1:500 3d-print

1:500 3d-Print

Scale: 1:500
Material: PLA
Machines: Prusa MK3
Software: Fusion360, Prusa Slicer

The Basic Design

One of the principal considerations in 3d-printing architectural models is how to efficiently cut them before slicing. The technique presented here is a simple way to improve speed and success rates while maintaining an acceptable level of detail.

The principal idea is to separate the roof from the main body of the building so that the top acts as a lid. The body can then be hollow, consisting only of a wall, and prints drastically faster than a support-filled part.

Designing models for this sort of printing requires following some guidelines that have to do with the slicer and the diameter of the printer nozzle (typically 0.4mm).

PrusaSlicer gives us the following recommendation under the parameter “vertical shells”:

Recommended object thin wall thickness for layer height 0.20 and 2 lines: 0.86mm, 4 lines: 1.67mm, 6 lines 2.49mm, 8 lines 3.3mm…

The model below was designed following these rules. The outer wall of the building is 1.67mm thick, and the small lip at the top that houses the roof is 0.86mm. All vertical extrusions try to stay within a 0.2mm grid corresponding to the layer height specified for this print. A 0.2mm layer at the bottom of the print for the wall part was introduced to ensure adequate adhesion on the build plate.

The top part was printed conventionally with 20% infill.

The total print time for this model has been reduced by half by applying these simple techniques while drawing the model.

Material

Polylactic Acid (PLA) is a thermosoft plastic polymer material that becomes pliable or moldable at elevated temperatures. The temperature range for 3d-printing is between 200-230°C with a bed temperature of 60°C to avoid warping.

Results

29/09/202229/09/2022

1:500

1:500

Scale: 1:500
Material: PUR Block (Ureol)
Machines: Printer, Bandsaw, Thicknesser, Disc Sander

The Basic Design

1:500 competition models and especially additions to those models are a fairly common topic in architectural model building. Understanding the fundamental principles of planning for such a model brings you a long way and can help to convey your project in the proper context.

The white model is all about volumetric buildings and proportions. This model typology eliminates all other design aspects to give an “objectified” and comparable overview of a project. It is therefore imperative that details are reduced to only show the base volume of the building you want to build.

The first step in making these models is to analyze your essential volume and subdivide it into different parts. In this step, we typically try to round dimensions up or down to the full – or if not otherwise possible – half a millimeter. This facilitates the actual building process and allows using materials with specific thicknesses. This additional planning goes a long way to making your model-building experience more efficient and pleasant.

Material

Various materials can be used to build 1:500 models, ranging from MDF and basswood to plaster or polystyrene. In our example, we used a type of PUR (Polyurethane) block material sold under many brand names worldwide (Ureol, Prolab, Raku-Tool, Renshape, …). Model builders choose the material because of its workability. It is easy to machine, sand, and glue and can take almost any finish.

Raku-Tool has a density of 0.6g / cm3 and a shore hardness of 50-55. It can be used in the coated form as the final model or as the master for silicone forms. Joining two parts is quickly done with super glue, and gaps or imperfections can be filled with acrylic filler.

Technique

Building the model takes only a few simple steps that are repeated until all parts are finished and ready for assembly. We would like to point out that using the 3d-model to derive the surfaces and printing them as a template for producing parts is an essential technique that speeds up model-building and adds precision to your models. At this point, any preparation you’ve made during the modeling phase pays off its dividends. It typically shows in the details if the assembly logic of the model is simple and well understood. We hid some glue lines in the model by separating parts from the main body and covering the potential problem spots.

1. Create a simple 3d-model and subdivide it into parts
2. Cut your material on the bandsaw roughly into the different thicknesses needed for your project
3. Plane the material to the precise dimensions
4. Mount the templates with spray adhesive to your stock
5. Cut your parts to size, leaving a margin of approximately 1mm
6. Finish your parts on the disc sander
7. Assemble your parts according to your 3d-model
! Sand parts and surfaces that are difficult to reach (inside corners) first!
8. Make sure to sand your whole model with 220 grit to remove all marks from the disc sander
9. Finish your model with primer and top coat

07/09/202231/03/2023

Crafting Wood HS22

14/04/202214/04/2022

Adhesives

Adhesives For Model Building

This list explains some of the basic types of adhesives commonly used in model and prototype building and should serve as an overview to guide you in the right direction. Please do your research for specific application techniques and safety procedures for chemicals and adhesives before using them. Always work in well ventilated areas and wear your personal protective equipment if necessary.

