The Burritob0t 3D prints an edible extrusion of configurable Mexican food. The machine employs a hybrid of digital fabrication and molecular gastronomy — or in other words, digital food for the hungry masses.
A set of gamelan instruments that can be attached to your laptop sleeve so you can practice, and record, gamelan music on the go.
Forget SEO, analytics, and algorithms, this Google search booth is completely man-powered and looks to the public to answer they day’s questions. Visitors can submit a question, and on the other side a live person will “search out” the result for you. Ex: Question: What’s good dude? Answer: Life.
This robotic arm explores technology in interactive design. Here an EMG sensor collects data from arm muscle contractions, activating the movement of the arm. The extension acts as a drawing/painting machine.
Financial Landscapes is a series of sculptures that visualizes financial data in a physical form. By plotting the prices and volumes of shares of each stock traded since 2000, Hoffman was able to generate 3D forms that resemble an abstracted mountain range.
The Wooden Mirror is a large-scale display made of 830 pieces of wood. It’s designed to look like a large mirror and attempts to emulate the object it reflects by rearranging the wood pieces. A computer connected to a video camera and hundreds of tiny motors control the wood pieces and moves them in and out of the light — what you get is a faint representation of the reflected image.
Here’s one for those who love drumming on random objects. The Bricolo mechanical music system allows musicians, composers and DJs to incorporate robotics into their digital production setups. The system turns any object into a computer-automated instrument. The results are pretty impressive.
Here’s yet another way to get connected. The descriptive camera outputs a text description of the scene it captures rather than a image. The image is actually sent to your network of friends — and if they aren’t around, it’s crowd-sourced elsewhere — to provide what’s sure to be a hilarious description. Fun!
by Ana Lisa Alperovich, 05/21/12
Mixing traditional Japanese woodworking techniques with modern design, Ryosuke Fukusada has created a functional wooden light bulb! The unusual design was made using a technique called Rokuro, and it consists of an LED light bulb wrapped with a very thin layer of wood. Topped with a recyclable aluminum socket, this wooden LED light shines beautifully through the grain.
Below are list of DIY 3D printer price comparison and list of fully assembled or commercial 3D printers price comparison (less than $25,000).
DIY 3D printer Prices Comparison (Updated on Dec.16, 2011)
Notes:
The above list is sorted by price.
Source: 3ders
April 20, 2012
Solidoodle was started in September 2011. The Solidoodle 3D Printer, designed by Sam Cervantes who worked for General Electric for four years in his early career. Later he helped design the Mosiac 3D printer for MakerGear and started selling his own 3D printer, Solidoodle.
The Solidoodle is a fully assembled and tested 3D printer with simple and home-use design. Most of the functional parts are laser-cut wood, and the whole system is enclosed in an attractive sheet metal case. The Solidoodle 1st Generation had a price tag of $699 with build size 4x4x4”, which was the least expensive, fully-assembled 3D printer available and even cheaper than most kits.
At NY Tech Day yesterday Solidoodle launched their new Solidoodle 2. The prices for this pre-assembled 3D printer series with a larger 6x6x6” (152x152x152mm) build area start at $499. This is the printer for people who just want to plug it in, feed in the filament, and start printing.
The new Solidoodle 2nd Generation 3D Printer has a durable metal frame that a 200lb man can literally stand on top of the machine while it’s printing.
Solidoodle requires you to install some software on your host computer before you can use your Solidoodle 3D printer, such as the Arduino Drivers, Python, Skeinforge and Prongerface software, but starting from 2nd Generation you don’t need to configure Skeinforge anymore. “Your printer has a limit switch on the platform and will home to the top. The first layer height is adjustable via a set screw on the inside rear panel of the printer.”
