welcome to a new episode of gerrit's diary we will start like the last time, because back then i didn't introduce sven and stefan. i though i could do it in course of the episode, but then, the elbe philharmonic hall was so exciting i didn't get to it, because the episode was packed full! today, i want to make up for it, because the two of you have lived a shadowy existence in wunderland in the past years. there was a point of time, where we'd reached our limits
with our perfectionism in detailing things. the "no-can-do!"! manually or with our normal tools there was no way of gettting even smaller or more detailed. then you came along and opend up new horizons, once again. nowadays, we are delighted to be able to present some things in ultimate perfection. today, you will learn that even with computer support, even with the help of a milling machine, there's so much creativity and skill in it - and moreover: boundless possibilities!
without this new technology the airport layout would not look the way it does. we started out as we always do: we scetched a two-dimensional plan. where to put the taxiways, which buildings do we have in mind, where to set them? but all of that in two dimensions only. to imply a third dimension, we have requirements with regard to model making as well as statical and other considerations, for example, cable routing, etc.
in this case we created the whole thing for the first time at the computer, and then converted it building after building at the computer. then i shafted you once again, because: cars and figures are scale 1:87, but we decided to use 1:100 with the buildings, and you had to pay for it! right! it was painfully obvious with the car parks, because the traffic routing in the buildings had to be right, but due to the varying scales, we didn't have enough
space to fit a 1:87 car into a 1:100 parking lot. so we had to leave out parts or relocate things so it would look conclusive in the end. moreover, the headroom for figures had to be 1:87 on a 1:100 plot, without looking too high-stacked. that was quite a challenge! i remember that you had to draft it three times, because i was not quite satisfied with how it looked, and thought: uuuhhhmmmm, still not quite as the original
when standing in front of it, but: kudos to you in retrospect! with almost all of the building we've discussed for hours, scetched new drafts, and at some point we took it to the milling machine and set everything together manually. there were not only problems with large buildings, right? exactly!there were tons of interior fittings, like garbage cans, benches, and all kinds of tiny stuff which we built as well. here, i set up a few benches.
they were all developed from one type. they consist of these side parts. you can see how delicate and tiny they are. after milling, they were deburred with a toothbrush, and then lacquered from both sides. here are different variations: they always have these side parts. thus, you can set them individually, or as a double-bench with advertising surface. this bench has almost thirty single parts. it can take about
half an hour with a tweezer to get it straight. so, despite of milling there's still a lot of work to do. here we have the possibility to manufacture things which you can't purchase, or, if you want to hand-craft them in such amounts, the aiport layout would most likely still be in the works. this is yet another example of tiny things we can manufacture with the support of a milling machine: from foil we cut out these tiny "p"s. these are car park ticket vendors
which we fit subsequently - they look like this: the "p" is at the top of the vending machine. the vendors consist of little cubes, actually. we milled them, but then lacquered and bonded them manually. i best talk about the balustrades, myself - if stefan had to do it he would stop smiling like this, because, that was pure martyrdom! often you go outdoors and measure something in order to transfer it to the computer. same with these balustrades back then. we'd crafted a few prototypes.
in the end this beam was developed and milled several thousand times. it wouldn't have been feasible manually, as it would've taken months! but to deburr them and to remove the carrier foil, to lacquer them, to set them upright, and to loop wire through them still took us four weeks, and everyone was sick of balustrades! these were only a few examples of what it possible
to manufacture by now. that's super and is a lot of fun! the boundaries we had formerly are up here, now, and our limit are reached much later than before! everyone knows it, here. also our model makers are looking at the world with a whole new perspective, and find ever more ideas which details we can fit even in our old layouts: whether small or large ones, dammtor station or things like that, it's really great fun to see there're virtually no limits! today, we want to show you how a house
is being manufactured with these new procedures. a great example are the dioramas of the "history of civilization" we'll show it with the example of a half-timber building which we've built. sven shows how such a building is being developed: in order to construct such a building we start out with an idea. with the idea in mind we use picures and original drafts, specialized literature or people who help us. in this case, we built it mostly after the image of photos.
