We can ZPrint a new model from any of our four software packages – MicroStation, Revit, form•Z, and Google SketchUp – 10 times faster and at a fraction of the cost of handcrafting. The more complex the models, the greater the savings.”

ZPrinting helps audiences fully understand the building that is being proposed, unlike on-screen renderings. “You can touch a ZPrint, pick it up, turn it over and really see it,” said Woods. “ZPrinting allows us to move the design process forward more quickly, iterate more effectively and more deeply involve clients and other stakeholders. It’s a great tool and everyone benefits.”

Moody•Nolan is collaborating on the project with Antoine Predock. Architect PC, who also uses Z Corporation’s ZPrinting, and actually introduced Moody•Nolan to the technology.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Design for Manufacturability in AEC?

2011-04-06T07:00:00.000-04:00

From Wikipedia … Design for Manufacturability (also sometimes known as Design for Manufacturing) - (DFM) is the general engineering art of designing products in such a way that they are easy to manufacture. The basic idea exists in almost all engineering disciplines, but of course the details differ widely depending on the manufacturing technology. This design practice not only focuses on the design aspect of a part but also on the producibility. In simple language it means relative ease to manufacture a product, part or assembly.

The design stage is very important in product design. Most of the product lifecycle costs are committed at design stage. The product design is not just based on good design but it should be able to produce by manufacturing. Often an otherwise good design is difficult or impossible to produce. Typically a design engineer will create a model or design and send it to manufacturing for review and invite feedback, this process is called as design review. If this process is not followed diligently, the product may fail at manufacturing stage.
If these DFM guidelines are not followed, it will result in iterative design, loss of manufacturing time and overall resulting in time to market. Hence many organizations have adopted concept of Design for Manufacturing.

What if we substituted the word ‘building’ for ‘product’, the word ‘designer’ for ‘design engineer’ and the word ‘construction’ for ‘manufacturing’? Could we apply DFM today in the AEC industry? Maybe the acronym becomes DFC?

Given the recent collaborative trend with Integrated Project Delivery, and the use of BIM as a vehicle for producible building designs, it certainly seems that the AEC market is moving to DFC. Moreover, with research projects like that at Loughborough University, there is a longer-term trend toward the production of 3D printed components which can be assembled to produce the design intent. Another data point – at SmartGeometry2010 conference, the theme was ‘Working Prototypes’. In one workshop last year, components were 3D printed at full scale and then assembled to form the design structure.

I would love to hear from AEC industry professionals about whether the market is ready for DFC now or in the near future.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

3D Printing in Cantilever Design

2011-03-30T07:30:00.000-04:00

Today’s guest blog is from Peter Macapia, Adjunct Assistant Professor of Architecture at SCI-Arc and the Pratt Institute - http://www.petermacapia.com/

Materials Lab: Cantilever, Fall 2010
Peter Macapia and Tom Wiscombe, SCI-Arc (The Southern California Institute of Architecture: 960 East 3rd Street, Los Angeles, CA 90013)

The cantilever is one of the classical elements of engineering investigation. But rarely does its study enter into the design process as such. So what if we were to take the premise of the cantilever to design an architectural situation? In this course, Peter Macapia and Tom Wiscombe worked with a group of students at SCI-Arc to develop an architectural project using advanced computational tools and material testing in order to arrive at a project that would transform the traditional linear relationships between engineering and architecture. The goal was to develop a massive cantilever that sprung out of the entrance of SCI-Arc serving a number of spatial and programmatic functions. Using a structural growth algorithm provided by SolidThinking called Morphogenesis; we developed a diagrammatic study of potential structures. We then transformed the topological behavior of the diagram into another system. A morphogenetic process is iterative in the sense that multiple forces are repeatedly tested against the general form until an optimized structure is produced. Materially, the challenge was to convert the notion of a solid form into a surface, folding into the structural system, a system of enclosure or envelope.

Eventually we began to see a pattern of networks emerge around the panelization of the form. It became clear that if we introduced seam logic into the panels and thus subdivided the surface of the form into another structural network then we could reintegrate the original topological optimization into a new material and spatial logic. Because we were able to test this out in a scaled model with the help of Z Corporation 3D printed (ZPrinted) models, we could basically test how the pattern of panels could connect along seams that were now acting like a network of embedded structural ribs. They key difference is that the ribs were not supporting the surface; they were now an internal feature of it.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Filling The Great Hall at the Cooper Union: 3D Printing Gains Momentum in AEC

2011-03-23T07:30:00.003-04:00

On Tuesday evening, 15 March 2011, a ‘near historic’ event occurred at The Great Hall at The Cooper Union in New York City. No, it wasn’t a presidential speech like those given by Lincoln, Grant, Cleveland, Taft, Wilson, Roosevelt, and Clinton. It was an AEC industry event sponsored by Microsol Resources and Z Corporation -- approximately 300 architects and engineers from greater New York filled The Great Hall to listen to four panelists and a moderator talk about 3D printing in architectural design. What’s that you say? 300 people!!! This large turnout is certainly an indication of the increasing momentum that 3D printing is gaining in the world of architecture, engineering and construction. There was a lot of buzz in the weeks leading up to this event. The energy level was high, and attendees were eager to enter The Great Hall to get things started.

All the stars were aligned for this event. There was the historic venue, a tour of the Morphosis-designed 41 Cooper Square building across the street, AIA credits for attendees, wine & cheese reception, and engaging educational content from our speakers. First up was Xavier De Kestelier from Foster+Partners in London. He talked about how they got started with 3D printing for a yacht design project and how quickly the ZPrinter became a critical design tool for every new project, especially buildings, interiors, and components with complex organic shapes. Foster+Partners now owns three of the largest automated ZPrinters which operate almost 24/7 and generate about 80% of all the models at Fosters. Architects and designers submit files in the afternoon and receive models on their desk the next morning. With a look to the future, Xavier finished his talk with a video showing current research at Loughborough University about full-scale printing of concrete building components.

Up next was Patrick Sherwood of The Port Authority of NY/NJ. He spoke about their beginnings with 3D printing technology as a direct result of the 9/11 tragedy (they used to be located on the 73rd floor of WTC One-north tower). With a “temporary” move to Newark, the PA model shop invested in new systems to help architects collaborate with engineers and contractors on new projects. They started with a small ZPrinter, and then soon after invested in the largest ZPrinter available at the time. Unable to talk about current projects like the new Freedom Tower, Patrick gave two great examples including the George Washington Bridge Bus Terminal and the Candela exhibit at Princeton University. Patrick concluded with the analogy that 3D printers are like the table saw and laser cutter of yesteryear – a modeling tool that every firm will eventually adopt.

Next came Wesley Wright of Pelli Clarke Pelli. He started with a brief video tour of their shop in New Haven, CT, with a voice over by the great Cesar Pelli himself. See video.

Wes walked through a number of 3D printed examples ranging from topological studies to urban master plans to “family portraits” of building design iterations. He also showed envelope geometry studies, custom ceiling and fascia, and structural connection models. Pelli Clarke Pelli often combines modeling techniques to make hybrid models, using the most appropriate technology for the job. The firm has invested in four rapid prototyping systems, two of which are ZPrinters which do most of the early design models due to speed and cost advantages.

The fourth speaker was Andrew Chary from upstate NY who owns a small practice with only seven employees. Up until Andrew spoke, many in the audience were probably thinking “sure, big firms like Fosters, the PA and PCP can afford a 3D printer, but what about a smaller practice like mine?” Well, Andrew handled that question with his thought-provoking presentation on how he deals with his clients, typically high-end custom home buyers. Aside from the improved communication benefits of 3D physical models (i.e. showing design details, managing client expectations, faster regulatory approvals, etc.), Andrew spoke about the ‘trust factor’ he builds with his clients and how this enables him to be more creative in his design work. He showed an example of a ‘snow angel chapel’ that inspired his client to buy into his dream and enabled him to more quickly earn the trust of both the client and the builder.

Andrew’s conclusion – not only does his ZPrinter provide tangible design process benefits and ROI, but it allows him to do what he wants and provides him “joie de vivre!”

With time running out, the evening’s moderator, Jay Dougherty, asked the panelists a few questions about how 3D printing technology fits in the design process for each firm, and then he took some questions from the audience around best workflows, getting started, training, associated costs, etc. Attendees were clearly engaged, even after almost three hours since arriving. Following the event, some attendees left The Great Hall to tour 41 Cooper Square, while others remained behind to talk to the panelists. Some went back to the lobby to look at ZPrinter models provided by the speakers. Clearly, there is a high level of interest in this technology in the AEC community.

For more photos, visit our Flickr page.

If you were there, please give us your feedback on this ‘near historic’ event!

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Building the “Sublime”

2011-03-16T08:00:00.001-04:00

Today’s guest blog is from Daniela Bertol, co-founder of design firm Space Ink in New York City.

The philosopher Immanuel Kant defined the mathematical sublime as, "the mere ability to think which shows a faculty of the mind surpassing every standard of sense."

Architecture has been evocative of the beauty of mathematics for millennia while engineering has always used geometry in the design of structures. The mathematical proportions of Greek temples, the daring structural heights of Gothic cathedrals and the interplay of concave-convex forms of Baroque architecture are built expressions of geometric forms and mathematical concepts. Starting from the past century, traditional arches, vaults and domes have evolved in much more complex geometric configurations: ruled and minimal surfaces, space frames and geodesic structures and double curvature shells have been largely used in several building types from towers to large span structures.

