Joe Walnes (@joewalns) created this great in-browser gCode viewer using webGL.

Read more about it here

What is this?

• This is a prototype. An experiment in generative, collaborative design.
• The prototype consists of two parts: a generator and an object.
• The generator is a piece of software that designs the object.
• The object is a bookshelf based on a Voronoi Diagram. (I pronounce it vo-ro-NOY)

So what is generative, collaborative design?

When think of a design, we typically imagine marks on paper (or a screen) specifying what the object is. Instead, imagine we use a set of rules, or a process (i.e. an algorithm) to generate the design. Following these rules can produce the same object each time, or the rules can include variations, interactions and randomness. Once you open the design to these other factors, it naturally invites others to influence, or collaborate, on the design.

The natural next step is to put the software managing the generation and interaction on the Internet.

What were your intention/goals for this project?

My primary goals in this project were more technical than creative. My intent was to encounter and overcome as many of the technical problems involved with a project like this as possible. I also intended to develop a library of code for reuse in future online, interactive, generative design projects (when aesthetics are the focus).

My goal was to write a program with the following features:

• 3D, interactive, and web-based
• Generate Voronoi patterns within an arbitrary bound and scale
• A fully parametric model with parameters for size, material thickness and shelf depth (among others)
• An “undo” function and a “clear all” function
• The ability to show/hide specific components
• Output files that could be used directly for digital fabrication on multiple machines
• The ability to save and load specific models to a web server

My secondary goal was to create a Voronoi bookshelf for my own home. And produce a limited series for select clients.

My secret hope was that in this first round, I’d be able to develop a program/experience that anyone could use easily and purchase online. While I don’t think I made it that far (more on that below), I’m confident that the program can be used by others to build their own Voronoi bookshelves, and I hope that you do.

I know I’ll surely use the program again to build some more bookshelves, both for myself and for clients who have already commissioned them.

If you’d like to build your own, keep reading, and I’ll tell you how. If you’d like to commission one of the prototypes, or a more developed version, please contact me.

Wait, I’ve seen stuff like this before, haven’t I?

It’s likely. Online generative design applications are not radically new, and a few other designers produce this kind of work. Check out my hero Nervous System, who serves as an huge inspiration to me.

I have no doubt you’ll be seeing even more of this in the coming years from others and myself.

What is a Voronoi algorithm and why did you choose it?

A Voronoi algorithm subdivides a space into a series of cells based on a set of points called seeds. The space is divided so that every spot within a cell is closer to the seed within that cell than any other seed. Voronoi patters are used in scientific research and technology, and are found widely in nature (the spots on a giraffe, for example).

If you’re already into generative art or design, or any related field, the sight of a Voronoi might make you roll your eyes. In fact, while I was in the middle of this project, Marius Watz declared the Voronoi to be “off limits until 2015” due to overuse. While I think this is an extreme (and wonderfully provocative) statement, I sympathize with Marius’ perspective.

That’s one reason why I chose it. My goals were more technical than aesthetic. I wanted the generated objects to be simple to create, both computationally and from a user’s perspective, but also to be highly complicated. I wanted to spend my efforts tackling technical problems that I knew I would encounter later with other projects, and not obsess over the generative system I used. I needed something that resulted in lots of differently sized parts. I wanted cool-looking complexity on the cheap and easy.

I also wanted my own Voronoi bookshelf.

What are some of the other great features of this program?

• It’s fully parametric and accepts material thickness as a parameter. This allows for really tight notching between elements, resulting in press fits between the edges and vertices. That means it’s a structurally rigid and assembles easily.
• You can specify two fabrication methods: laser cutter or a CNC router. If you chose laser cutter, the laser’s kerf is a parameter, and the program accounts for it when generating the cut file. When choosing the router, you specify your bit diameter & the cut margin. You can also specify the length and width of your raw material.
• When generating the cut file, the program efficiently packs the parts onto your cut sheet. In fact, there is even a genetic algorithmthat optimizes the packing (read more about this below).
• For the router, vertices in the cut file are mirrored.
• The program generates a file that numbers each part on the cut sheet, and a “map” showing which parts go together.
• All files are saved to a server, and can be downloaded as a single zip file.
• You can tweak the geometry of each vertex.