More information on adhesives can be found on www.materialarchive.ch

PVA Glue

Polyvinyl Acetate Glue is typically sold as white glue and used on various materials – mostly paper and wood. Objects that must be joined permanently need clamping pressure to form an acceptable bond. PVA glue is stronger than wood, meaning that the material will fail before the glue does. The glue is excellent for gluing edges of the cardboard and is fast curing if applied in small amounts. Model builders typically apply PVA glue with a toothpick to the delicate edges of the card to avoid excess moisture and slow curing.

Materials: Wood, MDF, Paper, Cardboard, Leader, Foam Board

Further reading...

CA Glue

Cyanoacrylate Glue is the go-to glue for professional model builders. It typically comes in three types of viscosities. Low viscosity for fixing cracks and applications that rely on capillary action. Medium viscosity for general purposes and low viscosity for applications where the glue needs to fill small gaps. CA glue can be used with a dedicated accelerator to speed up the curing process. For special purposes, the glue can be mixed with talcum powder to form a soft putty for filling and sanding or baking powder to instantly cure the glue and form a hard, durable joint.

Materials: MDF, Wood, PU Block, PS

Further reading...

Contact Adhesive

Contact Adhesives can join a wide variety of different materials. The process typically involves applying the glue to both sides of the joint, waiting for a couple of minutes for the glue to dry, and then pressing the two parts together. The glue is activated by pressure. This technique lends itself to applications where large surfaces must be laminated together and are not used in wood joinery or constructions where edges are joined. Typical applications are laminating some top layer to a substrate like in veneering or for joining foam.

Materials: Laminates, Foam

F urther reading...

PU Glue

Polyurethane Glue is activated by moisture and tends, depending on the type of glue, to expand (foam). The foaming action helps with filling any voids in unregular surfaces and parts. Typical applications range from installing door frames to manufacturing plywood prototypes. PU Glue is a niche product in model building and is primarily used for laminated plywood or difficult glue-up situations.

Materials: Wood, Plywood, Veneer

Further reading...

Dichloromethane

Dichloromethane is a clear, water-like, odorless solvent that can be used to join acrylic glass and polystyrene. It creates an almost clear joint by opening the chemical bond of the plastics to fuse them back together once the solvent is gone. Dichloromethane is extremely toxic and volatile. It should be used sparingly and with caution only in well-ventilated areas. Alternatives to Dichloromethane have specially formulated CA Glues for PMMA that have reduced off-gassing characteristics.

Materials: PMMA, PS

Further reading...

Epoxy

Two-component epoxy glues are in model building most commonly used in the form of 5min epoxies when dissimilar materials like wood and metal need to be joined somehow. Epoxy glues, in general, have a wide variety of applications ranging from boat building and the aviation industry back to the hobby market. Remember that epoxy produces an exothermal reaction during the curing process that can lead to extreme temperatures and even fire. Always mix small batches of epoxy (<100g) and spread excess glue on a flat surface for curing.

Materials: Wood, Aluminium, Composites

Further reading...

Spray Adhesive

Spray Adhesives come in high strength and positional variants. In modelbuilding, the prepositional one is mainly used for gluing paper layouts to parts for cutting and sanding. The high strength or permanent type can be used to clad volumetric models with paper, veneer, or fabric. Besides these two main ones, you can find an assortment of more specialized spray adhesives on the market, for example, for gluing polystyrene or foam.

Materials: Paper, Veneer, Fabric

Hot Glue

Generally speaking, hot glue has a bad reputation among model builders because of its strong association with bricolage. Nothing could be further from the truth – hot glue, applied properly, is fast and clean. Model builders use hot glue for all sorts of applications where water-tight joints must be created, like in mold building and in situations where you have to speed up an assembly process. For example, when you join wood, a drop of hot glue holds the parts together while the PVA glue dries. Not a method employed by fine furniture makers, but a valid way to get things done in the model shop.

Materials: Foamboard, Corrugated cardboard, PMMA, Leather

Further reading...