The digital revolution of the last decade has greatly enhanced geometric explorations in architectural design. Computational based architectural design of forms has started in academic and theoretical investigations but recently has become more widespread in the actual design of “real” buildings. Academic explorations are often developed as digital models of complex geometries. Different types of digital modeling and animation applications are utilized, often combined with post-production “finishes.”

But, until recently, in spite of the three-dimensionality of digital architectural models, the only output was two-dimensional images, either renderings or video animations. While the process of generating forms with computer aided methodologies offered almost endless possibilities for the architectural design of complex geometries, the actual construction of each form was limited by the traditional available technologies.

Stereolithography brought a major advancement in the physical fabrication of virtual models but the time and costs involved were too high to be afforded by designers who were interested more in intellectual and aesthetics explorations of forms versus more pragmatic and commercial applications. The recent availability of affordable, time-efficient, cost-effective and highly accurate 3D printers, such as the ZPrinter line, have brought a new tool to designers. Geometric forms are not only virtual, but have become physical objects in the real three-dimensional world. Vivid colors can also be used in the 3d printing process itself, bringing a new level of appreciation to formal aesthetic qualities.

The transition from virtual models to real objects is an extremely interesting process. Designers face several challenges which are not experienced in the design of digital worlds: the scale of details, the connections between parts and their orientation, how models can be self standing ---in the virtual models there is no gravity... Although I have always been a great advocate of digital model based visualization, I have to admit that being able "to see and touch" a design inspired by unusual geometries can have a great impact on the process itself, particularly if the design will turn into buildings. The proportions between components and whole can also be fully tested with physical models, enabling the designer to make "educated" evaluations.

And, besides all these functionality based reasoning... it is truly exciting to see worlds inspired by complex geometries come to life, as we are finally able to build the “mathematical sublime”!

http://www.zcorp.com

Is 3D Printing Ready For Mainstream in AEC?

2011-03-09T07:30:00.000-05:00

Recently, there have been some posts in the LinkedIn group called 3D Printing for Architects that addressed the usage of 3D printing in mainstream practice. The discussion started with this question:

What percentage of architects actually use 3DP for creating models? Has it become part of the standard design process, or just a really cool fad …?

Over the past three years, I have seen growth in interest and adoption of 3D printing in architectural firms, even during the economic downturn. Is it industry standard yet? Probably not. But I believe that we are well into the early adopter phase and about to take that big leap across the chasm! Why do I believe this? Well, aside from seeing year-over-year growth in the sales of ZPrinters in AEC, we are now witnessing quite a phenomenon for an event that Z Corp. and its channel partner, Microsol Resources, have organized for March 15th in New York. A panel discussion including speakers from large firms Foster+Partners, The Port Authority of NY/NJ, a medium large firm Pelli Clarke Pelli, and a small practice Andrew Chary Architect will take place during the evening at The Great Hall of The Cooper Union. http://www.zcorp.com/en/Events/How-Top-Architects-Leverage-3D-Printing-for-Smarter--Competitive/event.aspx.

Originally, we planned to host this event across the street in the new Cooper Union building where the auditorium holds 200 people. However, as of this blog posting, we have exceeded 500 registrations! Fortunately, The Great Hall holds 900 people (history tells us that Abe Lincoln filled the hall during his presidential campaign when he delivered the famous Right Makes Might speech). Our panelists may not be campaigning for political office, but they do have great stories to tell about 3D printing as a strategic and integral part of their respective design practices. Why the sudden interest in this technology by so many people? We are not quite sure if it’s the Cooper Union venue, the AIA credits, the esteemed panel, or the subject matter, but I am betting that most folks who are willing to commit 2+ hours of their time on a Tuesday night are seriously interested in crossing the chasm.

http://www.zcorp.com

Can You Teach Innovation?

2011-03-02T07:30:00.002-05:00

Today's guest post is by Scott Harmon, Z Corporation VP of Business Development

“We need to out-innovate, out-educate and out-build the rest of the world”
-President Obama
State of the Union, Jan. 25, 2011

For years, leaders across business, government and education have expressed increasing concern about America’s continued decline in fields like engineering and manufacturing. Student performance continues to lag other developed nations, especially in math, science and engineering fields. Companies continue to ship engineering and manufacturing jobs overseas. Government efforts to counteract these trends do not appear to be working.

Everyone seems to agree that there’s a problem. Everyone seems to be trying to solve it, but for some reason we continue to lose ground in critical innovation competencies like engineering and manufacturing. Why? Because Thomas Edison was right. He said:

“None of my inventions came by accident. I see a worthwhile need to be met and I make trial after trial until it comes. What it boils down to is one per cent inspiration and ninety-nine per cent perspiration.”

Trial after Trial. 99% Perspiration. Real innovation is hard. Engineering is hard. Math is hard. Science is hard. It’s no wonder kids don’t like learning these subjects. They see all the trial and hard work, but don’t get to experience the joy of innovation, the inspirational aspects until much later.

Z Corp. developed a basic curriculum of materials that will help students derive the most educational benefit from their ZPrinters. The curriculum is oriented around the National Science Education Standards for Technological Design as developed by the National Research Council. The members of the National Research Council are drawn from the National Academy of Sciences, the National Academy of Engineering and the Institute of Medicine.

In the hands of great teachers, Z Corporation 3D printers and the accompanying curricula provide the kinds of inspirational experiences that motivate students to explore tough subjects like engineering and architecture. Low cost, easy to use 3D printers in the classroom help kids experience the joy of making things, the thrill that comes from creating something that works. With 3D printers, kids can experience engineering and architectural design all the way through to the physical solution they designed. They’re not simulating. They’re not pretending. They’re not looking at someone else’s work. They’re creating.

“Showing off their innovations in the trophy case is a point of pride for SITHS students and keeps them inspired to continually improve their work.”
-Frank Mazza, Instructor, Staten Island Technical High School

“When students hold parts in their hands, they’re closing the loop. Until then, it’s all conceptual, virtual and 2D. Completing the circle is important. It turns kids on.”
-Bruce Weirich, Instructor, Ontario High School, Mansfield, OH

Innovation, invention, and engineering may be 99% Perspiration, but if we can help kids experience the 1% Inspiration, the joy of creating, maybe we can get back to out-innovating, out-educating and out-building the rest of the world.

Free AEC Event (New York City):

How Leading Architects Leverage 3D Printing for Smarter, Competitive Design (Microsol Resources)

http://www.zcorp.com

What Does 3D Printing Have To Do With Sustainability?

2011-02-23T07:30:00.003-05:00

This week’s guest blog is by Scott Harmon, Z Corporation Vice President of Business Development.

Over the last several years there has been a global push to improve sustainability. Sustainability in general seems like a pretty complex topic. It seems to combine efficiency, environmentalism, renewable energy, recyclability, etc., etc. I think back to my days camping as a kid. The motto was ‘leave it better than you found it.’

Rapid prototyping in general makes strong contributions to corporate sustainability. Reducing waste represents one of the key objectives of most sustainability efforts. Smart companies are doing everything possible to reduce the amount of waste material generated throughout their supply chains. Improving quality, reducing packaging and miniaturization are all methods that companies use to reduce the waste they generate. Interestingly, architectural designers have created specific certifications to improve how architects approach challenges in sustainability.

Intelligent use of 3D printers to make prototypes and scale models reduces waste in many different ways. By pushing errors and changes earlier in the design cycle, prototypes and scale models reduce the waste streams caused by those errors. When you catch an error in the prototype, you cut less steel and waste less plastic. In architecture for example, the savings are even more dramatic because the scale is so large. When you use prototypes and models to create better designs, you reduce the number of final products that get thrown in the trash.

However, despite the positive contributions that rapid prototyping systems make to corporate sustainability efforts, there are enormous differences in the waste streams created by these processes. I have heard stories of companies whose RP systems generate more waste than printed part material, at enormous dollar costs. Support material, shaving uneven surfaces, dissolving chemicals, etc. contribute substantially to the total cost of prototyping. These systems generate significantly larger hidden costs as those waste streams get flushed down the drain.

Z Corporation obviously prides itself on having the most efficient 3D printers in the industry: no support structures, no cleaning material disposal, no disposable build platforms, no chemical waste water, recycles 100% of the build material. Less waste today, better world tomorrow.

Is your company is starting to think about a more sustainable design process?

See Al Dean's Develop3D blog: Z Corp's Recycling Smarts

Free AEC Event (New York City):
How Leading Architects Leverage 3D Printing for Smarter, Competitive Design (Microsol Resources)
March 15, 2011, 5:30 - 8:30 PM

http://www.zcorp.com

Imagine an industry event in Monaco – imagina2011

2011-02-16T08:00:00.002-05:00

Bonjour! Two weeks ago, I had the pleasure of giving a keynote address during the Architecture day at imagina2011.

My biggest challenge was to speak slowly enough to enable the translators to communicate in French. Images work best in any language, and images of 3D models worked even better. The talk was entitled Complementing Digital Mock-Ups with 3D Printing for Integrated Project Delivery. You can guess what I covered in this presentation, but just in case you are new to this blog, here is the abstract …

While BIM and digital mock-ups have become increasingly important in AEC, the use of physical mock-ups remains critical in the design and approval process. In particular, affordable and fast 3D printing has enabled designers, architects and engineers to create multiple models to help accelerate approvals -- internal reviews, client buyoff, and regulatory agency go-aheads. Innovative firms, large and small, have incorporated 3D printing in their workflow and use physical models extensively during the schematic/concept phases (not just final presentation models). The speaker will present the benefits of 3D printing for AEC with several case studies and applications. A brief overview of workflow and scaling decisions will also be covered.

