“We wanted to bring the family portrait into the next century”

Dezeen and MINI World Tour: in latest video from Design Indaba in Cape Town, Masashi Kawamura of Japanese creative agency PARTY talks about the pop-up 3D photo booth he ran in Tokyo last year. 

"We wanted to bring the family portrait into the next century"

The Omote 3D Shashinkan project, which we featured on Dezeen last year, gave customers the opportunity to buy a 3D-printed model of themselves or their family. “We wanted to find a new way to innovate the form of the family portrait and bring it to the next century,” Kawamura explains. “What happens is, when you come, we take a full 3D scan [of your body] using our portable scanners. People could actually bring back home their miniature figurines, instead of a 2D portrait that you normally get.”

"We wanted to bring the family portrait into the next century"

PARTY used a colour 3D printer to produce the detailed models, which ranged from 10cm to 20cm high, but Kawamura believes there is still a lot of room for the technology to improve. “3D printing for me is a very exciting medium to play around with, but I think it’s still in a very early phase of development,” he says. “After doing this project we’ve learnt a lot of technical difficulties and a lot of things that could be done better in terms of technologies and also the materials that we use.”

"We wanted to bring the family portrait into the next century"

But Kawamura is optimistic about the future possibilities of 3D printing. “Everything, I think, will get better in the next year or two; there’ll be significant improvements,” he says. “Just the idea that anyone could manufacture their own product is very, very interesting.”

"We wanted to bring the family portrait into the next century"

This movie features a MINI Cooper S Countryman.

The music featured is by South African artist Floyd Lavine, who performed as part of the Design Indaba Music Circuit. You can listen to Lavine’s music on Dezeen Music Project.

See all our Dezeen and Mini World Tour reports from Cape Town.

"We wanted to bring the family portrait into the next century"

 

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MakerBot releases 3D-print files for OUYA game console case

MakerBot lets gamers 3D-print case for OUYA console

News: Gamers will be able to design their own cases for the forthcoming Yves Behar-designed OUYA console and print them out with a MakerBot 3D printer.

The partnership will see OUYA upload 3D print files for the case to Thingiverse, the online design database operated by MakerBot, where they can be downloaded and produced with a desktop 3D printer.

The news comes two months after after mobile phone maker Nokia became the first major manufacturer to release 3D print files for its products, allowing consumers to print their own customised phone cases.

The OUYA’s case includes a lid and a spring-loaded button to house the console’s hardware, allowing users to make modifications to the standard round-edged cube designed by San Francisco designer Yves Behar.

MakerBot lets gamers 3D-print case for OUYA console

As the first product from technology start-up Boxer8, the OUYA will allow developers to make their own games and tweak the hardware as they wish.

Based on open design principles that encourage users to develop and adapt products themselves, the console will run on Google’s Android operating system and all games will either be free or available as a free trial, while the hardware itself will cost only $99.

The development of OUYA was funded through Kickstarter, with supporters pledging £5.6 million in exchange for first access to the console, making it the second-highest earning project in the crowdfunding website’s history.

Some 1,200 Kickstarter investors were given developer versions of the console at the start of the year, but it’s expected to be available to the public this June.

Last week MakerBot unveiled a prototype of a desktop scanner that will allow users to digitally scan objects they want to replicate with a 3D printer at home – see all MakerBot news and all 3D printing news.

Domus editor Joseph Grima previously told Dezeen that the birth of “the era of open design” is a timely counterpart to “the spirit of the social media era” – see all open design news and products.

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“Food is the next frontier of 3D printing”

News: 3D printing expert Janne Kyttanen has produced prototype printed pasta, breakfast cereal and burgers to demonstrate how advances in 3D printing could transform the way we eat (+ interview + slideshow).

Kyttanen, co-founder of design studio Freedom of Creation and creative director of printer manufacturer 3D Systems, told Dezeen: “Food is the next frontier. We’re already printing in chocolate, so a lot of these things will be possible in the next few years.”

To illustrate the possibilities, Kytannen has 3D-printed models of pasta in plastic and cheese burgers in plaster. “I printed burgers just to create an iconic image and make people realise that one day we will be able to 3D-print a hamburger. And once you do, you don’t want to print a traditional hamburger; you can print the weirdest thing you can imagine.”

