Saturday, September 17, 2016

DIY CNC Cabinetry: Cultivating an alternative to the Home Depot/IKEA model.

The Cabinet Carcasses

I've had a small cabinetry project in the works for a while.  It needed to be done on a shoestring budget.  I made the requisite trip to Home Depot and tried to keep things simple.  Three Melamine cabinets in a "U".  One cabinet for each leg of the "U".  The doors would be simple slab doors.  Nothing fancy. For the uninitiated Melamine is pretty much the same thing as "Formica" (or HPL).  Both products are essentially a resin impregnated paper finish covering a "lovely" particleboard core.  Melamine just uses a thinner paper and therefore presents less of an edge at corners.  It is both a cheaper and a more esthetically appropriate for cabinet boxes and fronts.   Formica is more logically used on countertops for its wear resistance and that is the probable choice for the counters on this project down the road.

Even at Home Depot, these three stock cabinets were $2500.

Cabinetry can be tedious work so I'm not ungrateful for that pricing. But the Shopbot in my studio was the obvious alternative. What could be done with sweat equity for a fraction of the cost?  It also felt like the hardware quality could be improved on. The Blum Metabox system was used and I ordered these components, as well as some good drawer pulls at   This greatly simplify the assembly process and helped to ensure good operability.  So far the project is looking like it will cost somewhere around $700 in parts.

The milled panels

It is worth noting that there is an MDF (medium density fiberboard) alternative to particleboard for the core of these products.  For this application it felt unneccessary and would have sourcing the material more challenging. I still used my friendly local Home Depot for the raw Melamine sheets.

Thus far the cabinet carcasses (or boxes) are complete.  I used Confirmat screws to assemble the boxes and was relieved to see I could attach the panels to each other by hand quickly and easily.  The CNC toolpath writing is primarily useful for locating door and drawer hardware, which can be unforgiving with a lack of precision.

It is also important to get your cutting speed right since Melamine has a real tendency to chip.  A lot has been written about how to avoid this on line.  I found a compression bit really helped to minimize this although it is my single biggest concern on the project. If the drawers and doors turn out okay, the process will be posted on Instructables in the future.

Sunday, February 28, 2016

Pollarding a tree? Make a Wattle Hut!

There are a lot of Mulberry trees on our street.  For years, at some point in midwinter, most of my neighbors get out there and pollard them, leaving the few remaining branches to remain with their denuded cauliflower stumps.  Without being entirely sure why we do this but not wanting to be the pariah of my good neighbors I have gone and done it too.  I think the previous owners of my residence were field workers and they did some interesting braiding with the branches. I've always liked this little flair of non-conformity.  That creative branchwork has been something I wanted to riff on further. While there are many shallow justifications for pollarding online I've been unimpressed by their rigor. The whole thing feels a little like cropping a dogs ears or something. Since I didn't really know why we were doing the cutting to begin with, I wanted to imbue this ritual with more meaning.  Today my boys and I got out there and finally made a small wattle hut.  A coupe notes on the making process.

1. To trim the tree correctly you have to cut the branches relatively close to their base.  
2. To do the wattle correctly you have to recut the base of the branch so the associated curved element segment is eliminated.  This allows you to work with a fairly straight "bow-like" piece.  

3. I thought it might require more than one tree to make this structure and I stock piled three trees worth of branches before starting. Ultimately, I think you can do it with just one.

Anyway, if you want to lighten the load to the dump and your looking for something useful to do with your pollarding you might try this (or something else!).

Sunday, November 29, 2015

A Grasshopper Routine for Generating Folded Plate Forms

A routine for generating folded plate structures was recently completed here at the studio using the parametric Grasshopper software.  A few examples are depicted above.  This routine is intended to facilitate the creation of folded plate forms for various architectural uses.

These forms are becoming increasingly easy to build due to mass customization and computer milling, but it is my sense that the forms are still largely avoided in the built environment simply because the design process is so tedious.  After recently completing a few origami-inspired furniture pieces, seeing the St. Loup Chapel and enthusiastically reading a recent paper about origami and folded plates (by Hani Buri and Yves Weinand) I decided to take a crack at simplifying this process.

