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casting from 3d prints arch 433 fall 2019 jacob gasper lauren stokes
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casting from 3d prints assignment 1 arch 433
This flat-back mold has three extruded surfaces and one void, a module that can be rotated to create a variance of light penetrating the void on the reverse side. With high ambitions to create a double-sided mold, we soon realized this would be impossible with techniques we had to pour into the mold. This design still capitalizes on the same principles: rotation of light and stacking variance. As production and iterations of the mold were completed, our greatest challenge was thinking about the cast product in reverse. How would the angles of the mold affect how the Rockite was taken from the mold? How would we extract a centerpiece so as to not disrupt the rest of the cast?
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front
back
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ideation vallecerón chapel / sanchmadridejos architecture office / almadén, spain Saieh, Nico. “Chapel in Valleaceron / S.M.A.O.” ArchDaily. ArchDaily, April 30, 2009. https:// www.archdaily.com/20945/chapelin-villeaceron-smao.
abc museum, illustration and design center / aranguren & gallegos architects / madrid, spain Jett, Megan. “ABC Museum, Illustration and Design Center / Aranguren & Gallegos Architects.” ArchDaily. ArchDaily, June 28, 2011. https://www.archdaily. com/146168/abc-museumillustration-and-design-centeraranguren-gallegos-architects.
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preliminary sketches of ideas. Two big themes we wanted to follow were triangular extrusions and variance through rotation. We used rhino to model first what we wanted the cast to look like, and then used that geometry to create the 3D printed mold from it.
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mold Comprised of six total pieces, the final mold locks together like a puzzle at the lowest point of intersection. Making up the six pieces are three base elements and three “tower� elements. Our greatest challenge in creating this mold was extracting the tower element from the cast Rockite to create the triangular void. Finally, we separated the tower element from one large piece into the three pieces that are shown to create less surface tension on the Rockite. To ensure that our mold held and released the Rockite, we secured all pieces with tape and rubber bands. The key to making sure this iteration was successful was also hot gluing the seams of the tower element so no Rockite would enter the interior of the this element.
assembly
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trial & error
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casts
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ceramic 3D printing arch 433 fall 2019 jacob gasper lauren stokes
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ceramic 3D printing assignment 2 arch 433
As we investigated the numerous variables that could be placed on a print from the potterbot, we decided to conduct our project informed by research. Per vase, there are zero computable variables changed, and only physical variables. The “experiment� consists of three sizes and shapes of nozzles: three millimeter, four millimeter, and five millimeter diameters as well as star, triangle, and circle extrusion shapes. Additionally, to ensure the successful finish of a vase, manual adjustment of the bed and nozzle speed were necessary. The purpose of our experiment was to see how variables that are excluded affect the output of a vase. By not changing g-code variables-- layer height, size of the vase, vase pattern, etc.-- we are able to see a result that included some failures, but also deem the importance of the g-code and its variables per print method, as very high.
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first tests
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3 mm star
3 mm triangle
3 mm circle
4 mm star
4 mm triangle
4 mm circle
5 mm star
5 mm triangle
5 mm circle
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3 mm star
3 mm triangle
3 mm circle
4 mm star
4 mm triangle
4 mm circle
5 mm star
5 mm triangle
5 mm circle
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red nozzle / 3 mm diameter The red nozzle was our most successful nozzle, as the vases as a whole experienced the least amount of dragging, pushing, and failure. Perhaps, we had perfected the proper ratio of clay extrusion speed to bed speed, but you can see the circle nozzle created a dragging pattern as it moved up the vase. This is due to the diameter of a circle being a larger surface area than the diameter of a star. Regardless, these vases printed well and are very symmetric, unlike some of the next that are printed with a larger nozzle. This is more than likely to do with the drooping and swirling pattern that is in the original vase design. Perhaps the clay, when extruded through a greater diameter, reacts to gravity in a way that skews the vase.
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star
triangle
circle
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green nozzle / 4 mm diameter The green nozzle acteced both similarly and in variance compared to the red and grey nozzles. Like the grey nozzle prints, the base of the vase appears more clean, with more a more defined dragging pattern as you approach the top of the vase. Like the red nozzle prints, the pattern of the nozzle is clearly defined. Additionally, like with the other nozzles, we had to manually change the z-axis, as well as the extrusion and move speed to allow a print to be completed in full. The greatest challenge we had with printing these vases had to do with the consistency of the clay. If we had just loaded the tube with fresh clay, we found that it was more suseptible to dragging. By leaving the clay in the tube and using it again a day later, we were able to have more successful prints that stuck together.