3D-printed food by Janne Kytannen

Kytannen believes it’s only a matter of time before technology enables us to print molecules in combinations that produce tasty meals. “At the moment the technologies that we use are very, very crude. So they solidify matter, either by powder or by liquid or extruded filaments and so forth,” he said. “But at the end of the day it’s just atoms and molecules, so [one day] we will have technology where you can just move molecules or you can move atoms.”

However, he concedes that we’re still a long way off downloading burgers to print at home and that only a viable market will push companies to pursue the technology. “If you can’t find a good business model for it, it won’t happen,” he says, suggesting that possible avenues for firms to explore would be fun items and novelty experiences, like having your own head scanned and printed in chocolate.

3D-printed food by Janne Kytannen

Kytannen also believes design can learn from food when it comes to copyright, hinting that the sharing of design ideas should as acceptable as sharing recipes. “I look at design and for me, it’s like food,” he says. “It’s very fast and everything I need is in my computer, and I can make whatever I want, whenever I want.”

“If you look at all the recipes on the internet, everything is free and everything is shared,” he continues. “Who’s going to come to your house, watch you make a pasta bolognese and say, ‘you know what, you can’t make that’?”

3D-printed food by Janne Kytannen

See our previous interview with Kyttanen in October, when he told us that 3D printing products at home is “cheaper than shopping”.

We’ve been closely following the rise of 3D printing and reporting on all kinds of uses for the technology, from a 3D-printed dress for burlesque dancer Dita Von Teese to printing plastic weapons – see all 3D printing.

Other unusual food we’ve featured includes an edible desk lamp and an aerosol spray that lets users enjoy alcohol without the risk of a hangover – see all food design.

3D-printed food by Janne Kytannen

Read the full interview below:


Ben Hobson: Tell me about the images you’ve sent us.

Janne Kyttanen: We have all these different avenues in which 3D-printing technology is moving. We’ve explored all different kinds of products and different materials, but everything is going in the same direction, which is really speed and disposability, whether it’s prototyping something or making an end product or something else. Food is the next frontier.

The images that I sent you are just conceptual things. The pasta is not made from pasta – it’s made from plastic. But I wanted to pinch people a little bit and make them realise that we are able to do these things. We’re already printing in chocolate, so a lot of these things will be possible in the next few years. I’m just conceptually trying to see what could happen, which is why I printed burgers just to create an iconic image and make people realise that one day we will be able to 3D-print a hamburger. And once you do, you don’t want to print a traditional hamburger; you can print the weirdest thing you can imagine.

Ben Hobson: How do you go from printing a burger in plastic to actually printing one you can eat?

Janne Kyttanen: At the moment, the technologies that we use are very, very crude. So they solidify matter, either by powder or by liquid or extruded filaments and so-forth. But at the end of the day it’s just atoms and molecules, so [one day] we will have technology where you can just move molecules or you can move atoms. At the end of the day we will be able to do that. And how and what [we will make] I don’t know. It will find its own shape, but I’m just more concerned to conceptually ask these questions.

Ben Hobson: What kind of future do you see for 3D-printed food? Will we all be printing out food rather than cooking with traditional methods?

Janne Kyttanen: I don’t think anything will be replaced. People always ask me, is 3D printing going to make all these Chinese mass manufacturing people unemployed? I don’t think so. I think these jobs will remain. Our technology is just one additional way of making things. It’s just a nice new thing.

3D-printed food by Janne Kytannen

Ben Hobson: What’s the timeframe for 3D-printed food? How long before it’s mainstream?

Janne Kyttanen: We are already printing chocolate. Any matter that you can put into an extruding nozzle you can already print in. You can make anything you want, whether it’s jelly or chocolate or some pastries or some marzipans or whatever, in principle you can make it. But there have been very few parties developing technologies towards this. We as a company [3D Systems] are moving ahead with this, but hopefully there are also others doing their own endeavours.

Ben Hobson: So how far off is a 3D-printed burger?

Janne Kyttanen: I wouldn’t be able to say that. A lot of these things are quite trivial. It matters what kind of equity, what kind of financial push you have – most of the time, that’s the driver. If you can’t find a good business model for it, it won’t happen. Like chocolate, for example; people have been printing chocolate for years but there hasn’t really been any boost in it. Maybe they haven’t found the right business model.

