Formed by a combination of digitally controlled and manual processes, this work can decorate a wall as well as a table. A CNC router cuts the pattern I designed, guiding the manual deformation of the aluminium composite material into a 3d form. This material is lightweight, durable and colourfast, all qualities that make them ideal for creating lasting individually designed works.
Archive for the 'technology' Category
Tags: aluminium, art, cnc, craft, design, fold, folded, gilbert, kunst, kunsthandwerk, object, riedelbauch, router
Tags: anu, art, brian, calypso lounge, canberra, cinnamon lee, craft, de sign ed, de sign ed 2, design, designed, designed 2, designer, designer/maker, education, exhibition, gilbert, henry pilcher, jam factory, jon goulder, maker, parks, riedelbauch, school of art
This exciting exhibition will be opening on Thursday 2 August at the School of Art gallery in Canberra at the Australian National University. The opener will be Brian Parks, director Jam Factory in Adelaide.
Works by the following designer/makers are presented in this show:
Elliot Bastianon, furniture
Sean Booth, metal
Simon Cottrell, metal
Cesar Cueva, metal
Janet DeBoos, ceramics
Nadège Desgenètez, glass
Ashley Eriksmoen, furniture
Robert Foster, lights
Jon Goulder, furniture
Megan Jackson, textile
Johannes Kuhnen, metal
Cinnamon Lee, metal
Rohan Nicol, lights
Henry Pilcher, lights
Phoebe Porter, metal
Gilbert Riedelbauch, metal
Blanche Tilden, metal/glass
Annie Trevillian, textile
Henry Wilson, furniture
The catalog includes a welcome by the head of school, Gordon Bull and an essay about the design arts by Anne Brennan the head of the Art Theory department. Here is a link to a pdf version of the catalogue.
Tags: aluminium, art, cnc, composite, craft, decorative, design, digital, illustrator, router, routing, sketch, technology, tray, utilitarian, vessel
Wall Vessels are a new series of objects formed by combining digital and manual processes. These objects are both utilitarian and decorative and are more then 600mm long and about 450mm wide. Please find more images on my web site here.
I design the CNC engraving patterns and save them as digital files, these in turn control the CNC router’s path. The machine cut pattern then guides the manual deformation of the sheet into a 3d object. Using composite aluminium panel, this high performing material is lightweight, durable and colourfast, making it suitable for creating lasting individually designed works. Aluminum Composite Panel is best described as a sandwich panel consisting of a Polyethylene core sandwiched between two aluminum sheets with the entire panel consisting of three layers.
I am interested in experimenting with the surface treatment, as the appearance will translate this material from industrial back to the manually formed and finished object.
A paper folded ‘sketch’ object serves as a mock-up. The creases in the paper are translated into a digital vector drawing in Illustrator and saved as .eps file. This file is then used for the CNC router.
Tags: cad, digital, fabrication, gold, ponoko, stainless steel, web2
Web-based fabrication has gotten even more exciting with a new material/process offered through the Ponoko system. Getting computer models ‘printed’ in 3D using online rapid prototyping processes is established but having the CAD parts arrive in stainless steel with a gorgeous rich gold coat is quite something.
This new material/process is offered through the US hub and is equally as easy to order as the 2d laser-cutting service. I found that dimensions ‘shrink’ slightly eg holes I had modeled as 3.9 mm turned out to be 3.4 mm in the finished parts. Being mostly stainless steel (with some bronze wicked into it) it proved very difficult to drill the holes to the right size. High speed drill bits (even titanium tipped) are blunt after drilling only 6mm deep. Reducing the speed from the recommended 1000 rpm to a third helped to improve their staying power slightly. I look forward to the carbon-nitride drill bit I ordered to finally finish the job.
These parts are for a new light using a mix of digitally fabricated and manually made elements. The ‘gold’ parts are intented to connect carbon fiber rods forming the main structure of the design.
Tags: art, David Hockney, digital, drawing, Hockney, iPad, kunst, sketch, technology
This post is to thank David Hockney for making available two of his recent iPad drawings to my teaching program at the School of Art at the Australian National University.
We celebrated these impressive drawings, which are in every sense true digital art works, as part of Core Computer Studies lecture to our 1st year students and guests. I decided to display these works on two Apple iPads, the very platform/media they were created on.
David Hockney drew them during his stay at Glyndebourne, a 700-year old country house and opera house in East Sussex, England. There he recreated the stage-set for the opera ‘The Rake’s Progress’ by Stravinsky . Looking closely at these drawings one gets a sense of this location. The drawings titled: ‘iPad 6 8 2010’ & ‘iPad 7 8 2010’ were sent as email attachments on 21 August 2010.
I like to thank Martin Gayford, critic for Bloomberg News, for kindly forwarding my emails to David Hockney. I also like to thank Tristan Peemoeller from MAC1, Greg Aldridge and Barbara McConchie for their support, to make the presentation of these works possible.
This event was picked up by the news, please read more here.
Tags: art, craft, design, digital, gilbert riedelbauch, rapid prototyping, research, technology
‘One can do only four things with material’, is my current theory I like to test with this post. Four steps apply to the majority of making processes and some aspects of these are shifting from the makers workbench to distributed digital fabrication online.
It is worthwhile to look at these shifts in more detail as the mastery of digital technologies is involved in defining contemporary craft practitioners as ‘Designer Makers’.