Silicone

Silicones are available in various formulations that highly depend on the use case. Silicone which is important as glue, comes in the form of caulking and is used in the building industry as an elastic sealant for different materials. In the model building shop, silicone adhesive is used for mold making and joining glass and mirrors. Ensure that the parts that need to be joined are grease-free before applying any silicone and allow for drying overnight for best results.

Materials: Glass, Mirrors

Extrusion

Plaster Extrusions

Scale: Free

Material: Plaster, PMMA, Wood, Shellac

The Basic Design

For this tutorial, a simple profile was chosen as the basis for creating a plaster extrusion that gets assembled into a ring of eight segments.

Having methods and techniques at hand that allow the creation of complex objects is of great importance in model building. It allows the designer to think in different materials and lets him or her express form in a more precise way.

Keep in mind that you will benefit the most from working with this material if you apply your twists and variations to it and do not just follow the examples.

Material

Plaster, properly understood, can be used in different stages of its hardening process. The most common way of working with plaster is, of course, pouring, but carving, sculpting, extruding, and even turning is possible.

The extrusion process takes advantage of the fact that plaster has a gentle curing curve. Freshly mixed, it is too liquid to be of use for extruding the material, and a bit of patience is needed to get to the right consistency where the plaster is almost like cream cheese. In this phase, plaster builds up quickly and can be extruded into nearly any shape.

Technique – Extruding Plaster

A simple plaster jack can be built with wood and laser-cut acrylic.

Prepare the plaster for your profile in multiple buckets to always have the right consistency at hand.

Building up the first part that will become the mold for the profile.

Applying shellac as separating agent before the changing the template.

Building up the profile with the profile template. This can be done without the jack for short sections

Clean the plaster jack / template frequently for best results.

The final pass uses a relatively liquid plaster that fills in the last little voids.

After 20-30min the profile can be carefully separated from the base.

Plaster can be cut with a dedicated bandsaw.

The parts can be glued with super glue after applying shellac to the surfaces that need to be joint together.

Lightly press the assembly with the help of some painters tape for 10-15min to allow for the hardening of the glue.

Examples

06/04/202206/04/2022

Ephemeral permanence

EPHEMERAL PERMANENCE 1:1

Workshop Dates: 20 June – 1 July 2022, Aalborg Denmark

CONTEXT AND GOALS
The most sustainable construction materials are those we already have. Reusing what already exists is at the heart of circular construction and a fundamental element of more sustainable architecture. If a building cannot be used anymore and faces demolition, we must at least reclaim its components. On the technical side, the major components should be recognized and reintroduced into the market. On the design side, this new broader notion of materiality pushes toward an availability-based design that also shapes the way how we decide on forms, connections, component arrangements, and spaces. This quest for circular thinking also applies to the spaces we re-create in the process, they should likewise be understood as ephemeral resources that we need to cultivate towards a viable permanent development of the urban environment. With this ambitious design and build workshop, taking place in an actual site of ongoing urban development in Aalborg, we explore this dual structural and architectural challenge, raising the questions:

How (different) would structures look like if based on reclaimed components?

Could they also directly embrace the further reuse of their components?

What new sorts of architectural spaces can be re-created here and with what urban perspectives?

Registration:

https://www.icsa2022.create.aau.dk/international-1-1-workshop/

06/04/202214/04/2022

House

Scale: 1:200
Material: MDF, Paint, Paper and others

The Basic Design

For this tutorial, we’ve chosen a simple house shape based on a familiar archetype of the pitched roof with a slight variation to add a bit of interest. Feel free to experiment and make up your criteria for finding exciting shapes and solutions, or try the techniques demonstrated in this post on one of your designs to work in a more realistic setting.

Keep in mind that you will benefit the most from working with this material if you apply your twists and variations to it and do not just follow our examples.

Material Choice

There are two routes to choose from. In this application, professional model builders would work with a dense polyurethane block material (Renshape, Ureol, Sika Block, Obomodulan). These materials have several advantages like they’re fast to work with, have no internal stress, and can be painted with several finishes. On the other hand, these highly specialized models are too expensive to use during the design process.

MDF (Medium Density Fiberboard) is readily available in most parts of the world and can even be picked up as scraps from carpenters for model building purposes. On the scale of 1:200, a 16mm MDF plate relates to a typical floor height (~3.2m), and on the scale of 1:500, a 6mm MDF does the same (~3m). The relationship between material thickness and floor height allows us to incorporate the natural divisions of a glued-up block into our models.