Ben Hobson: Are there any particular business models that you think are worth exploring?

Janne Kyttanen: Oh yes, for sure. If you’re talking about chocolate for example, there are a lot of expensive high-end chocolate makers out there, so I can imagine getting your own head scanned and then printed as a chocolate cake. It’s also a lot of fun.

There’s a lot of debate around “this is my design, you can’t touch it,” but I hope brands will start getting more open-minded. Let’s take shoe manufacturers, for example. People can already customise their own shoes, so how fun would it be if you could buy a pair of Nike sneakers, but you could also download Nike sneakers to your home and you can print them and eat them.

3D-printed food by Janne Kytannen

Ben Hobson: How would 3D printing with food differ from other sectors?

From the legal aspect, I’ve always been pro freedom and not so pro patent. So where are we headed in design? There’s always been debate about if I design something, I put it on the market and somebody will see me and they own the patent or they put it on the market before me, they have the copyright or IP or whatever.

But with food it’s quite interesting: I can design anything that I want and I can eat it, and when you talk about the forms and the shapes and the designs, you can design whatever you want and then it is gone.

I look at design and for me, it’s like food – it’s disposable. It’s very fast and everything I need is in my computer, and I can make whatever I want, whenever I want. And then you have the other crowd who are more worried about, you know, “this is my design, you can’t copy it, you can’t do this and this.”

So food really changes everything. If you look at all the recipes on the internet, everything is free and everything is shared. Who’s going to come to your house, watch you make a pasta bolognese and say, “you know what, you can’t make that”?

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London studio creates 3D scan of horse

Mark Wallinger unveils The White Horse

News: Hackney studio Sample and Hold 3D-scanned a living horse for a new sculpture by Turner Prize-winning artist Mark Wallinger.

Unveiled this week on The Mall in London, The White Horse is a scaled-down version of a 50-metre-high sculpture Wallinger eventually hopes to build in Ebbsfleet, Kent.

Mark Wallinger unveils The White Horse

Technicians at Sample and Hold helped create the sculpture by using a white light scanner to produce a 3D image of a racehorse named Riviera Red.

By projecting a grid of white light onto the horse’s body and recording the resulting distortions, the technicians built up a three-dimensional map of the animal’s shape. The 3D image was then used to make a mould to cast the sculpture from a mixture of marble dust and resin.

Mark Wallinger unveils The White Horse

The horse was unveiled this week outside the headquarters of the British Council, the cultural institution that commissioned the artwork, where it will remain for two years before going on an international tour.

Wallinger hopes the life-size sculpture will re-ignite interest in his larger project in Ebbsfleet, which was commissioned in 2009 but stalled when the UK went into recession. The costs of the project are believed to be between £12 million and £15 million.

Mark Wallinger unveils The White Horse

Like 3D printing, 3D scanning is becoming increasingly accessible and affordable – earlier this week we reported on a prototype for a desktop scanner that would allow users to digitally scan objects they want to replicate with a 3D printer at home.

Photographs are by Frank Noon for the British Council.

Here’s some more information from the British Council:


‘The White Horse’, a new sculpture by Mark Wallinger, was unveiled outside the British Council’s London headquarters on the Mall today. Made of marble and resin, the sculpture is a life-size representation of a thoroughbred racehorse created using state of the art technology in which a live horse has been scanned using a white light scanner in order to produce a faithfully accurate representation of the animal standing on a broad plinth of Portland stone and facing down The Mall.

Commissioned by the British Council Collection, this major work will stand on The Mall for two years before becoming available for international display.

In 2008, Mark Wallinger won The Ebbsfleet Landmark Project, an international competition to build a monument at Ebbsfleet in Kent. Wallinger’s winning entry, a white horse, 25 times life-size, and standing some 50 metres tall, was designed to look out over what was once Watling Street. The White Horse in Spring Gardens is a life-sized version of this sculpture.

The White Horse illustrates Wallinger’s continuing fascination with the horse, and its emblematic status in our national history. The origins of the white horse as the emblem of Kent can be traced from ‘Horsa’ – the derivation of the modern word horse – a semi-mythological Anglo-Saxon leader who landed near Ebbsfleet on the Isle of Thanet in the 6th century. The White Horse sculpture relates to the ancient history of hillside depictions of white horses in England but the pose is familiar from current depictions of thoroughbred stallions and has been replicated throughout the history of art from Stubbs’ painting of Eclipse to Wallinger’s own paintings of stallions from the Darley Stud.