The four processes are:
Cutting – Forming – Fusing - Finishing
About these categories:
Many materials used by makers are available in flat, like sheet metal, fabric, glass. Traditional cutting tools such as saws, scissors, blades are used on them, while at the same time digitally controlled cutting processes like laser & water-jet cutting or CNC plasma cutting are becoming more and more accessible. Digital processes influence most significantly the first category, cutting. Just about all flat materials can be ‘fashioned’ this way, allowing the maker to achieve repeatable precision parts countless times. These technologies are still very specialised and expensive usually out of reach of the individual maker. However a growing fabber network will bring these tools closer to the workshop of the individual maker.
The forming is still mostly in the hands of the crafts practitioner with digital 3 dimensional processes only on the periphery and used in niche applications. Once cut to size, many materials are traditionally formed through impact like the use of hammers or with the help of heat, steam or formed into and over molds. Rabid prototyping is a representing the digital fabrication for this category. For example in contemporary jewelery very detailed 3D wax or polymer prints are used to achieve - once cast in metal – very unique results.
The third category, fusing, relies heavily on the skilled work of the maker and no influence of any digital technology in this category is evident. All crafts have developed processes of combining materials either two of the same kind or as a mix of different materials. Some are permanent while others can be separated again. These fusing processes include welding, gluing, riveting, stitching, bolting.
Finishing: the treatment of the works surface is typically one of the last steps in the making process, while adding significant value to the finished object, it is time consuming. Many of the finishing processes are completed by hand. However an increasing number of digital and computer controlled processes are relevant to this category such as digital printing on fabric, laser engraving. Some of the finishing processes are mechanical or chemical and can include techniques such as engraving, polishing, printing, anodizing, lacquering.
Digital fabrication has without doubt much to offer for contemporary craft practice and over time will get more important for the contemporary designer maker. By becoming more accessible digital fabrication has the potential to contribute significantly across the entire making processes.
To integrate these technologies with traditional tools the maker has to add the required digital skills to the tool set as well. Just about all cutting processes I mentioned are based on the ability to generate vector based drawings. These would require a basic knowledge of a software such as Illustrator.
To address rapid prototyping processes, one has to master a CAD program first. Typically this requires a much steeper learning curve until one is able to create a well-formed 3D computer model. However non of these skills can’t be learned (or taught for that matter).
Together with an increasingly fast, accessible internet and more user friendly web 2 services, digital fabrication is ready to be explored creatively.
Tags: art, craft, design, lamp, led, leds, light, lights, ponoko, rapid prototyping, technology
This post describes some technical and making aspects of the Light objects for the ANU School of Art library. You can read more about the design aspects here.
During the making of these lights a mix of manual and digital fabrication processes have been used. Brass and aluminium pieces have been laser cut while the translucent red elements had been rapid prototyped by ‘Rapid Pro‘ in Victoria, Australia.
The black curved arms are five 2.5mm layers aluminium, riveted together to create an inside channel concealing the cables up to the brass cylinder. They have been laser cut locally in Canberra by Acuform. The cylinder forms a central hub from which four conical carbon fiber tubes stretch out and support two light heads on each lamp. The lights have a wingspan of 1.4 meter.
Each light head has six one-watt LEDs. The LEDs are mounted on a decorative brass cooling plate (cut by Ponoko) and are cooled by a fan. The following parts had been used: LED ring with six one watt LED (LSP6-WW-XXX) and Controller/Driver (MDU9-SC-3570) from Future Electronics. All elements are enclosed by ABS housings. These housings are rapid-prototyped using translucent red FDM material from ‘Stratasys’.
The curved aluminium arm extent from the main brass fitting which is strapped onto the existing column with an aluminium strip. This strip has custom brass connectors to adjust the tension of the strapping.
The electronics – led drivers and fan power supplies – are placed inside the void between the column and the main brass fitting. The 12 volt fans are driven by 6 volt power-supplies letting them run without developing noise. Before the installation the lights had been tested for several days.
Tags: art, craft, design, desk light, kunst, lamp, led, leds, light, lights, rapid prototyping, technology
These two lights provide four ‘highlighted’ spots for reading or lab top use within the reading pit. The design intent was to connect the space inside the glass walls of the reading pit with the surrounding architecture. The objects themselves should have a mechanical but yet organic feel to them. I used the two columns on either side of the reading pit as anchor points from which the lights reach over the seating area in a ‘branch and twig’ fashion. All brass parts of these lights – being cylinders of sorts – referring to these columns. The lights are lightly strapped to the columns highlighting their light weight construction. The colours have been limited to Brass (gold), black and red.
The lights are made of aluminium (powder coated black), brass, carbon fiber tubes and LEDs.
The designs on the glass panels and on the fabric on the cushions are by Annie Trevillian. Many thanks also to Irene Hansen (head librarian) and Murray Napier for their support of this project.
I designed this light object with the idea to further integrate web2 based fabrication with my craft practice. The shade, base and fixture for the light emitter (LED) are all laser cut by Ponoko. I look forward to try a variety of materials for the base including acrylic using ‘iMacy’ colours, bamboo and metals. The shade is white felt or polypropylene.
The shade simply snaps into the base and forms a dome covering the warm-white 1 watt LED. A metal fixture holds the LED the switch and functions as cooling surface.
Environmental aspects of this object: The LEDs used are highly energy efficient and have an expected life span of about 5 years of continuous operation till reaching 70% of their original brightness. All parts can be dissembled for recycling.