Cocoon Lamp by Voxel Studio

For some time the terms “generative manufacturing”, “rapid prototyping”, “stereolithography” or simply “3D printing” are no longer solely known by experts. At the latest through the designs by Assa Ashuach for MGX Design or Karim Pashid for Freedom of Creation the process engineering is well known.
The digital drafting process through CAD systems offers unimagined possibilities. The seemingly absolutely geometrical free creation marks the beginning of a new era of design.
Objet geometries takes it up to another level. Through the polyjet technologie they gain the possibility to print an object with more than only one material. This way the designer can variegate the object’s color and physical character (hard, flexible, transparent, soft etc.) as needed.
Inspired by Nery Oxman`s „the Beast“, who impressively demonstrates the possibilities of the technology.
The result was supposed to be a solely digital planned and automatic manufactured product on the basis of polyjet technology. With the friendly support by objet geometries it was possible to realize this project. (http://www.objet.com)

A cocoon is a shell, which larvae of varies insects, particularly caterpillars, are building for their metamorphosis. The caterpillars use for this a liquid which is pressed out from their spinneret and hardens in the air quickly.
The conceptual idea comes from this parallel to the PolyJet technology, at which a liquid photopolymer is applied out of nozzles and hardens through UV-light.
The adaption of the construction and the clean design of a cocoon lead to the emergence of the inner element. Its geometry is formed by spun threads, which wind protectingly around the light source.
The white and hard material „VeroWhite“ is perfectly suited for this construction, because it provides the required rigidity and disseminates, through its reflective surface, the light further into the space.
A dark layer „TangoBlackPlus“, which is applied to the surfaces of the side of the lamellae, provides the desired color contrast and protects the surface. At its lower end a special fitting is formed, to which the holding element can be connected to.
This way the cocoon can be connected to the mounting element.
This organic form proceeds in swings around the cocoon enclosing it. Being printed out of “DigitalMaterial” of the PolyJet matrix technology, based on the mixture of “VeroWhite” and “TangoBlackPlus” materials, results in a gray, neither completely stiff nor completely flexible construction
arose.
Additionally, very soft, linear elements follow the surface and assure protection, skid resistance, and a comfortable haptic, when applied around the luminaire.
This can be turned, laid or hung up in different positions. The optical appearance or the desired effect can be defined by the user.
The design should have the potential, arising from the PolyJet production process, to exhibit geometrically on the one hand, but also to display the different properties of the material combination in terms of rigidity, reflexion and feel of the surface.

The first stage in the Augmented Structures project by Salon 2 is the Augmented Structures v1.1: Acoustic Formations / stiklâl Caddesi installation which reanimates phenomena (architecture, sound and visual arts) that appear to be completed and concluded. The acoustic memory of ?stiklâl
Caddesi is first transformed into an architectural surface and then this solid form became a dynamic visual performance.

The project brings together disparate disciplines like architecture, sound and the visual arts which influence one another to such a degree that it is impossible to separate them. While the project aims to interpret the world in visual and aesthetic terms, in its capacity as an “interdisciplinary transformation” project it also questions the point where art and architecture stand today and the point they might reach in future. This is a project that forces each discipline to alter its own “material” state; transforming sound into mathematics, mathematics into architecture and architecture into a living canvas, while presenting the viewer with a new media experience that is multi-levelled, produces sound, moves and breathes.

The performance takes place on the Galatasaray side of Yap Kredi Cultural Centre, one of the urban landmarks on ?stiklâl Caddesi, which numbers among Istanbul’s most lively and popular streets. Blending the city’s own levels with those of differing disciplines, the performance celebrates their transformation into a multi-level new media art work as an urban experience.

Premise: any systems can be understood as sum of primitives – theory & science argues that ”the whole can be greater then the sum of its parts” – MARC FORNES / THEVERYMANY™ has been interested to translate such ideas into architecture up to its physical realm. The research is based on a simple but extreme premise: the exploration through DIY design and production of structures made of MANY parts. Such quest involves the development of computational protocols for the generation of compound morphologies and descriptive geometry, both combined with a necessary logistic of production. As based on numbers (units, time,…) both are constantly evaluate through efficiency in order to make it happen.

Design intend : the quality of such aggregates structures is depending on population / numbers. In order to reach the inherent qualities of distributed field condition one needs MANY singular elements.

Geometry test : (the continuum of a long series of investigation) – minimum of primitives, maximum of diversity.
a minimum of primitives has an interesting property in terms of logistic: it allows to afford molding techniques – as the efficiency for a mold is exponential with number of replicate (due to the original effort and cost needed to develop one).

Material test : written within a series of installation investigating Do It Yourself modes of production, looking into ways to reduce time of production for a single elements in order to be able to produce many. The premise of the research was seeking a time cap less than 30 mins to produce one single finished element of certain complexity in terms of geometry.

Elasticity, or behavior of the matter and form confined to the reversible deformation range, was essential to the design and construction process. Previously identical modular components have reacted to tension forces and have gone through a process of gradual change to adapt according to local conditions. That way, overall stability of the structure became reliant on the multitude of local variations. Knowledge and ideas gathered in the previous phases of the project were transferred into this phase of the projects but there were neither drawings nor models produced prior to the construction process. Information was distributed amongst the assembly team members as a series of oral instructions, structured into a design and build protocol. The assembly at O3one Art Space took three days to complete with the help of students from the University of Belgrade and was documented in a time lapse sequence of photos.
4of7: Djordje Stojanovic, Milutin Cerovic and Milica Tasic. University of Belgrade students: Ivana Radovic, Katarina Mercep, Marija Pop-Mitic, Danka Sijerkovic, Jovan Pucarevic, Dea Kolacek, Miloš Simic, Emilija Zlatkovic, Milan Katic, Dusan Tasic, Sonja Elakovi?, Ana Todosijevic, and Marko Vukajlovic. Photo: Ana Kostic

The pavilion’s form is derived from the structure of a tree and intends to provide shade to the immediate area. a triangular footprintwith crisp planar walls begins to unfold at the roof plane into a series of pleats. the hyplane structure is comprised of white metal panels in the shape of isosceles triangles. the bends create a curving wall which reflects and introduces a soft light into the interior.