The Thoroughbred was first developed at the beginning of the 18th century in England, when native mares were crossbred with imported Arabian stallions. Every racehorse in the world is descended from these animals. 90% from the Darley Arabian, the most dominant influence on the breed.

The proximity of the equestrian statues of Charles I and George IV on Trafalgar Square, and the Piazza’s location only a stone’s throw from Horse Guards Parade, make the siting of this sculpture particularly resonant. As does the fact that The Mall remains a processional route of cavalry parades.

Andrea Rose, Director Visual Arts, British Council, said: “A white horse in the centre of London is a wonderful sight. It sparks associations – ancient and modern; war and peace; rural and urban; sport and pleasure. I hope it puts a spring in the step of all who pass it on the Mall.”

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MakerBot reveals prototype desktop 3D scanner

MakerBot reveals prototype desktop 3D scanner

News: American 3D printing company MakerBot has unveiled a prototype of a desktop scanner that will allow users to digitally scan objects they want to replicate with a 3D printer at home.

Launching the MakerBot Digitizer at the SXSW technology conference in Austin, Texas, last week, the company’s CEO Bre Pettis said: “Now everyone will be able to scan a physical item, digitise it, and print it in 3D – with little or no design experience.”

The Digitizer works by using a webcam to locate the points at which two laser beams bounce off an object’s surface. The points are mapped out and turned into a plan for a 3D model, which can then be produced by a 3D printer like the desktop version sold by MakerBot.

“The MakerBot Digitizer Desktop 3D Scanner is a great tool for archiving, prototyping, replicating, and digitising prototypes, models, parts, artifacts, artwork, sculptures, clay figures, jewellery,” added Prettis. “If something gets broken, you can just scan it and print it again.”

MakerBot hopes to make the Digitizer available to consumers this autumn, but in the meantime users can register their interest on the company’s website.

Last year Prettis told Dezeen that cheap 3D printers could bring manufacturing back into the home. “Before the industrial revolution everybody did work at home; there was a cottage industry,” he said. “Now we’re bringing the factory back to the individual.”

Earlier this year we reported on a desktop machine that grinds up waste plastic to make new filament for 3D printers and news that firearms enthusiasts in the US are sharing 3D print files for illicit items like weapons, medical devices and drugs – see all news on 3D printing.

Dezeen was also at SXSW as part of Hackney House Austin, a showcase of the most exciting creative and digital companies from the London borough.

See all technology news »

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MIT researchers to 3D print a pavilion by imitating silkworms

Robot silk worms to print pavilion

Researchers at MIT plan to 3D print a pavilion by imitating the way a silkworm builds its cocoon.

The research team, headed by architect and Mediated Matter Group founder Neri Oxman, attached tiny magnets to the heads of silkworms to discover how they “print” their pupal casings around themselves.

“We’ve managed to motion-track the silkworm’s movement as it is building its cocoon,” said Oxman. “Our aim was to translate the motion-capture data into a 3D printer connected to a robotic arm in order to study the biological structure in larger scales.”

The pavilion is part of a research project to explore ways of overcoming the existing limitations of additive manufacturing at architectural scales and follows recent proposals for a house made of 3D printed concrete sections and a dwelling made of prefabricated plastic elements.

Top image: colour scanning electron microscope image of the exterior surface of a silk moth cocoon. Image by Dr. James C. Weaver, Wyss Institute, Harvard University

Today’s 3D printers are mostly able to produce homogeneous materials with the same properties throughout, whereas natural materials often exhibit varying properties, or “gradients”. A silk worm, for example, is able to produce a cocoon with a tough exterior and soft interior by varying the density and pattern of the silk fibres it deposits.

“The worm rotates its head in 8-figure movements so as to allow for the distribution of silk, its density, its thickness and through these manipulations it controls its mechanical properties based on structural and environmental constraints,” says Oxman. “For instance, the inner layers of the cocoon are relatively soft while the outer layers of the cocoon are stiffer. The silkworm than varies the properties of silk according to function and can be considered the biological equivalent of a mobile 3D multi-material printer.”

