The PLA components are strong in compression and the pyramidal section coupled with a compression ring makes the structure tend towards stability. As the structure is completed it becomes a compression structure with the top most layer forming a compression ring. The section is pyramidal so each of the walls is self supporting. The overall form is driven by the structural requirements of building in PLA. The perforations form a gradient of size drawing the viewers vision up and through the occulus. Their ability to print cellular infill structures on the interior of parts fits in with a macro scale cellular tessellation scheme. This form also naturally works well on FDM-style printers. Their structure allows the trees to maintain huge amounts of strength with a minimum volume. Marcus Fairs: What are the form and texture of the structure based on?īryan Allen: The texture is based on a study of the cellular forms of sequoia cells. Echoviren highlights that palimpsest, a forest landscape that has been written over many times, continually changed and grafted onto. Although we consider this forest primeval and natural, in reality its a highly controlled and modified environment, the forest has been logged and even before recorded history it was cultivated. The Echoviren is a technological echo, a reflection, and specter of life and of the forest. It evokes the essence of its site in the forest and mirrors it in a deliberately artificial method. Translated roughly that's 'always alive' or 'always growing'.
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The Series 1 made it possible to build large prints reliably and with the price drop in PLA, building something big became a reality.īryan Allen: The name Echoviren comes from a reference to the coastal redwood, it's Latin name is sequoia sempervirens. The idea to make something huge has been around for a while but despite our efforts to use the ZCorp, the BFBs, or the Makerbots, it just wasn't possible or it was prohibitively expensive. I worked with Ron Rael at Emerging Objects and at Berkeley where we used ZCorp printers to develop new materials. We've been working with some other types for a few years. Marcus Fairs: Tell us about the type of printers you used.īryan Allen: We used 7 of the Type A Machines Series 1 printers. We conducted an email interview with Bryan Allen of Smith|Allen about the project: See our feature about 3D-printed architecture for more details. In 2009 Dini teamed up with designer Andrea Morgante to print a 3 metre-high prototype structure and the following year he worked with architect Marco Ferreri to print a single-room house modelled on a mountain dwelling. However Italian engineer Enrico Dini is credited with creating the first 3D-printed inhabitable structure using a D-Shape printer - a huge machine he invented himself that prints using a type of synthetic stone. Meanwhile Amsterdam studio DUS Architects plan to create a canal-side house room by room. Projects in the pipeline include a looping two-storey dwelling by Dutch architects Universe Architecture and a fibrous single-story dwelling by UK studio Softkill.
As the structure is completed it becomes a compression structure with the top most layer forming a compression ring."Īrchitects have this year been racing to complete the first 3D-printed house, as we reported earlier this year. "Their structure allows the trees to maintain huge amounts of strength with a minimum volume."Īllen added: "The overall form is driven by the structural requirements of building in PLA.
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"The texture is based on a study of the cellular forms of sequoia cells," Allen told Dezeen (see full interview below). Artist Stephanie Smith and architect Bryan Allen of Smith|Allen built the structure in a redwood forest at Project 387, an arts residency programme in Mendocino County north of San Francisco.
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