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Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "fair use" - we've never made any money or advertised on this site).
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"Throughout my journey as an author, journalist, curator and member of collectives, meeting artists has always been a chance for me to develop my knowledge and theory around speculative fields that go well beyond the fixed borders of academic reflection.
As such, while curating exhibitions, art directing festivals, coordinating residencies and directing productions, I have always sought out a relationship between art practice and theory that, rather than merely being mutually beneficial, leads to a true exchange. I have always felt more enriched working with the artists, rather than simply writing about them. For me, an exhibition is not a final goal but a platform where each player enriches their sensory knowledge and collectively participates in opening up new ways of perceiving and acting in society, faced with our accelerated world. These are the mutual cosmic exchanges that give artworks their “value”… and can help us to rethink our politics of recombinatory commons.
So I took the opportunity of this online curation to revisit a decade of collaborating with artists and to see where this new perspective on mutual exchange (with the gallery, the collector) can lead us. During these years, Slovenian artistic life has been a major source of inspiration for me, and this is expressed in the selection, which is faithful to the community spirit. (...)"
Created at the occasion of an exhibition in Montreal and revisited for this edition of 20 copies, Interference Dimensionnelle 1 is as a “matrix” in scale 1: X which instantly combines the spatial, temporal or even climatic dimensions/data of actual or virtual terrestrial locations.
Athens, Brasilia, Dubai, intersection of the Arctic Circle and Antemeridian, Montreal: 37 ° 58 ‘N / 23 ° 43’ E; 15 ° 46 ‘N / 47 ° 54’ W; 25 ° 16 ‘N / 55 ° 19’ E; 66 ° 33 ‘N / 180 ° 00’ E; 45 ° 30 ‘N / 73 ° 40’ W.
Five emblematic places representative of the architectural, territorial and energetic approaches of Western society and its history, five coordinates located on a world map and then gathered. These situations, when supplemented by the”original” mark 0,0,0, form a set of six interlaced benchmarks for new contemporary spatial situations.
21 x 18 x 18 cm, transparent and black acrylic polymer, edition of 20. €1200.-
Three cofounders of Voxel8, a Harvard spinoff, are showing me a toy they’ve made. At the company’s lab space—a couple of cluttered work benches in a big warehouse it shares with other startups—a bright-orange quadcopter takes flight and hovers above tangles of wires, computer equipment, coffee mugs, and spare parts.
Voxel8 isn’t trying to get into the toy business. The hand-sized drone serves to show off the capabilities of the company’s new 3-D printing technology. Voxel8 has developed a machine that can print both highly conductive inks for circuits along with plastic. This makes it possible to do away with conventional circuit boards, the size and shape of which constrain designs and add extra bulk to devices.
Conductive ink is just one of many new materials Voxel8 is planning to use to transform 3-D printing.
The new ink is not only highly conductive and printable at room temperature; it also stays where it’s put. Voxel8 uses the ink to connect conventional components—like computer chips and motors—and to fabricate some electronic components, such as antennas.
The company made the quadcopter by printing its plastic body layer by layer, periodically switching to printing conductive lines that became embedded by successive layers of plastic. At the appropriate points in the process, the Voxel8 team would stop, manually add a component, such as an LED, and then start the printer again.
The toy looks like something that could be made with conventional techniques. The real goal is to work with customers to discover new applications that can only be produced via 3-D printing. A video the company made to show off its technology starts by asking: “What would you do if you could 3-D print electronics?” While the founders have some ideas, they really don’t know what the technology is going to be particularly useful for.
Voxel8’s business plan is to start by selling the conductive ink and a desktop 3-D printer. The machine is designed primarily to produce prototypes, not to manufacture large quantities of finished product. The company’s long-term goal, however, is to create industrial manufacturing equipment that can print large numbers of specialized materials simultaneously, which will enable new kinds of devices.
The founders will draw on a large collection of novel materials—and strategies for designing new ones—developed over the last decade by cofounder Jennifer Lewis, a professor of biologically inspired engineering at Harvard (see “Microscale 3-D Printing).
One of Lewis’s key insights has been how to design materials that flow under pressure—such as in a printer-head nozzle—but immediately solidify when the pressure is removed. This is done by engineering microscopic particles to spontaneously form networks that hold the material in place. Those particles can be made of various materials: strong structural ones that can survive high temperatures, as well as epoxies, ceramics, and materials for resistors, capacitors, batteries, motors, and electromagnets, among many other things (see “Printing Batteries”).
“The long-term possibility is almost endless numbers of materials being coprinted together with superfine resolution,” says cofounder and hardware lead Michael Bell. “That’s far more interesting than printing a single material.”