The Silk Pavilion will be built using digital fabrication technologies at MIT’s Media Lab. It will be installed on 22 April and will measure around 12 feet by 12 feet.

Oxman believes that freeform printing using robotic arms has more potential for architecture than existing 3D printing systems, which use gantries that can only move in three directions and which require complex support structures to be printed at the same time to prevent the building components collapsing under their own weight.

“In traditional 3D printing the gantry-size poses an obvious limitation; it is defined by three axes and typically requires the use of support material, both of which are limiting for the designer who wishes to print in larger scales and achieve structural and material complexity” explains Oxman. “Once we place a 3D printing head on a robotic arm, we free up these limitations almost instantly.”

In the future, buildings may be constructed by swarms of tiny robots, she says. “I would argue that 3D printing is more than anything an approach for organizing material. When considered in this way it is possible to move beyond the technology and its current limitations into larger scale constructions with geometrical and material complexity.”

Oxman believes material limitations can be overcome by printing with responsive materials (which she calls “4D printing”); gantry limitations can be overcome by printing using multiple interactive robot-printers (“swarm construction”); and process limitations can be overcome by moving from layering to weaving in 3D space using a robotic arm (she calls this “CNC weaving”).

Oxman believes that in the immediate future 3D printing in construction scales can only be successful if it is to challenge traditional construction techniques while being sensitive to cultural contexts.

She adds: “Transcending the scale limitation by using larger gantries can only offer so much; but if we consider swarm construction or rebar-integrated printing we are truly pushing building construction into the 21st century”. Mediated Matter group research assistant Steven Keating is investigating these possibilities.

The CNSilk Pavilion is being developed by the Mediated Matter group at the MIT Media Lab in collaboration with Professor Fiorenzo Omenetto at TUFTS University and Dr. James Weaver at the WYSS Institute at Harvard University.

Researchers at the Mediated Matter Group developing this work include Markus Kayser, Jared Laucks, Carlos David Gonzalez Uribe, Jorge Duro-Royo and Michal Firstenberg (Mediated Matter, MIT Media Lab).

Note: a version of this story was first published on 6 March. It has been edited and updated following feedback from MIT.

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Wiki Weapon firm launches 3D printing Pirate Bay

Wiki Weapon firm launches Defcad 3D printing Pirate Bay

News: the US group that developed open-source 3D-printed gun parts has launched a file-sharing website for blueprints to 3D-printed illicit items including weapons, drugs and medical equipment.

Defcad.com, launched at the SXSW technology conference in Austin, Texas, will be “the world’s first unblockable, open-source search engine for all 3D-printable parts,” according to founder and Texas law student Cody Wilson.

In a video posted on the website, Wilson promises that Defcad will focus on “the important things: not trinkets, not lawn gnomes, but the things that institutions and industries have an interest in keeping from us, things like access, medical devices, drugs, goods, guns.”

The site has already been dubbed the “Pirate Bay of 3D printing” and Wilson is clear that it will not respect copyright and intellectual property law.

“Defcad stands against artificial scarcity, intellectual property, copyright, patentable objects and regulation in all of its forms,” he says. “If 3D printing is going to be developed as a technology we need specific tools to help get around industry, governments and the collusive members of the maker community.”

The firm is now seeking funding and has so far achieved $12,925 of its $100,000 target.

Wilson’s activist group Defense Distributed launched non-profit site Defcad.org last year to distribute their files for 3D-printed gun parts, after 3D printing firm MakerBot pulled the files from its own open-source website and 3D-printer makers StrataSys cancelled Wilson’s lease of a printer.

Defense Distributed claims its files have been downloaded 400,000 times since then and the new for-profit venture Defcad.com will open the project up to all objects with “no take-downs, ever.”

Dezeen columnist Sam Jacob recently warned that if 3D printing escapes control by a few corporations, “it will only be into the arms of a Pirate Bay of objects where we’ll find the 3D equivalents of screener films, dodgy 3D scans and partially ripped bootlegs.”

In our earlier report on Defense Distributed, the founder of collaborative design practice Superflux, Anab Jain, suggested that democratised access to blueprints is “about making sure there is a possibility to debate these things instead of just becoming passive consumers and saying, ‘tomorrow I can order a 3D-printed gun if I want’.”

