Architect and computer scientist Skylar Tibbits heads up MIT’s Self-Assembly Lab , a sort of cross-disciplinary skunkworks that is completely re-thinking how objects are manufactured and assembled. By combining digital manufacturing techniques with the study of how particular materials react to particular types of energy, Tibbits’ team seeks to create things that, well, put themselves together—whether large or small—when the appropriate energy is introduced as a catalyst. Self-Assembly is a process by which disordered parts build an ordered structure through local interaction. We have demonstrated that this phenomenon is scale-independent and can be utilized for self-constructing and manufacturing systems at nearly every scale. We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across every applications of biology, material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration. The Self-Assembly Lab is working with academic, commercial, nonprofit, and government partners, collaborators, and sponsors to make our self-assembling future a reality. The concept sounds difficult to wrap your head around, until you see the video: Here’s a TED Talk Tibbits gave earlier this year going into more detail: (more…)
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Skylar Tibbits’ 4D Printing: Energy + Materials + Geometry = Self-Assembly
If you’re designing urban homes for Japan, you’ve automatically got two built-in problems: Earthquakes and tiny building footprints. Japan’s seismic woes are well-known, and the nation’s space-tight cities mean you’re always dealing with narrow frontage. The traditional way to combat the former is to use shear walls, which combine bracing and cladding in such a way as to prevent lateral motion. (Think of an unclad wall made from vertical studs, and how it can potentially parallelogram if the floor or ceiling moves; nail some sheets of structural plywood to it and the problem is basically solved.) The traditional way to combat the latter is to design spaces that admit a lot of sunlight and ventilation through that narrow piece of frontage. But that openness doesn’t jive with shear walls, which by definition are clad. Here with the solution is architect Kiyoshi Kasai and his ” Wooden Box 212 ” construction method, which uses wood yet enables large, column- and partition-free spaces. As he describes the issue (roughly translated from Japanese), With narrow-frontage urban housing there is a conflict with providing a window for lighting, ventilation and entrance and reconciling that with a shear wall on the same side…. The design preference in recent years has been to seek a sense of transparency and openness via a wide opening in the outer wall surface of the housing, but achieving this with conventional wood is difficult. (more…) 
If there’s one thing we all hate, it’s losing a yacht race. Owning a yacht and taking the time to think up a really clever name for it, only to become the laughingstock of the marina because it’s too slow, is a feeling few of us enjoy. That’s why when my next paycheck comes in, I’m going to pick one of these Adastra superyachts up. The trimaran design keeps most of the boat out of the water, allowing for swift speed with less fuel consumption; as soon as I’m skipper, I’ll ensure my old yacht-racing nemesis, Blake Chambers, will regretta his next Regatta. Every time I turn these lights on, I whisper to myself: “Boo-yah” (more…) 
My ID classmate kept getting burgled. His second-storey East Village apartment was broken into multiple times, and in frustration he signed a year lease on apartment 6B of a six-flight walk-up. He reasoned that no thief would be willing to haul a television down six flights of stairs. But within a month, he was robbed again—this time they broke in through the roof door. And my TV-less buddy spent the next 11 months going up and down six flights of stairs every day. Six storeys (some say seven) was the maximum height they’d build residential buildings in New York, prior to the elevator. No resident was willing to climb more stairs than that. After Otis’ perfection of the elevator, that height limitation was gone, and within a century we had skyscrapers. Then the new height limitation was building technology. Advanced construction techniques have since skyrocketed, if you’ll pardon the pun; as the World’s Tallest Building peeing contest continues, it is rumored that Saudi Arabia’s Kingdom Tower will be a kilometer high . But the new height limitation is the thing that smashed the old one: Elevators. Steel cable is so heavy that at its maximum elevator height of 500 meters, the cables themselves make up 3/4s of the moving mass. You can stagger elevator banks to go higher, but the heaviness of steel cable makes long-haul elevators prohibitively expensive to run. Finnish elevator manufacturer Kone believes they have the answer. After ten years of development they’ve just announced the debut of UltraRope , a carbon-fiber cable that’s stronger than steel, lasts twice as long, and weighs a fraction of the older stuff: (more…) 
