3d-printed carbon fiber cello

in
The project originated from a practical challenge. Lee’s orchestra director asked if he could use his early 3D printing skills to design a cello that was strong, low cost, and easy for more people to use. Rather than simply replicating traditional designs in new materials, Lee and Goodrich rethought the entire structure. They tested different thicknesses and configurations using computer-aided design tools, discovering they could shape the sound in more controlled ways than traditional luthiers. This digital precision allowed them to dial in the acoustics by controlling every part of the structure.


buffalo measuring

in

Today at least is going to be spent flapper-disking the next big metalwork project which has now morphed into one and a half metalwork projects (ad has made the project that it was going to be become something else entirely further on down the road) because, as Brad Bird's favorite axiom goes, Use every part of the buffalo. This one's going to push me further into woodworking, for which I've yet to find a genuine, visceral love: if (my ignorance-fueled iteration of) metalwork is more like cooking, throwing ingredients into a pot to make something new and tasty, then woodwork is more like baking, precise measurements required to make the pieces fit, measure twice cut once, stir stir stir. Then again, 3D printing is very similar to baking – I do, after all, jestingly refer to my printer as an easy-bake oven. I guess it's not so much that I dislike woodworking (I don't, not at all) but that I don't find it as harmonizing with the type of creativity that makes me feel whole. I admire those that do it well and make beautiful things with it, but I get far more creatively turned on by seeing a rusty spring than I ever could a beautiful piece of timber: both have their place but the latter requires a creative vein which I've yet to tap into.