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Group: Luz Michelle Lavayen and Erina Filipovska.

Assignment: Digital Fabrication / 3d printing.

The inspiration for the 3d brick came from an Arabic pattern which we used to make the skin of the brick.

Since the pattern consisted lines and circles, we used that particular one to correspond to the shape of the brick which has flat surfaces and circled pipes. We started modeling the brick in Rhino, working on the separated surfaces which we made to be 3mm thick. We offset the lines of the pattern, joined all the lines, we could have closed polylines in order to extrude them and make them solid. By Boolean difference we were able to make the desired holes in the 3mm surface.

The pattern is made to supplement itself, we used the basic one twice for the longer side and once for the shorter side. We copied the surfaces in order to make the whole skin of the brick. The circled geometric forms were designed to be where the pipes of the brick should have been, so we were able to use the form as a base of making the pipes.

For this is a 3d printing model, we wanted to do something in the inside of the brick too. Using the places where the circles intersect the lines we made solid boxes connecting the circled surfaces inside the brick, from one side to the other but connecting the opposite points. That way we got interesting structures inside the brick which can be seen throw-out the skin.

This work is a collaboration between Ayber Gülfer and Jordi Portell and describes the fabrication process for the Lego-like-brick exercise in the Digital Fabrication Tools class.

The nurbs modell was converted to a mesh and exported as *.stl in order to send it to the fabrication laboratory.

Brick as nurbs beeing modelled in Rhino 4.0. Unifying the parts.

Nurbs transformed into mesh in order to submit to fabrication.

We rendered the modell with Blender 2.54 to see the final result. We assigned materials and lights in order to have a realistic look at the piece before fabricating.

Model checked and rendered in Blender 2.54 (view b).

Model checked and rendered in Blender 2.54 (view a).

We submited the file to the FabLab and where notified by the assistants that our model had no problems and could be fabricated in the first batch.

We went to the FabLab and recovered our fabricated modell with the colleagues that had their modell fabricated in the same bunch.

Cleaning the first powder layer. A batch of 4 bricks in the machine.

Cleaning the surface once removed from the machine.

Getting rid of the powder.

The most powder removed. One can see the general form.

Removing the powder from the inside with a paint brush.

Last operations before completion.

Cleaning the remaining powder from interstices with pressurised air.

The finished brick ready to be reinforced by projecting glue on it.

Finished modell where the fabrication layers can be seen.

The brick at Iaac. A rest of fabrication powder remained in the inner edges and has to bee cleaned.

> First, we created three curves. We copied and multiplied them in order to create a pattern. This pattern would only leave 3mm in between each of the curves in order to remove as much mass as possible from our brick. Next, we extruded the curves passed the brick. Next, we used the Boolean difference command to remove the excess masses from the outer part of the brick. Lastly, we repeated all the steps to the other side of the brick, and to the cylinders.

LASER CUTTING

CHAIR : HOW TO BUILD – TUTORIAL

This is a graphic tutorial to help us arm step by step the fabricated product.

FINAL PRODUCT

This Collapsing Volume lamp designed by Studio Dror is built in a similar way, though the process is additive rather than subtractive and it does something you can only do with rapid prototyping: The manufacturer, Materialise.MGX, starts off with a pile of powdered nylon, and then a CNC laser selectively sinters (SLS) parts of the nylon into solid links that are all interlocked.

The only way to create something this complex is rapid prototyping–and laser sintering, to be exact. The process works by sweeping a laser across a pan of powdered nylon; when the lasers hit the nylon, it fuses (“sinters”). The process repeats in layers, until the final product emerges. Thus, you can create interlocking shapes all at once–for example, a chain whose links are completely closed.

When illuminated, the beauty of the complexity of the shape is highlighted through the various effects the light has on the hundreds of squares that make up the collapsible form. The light is diffused in a way that gives the structure a bright, warm glow in the center, which gradually fades into cooler, darker shades on the edges and corners of the cube.

A series of disused buildings from Mumbai’s colonial past set within the Mumbai Race Course are to be converted to form a series of restaurant and bars. The conservation guidelines call for the preservation of the roof profile for three-quarters of the buildings and full conservation for the remaining one-quarter. The interesting aspect of the site, however, lies not in the colonial buildings but in the open spaces covered by mature Rain Trees. These spaces are shaded throughout the year by the thinly wide spread leaves of the Rain Trees, allowing almost the entire proposed program to occur outdoors.