Read more about 3D printing on Dezeen here, including the race to 3D-print a house and a proposal for a lunar base that would be 3D printed by spider robots using microwaves, solar energy and lunar dust.

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Space architects plan 3D-printed lunar base

News: a team of London “space architects” has developed a proposal for a lunar base that would be 3D printed by spider robots using microwaves, solar energy and lunar dust.

3D-printed moon base

Tomas Rousek, Katarina Eriksson and Dr. Ondrej Doule are collaborating with NASA’s Jet Propulsion Laboratory on plans for a modular architectural structure at the lunar south pole. Each module would be printed using a NASA robotic system, which would produce a ceramic-like material by microwave-sintering lunar soil, also known as regolith. There would be no need for glue, as the particles would naturally bond themselves together when heated to the right temperature by the robots.

“In the future, we could build structures of entire cities on the surface of the moon by using solar energy,” explains the team. “We can significantly decrease mass, costs and environmental impact if we don’t need to send glue or other binding agents from Earth.”

3D-printed-moon-base

Unlike rival proposals by Foster + Partners, which involve building layers of soil up around an inflatable frame, the Sinterlab concept is based on a system of rigid modules that can be pieced together to form a structure. Inspired by the formation of bubbles found in nature, the architects have developed a process that will enable the construction of flat walls and surfaces, based on the geometric rule that neighbouring bubbles must be in equilibrium.

The concept has been developed using a Microwave Sinterator Freeform Additive Construction System (MS-FACS) and would be carried out by NASA’s six-legged ATHLETE robot (pictured below). A prototype of the robot has been tested in the Arizona Desert for some of the processes it would use on the moon.

3D-printed moon base

The team first started developing the concept in 2009 at the International Space University in Strasbourg, in collaboration with Richard Rieber from NASA JPL.

Foster + Partners unveiled its plans for 3D-printed lunar structures earlier this year. Meanwhile various architects are racing to be the first to build a 3D printed house while a 3D-printed car is set to hit the road in two years. See more stories about 3D printing on Dezeen.

Here’s a press release from the team:


3D-printed Moon base concept SinterHab envisions an outpost baked from lunar dust

Architectural proposal of SinterHab moon base could be built by large NASA spider robots by using microwaves, solar energy and lunar dust

A microwave 3D-printed Moon base could be a sustainable solution for presence on the Lunar South Pole, the SinterHab concept shows. Space architects Tomas Rousek, Katarina Eriksson and Dr. Ondrej Doule have unveiled their vision for a lunar module which shows the potential of 3D printing technology from NASA. Modules would be constructed from lunar soil by microwave sintering and contour crafting making use of NASA JPL robotics system near the Shackleton crater.

3D-printed-moon-base

Imagine that you took the solar energy and the dust from the ground and baked the dust using microwaves to directly construct any shape you wanted. On Earth it would sound like science fiction but on the Moon it would be feasible due to the unique properties of the lunar soil and the absence of an atmosphere. Microwave sintering creates a solid building material similar to ceramics, purely by microwave heating of the dust. Robots equipped with this technology could bake the lunar dust without any glue brought from Earth.

Due to the nano-sized iron particles in the lunar dust produced by space weathering, it is possible to heat the dust up to 1200 – 1500 0C and melt it even in a domestic microwave oven. When the lunar dust (regolith) is heated and the temperature is maintained below the melting point, particles bond together and the building blocks for the lunar habitat can be created. In the future, we could build structures of entire cities on the surface of the Moon by using solar energy. We can significantly decrease mass, costs and environmental impact if we don’t need to send glue or other binding agents from Earth. Furthermore, the hardening of the surrounding surface of the base would help mitigate the hazards of contamination from lunar dust, which is highly abrasive and harmful to both astronauts and equipment.

An innovative internal membrane system of SinterHab offers up to four times bigger volume of the module than classic rigid modules at the same weight shipped from Earth. Nature provides inspiration for the inflatable structures in the form of foam bubbles. The intention of building several compartments with sintered walls led to a design based on the geometry of bubbles, where the forces of neighbouring bubbles are in equilibrium and enable the building of flat walls. It would be possible to make the modules large enough to accommodate even a green garden that recycles air and water for the lunar outpost. An architecturally integrated bioregenerative life support system does not only provide for the mere survival of the astronauts, but contributes to a higher level of habitability, enhancing the comfort and psychological well-being of the inhabitants.