in this photo you can the the framework and the brick structure. now we have to decide whether to build a one-, or two-tier facade. we decided to use two tiers. thus we can inlay the timber framework into the brick profile. to convert a three-dimensional building into a two-dimensional kit, we begin with our specified floorplan, and from that outline we start to construct all exterior views. after we designed the exterior views, we adapt them
to the height of the figures. the drafted house has to look nice to be set into the layout later on. because we decided for a two-tier facade, we have to ponder how to realize ist. we will manufacture the timber framework from wood and the facade from plastic. because timber framework doesn't run through evenly, we have to break the uniformity of the wood structure.
in the wooden parts we will engrave the wooden structure of the timber-frame onto the surface in order to avoid sharp edges, and the look of entirely even beams. after we're done with the wooden framework and decided for a certain tool, we continue with the plastic facade. the tool for the framework determins our next course of action because every milling cutter is round. that means we cannot cut sharp edges.
in this case we decided to use a 0,6 cutter to mill the wooden timber-frame. we have a radius of 0,3 mm. but, in order to inlay the timber-frame properly, we've calculated an allowance of 0,2 mm to the left and right, thus, we can ignore the radius. we've already started to insert the milling lines for the tools. also, i've drafted an outline representing
the material on the milling machine, as well as a line showing the direction of the wood grain. now we begin with engraving, and we determine the tools: the depth of the cuts, the milling speed and the revs, because depending on the cutter, speed and rpm can vary. then we insert the tool into the milling machine and start the dataset. the more complicated and intricate the workpiece,
the longer it might take. that means it might take hours until the part is entirely cut. when the parts are finished, we take them from the carrier foil, clean them, and prepare colour schemes or other designs. after that, we can inlay and bond the two parts. now, we have a complete half-timbered facade, because we glued the timber-frame into the brick wall. now, we cut a 45â° mitre joint into the edges
so we won't have straight hems later on. thus, the beam will look like a single upright beam in the edges. normally, the model makers clean and asseble the parts. we generally build only the first prototype ourselves, and then deliver the parts at the model maker department. this specimen of an assembled house will now get a roof. the roof is being cast, bent, modulated, bonded, and colored unevenly.
thus, each house will get an individual roof. windows and doors are getting inserted, and curtains glued, if required. the whole thing is being aged with airbrush and paint brushes, customized to match the surroundings. in the past we built roofs like this. that's also possible with modern houses today, but our model makers have developed great procedures for a great aged finish of the roofs. this was an example of how we build a house
with the support of a computerized milling machine. this was a quick ageing, because we don't know the context of the surroundings and the landscape, neither the weather side in which the house will be set later on. as far as ageing and the entire setting, we normally would put much more thought and effort into it, but after all, this is only an example. however, this is kind of an example for the hafencity because there, many building will arise in the same manner.
we can already present parts of the surrounding area, so we will go upstairs and i will show you the changes in the hafencity since the last time. for the first time, you can see the dimensions of the hafencity and the elbe philharmonic hall, as we imagine them. it doesn't look large, but as soon as the buildings are set into the layout, it will fit into the areal size of the surroundings and landscape, perfectly, and i hope we chose well, actually.
the buildings are being scetched and built right now. these finished parts here look rather harmless, but they were quite a lot work, already: i'm talking of the wharfage, and specifically of the terracing back there, built exactly after the image of the real ones. that is, each brick, each nute, even the stone sizes and forms are a recreation of the real ones. we went out, measured everything, and took pictures. apparently the hafencity thought there shouldn't be any stone alike another in different corners.
so that was a real challenge. it's almost impossible to imagine, but this corner took over 100 working hours, already. here the first parking bays, the curbstones, here, another terracing. but, stefan better explain what these notches are for. here, we cut a slot to set the buildings later on. these small, oval holes are for
supports for the buildings. maybe you can recognize this oval one, which is located in the hafencity. this is a rather flat indentation to put sand in, later on the a tree will be "planted" there. did you cam out with the cutter, here? no, it's supposed to look like this. all over the hafencity there are planting beds shaped like a nine or a six.
later, you will see them also in interior courtyards. they will come up everywhere as a stilistic element! cool! we seized this idea as well, for later recognition. actually, it didn't catch my eye until now, but you can see: the hafencity is exciting. it is a very interesting part of town, which will also be depicted, here. in 2013, it will be a topic in many episodes of gerrit's diary. i wish you a great new years celebration,
thanksa thousand times for watching and all of your comments i receive. it's always fun to issue a new episode, and i always anticipate your reactions to it! have a wonderful christmas, i'm looking forward to 2013 with all of my viewers. thanks a lot! see you! bye-bye!