The forms in this routine are generated by simply sketching two curves on two perpendicular planes with the two curves sharing a common point of beginning.  As curve B sweeps along curve A it reverses orientation at each new line segment. This generates a complex array of alternating origami-type "mountain" and "valley" folds.  The geometry of these forms is complex enough that not all curves will be initially deployable but after a bit of editing, the user will quickly develop an intuition for how the curves can be modified to function properly.

Wednesday, October 7, 2015

Origami Table

Mixing memories of childhood origami with drier "folded plate" structural ideas, has been a rich vein of inquiry for me recently.  So much is happening with prefabrication and panelization right now. It feels like a good time to be riffing on this.

A while back I did a series of chairs on the Shopbot. Following the 3B chair, I wanted to attempt the more ambitious task of a table.  From a structural standpoint, the chair was relatively easy but the challenges of taking a thin "paper-like" material and making a table was more daunting.

What follows are some excerpts from the design and fabrication process.  There are also a few shots of the final outcome.  I wound up designing about nine different tables before making the one we see here.  We even partially built one of the previous designs before giving up on it as too "floppy".  In fact, this new table is made up of facets from the previous design.  This way of working is easy with hinges and something that makes up for the heavy computer time that is really required to pull off this sort of fabrication process.

The reality is that this way of putting things together is relatively new and there is a lifetime of work with this tectonic. I'd like to see how this might inform some other objects for a bit. In short, while there are still refinements, it felt like a good time to post the results of the work and see what comes of it.  A big thank you to my two amazing sons Jesse and Niles for their help. I also wanted to thank Steve, at Arrow Glass, for supplying the tempered glass top.

Sunday, October 4, 2015

Custom Boxes On-Demand

If anyone needs a custom sized tongue and groove box I've written a routine for the Shopbot on Grasshopper that should be able to generate a moderately sized box of any dimensions with a lid that fits snugly on top.  Just give me the three box dimensions and the material and we can make it happen.  The cuts are very precise and the outcome should edify any material that's used from MDF to European multiply plywood.  If the box is on the smaller side we can even use good old fashioned solid lumber.

Thursday, September 24, 2015

Community Meeting at Middletown High School on Rebuilding After the Valley Fire

The first post-fire community meeting on rebuilding occurred tonight at the Middletown High School Stadium. I couldn't be late and was rushing. When I came to a traffic jam approaching Middletown on 29 I turned onto a residential street to avoid the blockage. It didn't take much to feel like one was on the backside of a movie set.  The devastation was thorough and complete and reminiscent of the Oakland Berkeley Firestorm.  Burned out cars, and rubble were everywhere.  

It was a moving experience seeing all the people in need of help and the various agencies mobilizing to come to their aid. The first step is the toxic clean up and this can result in a substantial removal of soil and concrete from a burn site.  This excavation can leave quite a depression that requires new soil to be trucked in.  Many homes in the area predate the elimination of asbestos and lead in building materials and its important the soil tests free of these materials prior to the owner's reentry. There is also a real incentive to get these sites cleaned up before too much debris gets blown around.  The rebuilding effort is just starting.

I was honored to be asked by the AIA to say a few words about the rebuilding process to the community and as I thought about my remarks leading up to the meeting it became increasingly clear that people were just getting their heads around a big change in their life. The actual building of a home was a ways off and the practical advice people needed at this point was how to navigate the often byzantine insurance process, show proof of loss and secure a fair payout. For architects this work is primarily confined to the forensic task of documenting the pre-fire condition of the structure and capturing as much value in this description as possible.

PG&E has already run over 100 miles of wire and put 750 new telephone poles in the ground. Leaving the meeting it was heartening to see the main drag of Middletown lit up inside various store fronts.  The people inside these oases of light seemed to be experiencing a kind of community, for all their other loses, that other towns seem to lack.  One saving grace. It reminded me of Greg Brown's quote "This whole idea of intentional community is a bunch of bologna.  You gotta need each other." I'd like to believe people need each other even when they don't realize it but the people of Middletown are under no illusion.