David M. Patrick has accidentally re-invented the wheel. The California-based inventor was toying around with six short, curved lengths of cable that he had connected into a sort of helical loop–and then he accidentally dropped it. What he observed next was surprising: The loop began to roll… and roll… and roll. It was a self-balancing wheel. Even stranger was that no one expected it to roll; Patrick’s loop actually looks square when it is rolling. A lifelong skater, Patrick then prototyped a skateboard wheel based on his design, this one comprised of side-by-side helical coils. He call it the Shark Wheel : (more…) 
We were pretty impressed with Amanda Ghassaei’s 3D-printed records , but apparently the Tech Editor at Instructables isn’t content to blow our minds with her digital fabrication prowess just once. As of this weekend, she’s back with a veritable encore: a Laser Cut Record . Although all the documentation for that project is available here, and the 3D models can be printed through an online fabrication service, I felt like the barrier to entry was still way too high. With this project I wanted to try to extend the idea of digitally fabricated records to use relatively common and affordable machines and materials so that (hopefully) more people can participate and actually find some value in all this documentation I’ve been writing. As with the 3D-printed vinyl, the laser cut record is hardly high-fidelity… but that’s not the point. The point is, it’s really f’in cool. (more…) 
Images courtesy of the artist We were duly impressed with David Soukup’s painstakingly detailed stencils when we first saw them back in 2011 —I could hardly believe that some of those ultrafine lines were stenciled and not applied by an implement (or at least masked off). He’s pleased to announce a solo show at Maxwell Colette gallery in his current hometown of Chicago: “This show is one of my most personal to date, and marks a return to some of the imagery and technical precision that I became known for.” I hadn’t realized that he lost his way (the mural project , pictured above, dates to October of last year), but earlier this year, Soukup wrote that “I had been cutting stencils for so long that I really lost what made them most important to me, and why I started doing them in the first place.” In any case, we’re glad he’s back on track with his first exhibition in 16 months, featuring “over 20 pieces of new work (both stencils and screenprints).” The title, Perennial Escapism , is an obvious play on the subject matter, but the rather literal take on an exit strategy belies the integrity of the subject matter: the imagery is “derived from the artist’s own photographs of early 20th century wrought iron fire escapes in Chicago.” To hear Soukup tell it: This work represents a personal ‘escape’ so to speak. I went back to what first made me passionate. I drew inspiration not just from the city imagery itself, but from the textures, the grit, and the distress that makes up a city. Perennial Escapism marks the beginning of a new direction, one I’ve never been more excited to pursue. Where his previous work was more collage-y and surreal, the stark new compositions evoke film stills, superimposed on a baselayer of impasto on the wood panels to achieve the effect of a vaguely patina’d or otherwise weathered surface. Per the press release : Soukup’s paintings combine visual elements of graphic design and collage with the tactile elements of paint and reclaimed materials to create decidedly urban motifs. He hand-cuts the elaborate stencils, some up to four feet in length, that are utilized to create his paintings. The resulting latticework of iron bars and shadows echoes the visual experience of his everyday life, and reflects his obsession with meticulous detail. We’re pleased to present an exclusive preview of Perennial Escapism : (more…) 
While Budweiser’s new bowtie-shaped beer can is a couple of weeks away from launch, a series of smaller breweries have already launched another new type of can: One with a ” 360 Lid ” that peels completely away, allowing tipplers to drink brew through a circular, drinking-glass-like aperture. Here at the Core77 offices we rarely drink beer out of cans. (That’s not snobbery; unlike bottles, cans cannot be broken against desks and wielded as weapons during editorial squabbles that devolve into melees.) But the few times we have, we’ve never had a problem getting beer to pour from the tab-sized opening into our gulping mouths. So why the new can? Pennsylvania-based licenser Sly Fox Brewing Company insists a circular opening “allows the full flavor and aroma of the beer to hit the drinker’s senses.” And yes, the drinking rim is rounded over, so you don’t cut your lips with each swig. (more…)