| Potentials & Pitfalls of Digital Fabrication: Practice & Legal Aspects
for Designers - page 2 (text) published in the proceedings of FABRICATION Examining the Digital Practice of Architecture, Editors: Beesley, Cheng & Williamson, ISBN 0-9696665-2-7 as part of the proceedings of the 2004 AIA-TAP / ACADIA Fabrication Conference at the University of Toronto & Waterloo, Ontario. |
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BACK
MAKING MACHINES SING
by Eileen Ruth Webb, Ornamental-Iron
The data exchange format file is the foundation of computerized manufacturing established
22 years ago. Non-conventional geometry as .dxf is anything other than simple geometry.
Implementing shallow arcs into fabrication on any scale exposes a myriad of non-standards,
each seeking to dominate the CAM world. Proprietary CAM engineering continues to support a
myopic vision, dismissing as fluff any graceful potential to bridge traditions in building
and the arts. By function, .dxf enables circles. It defines itself as engineering tool by
function and thrift. .dxf as technology is worlds apart from the creative potential of its
predecessor, the hammer. With graceful aesthetics and large comlex fabrication, a magical
potential exists for site-specific architecture.
The “Standard’’ file
embraced by the CAM practitioners is a Gordian knot, a 128kb data exchange format file
with native arc and radius geometry and closed polylines. A UNIVERSAL .dxf standard
is what most CAM will accept in the real world. Technical refinement requires less
than 6000 geometric entities, no orphans, extra points, splines, multi-line segments or
shallow corrupting arcs. With that finesse, it is possible and practical to MAKE
MACHINES SING, and realize artistic designs as built form.
For example, Alvarado Park, an art
deco Borzoi Gate and the Vanowen at Bull Creek bridge railing add a new dimension to
computerized fabrication for architecture. Success requires intuitive planning and
collaboration. Janette Moon of EBRPD defined a vision for a USNRHP park. Lyn
DeShields, a homeowner was an early enthusiast of my beta explorations. David
Griffith with T.Y.Lin templated how art can be successfully integrated as infrastructure.
CAM does not fit every circumstance. It facilitates an emerging middle market
serving "normal" people. These projects reiterate consistent lessons and
guidelines to keep in mind when venturing into a new frontier.
ON DESIGN AND
FABRICATION - The New CAM Paradigm
1.
Widest material choices potential - paper thin to mold tooling to 10" thick
metals or stone.
2. The most seamless complex part or system eliminates up to 90% of traditional hand
labor and 25 to 75% of expected costs.
3. Competitive outsourcing to a single CAM shop or distribution to multiple vendors
can keep tight or late delivery schedules.
4. Competitive bids balance how material flexibility offers reduced maintenance
using CAM labor.
5. As drawn is flawlessly as built.
MASTERING
EMERGING PRACTICAL GUIDELINES
1.
Before starting the process, accurate dimensions for new deisgn or existing site work are
mandatory.
2. Installed finished CAM art is purchased, all other materials - design, sketches,
files, programs are intellectual property. Full sized patterns of all components
with client signatures are contract documents that avoid misunderstandings and litigation.
3. Artistic Design and Fabrication Agreements are applicable to CAD and CAM
realities.
4. Design contract covers 25% of a project in a single fee. Fabrication covers
the remaining 75%: 60 - 75% paid in advance of manufacturing. The balance is
COD. Mass production benefits are offered to clients with a 25% licensing fee
structure and bid disclosure.
REDUCING
LIABILITY EXPOSURE AND INSURANCE COSTS
1.
End use liabilities are abandoned by clients through CAM and its practical benefits in an
architectural setting. EBRPD attorney, Ted Radosevich assumed all risk of using the
"art" created as a panel system. EBRPD also agreed to defend me in any and
all cases of litigation for any future accident, injury or death. The Bull
Creek bridge railing commission also has a similar negotiated CONTINUE
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FABRICATION: EXAMINING THE DIGITAL PRACTICE OF ARCHITECTURE