The first time someone lays a 3D-printed piece of candy in your hand, you almost feel bad about eating it. The virtuosity of these pieces confuses the senses: stunning hexagonal structures cluster together like a complex chemical construction, full-color starburst patterns curve as if made from fabric, and neon geometrical shapes interlock without a single seam. On first glance, you think each one is a piece of art and meant to be consumed only by the eyes. But then you taste it and realize this is a whole new recipe.
Sugar 3D printing is a relatively new development and a fun sense-oriented detour under the “additive manufacturing” umbrella, which has often been largely about function. Not to mention this is a huge development in 3D printing materials alone, especially considering that they’re all edible. No chemicals allowed. If we can 3D print with sugar, you have to wonder how many more materials are out there that we haven’t even considered yet.
Most importantly, food 3D printing empowers us to build upon the culinary traditions that are so deeply imprinted on our cultural psyche. Food, as we can all attest, occupies a prominent space in the human experience. After all, we always seem to gravitate toward the kitchen as a gathering place, and one of the greatest pleasures of being human is making and enjoying a meal with someone else, whether it’s to catch up, celebrate, remember, or imagine the future. As culinary practices shift, so too do the experiences that surround them: they become heightened, enriched. This is exactly the kind of progression that food 3D printing will catalyze, as bakers, chefs, and confectioners take hold of capabilities never before realized, giving new shape to the moments of life that revolve around our food culture.
Interlocking 3D-printed candies.
The Sugar Lab
The Sugar Lab at 3D Systems is the birthplace of sugar 3D printing. Think of it as our bakery and the place where all the amazing, sweet creations you see here come to life. Liz and Kyle von Hasseln, who began developing 3D printed food out of their small apartment while they were architecture graduate students, founded the Sugar Lab. For this husband-and-wife team, it started as a simple experiment with unusual 3D printing materials. They first attempted to print in wood, using sawdust, and later ceramics and concrete. Those all produced mixed results. But next, motivated by the need for a special birthday decoration, they tried sugar. After a few months spent perfecting the recipe, they realized they were onto something. A bit later, The Sugar Lab took form as a full-fledged business, with Kyle and Liz using a 3D Systems 3D printer that they’d retrofitted to be food safe.
ChefJet
Now as part of the 3D Systems family, their amazing invention has taken the next step with the introduction of the ChefJet 3D printer, the first sugar 3D printer available for restaurants, bakeries, catering companies, and more. We first revealed the ChefJet at International CES 2014, and the excitement has rightfully been through the roof. Since then, candy giant Hershey’s has joined our efforts to find delectable and captivating new ways to print candy.
As Kyle and Liz put it at CES, the ChefJet presents a fantastic new outlet for 3D printing to spread throughout mainstream culture. Food being such an integral part of our social interactions, our family gatherings, and our time at home, these edibles have the chance to open a lot of eyes to the personal power of 3D printing and its myriad uses.
3D-printed sugar sculpture for cakes and more.
Chocolate-flavored hexagons.
How It Works
For those familiar with the different methods of 3D printing, sugar 3D printing is similar in principal to other technologies like ColorJet or Selective Laser Sintering (SLS). It uses a bed of powdered materials (in this case sugar), flavoring, and sometimes cocoa powder. A stream of water bonds the sugar together within the material bed to form a single layer, then the build platform lowers, a new layer of sugar is spread over the build area, and the machine builds the next layer. So it goes layer by layer until the sculpture is finished.
The results, as you can see here, are just as magnificent as printing with plastic or metal. The ChefJet is virtually unlimited by the geometry or the complexity of the model you want to print. You can create interlocking pieces, perfectly straight lines, and smooth curves, all in full color if you desire. Considering the sugar sculptures that it creates, it makes sense that architects thought it up.
Edible 3D-printed elements provide structural support for cakes.
To date, The Sugar Lab and the ChefJet have created everything from customized sugar cubes and structural cake decorations to premium cocktail decorations and exact scale Ford Mustang replicas. Flavor choices are equally delicious with mint, cherry, sour apple, milk chocolate, and others.
But what I love about the ChefJet and other 3D printers is that they provide yet another tool and a multitude of other options when it comes to artistic applications. I discussed this in last month’s blog: 3D printing in this respect can supplement the traditional methods, and recipes, that we’ve developed over years and years. In this case, it’s about building on tradition, not overpowering or replacing it. So now bakers and confectioners can match their delectable flavors with never-before-seen visual aesthetics. They can have their cake and eat it too.
Shapeoko was the little milling machine that could. It surpassed its Kickstarter goal and went into production with the goal of supplying CNC mill fans with an easy-to-use and inexpensive ($300) CNC machine.
Two years after the Kickstarter campaign concluded, creator Edward Ford has joined forces with Inventables to build the Shapeoko 2, which goes on pre-sale today. The second version features a completely redesigned Z-axis, dual Y-axis steppers, as well as Inventables’ MakerSlide linear bearing system.