I found imagina2011 to be quite unique because it blended multiple disciplines such as healthcare, geospatial/urbanism, media & entertainment, and real-time simulation with architecture and digital design. Exhibitors ranged from the usual suspects like Dassault, Bentley and Autodesk to niche suppliers that I’ve never heard of before. Our French channel partner, 3D Avenir, brought their ZPrinter 650 to the conference and kept busy talking to prospects for three days.

A highlight for me was the presentation from Zaha Hadid on the use of Integrated Project Delivery (IPD) for the SOHO China galaxy project. The complexity of this project drove home the importance of physical prototyping, both scale models and full-scale sections to demonstrate construction for double-fold geometry.

Free AEC Event (New York City):
How Leading Architects Leverage 3D Printing for Smarter, Competitive Design (Microsol Resources)
March 15, 2011, 5:30 - 8:30 PM
http://www.zcorp.com

Wikipedia Features Z Corp. 3D Prints for 10th Anniversary

2011-02-09T08:00:00.002-05:00

Today’s guest blog comes from Elizabeth Gullam, director of marketing, Ideate Inc., a Z Corp. channel partner in the northwest USA.

Happy Birthday, Wikipedia!

The free encyclopedia that anyone can edit celebrated its tenth anniversary last month - what a milestone!

Whether fact-checking something at work or helping with kids' homework, many of us use Wikipedia as a go-to reference. And think about it...Wikipedia is written collaboratively by largely anonymous Internet volunteers who contribute without pay. Anyone with Internet access can write and make changes to Wikipedia articles. How powerful is that, having a community share knowledge?

Not long ago, our friends over at the design build studio Because We Can worked with Wikimedia to remodel their offices. Jeffrey McGrew and his creative cohorts did an amazing job. When it came time to put together the components of the Wikipedia 10 design concept, Jeffrey was asked to provide small 3D printed models. Needing to print 3D models that could be used, photographed, touched and passed around, Jeffrey contacted us to make his Blender model come to life.

Using the Z Corporation ZPrinter 650 in our San Francisco office, Ideate printed 14 of the 3D Wikipedia globes that appear in the Wikipedia 10 campaign, as shown in the photo above, in less than a day. The ZPrinter 650 works great for multicolor physical prototypes of real world objects, design elements or scale model buildings. We were glad to have a small part in helping Wikipedia look good on their birthday!

Next time you look up a word on Wikipedia, tip your hat to the community of users who are working diligently to build a powerful, multilingual, Web-based, free-content encyclopedia.

http://www.zcorp.com

SolidWorks Enters AEC Market

2011-02-02T08:00:00.001-05:00

Last week at SolidWorks World '11 in San Antonio, TX, a new product called SolidWorks Live Building was introduced by SolidWorks management. The software was described as a conceptual process and planning tool aimed at owners and planners. The product marketing manager showed a demo of interior office design and build out of Dassault Systemes' new campus in Waltham, MA. In addition to doors, stairs, windows, cubicles, and offices, there was a solar energy analysis shown. Here is a link to a YouTube video that captured the demo on screen - http://www.deelip.com/?p=5487

The software was described as an “on-line offering based on the V6 platform available later this year.” While journalists and bloggers debate the merits of SolidWorks Live Building versus Autodesk, Bentley, Google, and other major AEC supplier offerings, I have a different take. My view is “Bring on more 3D design tools!” The more that architects and designers work in 3D, the better it is for the 3D printing industry. As somebody who has been promoting 3D design since the early 1980s, it has been, and continues to be a long transition march from 2D to 3D. Perhaps a new tool like SolidWorks Live Building will give those late adopters out there a reason to look at new 3D technologies, both digital and physical prototyping.

Please share your thoughts on SolidWorks entry into the AEC market, especially as it relates to your design process.

http://www.zcorp.com

Common Misperceptions and Myths about 3D Printing – Part II

2011-01-26T08:00:00.021-05:00

When we conducted a survey last year among architects in North America, we asked them to consider the following question – “What are the obstacles to making more physical 3D models?”

Last week, we shared with you that the number one concern was "cost," and we showed a 3D printing example to help dispel that myth. This week, we will address the number two answer which was “Takes too much time.”

Constructing physical models by hand from cardboard, chipboard, wood, etc., is very time consuming, often taking days, even weeks. Cutting 2D sections with a laser cutter, and then assembling a 3D model is also time consuming. Even a wire-cut foam massing model can eat up valuable time – time that could be spent in design development. What many AEC professionals might not yet know is the surprising speed of 3D printing, specifically thermal ink-jet 3D printing, like ZPrinters. A typical ZPrinter will create 3D printed models at speeds ranging from 0.8 to 1.1 vertical inches per hour (depends on model length and width). That means that most scale models can be printed, cleaned and finished in less than one work day. Even larger, complex models can be printed overnight, and finished the next morning. Let’s look at some examples …

This concept model below is about 7 inches long x 4 inches wide (at widest point) x 2 inches high – it printed in 2.5 hours.

Here is another interesting model from the RPI School of Architecture Rome Studio in 2008. The model measures 9 x 6 x 5 inches. The print time is 7 hours.

Here’s a massing model designed in Autodesk Revit. It is 7 inches tall with a base of about 2x2 inches. The model is solid, not hollowed out. It printed in less than 2 hours.

What’s even more interesting is that you can stack multiple models in the build chamber and print them all in one job. Four of the same massing tower printed in only 3 hours.

Oh, by the way, at about 10 cubic inches per tower, the cost per model is less than $50. With what other technology can you produce tangible 3D models in less than half a workday at such low prices? I would argue that photorealistic renderings would cost more in labor, and are not as effective for communication.

How about color models? Look at this Ecotect energy analysis of a building tower. A 2 x 2 x 5 inch model will print in 2 hours in high definition color, depicting the towers hot and cold spots over a 24-hour period.

Your client prefers a 15 inch model? Print it in 9 hours and have it ready for her the next day!

You can even run the printer for another 43 minutes and get three smaller scale models to go along with the large one.

I’d like to hear from others who have taken advantage of speedy 3D printing to help design visualization and project collaboration. And, I would like to hear from the naysayers who still think it takes too much time to make 3D physical models.

http://www.zcorp.com

Common Misperceptions and Myths about 3D Printing – Part I

2011-01-19T08:00:00.033-05:00

When we conducted a survey last year among architects in North America, we asked them to consider the following question – “What are the obstacles to making more physical 3D models?”

The number one answer was “Too expensive to make.”

Frankly, this response was a head-scratcher for us. We expected more responses around model features, workflow from BIM software, scaling challenges, etc. But, too expensive?

I would argue that it is too expensive to NOT make more physical 3D models, especially in the early design stages. As with manufacturing prototypes, collaboration and iteration around physical models drives better design and faster project approvals. This has been proven over and over at many AEC firms around the world.

Let’s get down to specifics about costs (here I must use Z Corp. information since I am not expert on other 3D printers). For those users who own a ZPrinter, the material cost per model typically ranges from $2-5 per cubic inch of total materials used. For small, white models, it would be closer to the $2 cost. For large, multi-color models, the $5 estimate would apply. Consider the concept model below….

The ZPrint time estimation report calculates that 38.37 cubic inches of powder and 246.3 ml of binder and ink will be used to print this model on a ZPrinter 450. Using exact end user costs (US dollar pricing), including print heads, the material cost for this model would be $99.36. Using a salt water spray finish (good for visualization models), the final cost would be under $100; the total cost of materials for this model is less than $3 per cubic inch. The model is 7 inches tall with a base of 10 x 7.5 inches. Is this not a cost-effective way to communicate this design concept?

The alternatives include multiple digital screen renderings or asking a junior designer to spend several days trying to construct the model from other materials. The first approach includes only labor costs but will never replace a physical model for communication, especially for a design this organic in nature. The second approach, if even possible, will take too much time and just demoralize your junior staff. Did I mention that this model can be printed overnight, de-powdered and finished in the morning, and ready for collaboration before noon?

More on 3D printing time misperceptions in my next blog.

http://www.zcorp.com

2010 in Review, Trends for 2011

2011-01-12T08:00:00.001-05:00

As I look back at 2010 in the rear view mirror, objects seem much closer than they appear. What ‘objects’ you say? Is there a T-Rex chasing me like in Jurassic Park? No, in fact not dinosaurs, but fresh new thinkers who understand the value of iterative physical modeling in creative design. These objects are the inexpensive, fast-turnaround 3D prints made in large quantities by the architectural firms who understand the tangible benefits of 3D printing. And, it’s not just the big-name “starchitects” who are experiencing the value of 3D printing. Sure, Amanda Levete Architects, Antoine Predock Studio, Cannon Design Yazdani Studio, Foster+Partners, HNTB, Kohn Pedersen Fox, Morphosis, NBBJ, Pelli Clarke Pelli, Pei Cobb Freed, Populous, RTKL, SHoP Architects, Steven Holl Architects, and others (apologies to those I forgot to mention) have been 3D printing for some time now. But, smaller firms are now jumping in. Last year, while many architects experienced continued declines in their businesses, Z Corp. experienced growth in 3D printer sales to the AEC market. Imagine if the economic climate for architects were better?

