Java is More than Just Coffee

The image here is of Duke, the Java mascot. Duke is open source. I can use him for free as long as I use him respectfully. Java in this context is an object oriented computer programming language that I once used for design purposes, and previously wrote about in this blog.

I need to write some computer code that will help me program the CNC router in my workshop by producing g-code output from rather simple parametric user input. A sample of g-code can be found in a former post here. An industrial grade CNC machine will usually have a sophisticated user interface that allows the programming and modification of simple tool paths directly at the machine itself. Machine automation like that costs a lot of money, and my part-time workshop operating model cannot justify the inclusion of expensive and highly automated machine tools.

I can however, automate repetitive tasks by writing small applications to generate CNC router tool path g-code. I am currently working on an organ pipe design that will shortly benefit from this capability. But right now, I would like a way to cut accurate circles in the front plate of a speaker enclosure that match the flange of an audio loud speaker where diameters can vary by a few thousandths of an inch. The final result looks far more professional if the speaker fits just right in its opening without being too snug, and being able to productively edge up to that exact value will benefit the result. Writing a program that produces CNC router g-code to do just that would increase the efficiency and accuracy of this task.

My past Java code was far more procedural than object oriented in its approach mainly due to my former background in programming. I decided to take on a more educated approach to Java this summer, and finally learn object oriented programming methods. I recently purchased two books that appear to really discuss the topic well.

1. Big Java, by Cay Horstmann.
2. Objects First with Java, by David Barnes and Michael Kolling.

I bought both slightly used so as not to incur the typically higher cost of what are essentially computer science textbooks. No matter though, as both are excellent with regard to teaching an understanding of the Java language and moreover, the general concepts of object oriented programming.

So I have some work cut out for me this summer. Learning, programming, and building. I also plan to take more time for riding the bicycles I built a few years ago, and in general find time for other non-shop related activity.

A good summer at that.

The Artisans Versus the Academic

Dear Colleagues:

An academic with a degree in physics practically succeeded some time ago in defining my pipe organ building work as irrelevant because that work was not scientifically based on theory and mathematics. My decision to approach pipe organ building and design based on historical reference began when I traveled to distant places on a mission of discovery to hear for myself and judge the validity of the working methods of the old masters. I will tell a story then about why the methods I use to design a pipe organ are not scientifically derived, yet are perhaps more valid than a mathematical model based on the physics of a vibrating column of air contained within the body of an organ pipe.

That story began with a trip I took to distant places to experience baroque organ building by actually playing and studying existing examples of mostly unaltered instruments built throughout Europe predominantly during the eighteenth century. I came upon the Skt Mariae Kirke organ located in Helsinor, Denmark almost by accident where Diderich Buxtehude was organist from 1660 to 1668. Only the organ case and facade pipes of the Ruckpositiv division mounted on the gallery rail were original to the Lorentz organ of that time shown in the photo above. A modern organ was built in the old style within the case. The church organist happened to be practicing alone in the church when I arrived. He allowed me to play the organ myself for a time, the first of many such opportunities I would have in getting to know these old instruments. I paid particular attention to the sound of the original facade pipes that dated to the seventeenth century, finding a warm and gentle tone that contradicted the accepted understanding of harshness usually associated with the baroque pipe organ.

Not far from Skt Mariae Kirke in Helsinor where Buxtehude briefly served as organist was Skt Olai Kirke where his father served as organist from 1642 to 1671. This church had a newer organ built within a modern case, but in the old tonal style by Poul-Gerhard Andersen whose book "Organ Building and Design" first inspired me to build organs in the classical style. This organ is shown in the photo below. Andersen as thoroughly as he could, explains the ancient methods of organ pipe scaling in his book along with chapters devoted to the history of the early instrument and their construction details. His description of historical pipe scaling methods would provide the basis for my own methods of pipe scaling, not mathematical models derived from theoretical physics.

My purpose in writing this entry is to counter the argument against the validity of my original work as I move forward as an artisan. I hope to accomplish the following with my next organ project.

1. That pursuing an understanding of the methods used by the old masters creates an imperfect yet wholly human artistry produced by their ancient methods.
2. To make the organ more accessible to an eclectic audience rather than restrict the instrument to the exclusive domain of a biased elite.

My goal is to make the organ even more accessible by placing a historically referenced cabinet instrument in a visual arts setting where it can be experienced both visually and musically to communicate to a wider audience that artisan results still matter in an ever technologically dependent world.

On a technical note, I took the photos posted here before the advent of digital photography. They appear somewhat grainy as the result of having been scanned.

Exploring Limits

I have taken on projects over the past two years that steadily strengthened my ability to efficiently build larger and increasingly innovative composite structures. Some of those projects seem simple like the poster frame shown below while some represent a higher level of engineered accomplishment in their design. And one of those projects has yet to be completed. Yet all are steps that led to an understanding of a design architecture I need to successfully implement if I am to build one more pipe organ based on some interesting ideas I continue to conceptually develop.

Most of us have a professional identity that defines what and how we approach our work. The objects I build will always reference back in some way to the cabinet pipe organ designs that define me as an artisan. With that I intend to begin building a larger furniture cabinet this summer that combines some of the methods from recent projects into one whose design develops and tests the feasibility of those methods in a unique structural architecture.