If you’ll be in Chicago on today (note: last monday), Inventables will be holding a Shapeoko 2 launch event where you’ll get the opportunity to see the machine in action. You can also pre-order the kit. The price is $300 for just the mechanics — just add electronics — or you can get a full kit for $650.
A 3D printer approved by NASA will be flown to the International Space Station next year so astronauts can print components, tools and equipment on-demand in space.
But Contractor, a mechanical engineer with a background in 3D printing, envisions a much more mundane—and ultimately more important—use for the technology. He sees a day when every kitchen has a 3D printer, and the earth’s 12 billion people feed themselves customized, nutritionally-appropriate meals synthesized one layer at a time, from cartridges of powder and oils they buy at the corner grocery store. Contractor’s vision would mean the end of food waste, because the powder his system will use is shelf-stable for up to 30 years, so that each cartridge, whether it contains sugars, complex carbohydrates, protein or some other basic building block, would be fully exhausted before being returned to the store.
Ubiquitous food synthesizers would also create new ways of producing the basic calories on which we all rely. Since a powder is a powder, the inputs could be anything that contain the right organic molecules. We already know that eating meat is environmentally unsustainable, so why not get all our protein from insects?
If eating something spat out by the same kind of 3D printers that are currently being used to make everything from jet engine parts to fine art doesn’t sound too appetizing, that’s only because you can currently afford the good stuff, says Contractor. That might not be the case once the world’s population reaches its peak size, probably sometime near the end of this century.
“I think, and many economists think, that current food systems can’t supply 12 billion people sufficiently,” says Contractor. “So we eventually have to change our perception of what we see as food.”
There will be pizza on Mars
The ultimate in molecular gastronomy. (Schematic of SMRC’s 3D printer for food.)SMRC
If Contractor’s utopian-dystopian vision of the future of food ever comes to pass, it will be an argument for why space research isn’t a complete waste of money. His initial grant from NASA, under its Small Business Innovation Research program, is for a system that can print food for astronauts on very long space missions. For example, all the way to Mars.
“Long distance space travel requires 15-plus years of shelf life,” says Contractor. “The way we are working on it is, all the carbs, proteins and macro and micro nutrients are in powder form. We take moisture out, and in that form it will last maybe 30 years.”
Pizza is an obvious candidate for 3D printing because it can be printed in distinct layers, so it only requires the print head to extrude one substance at a time. Contractor’s “pizza printer” is still at the conceptual stage, and he will begin building it within two weeks. It works by first “printing” a layer of dough, which is baked at the same time it’s printed, by a heated plate at the bottom of the printer. Then it lays down a tomato base, “which is also stored in a powdered form, and then mixed with water and oil,” says Contractor.
Finally, the pizza is topped with the delicious-sounding “protein layer,” which could come from any source, including animals, milk or plants.
The prototype for Contractor’s pizza printer (captured in a video, above) which helped him earn a grant from NASA, was a simple chocolate printer. It’s not much to look at, nor is it the first of its kind, but at least it’s a proof of concept.
Replacing cookbooks with open-source recipes
SMRC’s prototype 3D food printer will be based on open-source hardware from the RepRap project.RepRap
Remember grandma’s treasure box of recipes written in pencil on yellowing note cards? In the future, we’ll all be able to trade recipes directly, as software. Each recipe will be a set of instructions that tells the printer which cartridge of powder to mix with which liquids, and at what rate and how it should be sprayed, one layer at time.
This will be possible because Contractor plans to keep the software portion of his 3D printer entirely open-source, so that anyone can look at its code, take it apart, understand it, and tweak recipes to fit. It would of course be possible for people to trade recipes even if this printer were proprietary—imagine something like an app store, but for recipes—but Contractor believes that by keeping his software open source, it will be even more likely that people will find creative uses for his hardware. His prototype 3D food printer also happens to be based on a piece of open-source hardware, the second-generation RepRap 3D printer.
“One of the major advantage of a 3D printer is that it provides personalized nutrition,” says Contractor. “If you’re male, female, someone is sick—they all have different dietary needs. If you can program your needs into a 3D printer, it can print exactly the nutrients that person requires.”
Replacing farms with sources of environmentally-appropriate calories
2032: Delicious Uncle Sam’s Meal Cubes are laser-sintered from granulated mealworms; part of this healthy breakfast.TNO Research
Contractor is agnostic about the source of the food-based powders his system uses. One vision of how 3D printing could make it possible to turn just about any food-like starting material into an edible meal was outlined by TNO Research, the think tank of TNO, a Dutch holding company that owns a number of technology firms.