Saturday, September 19, 2015

A Couple Recent Remodel Projects

This last year has seen several remodel projects.  The two shown here represent a pair of projects near completion.  Often when there is a remodel - even if the building's function is changing - this is also an opportunity to address deferred maintenance, improve durability and increase strength.  All this is equally an esthetic opportunity to improve finishes, compose geometry, simplify form and improve function.

Kenwood Accessory Building
General Contractor: Sonoma Building Associates

Kenwood Accessory Building
General Contractor: Sonoma Building Associates
Glenn Ellen Kitchen Remodel
General Contractor: Chapman Construction
Glenn Ellen Kitchen Remodel
General Contractor: Chapman Construction

Sunday, May 31, 2015

An Old Barn and Parking Lot Remade Into a Family Gathering Spot.

An interesting planning project from last year recently completed up in Geyserville.  The client, working directly with Aquatic Pools, did a great job adapting a run down barn and gravel parking lot into a place for the family to hang out and swim.

Tuesday, May 19, 2015

Bodie: A Lifetime Coming...

Like traveling by rail, going to Bodie California is to situate yourself in a historic place most Americans bypass.  The surfaces of the human landscape here speak of our civilization's frailty but they also speak of the essentially hospitable nature of this western land.  There are about one hundred and forty buildings still standing in Bodie.  Many are from the 19th century. The park service uses a great term to describe the maintenance of the buildings: Arrested decay.  With or without this relatively minor human intervention the place confirms a suspicion:  Figuring out how to impose permanent structures on the land is not a central challenge for California architecture.

In fact one could argue a misplaced obsession with architectural permanence is exactly the cause of our present economic and environmental woes.  Does every drink of water really deserve its own plastic bottle?  To make things last only to use them in a disposable way is perhaps the most wasteful scenario one can imagine. A subtly more worthy and challenging goal is to strive for harmony and craft in our often speculative and impetuous cultural landscape.  If one compares the way buildings are built now with the plank houses at Bodie one can see how things have "advanced".  More parts have been introduced to address things discretely instead of embracing the economy of one element acting as something multi-functional (e.g. a board acting both structural and weather resistive).

When I tell my friends about the Bodie visit, most people have never heard of the place.  The quarter million annual visitors are largely foreigners. It is easy to think of Bodie like an odd French obsession with Jerry Lewis or Marilyn Monroe; an affection that seems somehow misplaced and romantic.  But this is too easy.  Bodie is one of the few remaining monuments from our settler past and it has lessons to teach us about the virtues of a simpler approach.  Many architects and carpenters muse about how things use to be built here.  Go to Bodie and see.  The simple plank house can be seen in all its rich and improvisational variety.  There are over one hundred buildings.

Flattened sheet metal containers acting as battens

Bodie is such a contrast to how europe memorializes its civilization. One can't help but wonder if it is only the distance from our existing civilization - so driven by our free market forces - that has spared this place the bulldozer.

About 70% of all US citizens live in megaregions. Despite the fact that at one time Bodie was one of the post prosperous gold mining towns in California, to visit it now is to venture off the beaten path.  You can't see it from one of the interstates of our megaregions and it provokes the realization that the  interstate itself has a kind of consistent atmosphere despite the specific place it might traverse.

When I was a child growing up in California it was a yearly ritual to visit the Sierras with my father  and my sister for a week or two. A composer and musician, my father would would bring his violin with him on these trips.  When I got older he'd have me bring my clarinet too and I have many memories of meeting people from all different parts of the US and elsewhere coming together around the campfire for singing and music making.  While engaged in this "social camping", the last thing on our mind was to visit Bodie, despite its relative proximity.  No one talked about it.  We went to the Sierra's to get away from civilization and its discontents and Bodie, as a gold rush town, was a symbol of that legacy.  Perhaps for that reason it wasn't a place we ever talked about going while we were hanging out in nature for a week or two.

My childhood home was San Leandro in the Bay Area.  An area called "Okie hill" was tucked up alongside the freeway. This place was more recently known for having sporadic connections to the Hell's Angels, but its name went back to a time in California history when Oklahoma refugees landed there as a consequence of the dust bowl in the thirties.

My father really loved the dust bowl music of Woody Guthrie, the Oklahoma folk singer, and he was secretly proud of having taught his son, Arlo, music when Arlo was in high school back in Massachussetts.