How can I make my own?

In three ways. You can:

1. Use the online applet
2. Download the application
3. Download the source code

If you just want to see what the app does, watch some of the videos. If you want to play around with the program quickly and then forget about it, take a look at the applet.

If you want to make your own (you’re awesome), you should probably download the application and generate some cut files.

Be aware, it’s all a beta code: the applet is fussy, the code has some idiosyncrasies and some features are not 100%. Read more about that below. 

No matter what, I suggest you watch the video tutorial on how to use the program.

Contact me if you want one you’ve created online or using the application, or if you want me to design and build one for you. We can make anything happen.

What worked?

Overall, I’m pleased with the end result. Everything I set out to make work is working.

The overall process (code to cut) worked well. This was the first time I’d generated cut files directly in code at several scales, and I was pleased with the resulting tolerances. I’ve no doubt I can now write code to generate cut files.

The notching method for attaching the vertices to the edges is a good fast-and-dirty connection and looks better then I anticipated.

Structurally, it’s solid, and as a bookcase, it’s awesome.

What did not work, and lessons learned:

The biggest problem (and lesson) came at the end. Prior to this, I had written webpages, dabbled in JavaScript and PHP, and written a lot of Java code. But I had never put an interactive 3D application online before. I developed the project in Processing, a Java library for creative coding, and planed to embed a Java applet on my site. This turned out to be a huge mistake.

PROBLEM 1: I originally used the OpenGL renderer, and when embedding my applet, discovered two things:

1) To use OpenGL in an applet, my .jar files need signing. This meant that before anyone could launch it, they’d need to click through several warnings. This was annoying and a total deal-breaker.

2) Processing does not properly export applets using OpenGL. I ended up having to rewrite huge chunks of the program at the very end to be able to get it onto the web as an applet.

PROBLEM 2: Once it was on the web, I discovered why no one really uses Java applets. They suck. In every browser there is at least one function of the program that is problematic.

What improvements can be made, and what are your next steps with this?

I’m not 100% sure what I’m going to do with the Voronoi component of the generator. I could refine it and turn it into a more elegant design. I have quite a few ideas on other ways to handle the joints and mounting. I’ve also got ideas to go beyond the base algorithm. I also have other ways I’d like to fabricate this pattern. If I sense there is a interest in this as a product, I’ll certainly develop and refine the design more. At the very least, I’ll address some of the issues above.

For a variety of reasons (complexity, intuitiveness, UI) this will never be a great online experience for most users. And it’s not exactly the type of experience I want to provide.

The real improvements will be made to the packing and optimization algorithms. I know I’ll use these again, and I know other people will have a use for them. I’d like to build this into a library.

If I decide to continue with this generator, I might redevelop it in JavaScript, and move the packing algorithm server-side.

Where’s all this going, what’s the big idea?

A lot of work went into this prototype, and I knew going in that it was likely not going to result in something I’d be fully satisfied with. However, as mentioned above, my goal here was to lay the groundwork for future projects.

The confluence of digital fabrication and the Internet opens wonderful new design spaces. As a designer, a fabricator, and coder, and someone who loves creating experiences, I’m drawn to the ability to offer spaces where the designer, the participant and the object interact. I love the idea of designing experiences and systems for people to create and influence objects, rather than simply creating the objects themselves. My long-term goal is to use these generative, online, and collaborative design experiences to connect people with the objects in new and personal ways. The internet allows us to incorporate elements of narrative, game and play into designs. These elements will deepen our connections to our objects, and generate innovative designs.

Thanks and attribution:

All the code was written using Processing, a creative coding platform developed by Ben Fry and Case Reas. My code makes extensive use of Karsten Schmidt fucking awesome Toxiclibs library. The code that principally generates the Voronoi is directly from Toxiclibs. I also make use of the ControlP5 library, PeasyCam (in my older versions) and ProScene. I’m very thankful to those on the Processing forum, specifically pho.lho, ammon.owed, and Xiaohan Zhang. I’d also like to tip my hat to Nervous System, Marius Watz and many others in the creative coding community for inspiration. Finally, special thanks to Chris Chalmers for his thoughts on configurable design, Danny Rolnick for awesome Java help, and Kelly Parkinson for pointing to a Voronoi pattern and saying “I want a bookshelf like that!”