3D-printed-moon-base

The radiation shielding is provided by regolith structure, polymer layers of inflatable membrane and water tanks in critical places.

Project SinterHab was initiated at the International Space University by space architects Tomas Rousek, Katarina Eriksson and Dr. Ondrej Doule in collaboration with Richard Rieber from NASA JPL in 2009. London-based space architect Tomas Rousek, director of A-ETC.net, then carried out an internship with the NASA Habitation team at NASA JPL in Los Angeles where he worked with Scott Howe, a co-author of this 3D printing robotics system. The design of SinterHab was then presented to the scientific community in the leading aerospace journal Acta Astronautica in 2012. Scientists from NASA JPL have used SinterHab as an example in proposal for funding the development of this microwave sintering technology. Sinterhab 2.0 is currently being developed in international collaboration.

The SinterHab construction method is based on the MS-FACS. Scientists at NASA JPL have proposed the Microwave Sinterator Freeform Additive Construction System (MS-FACS), a large six-legged multi-purpose robot called ATHLETE holding microwave printer head that would create walls and domes. The lunar dust would be excavated and manipulated by Chariot rover in bulldozer configuration and then fed to printing head of ATHLETE. This would cover inflated membranes made of multiple layers of Kevlar, Mylar and other materials. The prototype of the ATHLETE robot has been tested in Arizona Desert for various tasks, such as moving habitats and using different tools.

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Amsterdam architects plan 3D-printed canal house

News: Dutch studio DUS Architects has joined the race to build the first 3D-printed house with plans to print a full-size canal house in Amsterdam.

3D printed canal house by DUS Architects

DUS Architects will print components for the house on-site using a purpose-built printer called the KamerMaker (above and below) and plan to start work in the next six months.

“This year we want to print the entire facade and the first room bit by bit,” architect Hedwig Heinsman told Dezeen. “Then in the following months and years we will print other rooms.”

3D printed canal house by DUS Architects

The KamerMaker, which is Dutch for “room maker”, is 3.5 metres high and sits inside a shipping container. Each building component will be printed and tested at a scale of 1:20 before being printed at a 1:1 scale with the KamerMaker.

3D printed canal house by DUS Architects

Above: a round window frame printed with the KamerMaker

The house will be built in a developing area alongside the Buiksloter-canal in the north of the city, where it will act as a hub for research into 3D-printed architecture. “We want to build a construction site as an event space,” sais Heinsman. “We’ll have the printer there and every print we make will be exhibited. It’s very much about testing and learning.”

The first floors and facades of the house will be printed from polypropylene, but the architects hope to eventually use bioplastics and plastic recycled on-site.

3D printed canal house by DUS Architects

Once the first part of the canal house is complete, it will be put to use as a “welcoming room” while the architects design and print additional rooms.

Each room will be dedicated to a specific research theme, such as the “cook room” where researchers will explore 3D printing with potato starch and the “policy room” where they’ll consider how to obtain permits for printed structures.

3D printed canal house by DUS Architects

Other rooms will include a workshop to test and repair designs and a “recycle room” where used items like plastic bottles will be shredded into printing material for the KamerMaker.

“We have the building grounds for three years, so I’m pretty confident it will last for that long, but of course our aim is for longer,” said Heinsman. “We also had the idea that if at one moment we had to relocate it, we would just shred all the pieces and build it anew somewhere.”

The race to complete the first 3D-printed house is already well underway, with London collective Softkill Design recently announcing plans for a plastic dwelling that could be printed in three weeks and assembled in a day, while Dutch firm Universe Architecture intends to print a house based on a Möbius strip.

DUS Architects’ previous projects include a pavilion made of bubbles and a pop-up bar made of umbrellas, both on the streets of Rotterdam.

3D printed canal house by DUS Architects

Other 3D-printed designs we’ve featured lately include a floor-length nylon gown designed for burlesque dancer Dita Von Teese and a fuel-efficient three-wheeled car – see all 3D printing news.

Read more about the project on DUS Architects’ website.

