IC.1 Digital Fabrication | Master in Advanced Architecture 2011/2012

DIGITAL FABRICATION ::: EXERCISE 2 – Valchromat milling ::: GROUP 19

By hunia.tomoum | Published: December 23, 2011

Inspired by Sand dunes formation and its patterns.

Performance
Horizontal Roughing was important to be done prior to the 3-axis Projection Pocketing in order to save time.
The whole process in total took 1 hour.

3D milling – Process consisted of two phases:

First phase:
horizontal roughing
Tool: BallMill 26mm in diameter
Dimensions of the board: 600 by 400mm
Boards of 8mm thickness
Time taken: 9 min.

Second phase:
Projection Pocketing following a rectangular path
Tool: Ballmill 12mm in diameter
Global parameters intol: 0 , outtol: 0.4,
% Tool Diameter: 25 %
Time taken: 48 minutes

Rhino file: steps of formation

Horizontal roughing

Posted in HUNIA TOMOUM, IC.1 Digital Fabrication, Jayanthimala Thangarajan Gokulrajkailash, Milling, Uncategorized, YA-PING CHEN | Comments closed

By fernando.barba | Published: December 23, 2011

Students: Fernando Barba/ Jose Starsky Naya Lara / Ricardo Fernandez

In this project we wanted to emulate the idea of a topography based surface, our intentions were to simulate in RhinoCAM the capacity of the machine to build this gently shapes in order to obtain the result we wanted, Valchromat was picked and its intended to watch the depth of the material by trying to show all the three colors of the panel first doing a 26mm tool Horizontal Roughing to remove the most quantity of material and then pass to a 12mm Parallel finishing tool for a better smooth looking surface.

sii

Posted in Fernando Barbas Castillo, IC.1 Digital Fabrication, Jose Starsky Naya Lara, Milling, Ricardo Fernandez | Comments closed

The (B) Lamp

By fernando.barba | Published: December 23, 2011

Students: Fernando Barba Castillo / Jose Starsky Naya Lara / Ricardo Fernandez

For this exercise we were given methacrylate as a material and bending as the technique to be used. Since the beginning the material presented several drawbacks, for example the fragility but at the same time the rigidity of the material to bend.

Trying to achieve the bending of the methacrylate we experimented applying heat to the material with a heat gun. We concluded after several experiments with heat, that it was possible to bend but that it was not an accurate bend, and was more of an artisanal work rather than digital fabrication. After bending with a heat gun was discarded, we started to look at bending by applying force to it and creating joints on the lamp that would encourage the bending but at the same time create a rigid structure.

Posted in Fernando Barbas Castillo, IC.1 Digital Fabrication, Jose Starsky Naya Lara, Ricardo Fernandez | Comments closed

Ba-Ro-La Lampara

By bhavya.vora | Published: December 23, 2011

For our project, we were assigned the material paper/cardboard and the geometrical manipulation ‘fold’. Our concept for this lamp was inspired by origami and the use of the water bomb technique. The water bomb technique is the basis of numerous types of patters that can be used to make geometric manipulations within a surface. We also wanted to work with the idea of manipulation based on user requirements as well as light studies to help filter soft light through.

For our materials, we used two different thicknesses of cardboard within our lamp design.

MATERIAL LIST:

Cartulina Marron 3h. Weight, 40 gr. Measures, 50 x 65 cm
Fedrigoni Negro/Negro. Weight, 700 gr. Measures 70 x 100 cm

CUTTING PARAMETERS FOR “Cartulina Marron 3h”:

Speed = 100
Power = 5

ENGRAVING PARAMETERS FOR “Cartulina Marron 3h”:

Speed = 97
Power = 16

CUTTING PARAMETERS FOR “Fedrigoni Negro/Negro”:

Speed = 100
Power = 85

ENGRAVING PARAMETERS FOR “Fedrigoni Negro/Negro”:

Speed = 100
Power = 50

RECOMMENDATIONS:

For the Cartulina (thin cardboard) it’s necessary to use a wooden base, because we soon learned that the paper was too thin to hold on its own. The thicker cardboard was much easier to cut; it doesn’t need a wooden base.

We also tried multiple times and with different techniques to engrave on both sides of the paper, but that proved to require too precise a job for the machine to complete. We recommend working in one side only.

Posted in Bhavya Vora, IC.1 Digital Fabrication, Lana Awad, Laser cutting, Rodrigo Gabriel Aguirre Pereira | Comments closed

Milled Portrait

By anna.kulik@iaac.net | Published: December 23, 2011

How to make a valcromat face?

In this exercise, it is expected to digitally design and fabricate in a Valcromat Panel and to explore the material effects that can emerge from the articulation between design, fabrication and material parameters.
With this surface as a case study we explore a specific material effect that will come out of the design strategies for surface design and/or curve pattern developed in Rhinoceros and also the definition of both the tool and machining path geometries in RhinoCAM, the composition of the material sandwich.

In order to define our work, we want to create an image, a ‘’pop art’’ portrait using the 3 colours (that will be the three layer of the valchromat panel). Our purpose was the design of this abstract portrait will come both from our own design and especially from the material effects and the capabilities of the machine. During the production process we found out that with this material (Valcromat Panel) the design follows the fabrication.

Read the instructions on the following images!