In TNO’s vision of a future of 3D printed meals, “alternative ingredients” for food include:
algae
duckweed
grass
lupine seeds
beet leafs
insects
From astronauts to emerging markets
While Contractor and his team are initially focusing on applications for long-distance space travel, his eventual goal is to turn his system for 3D printing food into a design that can be licensed to someone who wants to turn it into a business. His company has been “quite successful in doing that in the past,” and has created both a gadget that uses microwaves to evaluate the structural integrity of aircraft panels and a kind of metal screw that coats itself with protective sealant once it’s drilled into a sheet of metal.
Since Contractor’s 3D food printer doesn’t even exist in prototype form, it’s too early to address questions of cost or the healthiness (or not) of the food it produces. But let’s hope the algae and cricket pizza turns out to be tastier than it sounds.
Note: I'm joining here two posts that hit the blogs recently. The FilaBot 3d printer that print from garbage and the sort of narcissic-souvenir 3d photo booth from Omote 3d. Will it become possible to 3d print snapshots of ouselves, our houses, even our food with our own garbage (including therefore food garbage...)? Which would be a decent way to recycle trash (best way actually might be distant heating).
Of the many fictionalized, futuristic innovations shown in the Back to the Future movies, one of the most beneficial belonged to the DeLorean at the center of it all, and I don’t mean the ability to time travel. Rather, if even regular engines could run on garbage, we’d solve the issues of fuel availability and waste disposal in one fell swoop. That’s why it’s nice to see that this concept has come into existence right at the upswing of the 3D printing phenomenon.
FilaBot is a desktop device that breaks down various types of plastics and processes them into filament that you can use for your home 3D printer. That includes your botched 3D printed experiments, so you won’t be wasting filament when you’re testing out a design.
Their Kickstarter campaign, which closed in early 2012, clocked three times its goal, and should prove to be a great accompanying device for home 3D printers like MakerBot. Founder Tyler McNaney plans to create a whole range of products that offer this functionality, some with great potential for customization.
FilaBot is a welcome arrival to a burgeoning world of creativity that threatens to create an immense amount of waste, something that we’re already pretty good at rapidly creating in large volumes. Now, instead of adding to the garbage pile, we can process some of our existing waste into something useful… well, depending what you’ll be designing and fabricating.
Un photomaton d’un nouveau genre vient de voir le jour à Tokyo: il crée une figurine à l'image du modèle. Complètement mégalo mais idéal pour les amateurs de petits soldats de plomb.
Omote 3D propose aux Tokyoïtes de leur tirer le portrait et de réaliser leur figurine en 3D. - D.R.
A priori ce n’est qu’un gadget de plus pour consommateurs en mal d’ego trip. Mais les figurines créées par Omote 3D, photomaton installé pour quelques semaines à Omotesando, coeur de la consommation de luxe tokyoïte, prouvent que l’impression 3D est en passe de devenir un produit grand public.
Le Pop up studio ouvrira dans une galerie de Tokyo le 24 novembre prochain. On pourra s'y faire tirer le portrait, à la façon d’un photomaton - mais avec l'aide d'un photographe professionnel. Le portrait sera ensuite scanné et à partir des données enregistrées, et une figurine à l'image du client verra le jour. La machine, appelée Omote 3D, propose donc de transformer le chaland en petit soldat de plomb – mais en plastique et sans fusil. Pour 200 euros (la figurine de dix centimètres), le laboratoire Party, Rhizomatiks et Engine Film livrent l’objet, qu'il s’agit ensuite de colorer soi-même.
Les prix sont encore assez élevés mais la technique en est à ses prémices : de 21 000 yens (200 euros) pour une figurine de 10 cm à 42 000 yens (400 euros) pour la plus grande version de 20 centimètres.
An interesting twist with 3d printing: to use it as a way to recycle our old PET bottles or plastic trash (and by extension any trash, including organic waste to 3d print food?). And a way to potentially produce strange self consumption portrait.
SCI-Arc Masters of Architecture graduates Liz and Kyle von Hasseln have been awarded the inaugural Gehry Prize for developing an interruptible 3D printing method, dubbed Phantom Geometry, that allows designers to make alterations to the design while it is being printed. The Phantom Geometry method is a convenient alternative to the conventional, static 3D printing systems available today. The system’s main components includes a UV light projector, a special photo-sensitive resin, and controlled robotic arms from SCI-Arc’s Robot House.
See also the project ProtoHouse by Softkill Design in the area of digital fabrication (obviously a technology that is actually in the "peak of expectations" phase of the hype cycle for emerging technologies graph).
Affordable hardware has it’s benefits and problems. As cheap electronics become widespread and more available, we become less protective of them. No longer we purchase cases or try to protect them. Kindle, costing mere $7o is one of those devices, your library is in the cloud, if lost or broken it’s easily replaced. What happens with all the broken, lost or damaged Kindles?
Belnjamin Gaulon and Silvio Lorusso+Sebastian Schmieg try to address this, building on the glitch aesthetic and reappropriating Kindles into art objects.
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