The proposal attempts to continue this idea of a continuously differentiated space, with no clear boundary, into the envelope of the conservation building. A new structure is proposed within the old building envelope. The structural system adopted here is that of a tree-branch. The propagation of the branching system along the longitudinal section of the conserved building is differentiated in its growth along the transverse section. This differentiation reorganizes the old buildings with new dining programs. Therefore each dining program (wine bar, restaurant, pre-function and banquet facilities) is captured within a different spatial volume, defined by the variable degree of the branching structure. When the branches touch the ceiling, the ceiling plane is punctured with a series of openings corresponding to the intersection of the branches with the purlins and rafters. These openings become light coves and slits.

Construction Notes: The construction of the Tote was a complex combination of restoration works for the Heritage Building and the demolition and reconstruction of the the Banquet wing. The tree structure was designed to be a steel truss and the challenge lay in working through the construction system compatible with local skills. The choice of the I-section was based on the fact that the web could be laser cut to ensure dimensional precision, while relying on the skilled fabricators to weld the flanges on and assemble the truss accurately. The truss geometry was altered for smooth branching as opposed to an angular one to reduce the number of weld joints. The success of the installation is that the final product conceals the fabrication method and appears to be a system of curved sections.

PTW ARCHITECTS – ARUP – CSCEC – CCDI

WATER CUBE

The Aquatics Center hosted the swimming, diving and Synchronized Swimming events during the Olympics.

The Water Cube was specially designed and built by a consortium made up of PTW Architects (an Australian architecture firm), Arup international engineering group, CSCEC (China State Construction Engineering Corporation), and CCDI (China Construction Design International) of Shanghai.

Comprising a steel space frame, it is the largest ETFE clad structure in the world with over 100,000 m² of ETFE pillows that are only 0.2 mm (1/125 of an inch) in total thickness. The ETFE cladding allows more light and heat penetration than traditional glass, resulting in a 30% decrease in energy costs.

The outer wall is based on the Weaire–Phelan structure, a structure devised from the natural formation of bubbles in soap lather. The complex Weaire–Phelan pattern was developed by slicing through bubbles in soap foam, resulting in more irregular, organic patterns than foam bubble structures proposed earlier by the scientist Kelvin. Using the Weaire–Phelan geometry, the Water Cube’s exterior cladding is made of 4,000 ETFE bubbles, some as large as 9.14 metres (30.0 ft) across, with seven different sizes for the roof and 15 for the walls.

The structure had a capacity of 17,000 during the games that is being reduced to 6,000. It also has a total land surface of 65,000 square meters and will cover a total of 32,000 square metres (7.9 acres). Although called the Water Cube, the aquatic center is really a rectangular box (cuboid) – 178 metres (584 ft) square and 31 metres (102 ft) high.

Actually it’s  a Water Theme Park

http://link.brightcove.com/services/player/bcpid4221754001?bctid=506892713001

MORPHOSIS – THOM MAYNE

COOPER UNION

The Cooper Union for the Advancement of Science and Art, commonly referred to simply as Cooper Union, is a privately funded college in the East Village neighborhood of Manhattan, New York City, United States, located at Cooper Square and Astor Place (Third Avenue and 6th–9th Streets).

A new classroom, laboratory, and studio facility designed by Thom Mayne of Morphosis Architecture, with Gruzen Samton as associate architect, was completed in Summer 2009, replacing the aging Hewitt Academic Building at 41 Cooper Square. In contrast to the Foundation Building, the so-named “New Academic Building” is of modern, environmentally “green” design, housing nine above-ground floors and two basements. The structure features unconventional architectural features, including a full-height Grand Atrium, prevalent interior windows, a four-story linear central staircase, and upper-level skyways, which reflect the design intention of inspiring, socially interactive space for students and faculty. In addition, the building’s design allows for up to 75% natural lighting, further reducing energy costs. Other “green” features in the design include servo-controlled external wall panels, which can be swiveled open or closed individually in order to regulate interior light and temperature, as well as motorized drapes on all exterior windows. In 2010, the New Academic Building became the first academic and laboratory structure in New York City to meet Platinum-level LEED standards for energy efficiency. The building was funded largely by alumni donations, materialized in nameplates and other textual recognition throughout the building.

BRICK #1

andrea debilio – francisco marmolejo

Bio-Mimicry inspiration

Sponges

Brick #1 first model

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