Other tech specs:
Uses 1.75mm plastic filament (ABS recommended)
11.5” x 11.75x 11.75” case footprint (LxWxH)
RepRap Sanguinololu v1.3a Electronics
Nichrome powered extruder
Extruder moves in XY, build platform moves in Z
Custom acrylic extruder with stepper motor, .35mm nozzle
Weight: 17 lbs
Accuracy: about .3mm (layer height) or 84dpi
Solidoodle 2 offers three different levels of 3D printer:
Base Model $499: with Acrylic build platform and open design (no outer cover/door)
Pro Model $549: with heated build platform, Upgraded power supply, spool holder, interior lighting and open design (no outer cover/door)
Expert Model $599: All the features of the Pro model + an outer cover & front acrylic door
Solidoodle is currently accepting pre-orders and the lead time is 5-6 weeks after you place your order.
Posted in 3D Printers
Source: http://www.3ders.org/articles/20120420-the-new-solidoodle-g2-3d-printer-is-launched-starting-at-$499.html
Cloud Box, 1966, Peter Alexander. Cast polyester resin. 9 5/8 x 9 5/8 x 9 5/8 in. Collection of Janis Horn and Leonard Feldman, Los Angeles. © Peter Alexander. Photo: Brian Forrest
Cloud Box, 1966, Peter Alexander. Cast polyester resin. 9 5/8 x 9 5/8 x 9 5/8 in. Collection of Janis Horn and Leonard Feldman, Los Angeles. © Peter Alexander. Photo: Brian Forrest
by on April 8, 2012
A new company, spun off from a University of Exeter experiment, is going commercial with a 3D Printer that prints chocolate. In an initial fundraising effort, Choc Edge Ltd is auctioning off ten “trial” units of the Choc Creator V1 on April 10. And, they’re accepting pre-orders for final production models at a price of £2,488 (about $4,000).
The Choc Creator feeds the chocolate from an easily refillable syringe-based chocolate deposition head so that a user can quickly change up the production for different types of chocolates. It’s a concept that is pretty much similar to a home 3D printer, but instead of printing in plastic it prints chocolate. For a complete overview of the Chocolate 3D printer, watch the video at the bottom of this story.
Very, cool idea, but we’re waiting for a model that look good in the kitchen.
The press is going gaga over this, and I hate to rain on the parade, but I only see this an interesting first step. After all, it’s not the kind of contraption you’d want to put on your kitchen counter. In addition it’s also quite expensive for a home appliance. As for commercial use, I just don’t think it can pump up the volume high enough to warrant producing chocolates in this manner, especially on such a small build platform.
I hope they can meet their projected sales target of 500 -1000 units sold over the next three years, but I’m having trouble seeing it happening unless they either make a cute home model that looks good next to the espresso machine, and costs under $500, or if they make a commercial model that can create more chocolate pieces at a faster pace.
By the way, here’s disclaimer from their site that you should take note of if you were thinking about using this outside of the home:
Disclaimer: Choc Edge is in the process of obtaining food grade certification for the Choc Creator printer. Pre-order Choc Creator printer is not currently food grade certified. The printed chocolate is therefore suitable for printing trials and demonstration purpose only and not suitable for consumption.
Regardless, we’re happy to see 3D printing moving forward on all fronts.
The Video we placed up top is the current promotional video, but we think this video presents is a bit better, since it shows more height in the printed pieces.
And here is the most interesting video, which shows the inventors discussing the technology:
Source: 3DPrinter.net
by on March 20, 2012
A 1 ton reinforced concrete architectural piece has been produced to demonstrate the potential of the process and is the first in a series of components to be manufactured.
The introduction of highly sophisticated computer modeling technologies has meant that designing the shape and form of a building is now only limited by an architect’s imagination. Leading architectural practices such as Foster+Partners are designing buildings to a level of geometrical complexity unheard of ten years ago. However, while these forms can often be achieved through offsite factory-based manufacturing techniques, there are significant limits to the levels of intricacy obtainable. For example, pouring concrete into a framework can go some way to fulfilling these ambitions, but the reality is that the achievable complexity is still limited. The manufacturing processes required to turn these complex building designs into reality have remained elusive–until now.