When summer rolled around there in San Leandro we would head for the Sierras.  The exodus to the Sierras is a little different than it is now.  Many people aren't aware of the distinction that exists between national park and national forest land.  Even today you can camp for free in many part of the national parks without much paperwork - especially if you're not camping in an "improved" campground.  But most formal campgrounds today require a permit and often a visit to the mountains is preceded by an ironic stint spent in front of the computer making campground reservations.

Despite these "improvements" a few decades ago many of the summer campers were central valley citizens in between residences for the summer. Staying at a national forest campground was an inexpensive way for them to spend time with their kids in between school years without having to pay rent for a month or two.  The camping was free and the streams were stocked with rainbow trout using tax money. Even though the time limit for a stay was two weeks, I remember more than once a family just picking up their stuff and moving to an adjacent camp site to "play nice" with the rules and avoid an annoyed ranger. It was a practical way to make quality time for your children on their summer break. I've always wondered if their might have been some kind of continuation of the itinerant Okie tradition in these loose networks of people that I hungout with for a few weeks each summer.  So improvisational, so unpretentious and somehow so warm and human.  Sharing fishing tips, marshmallows, matches and music; I've rarely felt closer to my fellow human being and nature all at once.  Without exactly knowing why, surely there is something meaningful in the pursuit of a light environmental design that celebrates these two vital aspects of human existence simulatneously.

Thursday, December 4, 2014

Chair Design 3B is Available

The latest iteration of folded plywood chairs (chair 3B) came off the shopbot today.  As an architect I've been interested in the indirect ways paper can create form for a long time. A good drawing can be both inspirational and instructive.  Schematic design drawings hopefully inspire.  Construction documents try to be instructive or at least descriptive.  Together these two kinds of drawings aid and abet the execution of many effective projects that would suffer in their absence.  

In the professional world of architecture it takes a lot of hard work to make a rigorous drawing.  A refrigerator that is the wrong width can make the project impractical or costly.  A beam can be drawn too shallow for the distance it has to span.  "Paper architects" are the unapplied ones who make these mistakes. In this sense our connection to paper is often something we try to downplay. Lebbius Woods, a famously theoretical architect, once said rather shockingly: "Architects don't make buildings, they make drawings." ...the truth hurts. There is something "indirect" about the discipline. Some direct ways of using paper are also intriguing.

When I was a kid paper had an entirely different reputation. Making interesting things out of paper was perhaps the most resourceful "MacGyver" thing one could do. Anyone who could take a banal piece of paper (especially the kind that you used for school work) and turn it into something that could fly around the room had gift. Kids who knew how to do that? They were alchemists!

In this way I think making paper airplanes and architecture are the same thing. They both create a substantial leap in meaning with a few carefully considered "creases";  The material is still evident but the new object is no longer called by its material name.  Now it is a "plane" or a "building."

Origami personifies this to me and I wanted to make a series of chairs that recalled this simple alchemy from my childhood. There are many parallels between today's panel technologies (SIP panels, Plywood, Fiber Cement etc.) and these early inquiries into paper. In the recent past I have wanted to incorporate this early origami thinking into my building designs. SIP panel technology, where entire walls are made at a factory, was one way to approach this.  The idea of complicated building geometry being handled in this more precise manufacturing environment holds some real promise.

But there are many other constraints that often overwhelmed these early efforts and ultimately it was more important that the client simply have a functional and beautiful building.  They didn't need a thought experiment.

Nevertheless I do think it is important to dream and often the pressures of executing an affordable project for someone else can make this dreaming seem frivolous; not unlike a paper airplane in the classroom.

In short, I have wanted to reconcile this vitally whimsical world of art and this serious world of construction. I find they are so often at odds. These chair designs try to address the very literal parallels I see between paper and panel technologies with a few inquiries into chairs. Understanding the way this CNC machine works and how the hinges and plywood behave has been a central preoccupation of this endeavor. Hopefully there is still a whiff of origami whimsy about them. I also hope there will be more of this work-in-progress to come. There is no "final design." This chair is made from Latvian marine grade plywood and steel hinges. The finish will likely be a tung oil. With two chair coming out of one sheet of plywood they should be relatively simple and affordable to produce. Please feel free to contact me if you're interested in ordering some. Modifications are certainly possible and even encouraged.