The other thing I noticed about 2010 is the continued investment by Schools of Architecture in new technology to support their curriculums. Adding new ZPrinters in their architectural departments, in no particular order, were American University in Dubai, Portland State, U Texas Austin, Cornell (two), U Tel Aviv, U Kentucky, Instituto Empresa Univ, U Newcastle, Syracuse, Woodbury, Yale, Instituto Statale D’Arte, Mukogawa Women’s Univ, Royal Melbourne Institute (their third printer), Barcelona Institute, and New School of Architecture. At the same time, we experienced an increase in the purchase of consumables from other universities that have been 3D printing for some time. The big users last year included Harvard GSD, Columbia, SCI-Arc, UCLA, Arizona State, U Cincinnati, Catholic U, U Michigan, Pratt, MIT, USC, Penn, U Toronto, Florida, Illinois, Carnegie Mellon, UNC Charlotte, the Cooper Union, and on and on. Many of these schools are recognized in the Design Intelligence report of top undergraduate and graduate programs in architecture. Do you think there might be a strong correlation between technology investment and successful programs? Rhetorical question. I would even argue that this positive correlation is true in the commercial sector [see list of firms above].

What does Professore DeMarco foresee for 2011?

• Continued strong interest in the AEC community in 3D printing, with spending catching up later in the year to drive market growth.

• AEC firms doing 3D printing stretching the limits on build sizes to accommodate larger scale models.

• Software vendors will deliver better tools to make physical models from their BIM software.

• Reprographic suppliers, now entrenched in 2D solutions, begin to understand the business opportunity for 3D printing.

• More engineering and construction firms investing in 3D printing (a trend we see in Japan).

• Continued consolidation in the AEC reseller community with larger firms offering more complete solutions including both digital and physical prototyping.

• More guest blogs from sharp minds in our community…volunteers?

http://www.zcorp.com

3D Printing Allows Firms to Offer Clients Physical 3D Models of Projects

2011-01-11T07:00:00.001-05:00

This week's blog is by Julie Reece.

Story courtesy Debra Wood, Constructor

Viewing a construction model on screen usually proves helpful to contractors, architects and owners, but there’s something about being able to see and touch a three-dimensional model that really clarifies people’s understanding of a project. ZPrinters allow firms to “print” colorful, physical 3D models of a project throughout the design and construction process.

Photo courtesy of HNTB.
HNTB uses ZPrinters to create 3D models to facilitate the building process.

Photo Courtesy Of HNTB

“We use 3D printing during the pursuit side to show clients what their bridge, building or highway interchange will look like once it’s constructed. Another way we use the 3D printer is to create analytical models used during construction sequencing on-site with contractors,” says Austin Reed, senior 3D visualization specialist with HNTB, Kansas City, Mo., a member of multiple AGC chapters. “They can show their construction workers exactly what they will be working on, and we will color-code the model. If the wall is [printed in] orange, that means phase one. Phase two may be in green.”

Reed says contractors can see what the work is supposed to look like when completed and what craftspeople will be working on that specific day.

ZPrinters work with various programs, including AutoDesk Revit, AutoCAD or MicroStation. HNTB will bring those files into Studio Max for texturing and cleanup for printing as a solid, watertight object, which has a hollow core to lighten the model and conserve supplies. By checking the file before printing, Reed says he avoids errors and ensures accuracy before sending the model to a client.

HNTB architects also use the model to evaluate design concepts. HNTB has opted to use a print vendor in Kansas City and other places where it has offices. HNTB will have one copy of a model printed and, if it’s good, he'll print multiple models as well as models from other projects to fill the printer’s “build bed” and maximize the 15-in. by 10-in. by 8-in. build chamber, Reed says.

The cost to print with an outside vendor runs up to $30 per cubic inch, Reed says. The cost to create a model in house on one’s own printer is $3 per cu in., or $100 to $200 for a large model. An 8-in. by 10-in. by 8-in. model weighs about 10 lb.

Reducing the cost, complexity and time to make models, encourages people who adopt our technology to use it much more often, thereby improving communication, which is critical on complex projects.

http://www.zcorp.com/en/Solutions/Architecture/spage.aspx

Conceived and Projected in 3D: 3D Printing Helps Architects at Sagrada Familia Follow Gaudi’s Methods

2011-01-05T08:00:00.000-05:00

Guest post by Julie Reece, Z Corporation Director of Marketing Communications.

At the end of 1883, Antoni Gaudí was commissioned to carry on the works of The Expiatory Church of La Sagrada Familia, a task which he did not abandon until his death in 1926. Since then, different architects have continued the work following his original idea.

When work began on the church in 1882, architects, bricklayers and masons were using a very traditional two-dimensional approach. Gaudí realized that the geometry they were dealing with required a different methodology. The 2D charts were not useful, except for axis and column layout purposes.

The complexity of Sagrada Familia’s forms forced Antoni Gaudí to switch to a three dimensional approach. The Sagrada Familia design required 3D models to visualize architectural solutions and analyze structural feasibility. From the very beginning, Gaudí gathered a team of expert model makers and sculptors to study solutions that were either later discarded or are displayed today.

In the words of Chief Architect Jordi Coll, “Due to the complexity of surfaces and forms working with Gaudí’s designs in 2D does not make sense from an architectural point of view,”

Gaudí was a visionary and an innovator who experimented with forms and concepts, and he always used the latest technology available at the time.

Goal
Since Gaudí’s death in 1926, seeing a finished Sagrada Familia has been the dream of all his disciples, architecture lovers, and the Catalan people — even more so since during the Spanish Civil War, Gaudí’s workshop was vandalized and most of his writings, drawings, photographs and 3D models were destroyed.

Numerous materials and documents were saved by collaborators, along with pieces of the shattered models, which became the starting point of a great challenge: finishing the construction of the temple, just as Gaudi would have wanted.

Challenge
The present Church Technical Office and management are charged with studying the complexity of Gaudí’s original project, a task that involves:

• Inventory and organization of plaster model fragments from the remains of the original shattered models.

• Developing hypotheses to figure out the missing parts.

• Producing 3D models in plaster prior to the job projection.

• Projecting and verifying the construction plan of the church.

• Constructing the real parts (concrete, stone, and Catalan vaults).

The moulds and the models that survived, as well as photos, documents and drawings, help guide the project. Gaudí’s original models are restored, reproduced, revised and modified as many times as necessary, in order to guarantee fidelity to the original project and technical feasibility.

For decades, this task was carried out in a hand-crafted manner. However, producing all of these parts manually was a long and costly process. It had also generated very high costs in material stock, since the human hand could not produce appropriate models in scales smaller than 1:25.

Since funds for the construction of the temple come solely from donations, the completion of the Sagrada Familia seemed, at times, like a very remote dream.

Solution
Architects Jordi Coll, Jordi Faulí, and Mark Burry began researching cutting edge technologies used in aeronautic and automotive engineering, such as 3D CAD software.

After interpreting the data, they generated a 3D file of the target part. That allowed them to better understand the mathematics and proportions inherent to Gaudí’s designs, slowly revealing, through years of study, the secrets that lay therein.

A true revolution arrived with the introduction of 3D printers, which allowed the materialization of 3D CAD drawings in an automized way, with unprecedented detail, accuracy, and in only a few hours.

The Sagrada Familia technical studio acquired two ZPrinters, which are making the team’s task much easier. The staff can devote most of their time to research and recomposing shapes, in order to calculate and solve the overall puzzle. As a result, 3D CAD files of the parts are generated, and the ZPrinters continue to print impeccable parts.

Results

Better models: The ZPrinters are able to reproduce small details effortlessly and with better accuracy than the human hand.

Less material: The machines can print an initial process at 1:50 and 1:100 scales (and at Gaudi’s scales of 1:10 and 1:25) and the leftover material from printing sessions is reusable.

More models, faster: Large build chamber and fast print jobs (2-3 cm in Z axis, per hour).

Better communication: Increased understanding between the technical office and the constructors of the final concrete or stone parts.

Fewer errors: Saves time and money.

Functional parts: The plaster-like material from Z Corporation is similar to the one utilized for the original models, which allows for assemblies between historic and contemporary parts. The Sagrada Familia is expected to be complete before the end of the first third of our century.

Conclusion
Just as Antoni Gaudí would have done, the best technology is being applied to accomplish the construction of the building, with excellent results. Thanks to the introduction of 3D CAD and 3D printing, the production of 3D models has become a fast and affordable task. Speed has been a crucial factor in expediting the error-testing process, and therefore, the incremental progress of the construction.

One hundred and twenty-five years later, thanks to the wonders of 3D technology and the vision of Sagrada Familia’s present chief architects, the interior of the cathedral is close to being finished true to Gaudí’s original vision and method concept.

“If Gaudí was alive today, he would have brought 3D technology to its maximum exponent, since much of his work was already conceived tri-dimensionally,” said Coll.

Interestingly enough, many are not surprised by the fact that the genius of Gaudí would fly on the wings of 3D technology.

http://www.zcorp.com

December’s Top 10 Favorite AEC 3D Printed Models

2010-12-29T08:00:00.009-05:00

Guest blog by Julie Reece, Z Corp. Director of Marketing Communications.

Throughout the day I am fortunate enough to see a wide variety of ZPrinted models for a number of applications. I am especially fond of AEC models because of the forms, intricate details and texture maps. I decided to compile my top 10 favorite AEC ZPrinted models for December. See what you think...

