Studio Potter 2015 Volume 43 Number 2 Summer/Fall 2015 | Page 19

The students presented the new model to
Alleghany, and once he approved it, the
class turned its attention to the challenge
of building the full-scale version. We
decided to use the Computer Numerical
Control (CNC) router to cut all of the
parts out of plywood. Some people have a
misconception that just because something
is made using digital fabrication, it is fast,
easy, and a machine does all the work. This
was definitely not the case. Each sheet of
plywood needed to be set up carefully, and
we needed to check that the code we gave
the machine was correct. It took from one to
two hours to cut one piece of plywood. We
arranged a schedule of students to set up
and monitor the CNC router while it cut the
sheets, and then we had to hand sand every
piece, and glue and screw it all together.
When we were handling and assembling our
final product, there were moments when
we realized that if we had changed some
aspect of our design in the CAD model, it
would have made assembly easier. It was

important to see how all of the decisions
made while making the CAD model manifested themselves in the physical world. One
of the challenges of using digital fabrication
is to connect the theoretical world of the
computer to the real world, where the
product must function as intended. When
we installed our full-scale design in the
Airstream, we felt a sense of accomplishment in transforming an abstract idea, to a
picture in the computer, to a tiny model, to a
full-size functional gallery.
As the teaching assistant in the class, I saw
how the students interacted and worked together in groups as well as how Del oversaw
the class as a project leader might oversee
his team in a real-world setting. Del adapted
the overall plans as the semester progressed
and recognized how the different strengths
of each student could be employed to reach
our objective. Working with a client (Alleghany) and experiencing the back and forth
between the design team and the client
required us to make decisions about when
to change our design, or when to
stick to our guns and convince
the client that our solution was
the best for the situation. I also
gained an incredible amount of
technical knowledge. I had had
some experience with Rhino before
the class, but helping the students
I learned so much more. The
amount of detail behind a project
like this was something I could not
have imagined before this class.
When the students had mostly
finished the CAD model, it was
handed to me to make final touches,
such as making sure the slotted

attachments between the shelves and
trusses fit and transferring the files to the
CNC router. I had no idea beforehand how
many times I would have to tweak little
things in the CAD model and how much
thousandths of an inch would matter. The
advantages of using digital fabrication to
build – precision, easier assembly, complex
geometry and design, repetition – were not
realized without putting in an incredible
amount of work hours.
As I look forward to my life in ceramics, I
know I will carry many of the things I learned
in this class with me. Of course, the technical knowledge will be useful in my work and
life, but I have also become acutely aware
of how these experiences build important
personal connections and open doors for
opportunities. I never could have imagined
three years ago when I bought my first pot
from the Artstream, that I would get to know
Alleghany so well and be a part of building
the Artstream 2.0.

ABOVE: Interior construction of the Artstream 2.0. From L to R,
Alleghany Meadows, Del Harrow, Camila Friedman-Gerlicz. Photograph courtesy of Alleghany Meadows.

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Schuler and Nettie Thompson took it upon
themselves to learn Rhino thoroughly, and
they produced extremely detailed and
beautiful CAD models. We used these
models to build a scale model of the interior
fitted for the