SoundStamps

This project began as a deep exploration of ceramic 3D printing and data physicalisation. Countless hours of print testing and prototyping was undertaken to discover the limits and hidden attributes of the method, such as intentional layer failure and translucency. Early developments converted hand movements into ceramic vase objects. Outcomes converted the gestures of music into physical objects, as well as creating an ink printing object which allowed the transmission of dance choreography. Over 12 months of research, it began to move from an experimental project into a more functional design outcome. A deep dive into parametric modelling, toolpath creation, and acoustic engineering simulation was undertaken.

A final production process has been developed. First, a base tile form can be arrayed in order to fit the specific acoustic needs of a space. This can be modelled to calculate the theoretical impact this would have on the acoustics of a space such as reverb time. An inputted sound, recorded via spectrograph can then drive a generative script, creating a surface pattern on the desired array. The array is modelled and converted into separate print files (toolpaths), to be sent to a robotic printer. A specific clay preparation process has been developed for repeatability. Each tile is unique, creating an overall pattern. This overall pattern is a unique sonic fingerprint of the space in which it sits.

While physical validation is still needed, initial acoustic simulations shows a promising intersection between 3D printed ceramics and acoustic treatment. High reductions in reverberation time were determined, as well as increased speech clarity and transmission. The piece is accessible as it has the ability to tell narratives of sounds which are often unnoticed. Any sound can be utilised and imputed into the script at different scales. A short sound may cover an entire wall, or a snippet of sound might be recorded onto a single tile, making a mosaic of unique stories.

Aesthetically, this piece draws from the history of architectural adornment and intrudentesi design, utilising a cross section inspired by the ‘f-hole’ seen in stringed instruments. The tiles can be arrayed and rotated to create a multitude of visual effects based on the context and client desire. The hanging system can be scaled up, utilising a modular methodology. The piece is designed as a wall piece but may be slightly altered to create a hanging screening system of light and sound. This would allow the piece to be utilised by an interior designer to section a space in an elegant fashion. Due to the time spent refining the printing process, the outcomes are extremely well printed with high resolution. Due to the limited synthetic additives, a damaged or unused piece can be broken down and reincorporated into the production of new tiles.

The hanging system has been designed without permanent adhesives or fixtures to ease and encourage circularity. The major communication delivered by this project is that 3D clay printing can mass-produce unique design objects which can be scaled to large public and private works. The project aims to tell contemporary stories using modern methods, continuing on the rich history of ceramics and architectural adornment.

This project takes a snippet of sound as an input to create a physical object. As the physical and digital worlds continue to become less binary, this project shows how digital data can be used to create beautiful, physical, tactile objects. Objects which can tell a story.

Design is generally ocurlarcentric, especially with the rise of digital interaction. Soundstamps brings stories of sound to our vision, and thus hierarchy, whilst encouraging touch and improving sonic wellbeing (by improving speech intelligibility). This project aims to be an example of using physicalisation and 3D printing to create commercially feasible outcomes. The world of clay 3D printing is young, but rapidly growing. This project aims to show that Melbourne is a key player in modern and experimental manufacturing methods.

A modular support structure has been developed, allowing the fixing of tiles to a space without adhesives. This means tiles can easily be removed for repair or recycling. As the project moves forward, additional waste streams could be incorporated into the production process. Waste streams such as metal production, drinking water supply, or soil remediation could be utilised to bring new textural and colourful outcomes.