Create More Furniture Designs With 3D Printing – Lithocubus

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

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

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

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

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'

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

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/