1. St. Basil’s Cathedral (this is my favorite because of the vibrant color and textures that were 3D printed right out of a ZPrinter; this model is sitting on my desk.):

2. Boston Society of Architecture Building, courtesy of Munson3d.com (the textures on the façade and roof are incredible, and if you look closely at the first floor windows, you can see the full color, 3D printed images of the window displays– amazing!):

3. MIT Building (the bright white color of this model, combined with the textures, fine wall thicknesses and large size of the model itself, make this one of my favorites):

4. Bentley MicroStation plant model courtesy of Shinryo International and Team-S (the intricate web of pipes was 3D printed as one model in a single build):

5. Manhattan Cityscape (this is just downright impressive):

6. Detailed design study of a building (just look at the thin railings and the textures, which were 3D printed – not painted!):

7. Cutaway of a historic theatre (chosen for the incredible ZPrinted detail; check out the staircases on the inside of the model):

8. Courtesy of The Realization Group (this model is one of my favorites because of its large size, intricate detail, thin walls, and 3D printed roof shingles):

9. Courtesy of The Realization Group (this one gets points because it’s lit from the inside to demonstrate what the complex will look like at night when lights are on):

10. Courtesy of Ralf Lindemann (this model is impressive because the simplicity of white on black and its organic design):

Ok, 11. I couldn’t resist! (the curved lines of this ZPrinted model give the impression that it’s swaying in the breeze):

Which of these 3D printed models is your favorite? Do you have photos of ZPrinted AEC models that you’d like to see in our list of January favorites? Send them to jreece@zcorp.com.

http://www.zcorp.com

ZPrint Helps Vision Impaired Couple Visualize New Home

2010-12-22T08:00:00.007-05:00

How many of you watch the ABC television series Extreme Home Makeover?

An architectural scale model built by Z Corp. customer Moody Nolan of Columbus, Ohio, and supported by Z Corp. channel partner 3DP Technology, appeared on the December 5th edition of the popular TV show. A visually impaired couple devoted to helping the local community received a home makeover, complete with technologies that help people with disabilities. Since the couple could not see their new home, a ZPrinted model was provided to them so they could feel their home in order to get a sense of what it looked like.

The full episode can be seen in the following link: http://abc.go.com/watch/extreme-makeover-home-edition/SH559052/VD55100979/the-anderson-family. Watch for the scene after they move the bus to expose the family’s new home.

A video showing how the model was made appears in the following link: http://www.youtube.com/watch?v=Az-kXbLd0mg.

Note that Moody Nolan uses a ZPrinter 650 for maximum build size, and with zp150 composite material, they are able to infiltrate their ZPrints with salt water spray. Like many architects, Moody Nolan wants to produce the whitest models at the lowest costs in the fastest time. The ZPrinter 650 with zp150 enables them to do so.

For more info on the zp150 composite material, visit http://www.zcorp.com/en/Products/3D-Printers/Material-Options/spage.aspx.

http://www.zcorp.com

Autodesk University 2010 – Part II

2010-12-15T08:00:00.001-05:00

Last week, I blogged about AU 2010 and wrote about the Product Clinic virtual class and the Autodesk technology presentations. This week, let’s talk about the Exhibit Hall.

On the Z Corp. stand, we showed our ZPrinter 450, ZScanner 700, and ZBuilder Ultra solutions with several part models from the printer and rapid prototyping systems. As usual, visitors to the booth were impressed with the detail and color quality of the ZPrints. This year, several Autodesk users from the manufacturing and product design space were equally intrigued by the resolution and smoothness of the ZBuilder Ultra plastic prototype parts.

In the Autodesk exhibit space, the Tesla Motors full-size electric car took center stage, but there were a couple of interesting 3D printed scale models on display as well. Let’s start with the Austrian pavilion at the Shanghai World Expo. This futuristic building was designed by SPAN Architects and scale models (approximately 24 inches x 20 inches) were completed with traditional subtractive metal manufacturing, plastic, and plaster-based (Z Corp.) systems. It was interesting to see the differences and the pros/cons for each model. The metal model was painted in a shiny gloss white and quite smooth, but likely cost a bundle to manufacture.

The plastic model (by another manufacturer) was printed as one piece in orange plastic and contour stair-stepping is quite visible, leading me to question, "Why didn't somebody sand this model?"

The Z Corp. model was printed in four separate pieces on a ZPrinter 650 to get the desired scale with the added benefit of being able to see inside the structure.

The Autodesk Exhibit Manager, Matt Tierney, was quite pleased with the overall quality and smooth look and feel of the model.

A few feet away from the World Expo display, there was an exhibigt featuring the work of Autodesk CEO, Carl Bass, a noted furniture-making enthusiast.

Using the ZPrinter 450 in the Autodesk San Francisco Customer Briefing Center, Bass had several 3D prints created with different surface finishes and textures. One was speckled granite adnd others were wood grain. Ultimately, Bass chose black granite for his home garden piece.

http://www.zcorp.com

Autodesk University 2010 – part I

2010-12-08T08:00:00.001-05:00

Autodesk University (AU) took place last week in Las Vegas. Attendance (7000+) was up this year after a two-year decline, and the energy level was palpable. I felt it in the exhibit hall and in between the classroom sessions. While at AU, I delivered a Product Clinic in the form of a virtual class; the clinic was entitled “The Emergence of 3D Printing in AEC” and the content was based on the AIA Continuing Education course of a similar title. Attendees were able to see/hear the webcast and then ask questions in a live chat window. The AU folks plan to post these virtual classes for those who could not attend during the clinic time slots.

Aside from my “virtual speaking” class, here are some AU2010 observations - part I (part II next week):

In the opening general session, Autodesk CEO Carl Bass introduced six presenters from multiple industries (building, infrastructure, manufacturing, and entertainment) who described their recent projects around the theme of “making an impact.” The talks included interesting projects from Tesla Motors (Autodesk Alias styled electric car driven on stage), Project H Design (Autodesk AEC software presumably used), Bespoke Innovations (custom-designed and 3D-printed prosthetic devices), and the digital studio that made the new TRON movie (Autodesk Media & Entertainment software). Autodesk CTO Jeff Kowalski talked about the cloud or “infinite computing” and how it will change the way people design and simulate. The entire General Session is available here - http://au.autodesk.com/?nd=keynote

The building industry keynote was all about the use of BIM “assets” for downstream applications such as MEP system design, structural design/analysis, building performance analysis, construction scheduling, and efficient facility maintenance and operation. There was also a quick look at Project Vasari. Here is the description from Autodesk Labs web page …

Autodesk® Project Vasari is an easy-to-use, expressive design tool for creating building concepts. Vasari goes further, with integrated analysis for energy and carbon, providing design insight where the most important design decisions are made. And, when it’s time to move the design to production, simply bring your Vasari design data into the Autodesk® Revit® platform for BIM, ensuring clear execution of design intent.

Project Vasari is focused on conceptual building design using both geometric and parametric modeling. It supports performance-based design via integrated energy modeling and analysis features. This new technology preview is now available as a free download and trial on Autodesk Labs.

It will be interesting to see if this software can stop the Google SketchUp and Rhino momentum in the AEC market, and how Autodesk will choose to package and market this new conceptual design tool. So far, 80,000 downloads have been reported. You may recall an earlier guest blog in this space by Microsol’s Dolly Haardt showing how a conceptual massing model in Revit can be exported for 3D printing. As far as I understand, these are the design tools which are in Project Vasari.

More on AU2010 next week!

http://www.zcorp.com

Six Steps to Assess the True Cost of a 3D Printing System

2010-12-01T08:00:00.020-05:00

Guest post by Mark Cook, Z Corp.'s VP of Research and Development.

There’s been a lot of hype over the past year about low-cost 3D printers. All of the rapid prototyping (additive manufacturing) companies have either introduced low-priced systems to the market or lowered the price of existing systems and promote how they are making the technology more accessible to designers, engineers and even the hobbyist. Editors, industry analysts and even the New York Times have jumped on this trend which seems to be the focus of nearly every article and report.

But what is a low-cost 3D printer? When people talk about low cost, they seem to refer only to the purchase price of the 3D printer. Sometimes machines that are billed as low cost are actually much more expensive than most other machines when all variable costs are factored into the equation. We’ve had customers tell us that they purchased another system because of the low initial purchase price of the printer itself, only to quickly discover that they couldn’t afford to keep the system operating. It became an expensive paper weight.

So, how can you cut through the hype and determine the real cost of a 3D printer? Here are six easy steps.

First, let me provide a disclaimer that I’m only referencing industrial- or professional-quality 3D printers. Industry experts seem to universally agree that open source systems that have been receiving quite a bit of publicity recently are not suitable for professional use from a quality, accuracy, throughput or speed standpoint.

1. Yes, affordability starts with a low-priced machine. But look beyond the price of the machine itself. Check to see if the system requires expensive lasers, complex thermal controls or special facility requirements. All of these items can add thousands of dollars onto the price of a machine.

2. How expensive is the build material? Find out how much build material is included in the purchase price of the system. Be sure to base this cost on volume rather than weight (i.e.; how many prototypes will that amount produce?). Then learn the on-going replacement cost of the material.

3. What about waste? Is all of the unused build material from a build completely recycled for future builds and therefore unwasted? If not, make sure you factor the cost of the wasted material into your cost calculator. And, does the system require you to build supports? Some systems require you to build supports, others don’t. Building supports requires expensive build material that can really add up over time, so be sure you factor this ongoing cost into your estimate.

