12/29/2023 0 Comments Metal pin impression toyThis way light and thin materials will not slip away. In order for the top screw to push down on the material with pressure, a compression spring is added. If that material was a think textile, the convex tip of the acorn nut would match up with the convex hole of the partially screwed on hex nut on the bolt from the top layer. As the that screw moves up the convex top of the acorn nut will push against whatever material is placed above it. The height of each screw on the bottom layer is adjusted with a power drill. To test that the aluminum sheet is thick enough to hold threads, and to check that the linear alignment between screws on the bottom and top layer, a small prototype was made. *reminder* do not try to pattern array all the screws.your computer will crash. The machine had to hold a few hundred pounds in weight, so to make sure it could support itself I consulted with technicians from 80/20. On the top layer, the the same grid of screws is mirrored with bolts that are suspended freely and held in place with normal hex nuts.įusion is great for designing 80/20 structures, I was able to download exact parts from the 80/20 product site and model iterations of the framework. Each screw is secured through a grid of threaded holes with acorn head nuts through a sheet of 1/4 inch aluminum. The bottom layer holds 1/4-20 phillips pan head screws. With a free hanging top layer and a threaded bottom layer, each with the capacity to hold a resolution of 3750 screws, this tool is set up as a framework to morph into any shape or pattern. While a drill leaves a circular hole, a mold casts it's own positive, and a program machines one modeled part, this tool aspires to eradicate the authority of a tool's absoluteness by being an ambiguous machine.ĭesigned with predefined yet unpredictable parameters, it has the ability to withstand high temperates required for thermoforming knit polymers, or the liquid residue from paper pulp, to clamp down on lightweight textiles, to scorch pieces of lumber, or eventually leave rust patterns when sculpting clay.įour by Six feet in width and length, this sculpting machine is comprised of two pin beds that meet together like the negatives of a two-part mold. An open-ended tool that welcomes interpretation, as negotiated by both the medium and the operator, to make objects of infinite variety in form and affordability using one setup, whether it be as one-offs, multiples of an edition, or in mass. Paralyzed by design nihilism in a consumer culture submerged in overabundance and disposability, how should designers continue to work? How can we embed new concepts of value through interventions in the production process to make more emotionally durable objects?Īlice Gong proposes a studio scale solution by fabricating a manual Pin Bed Forming Machine.
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