Techniques For Working With MDF

Gluing

MDF is best glued with white glue or medium viscosity super glue.

Cutting

MDF blocks can be cut to rough dimensions with the bandsaw.

Template Sanding

MDF can be shaped on the disc sander to precise dimensions with the help of a printed layout that is applied with removable spray adhesive.

Final Sanding

Is best done by hand with 220 grit sandpaper mounted to a flat surface or with a self made sanding block.

Tinting

Applying emulsion paint thinned down with water with a soft brush results in a seethrough finish. This technique is ideal for buildings that are relevant to the context of your design.

Filler

Brush on a thick layer of emulsion paint as filler for MDF. After drying, the block is sanded with 220 grit sandpaper and ready for spray painting. Repeat the process if the block still feels porous after sanding

Painting

After sanding the filler, you can apply any acrylic spray paint to color your volume.

Paper Laminate

For a discrete mat finish paper can be glued to the volume by applying spray adhesive.

Facade

A simple way of adding detail to the block is to glue a laser-cut acrylic or card facade to the volume. This technique requires additional sanding and finishing and shows the method’s potential for designing with models – the model transforms as the project evolves.

Examples

18/03/202213/04/2022

Sawing

Scale: –
Material: Basswood

The Basic Design

Using a handsaw is a liberating experience. Once mastered, the saw allows for intricate cuts with very high precision. Other tools would require complex jigs and work holding devices to achieve similar results.

Following this freedom of cutting at any angle, we chose simple cubes as a starting point. The incisions are based on simple geometric constraints, like diagonals and mid-points. Repeating the pattern results in a longer profile marked with the help of a laser-cutter. The exercise tries to combine the advantages of analog and digital work so that both approaches work together to achieve the final result.

Supplemental material on cube subdivisions and the original material in terms of geometry can be found in the book: Papier, Versuche zwichen Geometrie und Spiel by Franz Zeier

Keep in mind that you will benefit the most from working with this material if you apply your twists and variations to it and do not just follow the examples.

Material

Basswood is frequently used for model building due to its great workability. It can be worked with machine or hand tools equally well and comes in a reasonable variety of dimensions, some of them already planed to size, others rough and more suited for larger work. Model builders like basswood because of its gentile and none dominate grain, a feature that allows for intricate details to be displayed without distraction by decorative grain that you often see in other species of wood. Further processing in the form of staining or painting is possible and the wood takes a wide variety of finishes. Generally it can be said that basswood is elastic and soft and a great material for carving, even across the grain. The trade off of its workability is the low impact resistance and low compressive strength.

It should be noted that sharp tools are a must due to the softness of the wood.

The Method

A simple handsaw and a pairing chisel are all that is needed to complete this example.

We can use the laser cutter for more than just cutting cardboard, and it is an indispensable tool for lots of other things – like marking – as well.

The handsaw is placed next to the cutting line to start the cut, and one hand helps guide the saw during the initial strokes.

Frequently check your progress and make sure that you advance your cut on both lines.

Not ideal, but cutting weird angles and under challenging conditions becomes easier with practice.

Use the lines as a guide while pairing with the chisel to your final surface.

And where would we be without our sanding blocks? A self-made sanding block helps to keep trouble spots in check.

Examples

12/01/202214/09/2023

Achilleas Xydis

Software developer and responsible for the workshop management software and hardware.

xydis@arch.ethz.ch

+41 44 633 49 93

12/01/202220/01/2023

Federico Billeter

Werkstattverantwortlicher ONA

After the apprenticeship as a cabinetmaker and subsequent years of travel in the USA, New Zealand and Japan, I founded a woodworking shop with the focus on furniture, objects and interior design. In collaboration with designers, artists and architects, I produced a variety of prototypes, small series and custom pieces. I later studied interior design and scenography at the Basel University of Art and Design, where I further developed my creative interests. Today I run a small design studio in Zurich, which focuses on interior architecture,
the design of furniture and objects. studiorotterdam.net.

As a supervisor of the Raplab at ONA, it is my pleasure to share with students my experience and skills at the interface between craftsmanship, material and technology.

billeter@arch.ethz.ch

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