4. What about the cost of post-processing? All prototyping systems require some sort of post-processing. Check to see if you must purchase additional equipment, chemicals, ventilation and special hazardous waste handling and disposal in order to post-process parts. Compare those systems with systems that provide you with the low-cost option to cure parts with tap water and Epsom salt.

5. Assess maintenance costs. Some systems use standard, off-the-shelf inkjet printing technology and a modular design in order to make component replacement quick, easy and cost efficient.

6. Considering all of these variable costs, estimate the total expense per finished model.

Example:
Total cost for Z Corp.'s finished ZPrinted models runs about $2 - $3 USD per cubic in ($0.12-$0.18 USD per cubic cm). A 4.0 cubic in (66 cubic cm) model like the one below costs less than $20 USD to produce.

If low-cost 3D printing is important to you, “Buyer beware.”

http://www.zcorp.com

BuildBoston 2010 and AIA CES Workshop

2010-11-24T07:00:00.000-05:00

Last week, I delivered a workshop talk at the Build Boston conference.

The topic was, what else, 3D Printing in AEC. The 90-minute workshop was structured around the AIA CES approved course by the same name. I was assisted by David Munson of munson3d, an industry consultant with deep experience in architectural design and visualization software and 3D printing.

The audience included a variety of architects ranging from a college senior thinking about using 3D printing for his thesis project to entry level designers to experienced architects/firm principals to retired architects wanting to learn more about new technology in their field. The most notable thing about this workshop is that questions from the audience started on my third slide, and they kept coming from different attendees such that I began to worry about covering all the content in the time allotted. This is a good problem to have. Usually in these AIA CES presentations, folks politely listen, check their watches periodically, fill out the questionnaire to get their AIA credits, and head out quickly to beat the lunch lines. This time, there was genuine interest in the subject matter as evidenced by the intelligent questions, and I could almost hear the gears turning in the minds of these architects as they thought about how to incorporate 3D printing in their design process. A few people stayed afterward to ask more questions – always a good sign!

Dave Munson did a terrific job in describing the various workflow options from CAD to 3D print along with several example projects he has worked on. By polling the audience in advance, we knew to focus on particular design-to-print workflows such as AutoCAD, Revit, SketchUp, and 3dsMax. We had about 15 models on display to help us illustrate the technology, and we passed these models around the room so that attendees could get a closer look.

Following are several workflows, courtesy of David Munson, Munson3D:

For readers in other parts of the US, contact your local Z Corp. dealer to ask about delivering the AIA CES course at your firm. Readers outside the US can contact me for more information by replying to this blog.

Happy Thanksgiving!

http://www.zcorp.com

Interactive Fabrication - Modeling and 3D Printing From an iPad

2010-11-17T08:00:00.001-05:00

Some of you may be familiar with the Association of Professional Model Makers (APMM). This organization is made up of industry professionals worldwide who specialize in making models of all types – architectural, manufacturing, medical, entertainment, etc. Recently, an APMM member came upon this cool technology which uses an iPad as an interface for sculptural modeling. The software is called Beautiful Modeler.

Beautiful Modeler is a software tool for gestural sculpting using a multi-touch controller such as an iPad. Each finger is used to control a single touch point in the model, with multiple layers working to build up 3D volume. Take a look at this video:

http://www.tuaw.com/2010/11/09/sculpt-a-3d-model-using-the-ipads-touchscreen-and-accelerometer/

The interactive fabrication tool has STL file export so that these gestural sculpting designs (or their negatives) can be printed.

Will this input device and associated software transform the way people design and fabricate? Maybe. Let’s take a look back in recent history. An argument can be made that the design tool itself can impact the creativity of the designer and the final look-and-feel of the design. For example, the use of Bentley’s GenerativeComponents software has impacted the skylines of Dubai, Almaty, and other cities. Take a look at the Gallery images. These are not the traditional geometries created with 2D or simple 3D design tools. Another example is the use of a haptic device with force-feedback for freeform design. By using a haptic device tied to voxel-based modeling software, designers can literally feel like they are carving clay. See the variety of applications on SensAble Technologies’ Website which would be difficult-to-impossible to model with traditional CAD tools -

What makes Beautiful Modeler intriguing is that the software source code is in the public domain. Technology adoption tends to accelerate when the cost is low. The use of an iPad is also very clever – why not leverage the Apple marketing machine?

I think that this technology might go somewhere. What do you think?

http://www.zcorp.com

3D Physical Modeling in the AEC Community

2010-11-10T08:00:00.001-05:00

This past summer, we conducted a market survey which asked questions about the use of physical modeling in the building design process. The survey was sent to a rented list of architectural firms of all sizes across the US and Canada. Most of the respondents were employed at small firms, so the results are a bit skewed. Despite the small sample size, the answers were enlightening. Let’s look at the first question we asked and the results summary:

Frankly, I was surprised about the low usage of 3D tools in general, and alarmed about the infrequent use of 3D physical models. Remember, we didn’t ask about “3D prints” or “rapid prototypes” – we simply asked if 3D physical models were being used for their projects. Again, this result could be reflective on the state of the industry and the types of projects that architects have been doing during the recession. My guess is that most recent projects did not involve creative 3D multiple design concepts when simple 2D construction documents would suffice.

In a subsequent question we asked, “For those projects where physical models are created, please estimate the percentage use of each of the following 3D physical modeling techniques.” We offered choices which included laser cut materials and assembly, CNC materials/assembly, 3D printing, and handmade models crafted with cardboard, chipboard, foam, etc.

The primary response was … you guessed it – handmade cardboard/chipboard/foam models. These models were constructed mainly by junior designer/architects at lower pay scales. Using this approach is time-consuming and expensive, and results in models which may not reflect the architect’s design or show that design in the best possible light. With the right tools, such as a fast 3D printer with low-cost consumables, great looking 3D physical models can be made without the time and labor expense of doing it the old-fashioned way. And, these models can be used to more proactively engage clients and other stakeholders to accelerate design decisions and approvals.

I would love to hear your views on physical modeling in the design process!

http://www.zcorp.com

3D Printing from Rhino

2010-11-03T08:00:00.001-04:00

Last week, we wrote about alternative workflows from Revit to 3D printing. I ended the blog with this statement … Some use Rhino in their workflow, which has the added benefit of exporting a ZPR file directly into ZPrint.

Let’s dive into the Rhino workflow a bit deeper. For those of you who use Rhino, you know that the software offers several Export options. This is best illustrated with an example. Here is a model for an organic sports stadium, complete with surrounding site, provided by T-Splines of Provo, Utah.

With one menu pick, we can select the entire model for Export (note all the options):

About two-thirds of the way down the list, note the Z Corp. (.zpr) option. ZPR is a file format developed by Z Corp. which not only includes the polygon mesh geometry but also the color and texture information in the CAD model.

When we open the ZPR file directly in ZPrint, we see this (note the retention of color information):

This file was checked in ZEdit Pro to ensure a water-tight model, and then printed on a high def color ZPrinter® model 650. Here is a photo of the 3D printed model:

For reference, this model took about 5 hours to print with a material cost of approx $300.

Our experience with the Rhino ZPR export has been very positive. Please share your experience.

http://www.zcorp.com

More on Revit export options for 3D Printing

2010-10-27T08:00:00.001-04:00

Last week, Dolly Haardt discussed and showed us a video about the STL Export add-in tool for Revit. Good stuff!

A few months ago, on the LinkedIn group site called 3D Printing for Architects, there was some related discussion about the best methods to get Revit designs to 3D printing. Some alternatives to STL were presented as options. For example, Zvi Grinburg of CALIBER Engineering and Computers Ltd., a Z Corp. partner in Israel, posted this comment:

I don't want to spoil the STL party, but the most successful models we received and printed from Revit were those with in ACIS SAT format. I feel much more confident when the model is totally editable. Being able to edit the solid file - eliminates all the architectural typical surprises of thin walls, delicate features, non-touching objects and floating elements. It also enables for intelligent separation which can make a difference between a good and an awesome model. Most significantly, it gives a chance for proper model hollowing and draining, which can reduce a model cost from "out of question" to comfortable.

Now, I don't say that all models should be edited in CAD, but Revit is a good example of architectural CAD that can provide good solid data.

When we receive polygon files (VRML, STL, 3DS etc) we are at the mercy of the designer's ability to comprehend what a physical model is all about. At the alternative cost of numerous iterations, we take the time to review the model and make it ultimately and pleasantly printable.

FWIW, my tool for geometry editing is KeyCreator. This is a pure geometry free-form hybrid modeler (wireframe, surface, solid) that has great control and geometry management facilities and can edit almost everything as if it was natively created.

Matt Mondo from Impact 3D Models, a service bureau specializing in architectural models, posted:

I have to agree with Zvi. Many architects in our area are new to 3D printing and when we usually receive a direct export from Revit, we have the issues that Zvi mentions. It's great that there is an export tool, but it must come with the understanding that it is not a "one click" process where you have an instant 3D printable model; the customer needs to set up their focus (e.g exterior only, etc) before export.

I know that others prefer to take the digital model from Revit into 3dsMax to prepare models for 3D printing, especially when color and texture are desired (VRML export). Some use Rhino in their workflow, which has the added benefit of exporting a ZPR file directly into ZPrint. What is your preference?

http://www.zcorp.com

Model Transformation: Revit, Google Earth and 3D Printing

2010-10-20T08:00:00.001-04:00

Today’s guest blog is from Dolly L. Haardt, LEED AP, Architectural BIM Specialist, Microsol Resources, New York City. Microsol is an Authorized Reseller for Z Corporation.

