We introduce a data-driven approach to complete partial 3D shapes through a combination of volumetric deep neural networks and 3D shape synthesis. From a partially-scanned input shape, our method first infers a low-resolution – but complete – output. To this end, we introduce a 3D-EncoderPredictor Network (3D-EPN) which is composed of 3D convolutional layers. The network is trained to predict and fill in missing data, and operates on an implicit surface representation that encodes both known and unknown space. This allows us to predict global structure in unknown areas at high accuracy. We then correlate these intermediary results with 3D geometry from a shape database at test time. In a final pass, we propose a patch-based 3D shape synthesis method that imposes the 3D geometry from these retrieved shapes as constraints on the coarsely-completed mesh. This synthesis process enables us to reconstruct finescale detail and generate high-resolution output while respecting the global mesh structure obtained by the 3D-EPN. Although our 3D-EPN outperforms state-of-the-art completion method, the main contribution in our work lies in the combination of a data-driven shape predictor and analytic 3D shape synthesis. In our results, we show extensive evaluations on a newly-introduced shape completion benchmark for both real-world and synthetic data.
The Gaudi Chair by Dutch designer Bram Geenen is the definition of the term “architectural furniture”. A unique chair developed based on the same scientific method used to create some of the world’s most impressive architectural monuments.
Drawing inspiration from the work of Antoní Gaudi, Bram Geenen combined historical genius with cutting-edge digital technology to create these striking, minimalist stools and chairs.
Antoní Gaudi developed a unique method for determining structural rigidity. He made models of hanging chains, that upside-down showed him the strongest shape for his churches. Essentially Gaudi was letting gravity determine the strongest and most logical shape for withstanding forces.
3D-Drucker produziert Designermöbel
Haben Sie jemals geglaubt, dass wir jedes gewünschte Objekt einfach drucken können? 3D Druck gibt es schon seit mehrere Jahre, aber letztens macht er echte technische Revolution in der Möbel-Industrie. Die erstaunliche Vielseitigkeit und Dynamik vom 3D-Druck hat die Phantasie von Designern, Tech-Enthusiasten und Heimwerker auf der ganzen Welt angeregt.
Ziel des Projekts „Noverturn“ ist die Erforschung des Zusammenspiels von Entwurf, Tragwerk und Fabrikation am Beispiel von Beton. Hierzu diente die Entwicklung einer Sitzbank als skulpturaler Stahlbetonkörper mit einer über 3m auskragenden Sitzfläche als Versuchsfeld. Um die extreme Auskragung zu ermöglichen, fand ein adaptiertes Spannsystem Verwendung. Alle hierfür notwendigen Fabrikationsprozesse wie Schalungs-, Bewehrungs-, Beton- und Vorspannarbeiten wurden ausschliesslich ETH-intern ausgeführt.
the eames fiberglass shell armchair of the late 1950s went through a number of changes in term of its form and thickness, in order that its supporting strength was increased. however, the final model of the shell was almost ¾ of an inch thick, making it impractical and difficult to move. at that point, it was abandoned, and only one upholstered model was ever completed. extensively researching the historical and theoretical relationships between furniture and architecture at the henry ford museum, cranbrook academy of art and MoMA archives, matthew strong offers a design that re-imagines the original eames prototype through a combination of modern materials and traditional craft techniques.
What happens when traditional cabinetmaking and cutting-edge 3D Printing techniques collide? Modern furniture designer Mathias Bengtsson dares to experiment with this premise and delights us with his 3D Printed ‘Big Growth Table’ – a mix of Materialise’s technology and nature’s beauty.
When it comes to deciphering the possible usage of new technologies – additive manufacturing technologies especially – oftentimes the creators of the technology themselves will hire some of the top creatives in their field to test the limits of what’s possible with the new technology – whether it’s for the development of a new piece of hardware or for a new software application. Oftentimes, the result is nothing short of remarkable.
Such is the case more recently with 3D printing pioneer Janne Kyttanen, a designer who is currently a senior creative fellow at 3D systems responsible for churning out creative applications for the company’s latest tech. Kyttanen’s latest piece, Sofa So Good, was inspired by the structures of spiderwebs and silkworm cocoons to create a sofa design that could only be fabricated using additive manufacturing technologies.
of a free-form chair is a case study initiated by the ITE – Institute for Structural Design in Braunschweig lead by Prof. Dr.-Ing. Harald Kloft.
This case study focuses on the production of a double curved concrete chair using spray concrete and textile carbon fiber reinforcement.
Geometrically complex and thin concrete structures are predisposed to be made using sprayed concrete. One of the main advantages of the spraying technique is the controlled generation of an evenly distributed thin coating of material onto the mold surface and to add material at specific locations in a gradually smooth manner. Geometrically complex structures are optimal for structural optimization and therefore reducing the amount of required material. In addition the material can be applied in layers on spatially curved single layer formwork. A reduction of formwork material in comparison to the classic concrete poring method can be distinguished as a second aspect to be material efficient in the production of 3-dimensionally complex building components. An only single layered formwork is needed thus having no pressure of fresh concrete on the mold surface.