This may be about to change, if current research in the Freeform Construction Project at Loughborough University comes to fruition. The research group has been inspired by 3D printing, an additive manufacturing process. Here, information created from computer generated models is exported to a 3D printer, which then builds up a model, or a component, layer by layer. The virtual model is, in effect, materialized. At Loughborough, instead of using powder and glue, they are experimenting with concrete, to create large scale building components.
Xavier De Kestelier, Associate Partner at Foster+Partners, says, “The research here at Loughborough University gives us tremendous opportunities. We are able to have a little peak into the future, to see what would construction then actually will be in the next five to ten years.”
Concrete printing works on the basis of a highly controlled extrusion of cement based mortar, which is precisely positioned according to computer data. The process has the potential to create architecture that is more unique in form, but crucially, components do not have to be made from solid material, and so can use resources more efficiently than traditional techniques.
“We have shown how additive manufacturing can be developed to create large structures, such as panels and walls, with precisely controlled voids within them,” said Professor Simon Austin, Co-Investigator at Loughborough University.
For example, the section which you can see being manufactured in the video could incorporate all the service requirements of a building, such as pipes and cables, in one unit.
Dr Richard Buswell, Principle Investigator at Loughborough University adds, “This process is capable of producing building components with a degree of customization that’s not yet been seen. And it could create an era of architecture that’s adapted to the environment and fully integrated with engineering function.”
Imagine whole sections of a building being printed and then assembled on site with their service provision already installed. Above all, imagine a building whose form and scale could take on limitless possibilities.
Source: Freeform Construction Project | 3DPrinter.net
Carnegie Mellon Professor Golan Levin with a pile of 3D-printed adapters between construction toy sets.
This story appears in the April 23, 2012, issue of Forbes Magazine.
Last year Golan Levin’s son decided to build a car. Aside from the minor inconvenience of being 4 years old, the younger Levin faced an engineering challenge. His Tinkertoys, which he wanted to use for the vehicle’s frame, wouldn’t attach to his K’Nex, the pieces he wanted to use for the wheels.
It took his father, an artist, hacker and professor at Carnegie Mellon, a year to solve that problem. In the process he cracked open a much larger one: In an age when anyone can share, download and create not just digital files but also physical things, thanks to the proliferation of cheap 3-D printers, are companies at risk of losing control of the objects they sell?
In March Levin and his former student Shawn Sims released a set of digital blueprints that a 3-D printer can use to create more than 45 plastic objects, each of which provides the missing interface between pieces from toy construction sets. They call it the Free Universal Construction Kit. The tens of thousands of consumers who now own devices such as MakerBot’s $1,100 Thing-O-Matic can download those files and immediately print a plastic piece that connects their Lego bricks to their Fischertechnik girders, their Krinkles to their Duplos, or half a dozen other formerly incompatible sets of modular plastic blocks, sticks and gears.
One blog called it the “ultimate nerd dad triumph.” But as the project’s unprintable acronym implies, Levin and Sims are out to raise hackles—particularly those of intellectual property lawyers. “This isn’t a product. It’s a provocation,” says Levin. “We should be free to invent without having to worry about infringement, royalties, going to jail or being sued and bullied by large industries. We don’t want to see what happened in music and film play out in the area of shapes.”
A matrix of Levin’s and Sims’ adapters for every supported construction set. (Click to enlarge)
Levin and Sims didn’t just make near replicas of the commercial toys, they used a measurement tool called an optical comparator to copy the toys’ dimensions to within 3 microns. And then they published those models on the Web. “Our lawyers were a bit concerned,” admits Levin, so much so that the pair initially planned to release the project anonymously.
Levin counts himself part ofF.A.T. Lab, a hacktivist collective, and he wouldn’t be the first of its members to get into trouble. One of them had his PCs confiscated by the Secret Service last summer after installing software on Apple store computers that secretly took photos of shoppers’ faces.