It’s amazing what you can do with a Revit project, from publishing it into Google Earth to printing a 3D model, the capabilities seem endless. Some of the most powerful aspects of Revit are the Add-Ins, which essentially are plug-ins to the software to expand its functionality. I’m going to walk you through the Globe Link and STL Add-In tools, so that you can familiarize yourself with how to publish a Revit mass into Google Earth and how to export an STL file to print a 3D model.

First let’s talk about Revit and Google Earth. For those of you that understand the basics of Revit, you know that Project Location is extremely important and can cause havoc down the road if ignored. The beauty of linking your model to Google Earth is that you can import the latitude and longitude of a particular location into your Revit Project. To start you need to make sure that you have the Globe Link Add-In tool; it can be downloaded at subscription.autodesk.com. This is a free tool if you are an Autodesk subscription customer. Once you download and install the Add-In, you will see the commands listed under the External Tools Menu. Then, locate your project in Google Earth and simply ‘Acquire’ the location in your Revit Site view. Once you mass out your design, confirm that you are in a 3D view and ‘Publish’ your model to Google Earth via the Add-In menu. It’s basically that simple. Here is a link to a video I created showing you the process.

Now let’s discuss Revit and 3D Printing. There is a free Add-In tool that you can get at labs.autodesk.com called STL Exporter for Revit Platform. This gives you the ability to take any Revit model and export it out to an STL format. The 2011 Autodesk tool has new features that the 2010 tool did not include, so it is well worth the upgrade. Similar to the Google Earth process, you will want to make sure that a 3D view is active before exporting. I do want to clarify one important point, similar to the process for photorealistic rendering, for 3D printing there is pre-processing work that needs to be done. Your model needs to conform to standards depending on the final output. For example, let’s say you want to bring this model into ZPrint, which is software provided by Z Corporation for printing on their various 3D printers, you will need to adhere to certain guidelines: a water tight model, no inverted surface normals, and minimum element thickness. Once you have gone through this process, you can bring the STL file into ZPrint and then check it in ZEdit Pro for any issues that may need repair. Once you get the ‘Congratulations’ dialog box you are ready to print. Here is a link to a video I created showing you the process.

Both the Globe Link and the STL Export tools are quick to install and master. With a little bit of guidance from my videos, I hope you have the opportunity to test out these latest features. I have found that showing clients their project in Google Earth and printing out 3D massing models helps communicate design concepts most successfully. Keep in mind that these are just a couple of the latest tools out there to enhance your workflow.

http://www.zcorp.com

Tools to Prepare Google SketchUp Designs for 3D Printing

2010-10-13T08:00:00.006-04:00

Over the past few years of monitoring architectural practices, we are seeing more and more interest in 3D printing from Google SketchUp designs. We hear architects tell us that SketchUp is easy to use, especially in the early design stages where multiple iterations are needed to move a project forward.

This is good news and bad news for 3D printing. The good news is that 3D printing adds the most value to a design process by enabling the physical visualization of multiple concepts as early as possible. The bad news is that SketchUp behaves more like a rendering tool, not like a solid modeling system. With a rendering tool, designers must take more care in preparing their model for 3D printing to ensure a water-tight model. To be fair, we have seen enhancements in Google SketchUp v8 which begin to address the solid modeling issue.

In the meantime, a few experienced vendors have stepped in with tools to assist with preparing models for 3D printing. One supplier, LGM Model, has created a SketchUp plug-in called CADspan - CADspan will resurface your SketchUp design and essentially shrink-wrap it to create a single water-tight model for 3D printing.

Another well-known vendor, Materialise, has formed a business unit called iMaterialise. They offer an i.materialise service which will 3D print your model. They also developed a Google SketchUp plugin to assists in the creation and 3D printing of architectural scale models. iMaterialise recently sponsored a design contest using this SketchUp plug-in module. You’ll find pictures of the winning designs here: http://picasaweb.google.com/i.materialise/IMaterialiseSketchUpContent#.

Has anybody heard of similar SketchUp tools? Please share your experiences.

http://www.zcorp.com

Timber House

2010-10-06T08:00:00.002-04:00

Today's guest post is by Mark Cook, Z Corp. VP of Research and Development.

One of the things I love about working here at Z Corp. is when I am able to help someone discover the unique capabilities of 3D printing, specifically how ZPrinting can help solve real problems.

A few weeks back I ran into an old friend, during a wine tasting event at a local vineyard, who I had not seen in many years. As is often the case during these chance meetings, we both talked at length about what we had been up to over the past few years. The last time I saw him I must have just recently started my career at Z Corp. because he seemed to remember me telling him something about models. My friend is a local architect specializing in high-end custom homes.

Like many individual or small firm architects that have been around for a while, this guy hand draws most of his concepts and many of his detail drawings. His early design decision process involves sketching concepts, reviewing them with the customer, and re-sketching until they both agree on what is to be built. This is time consuming and at the end to the day there is always a risk that the sketch did not accurately represent the final building. How close the end product is to what is expected depends upon the quality of the sketches, as well as the customers’ ability to interpret them or to visualize the final building from the sketches.

Recently some of the younger architects working with my friend started using 3D software to turn early concepts into more realistic renderings in an effort to better communicate and make decisions at this early design stage. As luck would have it, they were in the midst of a project with a client where the husband was in the building profession and, because of his experience, could easily interpret drawings. The husband and wife were in disagreement about a particular detail - whether an entire wall in their new great room should be made of stone or just the section above the fireplace. The architect had rendered the room and shown them the renderings on the computer screen, but a decision had yet to be made.

I offered to take the 3D data from their software and print a model for their next client meeting on the following Thursday. I was able to export the 3D data, including texture map images for the wood, stone and other surfaces. I delivered the completed ¼” scale model in full color on Wednesday afternoon. My friend was amazed, his client was amazed, and I was very happy to help. The husband was finally convinced that his wife was right. Through a chance meeting at a local vineyard, I was able to help a friend solve a real issue by improving communication using Z Corp. 3D printing technology.

Click here and scroll to the bottom of the page to see a sampling of ZPrinted architectural models.

“Britain’s best architect”

2010-09-29T08:00:00.001-04:00

I came across this article in Building Design recently “Gove waxes lyrical over Amanda Levete” by Elizabeth Hopkirk. The article describes how Britain’s Education Secretary, Michael Gove, called Amanda Levete “Britain’s best architect” during a ribbon-cutting ceremony at the Globe Academy in South London, which the firm designed. Gove went on to say, “So much care and attention and the work of Britain’s best architect has gone into providing you with the best possible building in which to spend the next few years.” He said everyone involved in the design had “shaped a building which is impressive on the outside and beautiful on the inside.”

Why did this article catch my attention? Amanda Levete Architects is a Z Corp. customer. They use a ZPrinter 450, multicolor 3D printer.

It’s gratifying to know that Z Corp. technology is being used by the best architectural firms to quickly and cost effectively create the most innovative designs in an iterative manner, and then have those designs validated by such a prestigious, independent third party. But it also makes me wonder why some architectural firms have not yet adopted 3D printing. If physical modeling is used to complement digital modeling in design practice (as most architects do), then firms without 3D printing in their competitive arsenal are at a distinct disadvantage.

From the Levete company Website profile page…"The ethos of the office is rooted in design research and a commitment to exploring the transformative potential of space. Developments in digital fabrication have allowed the office to challenge conventional notions of form and space alongside the continued value placed on hand-drawings and hand-crafted models. The team's collaborative approach to the design process extends clients' ambitions for their projects and produces groundbreaking work."

The best AEC firms combine laser cutting, CNC, and hand-crafting with modern 3D prototyping technology to create visualization models for their design team, clients, and regulatory agencies. I’d like to hear from you. If you have not yet adopted 3D printing into your architectural firm, why? Are you considering it?

http://www.zcorp.com

Bentley 2010 Design Competition Winners

2010-09-22T08:00:00.003-04:00

Today’s guest blog was contributed by Fran Rabuck, Director of Technology Research for Bentley Systems. Fran is responsible for the lab, and he works with RFID, Sensors, Visualization tools, Next Generation Input devices, mobile and wireless gadgets, and 3D Printing technologies.

At the Bentley 2010 BE Conference, Bentley hosted a competition for three teams, each consisting of two end users paired with a Bentley employee Microstation expert. This Iron Chef-like bake-off challenged each team to design and build a new Philly related iconic-like item that would represent some unique part of Philadelphia. All of their work would be projected onto a large screen live. Talk about pressure! First, the teams needed to choose what they would design, and then they had about an hour to model it. When the teams started their design, there was no mention of 3D printing of their work. Below you can see the results of the teams who designed: 1) The New Liberty Bell, 2) The Cheese Steak Trophy and 3) The Love Shack. The first two, most people are familiar with the association with Philadelphia. The Love Shack is a reference to the famous LOVE statue in Love Park across from City Hall. It’s a reference to the City being known as the “City of Brotherly Love.”

Now, even with the Microstation tools and help of experts, it can be a real challenge to design anything in an hour. The surprising result was all three models were loaded into ZPrint/ZEdit Pro and required very little preparation. Of course, these models were relative simple in structure and that might be expected. But so often, I hear that models need to be “designed from the start with 3D Printing in mind.” I’m not sure this is always true. Recognizing that more complex Digital Terrain Models (DTM), Building Structures and even Digital Plants can be very complex for 3D printing, there are several commands added to Microstation to aid in the preparation of a model for 3D printing.

