Re(Calibrator) Phase8

Recently, Rapid Prototyping (RP, also referred as 3D printing) is becoming a more accessible technique for quick fabrication of a computer generated part or assembly. I decided to try it with the geometry that I have been developing, which would give me a tangible representation of the new structure.

The mesh view of the improved geometry

In order to go ahead with the Rapid Prototyping, the entire geometry of what I have designed so far needed redesigning. I had to make sure that none of the components is thinner than 0.1mm; otherwise those elements would have collapsed during the "printing" process.

The latest geometry in glass

The RP process, is also known as the layered manufacturing, since this is exactly how the solid object is "printed" with the help of layering. The RP chamber uses a particle dust; a thin layer of that powder is spread on top of the printing surface and an inkjet printer then deposits tiny amounts of the binder solution (this is controlled by the software). This solution binds the dust particles only in the places where it is needed, thus creating a 3D object.

RP of the improved geometry (painted in sliver)

It is true however, that the RP fabrications are generally test products, as the RP materials usually do not have enough strength or durability. In very few cases only, the RP models are the end products.

RP of the initial geometry (left in its original off white material)

Having said that, there is an emerging trend towards RP in different materials, such as the experiment conducted by the team of engineers and artists at University of Washington.

Powdered glass RP by University of Washington

At the Solheim Rapid Manufacturing Laboratory of Washington University, this team has developed a technique, which they call Vitraglyphic process, which allows them to print tiny particles of glass powder. http://www.physorg.com/news173022660.html  The team came up with a new approach for both the dust and the binder. At this stage, the end product does not look much like glass, however it held together and fused when heated in a kiln. Needless to say that the Washington technique is just one of the explorations of the massive potential of RP fabrication, however at the moment it remains a very expensive and a limited method. 

The desired glass structure to be achieved

The glass structure that I am pursuing, would retains its translucent, reflective and refractive qualities, and I am hoping to achieve this combining the 3D modelling, RP and craftsmanship.

Re(Calibrator) Phase7

Digital software gives an immense freedom of exploration and generation of complex forms, that was previously unavailable. It also gives an opportunity to imitate real materials such as wood, gold etc as well as create new and imaginary digital materials with exaggerated luminosity, translucency etc. My recent experiments with Z Brush have been around the digital materials.

The digital human skin

In these examples, I was contemplating on the use of an unlikely building material like the human skin.

The digital "ear" terrain

The digital skin structure

I have also tried something of the world of graphic novels; the skin of the famous Dr. Manhattan character from 1980s "Watchman". He was a physicist who was accidentally disintegrated in an Intrinsic Field Subtractor and was transformed into a blue-skinned omnipotent being, consisting of only atoms and pure conciousness.

Dr. Manhattan surface

In the early stages while generating the first variations of the main geometry, I have been thinking about the glass, its qualities and its potential for detail. The fluidity of glass and its response to light is profoundly fascinating.

The digital glass

It is curious that the only glass, that is formed naturally , is a result of a high-temperature incidents such as volcano eruption or lighting striking, that causes the rock to melt.

Volcanic glass

Apart from its magnificent qualities, there is another reason why glass fascinates me so greatly; the glass making technique is very ancient, thousands of years old, and yet, there has been little change in the basics of hot glass techniques in particular. The glass artists are exceptional craftsmen, with a through understanding of physical and chemical characters of glass and very few gain a good control over the formation of hot glass and glass blowing in particular. I do want to experiment with potential relationship of digital fabrication and traditional glass making.
In architecture, glass is commonly used in uniformed and utilitarian ways and careful consideration is given to its thermodynamic and transparent qualities.
Glass artist Dale Chihuly is one of the most well known innovative glass makers, who create very intricate and extremely complex geometrical clusters of blown glass in massive scales. (http://www.vam.ac.uk/content/articles/b/behind-the-scenes-chihuly-chandelier/?utm_source=V%26A-website&utm_medium=redirect&utm_content=int-chihuly-desktop-wallpaper&utm_campaign=ugc-rev-nov11)

D. Chihuly at V&A

Evan Douglis architectural studio is one of the contemporaries who are interested in the synthesis of ornamental forms and emerging fabrication techniques. In their Brooklyn emporium Choice in Dumbo, the architect created a new modular ceiling from a series of sixteen primary building components that were computer-designed and3-D printed.

Moon Jelly glass chandeliers by E. Douglis 

Suspended from the construction are 45 hand-blown glass chandeliers – named Moon Jelly, the bubble-shaped pieces are like “fireflies that float underneath the night sky, ”according to Douglis – and add the final baroque flourish to this otherwise minimalist interior.    http://www.core.form-ula.com/2010/05/27/evan-douglis-moon-jelly/

These inspiring examples show that there is a much more versatile and imaginative way of creating space with glass and the key may lie within the use of the emerging technologies such as the 3D CNC and 3D printing techniques.