Consider this a prelude to another cabinet organ someday.

Design Bookends

I described in my last entry how I felt about having completed a journey or goal after I finished my last project. That project happened to be a cabinet built to a client specification. The entry included this photo to the left of a cabinet I built a long time ago when just starting out.

You can look at that cabinet closer and compare it to the cabinet I recently completed shown below sitting on a workbench in my shop. Although the two cabinets are built in different ways, they share obvious design lineage. The two are far apart in both years and skill level required to accomplish each, yet one is just as valid in its design and function as the other.

People are still asking me to put more individuality into my work, and rely less on traditional form. Sounds like another journey ahead.

Awesome Design and Existentialism

My Minnesota woodworking journey began with a small shop and more questions than ideas after I closed my organ building workshop back in Wisconsin. Art and structure were to be my primary focus though. That focus began to evolve with the design of a small ladder used for pipe organ tuning in close quarters.

Great results are produced by people who get to work and focus on their goals even when those goals are sometimes difficult to attain. And getting there can seem to be incredibly time consuming.

Something about the project I recently completed told me that I finally accomplished what I set out to with regard to art and structure. I feel confident in my ability to take my work to new levels now having a design architecture and the means to accomplish that architecture in place. The path was never completely clear though with an approach that often was way too go-it-alone most of the time. The photo above reminds me of that. I took it with a hand-me-down digital camera I had just obtained. The result seemed lonely and existential, probably enhanced by the way the light streams in on the cabinet doors.

I built the cabinet in the photograph during my early experience in woodworking to house kitchen plates and utensils. Utensils got their own drawer, and a separate section even houses glassware. The unique design of the cabinet with its multiple compartments makes it a favorite among friends.

I no longer feel that my workshop has to be the all consuming entity. I can find new roads with my work now. I feel like the journey is just beginning again.

The Walter Project and Organ Case Architecture

I had just closed my organ building workshop and moved to Minnesota. My plan here was to develop a woodworking shop to further my design skill by building smaller objects for what were back then, flourishing local art galleries. Something happened on the way to accomplishing that goal with the onset of the global financial crisis and accompanying deep recession. Gallery consignment sales practically dried up.

As my shop equipment stood standing practically still, I decided to solve a problem that bothered me when building those mechanical action pipe organs. I wanted to find a common scalable architecture that could house a series of small instruments in something that resembled a cabinet, yet was not a cabinet at all but namely, a framed structure. So I embarked on that journey by installing a solids modeling program on my laptop computer during the height of the recession, and began to simulate alternative frame-based structural designs that would result in an enclosed cabinet. Some people at this point might have made physical models out of wood, but considering that wood is relatively expensive, and the act of actually building things causes expensive tooling to dull and wear out, computer modeling looked like a thankfully welcome cost savings approach to take in a bad economy.

I developed what I now call my organ case architecture after a few months of computer design work that mostly took place in some coffee shops and a local pub or two around campus. It soon became clear that I would need to expand my workshop equipment to add capacity, and develop methods to actually build off this new architecture. My blog became a record of that journey as I developed and applied methods to trial and produce various techniques needed to build a structurally frame-based cabinet. One or two people who read it realized this, while others thought that I had turned my workshop into a small hobby space.

The project I just completed is the first to approximate my take on organ case architecture in a small cabinet design. I say approximate because it was altered somewhat to scale it down to an end-table sized object. A future project will scale up to something that fully incorporates the architecture as originally planned, and will put my adaptive shop to work on building a project I developed it to build.

This journey took a few years to complete, but if the cabinet photos here are any indication, the results are well worth the effort. I now have a design language from which to further develop and build both client and consignment work.

The Walter Project: A Design That Put It All Together

I just finished the major portion of shop work on a project that combined my concept of an adaptive workshop with a group technology build strategy. The adaptive shop concept allowed me to efficiently combine a number of diverse constructions into a single unified structure that makes a cohesive statement.

The schedule for this project was tight, and therefore, I decided early on to build it out of sequence using a take on group technology methods where similar components of somewhat unrelated assemblies are produced together to maximize build efficiency.

I accomplished this mainly by developing cut lists based not on a sequential assembly order, but on parts sorted by common construction technique and material size. It helped therefore to design with as much commonality as possible. Frames were made with 3/8" wide x 1 1/2" long mortise and tenon joints in 2" wide 5/4 stock for example. There were numerous panel glue ups not only for doors and side panels, but also drawer sides, fronts, and backs using 4/4 stock that were sorted into a single cut list and produced together.

Building this way allowed enough extra time in the project schedule to accommodate the construction of a rather interesting four-panel veneered top design, and the special open frame-left side doors that visually enclose the front and back of the cabinet, yet allow proper ventilation for a computer system the client intends to store within.

Building a design without regard to construction sequence requires a high degree of definition and planning up front that almost certainly negates evolution as the project progresses, evolution that often produces a better end result through the application of a builder's creative process. But I must admit that I often think about product design within the constraints of a shop that operates within a valid business model, and that requires a consideration of production rate and cost containment especially when the project is commissioned by a client as it was in this case.

Producing a design as an optimized family or group of woodworking processes may allow the balanced meshing of goals that include visual aesthetic, function, and reasonable profitability in a one-off project setting.