Michael Cobb

Tuesday, June 17, 2014

On the Studio's New CNC Machine and Materiality Today

After many years of discussing the possibility with friends and colleagues I took the leap and ordered a Shopbot several months ago.  In many ways I was lucky to be able to do it.  Among other factors I had the good fortune to get many pointers from two very capable ex-interns (Jonathan Odom and Benjamin Rice).  I had no idea what it was going to look like when it arrived.  To say the least, the box was a little intimidating!  With a big influx of REAL work (so grateful), I spent the next two months assembling this thing on nights and weekends.  An hour here, an hour there...

Let me just say, in general, the Shopbot support in Durham North Carolina is amazing.  I'd have a question, take a picture and wait a few minutes to a few hours for a response.  This happened even on the weekends.  They were great.  As I watch the machine work, it feels very reminiscent of watching the plotters that existed before inkjet technology.  An intriguing analogy might go something like this:  Shopbots are to Plotters what 3D printers are to Inkjet printers.  

A lot of people wonder if the machine is like a 3D printer and because of the aforementioned analogy I'm quick to school them.  I respond with another analogy:  There are sculptures that work additively with clay and steel and there are ones that work reductively (i.e. carving) with materials like stone and wood.  For the time being, the 3D printing world makes things additively out of relatively "silly puttyesque" materials; mostly plastics.  The CNC milling table (e.g. the Shopbot) on the other hand, works reductively with wood, aluminum and or foam.  If one looks at automated drawing machines, Plotters use actual pens.  Inkjets... well, I actually don't know what that stuff is.  Thermoplastic? 

I'm going to abandon this discussion of 2D imaging and 3D forming for a moment to discuss a wider notion of processed things and unprocessed things.  I use this term "processed" the way foodies use it with the same general aversion foodies have to eating something whose origins have been so obscured by human intervention one no longer completely understands what one is eating.  It has always seemed to me this is not usually a good thing.

In architecture I have always sought ways to reconcile my mind's insular fascination with geometry - often associated with computer work - and a love of the natural world.  One thing is so internal and the other so shared.  In many ways this is the story of architecture;  Shaping nature and its materials to a kind of public artifice through a largely personal geometric endeavor.  This way of looking at architecture is the story of human's shaping the environment.  

But there is another story of architecture that is similar but inverted.  It is the less proud and more tentative story of architectural design as a kind of experiment. We forget that geometry is one of the mathematical sciences and therefore defined by experimentation. We may not state it explicitly but every time we undertake a geometrically complex project we often take some lesson from the process that we enjoy applying to our next endeavor and even our general comprehension of how the world works...smoothing out the wrinkles of our faulty understanding.  When the building is being built, no matter how confident I manifest to the client, I always watch the construction with a kind of skeptical curiosity.  

For those of us who love this kind of work, there is a deep peace that comes from this practice.  This side of the undertaking is underrepresented. Is there some kind of strange parallel between our lack of ability to recognize how much the phenomenal world is giving us in these undertakings and our larger environmental disrespect?  Forget about global warming, how curious are we about our environment?  I don't mean the scientific studies.  This often feels like more interest in our own human cleverness.  How interested are we in being out there in it?  Isn't this a more basic question?  

Back to the CNC machine...

I spend a lot of time watching the highly processed images on a computer screen and I can't help but feel there is an analogy between this kind of processed media experience and the processed materials being produced by a 3D printer.  Despite an early california upbringing that revered figures from Thoreau to Edward Abbey I feel it would be disingenuous to not acknowledge I am also a creature or our very technological age and place.  Because of this, it feels to me like a central struggle of our time might simply be to try to find ways to cultivate nature while feeding our scientific curiosity and pedestrian drive for technological comfort. 

Gary Snyder once said, when talking about our scientific age "Who among us can explain how a telephone works...we take that on faith right?"  The same can be said of plastics and other highly processed humans artifacts.  We are in awe of ourselves and it just seems appropriate to try to make objects that also conjure thoughts of inhuman causality if we are to retain an appropriate interest in the larger world that fundamentally produces and brings beauty to our stuff.