Levin and Sims have been more careful. The patents on all the toys integrated in their kit expired years ago. But a copyright lasts many decades longer than a patent, and that’s the cudgel lawyers are using against downloadable objects. In June of last year Paramount sent a cease-and-desist notice to the designer of a 3-D printable cube that resembled the alien technology from the film Super 8. In December the company Games Workshop used copyright takedown notices to pressure the 3-D printing site Thingiverse into removing fan-uploaded designs for 3-D printable figurines from the game Warhammer.
Just a month later the Swedish copyright-flouting site the Pirate Bay began devoting a section to downloadable objects. One file, for instance, allows users to make 3-D prints of the Guy Fawkes mask from the film V for Vendetta. The mustachioed mask is the favorite symbol of the hacker group Anonymous, whose anticorporate members would much rather pirate the disguise than allow Time Warner, which owns the copyright, to profit from its sale.
A Lego spokesperson says the company has no problem with Levin and Sims’ work but is keeping an eye out for printed objects that infringe on its brand. Neither Hasbro nor any of the smaller companies that sell construction toys responded to requests for comment. So far the pair haven’t received a cease-and-desist letter.
As long as Levin and Sims stick with functional objects rather than aesthetic ones, they should be able to steer clear of copyright and trademark law, says Michael Weinberg, a lawyer with the nonprofit Public Knowledge who advised on the project. “You probably can’t stamp the name Lego on them, but if you don’t it’s hard to imagine what rights the companies could assert,” he says. “The real lesson is the vast majority of physical things aren’t protected by intellectual property law.”
Even so, Levin calls his project a “shot across the bow” of any company that wants to limit and control how their physical designs are copied, remixed or improved in the future. “Yes, it’s just a toy. But it’s also a harbinger of what’s to come. Things are going to get complicated.”
Source: Forbes | http://www.forbes.com/sites/andygreenberg/2012/04/05/how-a-geek-dad-and-his-3d-printer-aim-to-liberate-legos/
by Ana Lisa Alperovich, 03/23/12
Taku Satoh Design Office created this 3D paper version of the Japanese Hiragana alphabet in response to the prevalence of superflat media, where we read and watch from 2D screens. Unveiled at Gallery Kobo and called “Two Experiments Exhibition”, the artwork features delicate biodegradable letters created by carefully stacking hundreds of differently shaped pieces of paper.
Taku Satoh Design Office encased each letter inside a wooden box, emphasizing the importance of each one individually and as a collection. Displayed on a dark floor in alphabetical order, the ephemeral artwork stands out and lifts itself from the ground. A work of art, a comment on digital media or just a nice way to learn Japanese, this collection of 3 dimensional Hiragana letters are in interesting and thoughtful way to use paper.
Via Spoon and Tamago
Above, Giant billiard relaunched in 2007 within a sterile background without additionaldirtiness.
inflatable art, architecture and design
Haus-Rucker-Co was a Viennese group founded in 1967 by Laurids Ortner, Günther Zamp Kelp and Klaus Pinter, later joined by Manfred Ortner. Their work explored the performative potential of architecture through installations and happenings using pneumatic structures or prosthetic devices that altered perceptions of space.
1970s was a time of expanding consciousness and arranging urban space. Prototypes for new ideas for living were created, influenced by new building materials, and proposals for redesigning people’s living space.
Haus-Rucker-Co proposed Giant Billiard, an inflatable interactive device for people to provoke entertainment, and invite them to jump and play together, and be actors of a scene. However, the sterile, the minimal surroundings of the gallery threatened to drain the vitality from the work, transforming the projects into sculptures, static objects not to be touched. When confronted with the museum space, the artists chose to add an additional set of contextual objects comprised of furniture from their own apartments. They transported bed rooms and living rooms (televisions included) to the museum and moved into the commandeered gallery space for the duration of the show.
(via cross-fabricated)
Le Centre Pompidou présente Paroles d’artistes, Marc Fornes
Le Centre Pompidou présente Paroles d’artistes, Marc Fornes
Toutes ses sculptures sont réalisées et fabriquées sur le logiciel 3D Rhinoceros.
