Re: [rp-ml] A thesis about 3d-printing

From: <thomas_at_small-architecture.com>
Date: Mon Nov 16 2009 - 11:30:53 EET

Dear All, 

Included are a few links to examples of work produced through various additive
processes that might befit the mentioned categories: 

http://smarchitecture.blogspot.com/2009/04/project-recap-no-4-snakeskin-tactile.html

http://smarchitecture.blogspot.com/2009/04/project-recap-no-5-finger-run-tactile.html

http://smarchitecture.blogspot.com/2009/05/finger-run-update-scales-of-touch.html

http://smarchitecture.blogspot.com/2009/08/project-recap-no-6-materix-material.html

http://smarchitecture.blogspot.com/2009/09/project-recap-no-7-fragrant-follies.html

http://smarchitecture.blogspot.com/2009/10/project-recap-no-8-gustatory-folly.html
 

Any feedback welcome... 

Cheers...

Regards,

Tom

Thomas Modeen  PhD  AA Dipl  MPhil (RCA)  BFA  SAFA 
Director 
smArchitecture 
Kuwait/ London 
http://smarchitecture.blogspot.com%c2
http://kuwaitschool.blogspot.com

On 16 November 2009 at 01:42 Andrew Werby <awerby@computersculpture.com> wrote:

> Another interesting application is
> in art. 3d printing puts sculpture
> on the same level as other forms of
> art capable of mechanical
> reproduction, such as music and
> video. Here's an article I'm
> working on for Wikipedia on the
> subject of digital sculpture
> (anybody who has anything to add to
> it can let me know now, or wait
> until it goes live to edit it.):
>
> == The realm of digital art is no
> longer confined to 2d prints. ==
>
> Over the past few decades, numerous
> artists have begun to use computers
> to help them create physical
> three-dimensional art. Techniques
> used range from using the computer
> as a visualization tool, making
> blueprints in a Computer-Aided
> Design (CAD) program that
> fabricators can use as guides in
> cutting out metal plates for
> welding together, a process used by
> Bruce Beasley to creating art using
> mathematical algorithms and
> producing it directly with 3d
> printers, which is what Bathsheba
> Grossman does. The individual
> programs and equipment, and the
> artistic purposes they are employed
> for, are as varied as the sculptors
> who use them. While formerly the
> means of doing this have been
> restricted to those in industry or
> academia, the recent proliferation
> of powerful and affordable
> computers has democratized the
> field, and artists have either been
> able to afford the means of
> production individually, or have
> made use of service bureaus to
> produce physical versions of
> virtual models they create on their
> computers.
>
> Programs used to create models
> suitable for physical output range
> from animation applications like
> Maya and 3d Studio Max, to
> engineering programs like
> Solidworks, IronCAD, or Inventor,
> to general-purpose modeling
> environments like Rhinoceros, Form
> Z, and Moi. A new generation of 3d
> programs have made sculptural
> effects easier to achieve. Programs
> like Z-Brush and Mudbox use
> techniques like displacement
> mapping to alter surfaces, while
> Sensable Technologies has developed
> a "haptic" 3d environment where
> users can use an articulated
> force-feedback stylus device to
> sculpt and modify forms in real time.
>
> The use of 3d scanners, made by
> companies such as Roland DGA,
> Cyberware, and Creaform, which
> capture surface data from real
> objects, bringing them into the
> virtual space of the computer,
> means that modern sculptural
> strategies like deconstruction and
> assemblage can be practiced with
> new fluidity. A typical use of the
> scanning process is for the
> enlargement of sculpture made on a
> small scale by traditional means,
> replacing the operation of
> "pointing up" commonly performed by
> art foundries, another use replaces
> the scaling-down operation formerly
> done using pantographs.
>
> In addition to the additive 3d
> printers developed for "rapid
> prototyping" by industry, sculptors
> can also use computer-controlled
> carving machines to work
> subtractively, in media like wood,
> plastic, and stone, on scales from
> the small to the very large. While
> CNC
> (Computer-Numerically-Controlled)
> milling and routing machines have
> been available for some time, it is
> only recently that the control
> systems that run them have been
> developed that run on
> consumer-grade personal computers,
> using inexpensive programs like
> Mach3 or even open-source ones like
> EMC, which runs under real-time
> Linux. This in turn has unleashed a
> wave of lower-priced and even
> home-built CNC machinery capable of
> turning virtual models into carved
> reliefs or sculpture in the round,
> with the help of affordable (or
> even free) CAM
> (Computer-Aided-Machining) programs
> from companies like DeskProto,
> Mecsoft, and MeshCAM.
>
> Digital sculpture has been featured
> in various magazine articles,
> conference presentations and group
> shows. Christine Paul, for example,
> gave the subject a broad overview
> for the International Sculpture
> Center
> [http://www.sculpture.org/documents/webspec/digscul/digscul.shtml],
> which has also devoted time to the
> subject at its annual conferences ,
> and Dan Collins gave an influential
> talk on it at the 6th Biennial
> Symposium on Art and Technology,
> Connecticut College, February 27 -
> March 2, 1997
> [http://www.asu.edu/cfa/art/people/faculty/collins/digital_sculpt.html
> ]. Intersculpt, the first major
> show of digital sculpture was
> initiated by Ars Mathematica
> [http://www.arsmathematica.org/] in
> 1993 and continues biennially to
> the present day. It allows people
> around the world to participate by
> sending in a model electronically;
> it is built for the show and
> exhibited as a physical sculpture.
> Another notable show was the
> International Rapid Prototyping
> Exhibition
> [http://www.rpsculpture.org/],
> curated by Mary Visser and Robert
> Michael Smith, both themselves
> notable exponents of the medium.
> Another recent show, the Digital
> Stone Exhibition
> [http://digital-stone.net/], toured
> various venues in China with a
> combination of
> digitally-manufactured works and
> some that had been mastered
> digitally but translated into stone
> by Chinese craftsmen.
>
> As Moore's Law stays effective and
> computers become ever more powerful
> and ubiquitous, their role in
> creating 3d artwork will only
> increase. Sculptors will be
> empowered to extend what they are
> able to do, and the world of art
> will be enriched as they discover
> new ways to do things that never
> could be done before.
>
> Andrew Werby
> www.computersculpture.com
>
>
>
>
> hakaka1@lpt.fi wrote:
> > Hello everybody.
> >
> > I'm writing my thesis about 3d-printing. This is a totally new and
> > interesting area for me. My teacher told me about this mailing list and
> > suggested that I try asking help from here.
> >
> > One major part of my thesis is going to be about the different
> > applications of this technology. Any information about this technology
> > and its different applications is appreciated. I know that it's being
> > used eg in industrial design, architectural design and in the automotive
> > industry.
> >
> > What I lack are examples. Do you know any newspaper/magazine articles
> > about 3d-printing?
> >
> > Another big part of my thesis is about the cheap alternatives such as
> > Reprap, Makerbot and Fab@Home. I think these three examples are enough
> > but if there is a project that I should mention then please tell me.
> >
> > Well, thank you in advance.
> >
> >
> >
>
Received on Mon Nov 16 11:19:02 2009

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