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Road-ready 3D-printed car on the way

RedEye On Demand 3D printed car

News: a fuel-efficient 3D-printed car is set to hit the road in two years, according to its US-based manufacturer RedEye On Demand.

The three-wheeled, two-passenger vehicle comprises 40 large 3D-printed thermoplastic parts, compared to the hundreds of parts found in a normal car.

The URBEE 2 is being developed by RedEye On Demand and its parent company, 3D printer maker Stratasys, in collaboration with KOR EcoLogic.

So far in its development, 3D printing has largely been used to produce unique or customisable items in single editions or small runs, but the arrival of the URBEE 2 suggests it could also be applied to mass production on a huge scale.

“A future where 3D printers build cars may not be far off after all,” said Jim Bartel, vice president of RedEye On Demand. “URBEE 2 shows the manufacturing world that anything really is possible. There are few design challenges additive manufacturing capabilities can’t solve.”

Once it’s road-ready, the designers plan to drive URBEE 2 from San Francisco to New York on just 45 litres (10 gallons) of biofuel such as ethanol.

The car is a follow-up to KOR EcoLogic’s 3D-printed URBEE prototype, which was launched in 2010.

RedEye On Demand 3D printed car

We’ve been closely following the rise of 3D printing, reporting on plans to 3D-print a plastic house and a pen that sketches out 3D shapes in mid-air – see all 3D printing news.

Other cars we’ve published lately include a car with light-up wings by fashion designer Jeremy Scott and Audi’s shape-shifting OLED headlights – see all car design.

Here’s the press releases from RedEye On Demand:


At RedEye On Demand, 3D Printed Cars Edge Closer to Production

Road-ready URBEE 2 will set new precedent for building fuel-efficient vehicles

Minneapolis, March 7, 2013 – RedEye On Demand, a rapid prototyping and direct digital manufacturing service, and its parent company Stratasys, Ltd. (NASDAQ: SSYS) today announce a collaboration with KOR EcoLogic to produce URBEE 2, the first road-ready, fuel-efficient car built using 3D printing, or additive manufacturing, technologies. Targeted to hit the road in two years, URBEE 2 represents a significant milestone in the world of traditional assembly-line manufacturing.

“A future where 3D printers build cars may not be far off after all,” said Jim Bartel, Stratasys vice president of RedEye On Demand. “Jim Kor and his team at KOR EcoLogic had a vision for a more fuel-efficient car that would change how the world approaches manufacturing and today we’re achieving it. URBEE 2 shows the manufacturing world that anythingreally is possible. There are few design challenges additive manufacturing capabilities can’t solve.”

The KOR EcoLogic team will fully design URBEE 2 in CAD files, sending them to RedEye On Demand for building through Stratasys’ Fused Deposition Modeling (FDM) process. This unique process applies thermoplastics in layers from the bottom up, yielding parts that are durable, precise and repeatable. The finished two-passenger vehicle will comprise 40 large, intricate 3D-printed parts compared to hundreds of parts in the average car. The strong, lightweight vehicle will be designed to go 70 mph on the freeway, using a biofuel like 100 percent ethanol. The goal is for URBEE 2 to drive from San Francisco to New York City on only 10 gallons of fuel, setting a new world record.

“As a mechanical engineer, I’ve always believed we could use technology to help us solve some of society’s greatest challenges, like minimizing our dependence on oil and reducing ozone emissions. How cool is it that American manufacturing can evolve to tackle these challenges head-on? Our team is excited to launch URBEE 2, putting a next-generation vehicle on the road that will eventually be sold to the public,” said Jim Kor, president and senior designer for Winnipeg-based KOR EcoLogic.

URBEE 2, which stands for urban electric, follows in the tracks of its conceptual predecessor, Urbee 1. Produced in 2011 as a partnership between KOR EcoLogic, Stratasys and RedEye On Demand, Urbee 1 proved that 3D printing could in fact produce large, strong parts that meet accurate specifications of a car body. URBEE 2 will take the basic concepts of Urbee 1 to a higher level, including features like a fully functioning heater, windshield wipers and mirrors.

“With the Urbee 1 project, I learned that product design is nearly unencumbered by considerations on how parts can be made with digital manufacturing. That liberation is incredibly powerful and holds a lot of potential for the future of manufacturing,” said Kor.

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