Collections contemporaines, Paroles d’artistes… von centrepompidou
‘bosque de la esperanza’ by giancarlo mazzanti in altos de cazuca, colombia
all images courtesy giancarlo mazzanti
image © jorge gamboa
colombian architect giancarlo mazzanti has shared with us images of ‘bosque de la esperanza’, an open-air sporting court and public plaza in the shanty town of altos de cazuca, colombia. featuring a 700 m2 canopy structure comprised of prefabricated dodecahedrons, the design is read as a cluster of trees against the muted and monotonous background of the slum settlement.
in context
image © jorge gamboa
located on an inclined site, the multi-functional structure rests on a series of steel stilts that sprout up at multiple angled trajectories. at once delicate and industrial, the design exhibits a visually distinct identity within the neighbourhood and can be observed from a distance due to its vantage point. the expanded steel mesh that wrap around the dodecahedrons offer a light and porous mode of shading.
view of canopy from above
image © jorge gamboa
serving as a public plaza and meeting point for the inhabitants of the area, the canopy structure hovers over a concrete playing field which can host a variety of sports and activities. the design maintains a well-ventilated space that openly communicates with the adjacent street life. at night, artificial lights incorporated into the structure allow the canopy and space below to glow, resulting in a design that acts as an inviting public forum to the neighbourhood.
image © jorge gamboa
canopy
image © jorge gamboa
source: designboom
by Andrew Michler, 12/27/10
All Souls Day was celebrated the Allerzielen.nu fair in the Netherlands this year with an evocative, inflatable glowing pavilion. Dubbed The Roof That Goes Up in Smoke, the piece was designed by the Dutch collective Overtreders W, and features an illuminated pillow inflated by a wood stove. The pillowy pavilion provokes the spirits and emits a soft warm glow over the inhabitants below.
Allerzielen Alom – The Art of Commemoration is a Dutch movement that incorporates contemporary art in a festive, non-denominational way to commemorate the deceased. The ethereal connection with the glowing canopy and the earth and life below seems to strike just the right balance of celebration and contemplation. The Roof That Goes Up in Smoke installation was raised three times — in two graveyards and at a mental hospital.
The picnic table legs continue upwards to form a series of saw horses that are able to support the inflated plastic canopy. Preheated air from the wood stove is blown into the bag to keep it afloat. The pavilion has room for forty people, and the wood stove is placed in a central location to warm not only people, but soup, chestnuts and other cooked goods.
Via Dezeen
by Lori Zimmer, 03/08/12
Paris’s SITBON ARCHITECTES have won the City Vision PFF Inflatable Architecture competition with their red domed “Grenade” design. Announced at Rome’s Museum of Contemporary Art, the competition called for architects from around the world to create an inflatable pavilion that could be easily installed or removed. SITBON’s Grenade infuses culture and art to virtually any area it is transported to, while resembling an ornate pomegranate.
The outside of the Grenade pavilion is made up of bright plastic red “seeds,” orb-like building blocks of varying sizes that decrease in size as the volume builds. Arranged in a 3-dimensional hexagon, the shapes cap off with a hexagon skylight, which filters light into the interior and gives visitors a connection to the sky. When the plastic structure is inflated, the seed cells have a glowing effect, catching exterior light with their translucence.
Inside, the pavilion is naturally ventilated, through open seeds around the perimeter of the upper ceiling. Comfortable red inflatable bean bags for relaxing, art exhibitions, meetings, and community programming can all take place within the pavilion.
Grenade can pop up in virtually any field, park, or even right in the middle of a city, with low cost and easy transport when it is deflated. Inflation time is quick and easy, with minimal anchoring. The red pavilion stays stable in its pop-up spaces by filling the lower seeds with sand, as well as a traditional anchoring system, much like a tent. Combined with the structure’s inflated air pressure, the pavilion is durable and steady.
SITBON’s Grenade is a burst of color that could be inflated anywhere, adding not only an exciting design that would attract visitors, but temporary programming that any community could benefit from.
Via Bustler