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star
triangle
circle
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grey nozzle / 5 mm diameter For each of the five millimeter extrusions, they began out with a noticibly thicker base and fuller layers, but as the vase built upon itself, we noticed this is the reason why the layer height must be changed. Manually we had to change the z-axis to compensate for the amount of clay being extruded at a time becuase of the larger nozzle diameter. The longer we let this go on, we noticed the layers began to push down on themselves, creating a “squished� effect. Additionally, we decreased the extrusion speed and move speed. The largest challenge with these vases were the amount of clay being extruded and the affect it had on the vase as a whole. Many times we had to resart the vase becuase the nozzle would catch on the vast amounts of clay and drag the entire vase around.
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star
triangle
circle
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cnc + flexible mold arch 433 fall 2019 jacob gasper lauren stokes
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cnc + flexible mold assignment 3 arch 433
Using this project also as a research tool, we wanted to test the limits of the bits on the CNC machine as well as use it as a patterning tool. By varying the type of bit used, roughing or finishing, and the amount of step, four different patterns were able to be created.
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cutting process Each of the four faces of the mold were cut using four separate files. This appraoch allowed each face to be executed in four different ways, using different bits and varied step amounts. The largest portion of the designing process was figuring out how to add a lip to the mold to be able to extract the flexible mold from the foam mold once we poured it. Additionally, thinking of the CNC mold in inverse to be able to understand how it would be poured was an interesting challenge.
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cut files
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cnc
Our initial design was half the size of the finalized design. Some of our struggles revolved around making the mold to be cut large enough so that a CNC bit would be able to execute the cut. For this, we had to have a tolerance of 5/8�. If we did not, the CNC would cut off the pattern it had just created. By scaling the design up, we were able to combat this issue and continue with the cutting process. As stated earlier, the design was cut using four cut files to achieve the differing step patterns and cut widths.
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flexible mold
The poured flexible mold captured the patterning well. The product is shown to the right. One of our concerns when we poured the flexible mold and took it from the CNC foam mold, was a portion of the mold was not dry yet. Ultimately we filled this hole with hot glue to be able to pour the plaster and continue the mold process.
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tile Our tile has both organic and geometric components that, when placed together, offer a wide variety of patterns that can be made. If this piece were implemented in an architectural setting, we see it as a wall tile that could accent a space, as it is very visual and tactile. Since the pieces are diamond shape in form, edge pieces would have to be created to cover a full rectangular wall, or tiles would have to be cut down. This tile has a lot of geometric movement, and so it could stand alone as a sculptural element in a building, as well.
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dies and extrustions arch 433 fall 2019 jacob gasper lauren stokes
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dies and extrusions assignment 4.1 arch 433
Although the approach to this project was to design a tile that could be used as a roof element, we decided to view the extrusions each as their own sculptural form. Inspired by artist Anton Alvarez’s eclectic sculptural clay forms, we developed a mothodology to recreate and test the manuality of the hand extruder. Using three motions as a way to post-process the extrusions, we created six artful extrusions, each being allowed to test each motion. The motions included were twisting, upward pushing, and dropping. While these extrusions offer no sense of regularity to be used in a roof setting, they pattern a sense of movement or, rather, a point in time where a movement was executed and ended.
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design and inspiration
Our decision to use the hand extruder came from the idea that we would be able to post process the extrusions in a neater way if we were the ones controlling how fast and how much clay was extruded at a time. Our design for the extrusion is shown above. The form was inspired by the works of Anton Alvarez as an irregular extrusion rather than a uniform shape. We believe this irregularity speaks to each of the motions that we applied to each extrusion because of the lack of uniformity that is experienced by performing each motion.
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extrusions
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display and assembly assignment 4.2 arch 433
Our display offers three levels of space to display our semester works. Triangular in shape, we felt that, structurally, this was an intuitive shape to construct with. Additionally, triangularity and sharp geometry can be seen throughout each of our projects, which is why we chose to make it large enough to display the majority of each of the projects on the shelf.
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display
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