“I wondered what would happen if the walls were to keep growing upwards and present an uneven surface like ‘pleats’. Pleats resemble a tree in the way that they spread out and capture the sun and I felt that they would produce a bright, impressive exterior. I also thought that the space beneath this surface would present a relaxed atmosphere, similar to that of tree shade that would be an ideal quality for an exhibition space.”

Each sculpture is made out of 12 triangular panels, hinged and powered by six linear actuators, controlled by a specific program. At the center of each corolla, a loudspeaker and a microphone allow to play and record sounds.
At regular intervals, each sculpture produces a sound, simultaneously recorded and analyzed by the opposite sculpture, which then moves according to the frequencies of this sound.
Like a feedback loop, it then plays back the recorded sound, with the errors and disturbances caused by the reverberating space and the visitors.

By intervening in this conversation, the viewer becomes an actor, as he degrades the communication by his presence and the noises he produces. As the panels move back and forth at a pace determined by the environmental sound, they create a non-immediate interaction, where the imperfections of reproduction are becoming creative elements.

The original sound is continuously transformed, and becomes something entirely new and unpredictable. The memory of past events is hold for a moment, until it’s reproduced, degraded, and then forgotten, replaced by the present.

Flight Assembled Architecture is the first installation built entirely by flying robots. Designed as an architectural structure on the scale of a “vertical village” of 600 meters, Assembled Architecture Flight tests a new paradigm of design and manufacturing, through a physical process of automated dynamic training. This project builds on the simultaneous use of multiple mobile agents. Considered as tools for adaptive production, these flying robots are programmed to interact and to capture, transport and assemble the modules to build architectural structures. They synthesize and the pragmatism of Gramazio & Kohler Architecture and visionary approach to Raffaello D’Andrea in engineering dynamics. The FRAC Centre supports this new project, which will ad up to its collection devoted to experimental architecture. This collaborative project will be exposed in the FRAC Centre in Orléans.

Every year in early September, as graduate students at the Southern California Institute of Architecture (SCI-Arc) in Los Angeles put the finishing touches on their thesis projects, a Sci-Arc faculty member and students prepare a temporary pavilion for the annual graduation ceremony. This year, faculty members Dwayne Oyler and Jenny Wu of Oyler Wu Collaborative, along with their students, designed a pavilion entitled Netscape for the event that stretches across the northern end of the SCI-Arc parking lot, providing seating for 900. Consisting of 45,000 linear feet of knitted rope, 6000 linear feet of tube steel, and 3000 square feet of fabric shade louvers, the pavilion creates a sail-like canopy of rope and fabric that floats above the audience. With its fabric louvers tilted toward the western sky, the canopy is designed to provide shade for the specific date and time.

Netscape utilizes a double layer of netting in varying configurations to create a three-dimensional field of billowing shade louvers. Based on a conventional knitting technique, like that used in the making of a sweater, the pavilion exploits the malleability of this technique as it stretches to conform to the three-dimensional shape of the structure. Unlike a conventional net, the knitting technique is not fixed at its intersections, allowing the shape of the nets (and their grids) to contort both at the upper and the lower surface. With the nets contorting differently, the shade louvers that are stretched between them become a dynamic field of fabric, twisting and bending in order to span across the space in between.

Design of the project involved an elaborate back and forth between digital and analog systems of investigation. With engineering done by Nous Engineering, analysis of the tension in the nets provided constant feedback that informed the shape and three-dimensionality of the structure, as well as some basic form-finding for the nets. As the project progressed, however, large three-dimensional models provided a means of studying the behavior of the grids and their resulting geometries.

With the shade louvers designed to block the setting sun in the west, the view from inside the pavilion offers a dramatically different experience. The three-dimensionality of the double-layered netting reaches depths of about 10’, and becomes open and porous when facing eastward into the complex three-dimensional field of fabric and rope.

In the fall of 2010 Joris Laarman Lab was commissioned by the High museum Atlantato develop a kinetic installation that would illustrate a direction of future design. The installation is part of the exhibition “modern by design” that also features Nendo’sVisible Structuresand works from the High’s growing collection of contemporary design that showcases late twentieth- and early twenty-first century design. Next to that the exhibition will feature a selection of works chronicling three key moments inThe Museum of Modern Art’s design collection and exhibition history—”Machine Art” (1934), “Good Design” (1950–1955) and “Italy: The New Domestic Landscape” (1972).

Digital Matter was inspired by development of digital nanomaterials, parallel to rapid innovations in computer graphics. An approximation of a rococo console with voxels (3d pixels) suggests that the state of the art in digital materials has it’s counterpart in low resolution graphics from early computer games. Michal Piasecki collaborate in the project with development of parametric models and scripts in Rhino which aid the modeling of roccoco console made of voxels in three sizes: 3, 5 and 10 mm. Digital Matter was manufactured using a 7-axis robotic arm.

Making of – Digital Matter from anita star on Vimeo.

t of the exhibition “modern by design” that also features Nendo%E

For this project an interactive tool was created using processing and all animations are exported without the need of post production. A wide range of t processing libraries were used like toxiclibs for the fluid and GLGraphics to make shading possible, as well as Lee Byrons meshLib and the Ani Tweaning Library by Benedikt Groß for the mesh and its animation and ControlP5 and ProScene for camera and control.