For example a Civil DTM may include a set of unrelated triangles. These can be converted to meshes using the tool “Stitch into Mesh” or “Construct Mesh from Contours.” Or a B-Spline surface can be converted to meshes using the tool “Mesh from element” using a selection set. Solids can be created from a curved object using the “Solid by Extrude Along” tool. Surface objects can be fixed with the “Solid by Thicken surface” tool and the “Mesh from Element” tool. Sizing problems of Solid Objects can be handled with the “Remove Entity by Size” tool to remove small, print-challenged scaled objects. There are many other tools now in Microstation v8i like: “Add Thickness by Vortex offset”, “Add Flat Base”, “Mesh – Unite, Intersection and Subtract” and “Decimate and Cleanup Mesh” and more.

The last step, of course, is export to a 3D format acceptable by Z Corp. or other 3D printers. STL is the base standard and has been an option in Microstation for years. For color – VRML output can be used. But the lesson here is that exporting or saving models to STL or other formats should be the last step of the process for 3D printing. Don’t let any software vendors or 3D printer services lead you to believe that 3D printing is simply a single push-button solution.

http://www.zcorp.com

Frame Models

2010-09-08T09:00:00.013-04:00

Today’s guest blog was submitted by David Munson of Munson3D. David has worked with a variety of clients to model frame structures in Revit, AutoCAD, and 3dsMax Design. The following examples show a variety of interesting architectural designs printed on Z Corp ZPrinters. You can see more of David’s work on http://www.munson3d.com/

Subject: Proton Accelerator

Client: Tsoi/Kobus & Associates

Software: Revit and 3dsMax Design

ZPrinter: model Spectrum Z510

Subject: Radar Dish

Client: a Massachusetts research lab

Software: 3dsMax Design

ZPrinter: model Spectrum Z510

Subject: BMW Automotive Show Room

Client: Autodesk

Software: AutoCAD and 3dsMax Design

ZPrinter: model ZPrinter 650

Subject: Park Canopy

Client: Sasaki Associates, Inc.

Software: AutoCAD and 3ds Max Design

ZPrinter: model Spectrum Z510

http://www.zcorp.com

STL Exporter for Revit Family 2010

2010-09-01T09:00:00.002-04:00

Recently, Autodesk announced that the Revit STL Exporter has been retired from Autodesk Labs - http://labs.blogs.com/its_alive_in_the_lab/2010/08/stl-exporter-for-revit-famil-2010-retired.html

This means that enough users have downloaded the utility over the past two years to give Autodesk enough confidence to ‘graduate’ the technology preview. The STL Exporter for Revit Family 2010 is now available on the Autodesk Labs Graduates web page - http://labs.autodesk.com/graduates/

I would love to hear from those Revit users out there who have downloaded the STL Exporter and used it for 3D Printing. Have you been successful? Or, do you prefer other data paths such as exporting a DWG Solid file and pushing that geometry through 3ds Max Design for ultimate export as a 3DS or VRML file for 3D Printing? Or maybe you are exporting FBX files? What’s working best out there?

http://www.zcorp.com

Experiences at SIGGRAPH 2010

2010-08-25T09:00:00.006-04:00

Today’s guest blog was submitted by John Penn, architect and principal of JWP Design LLC in Phoenix, AZ.

During the last week of July, the Los Angeles Convention Center hosted more than 22,000 people from 79 countries at the SIGGRAPH 2010 conference. JWP Design exhibited at the show from Sunday through Thursday. We hauled our ZPrinter 650 in a trailer from Phoenix to LA without incident. With support from Z Corp’s marketing team, we set up the booth and we were ready to go by noon Sunday.

Everyone involved with the conference was impressed with the ease of use and speed of our best-in-class, full color 3D printer. We printed three builds each day. Two short builds, each two hours long -- one in the morning and one in the afternoon -- then a longer build each night. The system was printing or recycling powder almost the entire show. Students helped run the printer and post-process the parts. We were at the center from 8 am to 8 pm or later every day.

There was a lot of excitement about 3D printing in color. A lot of people who had never seen this technology were amazed! Even the people who already knew about Z Corp machines were impressed with the sample models we had on display. The feature detail and the color produced by the ZPrinter 650 with our zp150 build material were impressive to most viewers. We got quite a bit of traffic. There were more people to talk to than time available, and the days went by quickly.

http://www.zcorp.com

MIT Building Model

2010-08-18T09:00:00.002-04:00

Folks who follow the 3D printing industry know that Z Corp. was founded in 1995 based on technology that originated at the Massachusetts Institute of Technology (MIT). So, when it came time to produce a new brochure for the Architecture, Engineering, and Construction industry, it was no mere coincidence that the MIT building entrance at 77 Massachusetts Ave. in Cambridge, MA, USA would grace the cover.

Some have asked where the model came from. Here is the answer …

The MIT lobby at 77 Mass Ave. was designed in Rhino by Marcel Botha from the MIT Architecture department. He provided the digital model to Radlab Inc. [founded by two former Botha colleagues] to print on their ZPrinter. The Rhino digital model was originally made up of both polysurfaces and surfaces. Radlab revised it so that the entire model was closed polysurfaces suitable for 3D printing. In the underside of the dome, Radlab exposed some of the structural details that were initially hidden behind the ceiling to decrease the overall volume and weight of the dome. Given the number of rooms and balconies in the model, Radlab also made sure that all cavities had doorways and openings for excess powder to escape later during the depowdering stage.

The model was printed and finished, then presented as a gift to Dr. Robert Brown, President of Boston University and former MIT provost. This scaled replica of the neoclassical MIT lobby captures the smallest details of the domed entryway, including the Ionic columns, interior balconies, and stoic podiums.

http://www.radlabinc.com/v2/proj_06_77Mass_T.shtml

Visitors who enter the Z Corp. lobby at 32 Second Ave. in Burlington, MA, USA (not quite as impressive as 77 Mass. Ave.) will see the MIT model perched on the reception desk.

http://www.zcorp.com

ZPrint v7.11 Support of FBX Expands 3D Printable Market

2010-08-11T09:00:00.001-04:00

Recently, Z Corp announced the release of ZPrint v7.11 software. One of the deliverables in this new release is the support of the FBX file format. FBX is being used by Autodesk for interoperability between its primary Content Creation software. http://usa.autodesk.com/adsk/servlet/pc/index?id=6837478&siteID=123112

From the web site above … Autodesk® FBX® asset exchange technology facilitates higher-fidelity data exchange between several Autodesk content creation packages—Autodesk® Maya®, Autodesk® MotionBuilder®, Autodesk® Mudbox™, and Autodesk® 3ds Max® products—and provides support for certain third-party and proprietary applications. Whether you are using FBX within an entertainment pipeline or as part of design production, files are more seamlessly transferred, more data is retained, and workflows are more efficient.

For more history on the FBX format, visit: http://en.wikipedia.org/wiki/FBX

What does this all mean for 3D printing? Now a new direct geometry data path exists from applications that do not export STL. This means that more Autodesk community users will be able to print 3D physical models from their native applications which export FBX files. For example, Autodesk Navisworks®, the project review/clash detection/simulation application can export FBX files, but does not export STL files.

While this new file format support is generally good news, there is a ‘gotcha’ to be considered. Z Corp initially developed ZPrint v7.11 with FBX files generated by Revit2010 which exported color and texture information in the FBX file. In the recently released Revit2011, Autodesk changed their FBX support in a way which makes colors and textures unavailable to outside applications like ZPrint. While this change helped Autodesk achieve their stated goal of giving a better ‘looks the same in all our applications’ uniformity, the real effect is to change FBX from a useful 3DP color export format to a format mostly useful for transferring data between Autodesk applications.

On the plus side, at least there is now a geometry data path from applications that do not export STL. Color and texture must still be added in other applications like 3dsMax or ZEdit Pro.

I am eager to hear from Navisworks users and others with experience in exporting FBX files.

http://www.zcorp.com

Success with 3D Printing – Solo and Complementary – For Communication

2010-08-04T09:00:00.004-04:00

Today’s guest blog was submitted by Matthew Mondo, Affiliate AIA Member, and Vice President at Impact 3D Models, LLC – www.impact3dmodels.com

With the rapid development and seemly infinite amounts of uses for 3D printing, users are always interested to see what makes this unique technology stand out. While the most visible use is communication, what’s important is how the physical model is used to communicate the message. Many of us are familiar with how 3D printing can rapidly communicate ideas among internal design team members, but it is beyond the design office where 3D printing really stands out.

Many of Impact 3D Models’ customers have used their models to communicate ideas, whether it is an architectural firm showing their prospective client a ‘hard to describe with words’ design, or a product design firm displaying their concepts to their client with 3D prints. It may seem obvious to daily users of 3D printing, but to people unfamiliar with the process, viewing a 3D physical model allows them, in less than a minute, to understand a design which would normally take twenty 2D renderings and several hours of discussion to accomplish. Designers that want to take their presentations to the next level utilize a multimedia approach, including full color renderings and virtual walk-throughs, with their 3D physical model sitting in front of the customer to provide them with the ultimate spatial relation and communication tool set.

Whether you have your own in house printing equipment or utilize a professional service bureau to produce your models, custom 3D models are both a cost effective and extremely useful way to communicate your designs and gain stakeholder approvals!

http://www.zcorp.com