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<via> Creative Applications

Lugs are my favorite part of a bike. If I were more of a bike geek (hell, if I were a bike geek at all) I’d want to build my own bike, ans sure ’nuf I’d want to 3D print my lugs. And the carbon fiber tubes … yeah, I dig them.
Another great example of how contemporary fabrications allows for mass customization.

VRZ 1. is a track bike frame with 3d printed stainless steel lugs glued together with carbon fiber tubes.

this method allows to build custom frames in a short period of time.
you could change the geometry to what ever you like, then the lugs gets generated by a software.
now we just need to print the parts finish them and glue the frame together.

The fork is 480 g and the frame weight is 1100 g (for stainless-Carbon Frame)! if we print the lugs in titanium, it will get even lighter.
The printed lugs could also be used with steel or titan tubes!

<via Ponoko>

A few weeks ago I posted a few concept drawings, and over since then two of the drawings have begun to squeeze their way into reality as prototypes. In that post I mentioned that fabricating the four asymmetric lofts that make of the “cells” of the Cell Stool was going to be a fun. Here are some photos documenting the process to date.

First, let’s just recall what we are working towards. This first image is the concept drawing. Fabricating the lofts from plywood was the main challenge here.

The first step was to have the robot cut each layer of plywood for each of the our lofts. The holes will be used for alignment.

Once all the parts are cut, they are aligned, stacked and bonded. Here, in the lower right you can see the dowels used to align the pieces. With all the pieces together you can see (top) the rough shape of the four lofts.

Each of the four roughly assembled lofts are then individually cut by the robot. On the the upper left you can see the original piece, while on the upper right you can see it after the first “roughing” cut. The bottom left shows the robot working back and forth over the piece, shaping the loft. Finally, on the lower right image is of the completed loft.

Once that’s been done for each of the four lofts, they are ready for assembly. Here are two photos of final four lofts in their final placement.

I love the way these have come out. Now that I’ve seen it in real life, however, I’ve begun to rethink the legs. In the sketch I had some 2″ aluminium tube as for the legs, but now I think it would be more interesting to continue the “cell” shapes into the legs. I think about that one for a bit. I’ve also though of some ways I can strengthen the final joining of lofts, but I’ll have to save those changes for the next prototype.

Here are some really clever serving platters by Marco A. Guadarrama. I love the way the bowl is integrated into the platter, and the way the slot serves to hold the platter and the wine glass (and makes it ambidextrous). These were two design elements that were in early drawings of the Gastronaut platters, which were going to have a slot for a sauce/dipping bowl. I also considered this “pallet” style of hold the platters, but rejected it because the Gastronaut platters were too large for it. It’s great to see the elements at work.

<via Dornob>

Here are some concept sketches I’ve been working on. These are mostly CNC routed wood, although two of the concepts have metal elements.

I really like the idea of a chair with a little cubby underneath the seat.  At home it would e a great place to quickly stash a book or a laptop, and in a restaurant or office it would be a great place for your hoodie or hat. I’m happy with the upper part of the Cubby Chair, but the legs still need some work.

There is also a sketch of an end table that’s in a similar style to the Cubby Chairs.

And finally there is the Cell Stool. I really love the look of four cellular quadrants constrained by the trapezoid. The element I like the most are the asymmetric lofts the create. Fabricating those lofts is a challenge I’m looking forward to in the coming weeks.

The next time you make breakfast, pay attention to the exquisitely intricate choreography of opening cupboards and pouring the milk — notice how your limbs move in space, how effortlessly you use your weight and balance. The only reason your mind doesnt explode every morning from the sheer awesomeness of your balletic achievement is that everyone else in the world can do this as well.

With an entire body at your command, do you seriously think the Future Of Interaction should be a single finger?

via A Brief Rant on the Future of Interaction Design.