All of this to say: The reductive process of CNC milling feels closer to the causal realm of raw materials than plastic's mysterious origins and, as such, it helps keep this particular technophile reconciled to what lies under all the blinking lights.


Tuesday, October 1, 2013

Cross Laminated Timber

Another revelation worthy of sharing in relation to the previous post.  The student housing project out of Sweden uses a relatively new building product called CLT.  This stands for Cross Laminated Timber and while the product is relatively unknown here in the states due to regulatory constraints, it is already relatively common in European practice.  An elegant synopsis of this technology can be viewed here.

Sunday, September 29, 2013

An Application for CNC Technology in Architecture

There is an amazing little project executed by Tengbom Architects in Sweden.  It represents a way of building with sheet goods that will invite the world of CNC technology to bring both poetry and efficiency to architectural design if designers are willing to explore it.  The little building is a spatial wonderland.  Thank you to Architect Patricia De Larminat for sharing.

Sunday, September 15, 2013

Traveling the New Bay Bridge Trail

The new bay bridge trail is a radical new experience for anyone familiar with this part of the bay.  Travelling on the new structure, I was able to observe a relic from my past from an uniquely new vantage.  All the bay views were new as well.  The experience reinforced something I tend to forget:  It is the perspective and way in which we interact with our environment, as much as the environment itself, that shapes and defines our sense of a place.

Travelling alongside a bridge I knew so well as a child was an oddly "out of body" experience if one considers the confined perspective from which one normally takes them in.   The difference in bridge colors only heightens this sense.  The new bridge is a celestial white and, as you travel in your parallel universe, you are able to see all the gritty supports and underpinnings of the old bridge.  There is a beautiful, somewhat gothic, quality to this old bridge.  There is something celestial about the new.

One rarely experiences the support structure of a bridge when one crosses it and in this way most bridges celebrate the idea of flight as they transport you aloft seemingly without the aid of any visible support.  When you do see the bridge supports on the new bridge, they are primarily cable tension members and have all the lightness that a suspension bridge maintains over a trussed structure.  You travel in a pristine world apart, seemingly airborne while the remains of the past lie in a soiled, heavy and run-down state off to the side.  The old bridge is literally marginalized.

The fact the pedestrian bridge comes so close, but does not touch down, on Yerba Buena Island, only heightens the removed and celestial state of this new bridge for the time being.  When it goes to Yerba Buena, as its slated to do in 2014, there will a new practical element to it that will be wonderful.  It will change the character of the experience completely.

One further note on the nature of the new bridge needs to be mentioned.  For those familiar with the pedestrian "Sundial Bridge" of Calatrava in Redding, it is hard not to appreciate the impact of that smaller sensitive design with its glass floor and solar geometry.  For all of its larger functional goals, the east span of the new bay bridge is, in many ways, a "knock off" of this early Calatrava work.

Its nice to see good ideas take hold on more modest projects and impact larger projects.  For those in the design profession who are trying to cultivate new ideas, it is important to remember that the scale of a project can also send people running for precedent.  New ideas and project size can be inversely proportional and any small project is also an opportunity to create something truly new.  In this way, for those running a design business, there is a conservation of interest across project types.

If all of this is sufficiently interesting to visit the Bay Bridge Trail, there are two ways to get on to this pedestrian/bike bridge.  The popular option appears to be from the Ikea Parking lot near the end of Shellmound Street in Emeryville.  The less hyped portal of Burma Road and Maritime Street in Oakland (see image below) is closer and provides ready access to the bridge base.

The Oakland entrance is more gritty and industrial than the IKEA parking lot but it also is easier to find parking.  It is presently my preference for this reason, since IKEA officially requires you to shop in their store to park near the access point.  Either way, you will approach the bridge in way that bay area citizens couldn't before now; weaving underneath the maze of onramps and off-ramps that precede the bridge.  Even here there is a strange industrial beauty that,  if there is the will, can be cultivated over time and provides a psychological respite from the exposed nature of the bridge.