3D Printing in Contemporary Scenography: Innovation and Case Studies
3D printing is a technology capable of bringing profound technological innovation to many industrial fields including architecture, industrial design and even the biomedical sector. 3D printing is defined as "Additive Technology" because, unlike other techniques for producing handcrafted products, with 3D printing the material is added to the object layer by layer, thus enormously reducing waste of material. In other production methods (such as milling), the material is removed from a full block until the desired final model is obtained, an operation that certainly involves a significant waste of material. In the world of television, theatre and cinema scenography, 3D printing made a timid entrance a few years ago but could offer previously unthinkable creative possibilities and optimise production times and costs. This technology allows the creation of scenographic elements with very high precision, guaranteeing the faithful reproduction of complex models and the possibility of creating prototypes and finished components.
Let's try to understand the advantages and limitations of using 3D printing in the scenographic context .
Key Benefits in the Scenographic Context
Additive technology offers several strategic advantages in scenographic production.
Realization of complex architectural details with relatively low costs.
3D printing allows, in fact, to produce models with very complex details at resolutions that are certainly compatible with scenographic needs. The costs of a large-format 3D print are, all in all, contained.
Realization of complex architectural details with relatively low costs:
Ability to quickly modify designs in pre-production;
Creation of modular elements that are easily assembled and transportable, with the possibility of also producing any hooks or quick assembly elements.
Precise reproduction of historical or artistic objects also through the use of 3D scanners;
Strong optimization of the weight of the structures while maintaining mechanical resistance.
Practical Example
Suppose we want to produce a decorated wall like the following:
Let's assume that the wall has the following dimensions:
Width : 100cm Height : 100cm Depth : approx. 15cm
Let's calculate the total volume of the object:
Volume = width × height × depth
Volume = 100cm × 100cm × 15cm = 150,000 cm³
Considering the internal print infill is zero i.e. 0% and with 20% of the volume occupied by the 3D printed walls. We need to calculate the actual volume of material:
PLA volume with 0% infill:
V_PLA = 20% of 0.15 m³ = 0.20 × 0.15 m³ = 0.03 m³
PLA density: ρ = 1240 kg/m³ (approx.)
Mass: M = ρ × V_PLA = 1240 kg/m³ × 0.03 m³ = 37.2 kg
Conclusion: With 0% internal filling, the wall will weigh approximately 37.2 kg
3. Let's calculate the cost of the material
If 25kg cost €220
Cost per kg = €220 ÷ 25 = €8.8/kg
Total material cost = 37.20kg × 8.8€/kg
Total material cost = €327.36
The material we intend to use to produce this object is PLA (Polylactic Acid), one of the most versatile materials usable in 3D printing. To produce this type of object requires a very large format print that is definitely not common on the market. An example could be the WASP 3MT HDP printer:
Another example of printers suitable for this type of production could be the MASSIVIT line of printers that use a particular technology called Gel Dispensing Printing and are able to print pieces up to a volume of 145cm X 111cm X 180cm in height.
Print or Stamp?
Considering that 3D printing a wall 1 meter wide x 1 meter high x 0.15 meters deep requires, approximately, a cost of just over €300 and a printing time of at least 1 and a half days, it is appropriate to try to understand if it would not be more useful to use the 3D printer to produce master molds from which to then mass-produce the objects using cheaper materials (e.g. resins) and which require more than half the production time.
In this regard, I invite you to watch this short video (it lasts 1 minute) which shows a 3D printer producing the mold of a wall module with a specific texture:
Significant Case Studies
Opera "Fra Diavolo" at the Rome Opera House (2017)
For the first time in Italy, an entire theater set was made through 3D printing and used for the opera "Fra Diavolo" by Daniel Auber directed by Giorgio Barberio Corsetti, which was performed at the Teatro dell'Opera in October 2017. The Italian company WASP produced over 223 pieces using PLA, a material derived from corn and completely recyclable. This innovation made it possible to create two large deformed facades, six and a half meters wide and about five meters high, giving a unique appearance to the work.
Movie "Guardians of the Galaxy" (2014)
In the film industry, 3D printing has been used to create costumes and props. In the film "Guardians of the Galaxy", prop specialists FBFX Ltd used 3D printing to create Star-Lord's mask and the armor for the character Korath. This was the first time the team had produced a fully 3D printed costume for a film. In this case the 3D printer used was a Stratasys Object Connex model (now replaced by much more powerful models) which uses photopolymer resins to print the desired objects.
Technical Considerations
Materials and Technologies
The materials that could be used for large-format 3D prints in the scenographic field are:
PLA and PETG for lightweight decorative elements
Carbon fiber composite materials for load-bearing structures
Photosensitive resins for high definition details
Optimized Workflow
The 3D printed scenographic production process would require following the following fundamental steps:
Detailed 3D modeling with CAD software
Geometry optimization for printing
Breakdown into printable components
Prototyping Test
Mass production of elements
Post-processing (sanding, painting, assembly)
Future Prospects
The evolution of 3D printing technologies is opening up new possibilities for scenography even if, to date, the printing times and costs may not justify the scenography designer's use of this technology. Rather, the idea of being able to 3D print molds from which to then obtain series parts at a lower cost and in less time is interesting. In any case, the evolution that I personally see with respect to the use of large-format 3D printing in this sector concerns:
Integration with motion control systems for dynamic scenography
Use of sustainable and biodegradable materials
Development of on-site printing systems for itinerant productions
Implementation of hybrid technologies that combine 3D printing and traditional manufacturing.
Conclusions
3D printing is a fundamental tool for the contemporary scenographer, not only as a production technology but as an element that expands creative possibilities. The key to success lies in the ability to integrate this technology into the creative process from the early design stages, exploiting its undoubtedly unique potential to create innovative and technically advanced scenographies.
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