I looked at the project “Reverberating Across the Divide” by Madeline Gannon. I thought it was really interesting because it took a thorough route of combining digital and physical input and output. This was my first time being exposed to the topic of a chronomorphologic modeling environment. I’m especially impressed with the complexity of technology that is now possible in order for the designer to have been able to scan and create forms virtually, taking influence and depth from the real world. “A depth camera translates a physical space or object into a three-dimensional point cloud,” which allows her to create the expressive, exoskeleton-like forms that have strong influence from both the digital scans and physical features. I am a product design student, so I know a bit about 3D printing- but I didn’t know about the possibilities of scanning a physical form and then altering it in virtual reality. It excites me to think that if these technologies are possible for this whimsical project that created interesting, decoration-like forms, advancements in other areas like treating broken bones can also be made; I heard about 3D printing casts a few years ago, so I’m sure the tech has become more efficient since then.
According to the artist Sui Park, SPUME presents “soft flows of evolving sentiment.” This gives a feeling of flow, and the artist herself likens her art to emotions and sentiments, which are not static.
The algorithms to create her art looks as if they are built upon each and every additional “stitch” or piece to make up a whole. Although, it is not specified what algorithm was used exactly.
This reminds me that in all the projects I do in the future, it is always important to remember which message I want to convey to all those who view it. Instead of always just worrying about the technical and aesthetic aspect of the art I am producing, I feel that the inside main message that the art is conveying is equally important. Although her art is technically static, it looks to be continuously flowing.
Project: Iris Van Herpen’s line of laser-cut/3d-printed dresses
Iris van Herpen “Radiation Invasion” Sept 2009 Leather
I really admire this project because it really combines hand craftsmanship with the precision and automation of modern digital methods. Even though she used digital tools to cut the materials, she still had to use her aesthetic sensibilities to come up with the patterns and designs. In addition, I assume in assembling the dress, she still had to do it by hand to fit the dress to the specific model. It also inspired me in how she worked with various different manufacturers and partners in order to create the necessary forms.
I visited her exhibit at the Carnegie Museum last year, and in the exhibit, she talked about how many people told her that her vision could not be accomplished with existing technology. I love that her vision was so strong that she was so insistent in bringing her creations to live.
I really enjoyed the computational art of Andy Lomas which was referenced in Prof. Levin’s article. The logic governing his algorithm was very well described, providing a useful insight into the methods of generative art. Lomas’s patterns are created by simulating a series of virtual cells which accumulate “nutrients” based on various factors, allowing them to multiply. He notes that many of the simulations were accidentally reminiscent of various forms of life, often based on intuitive factors (such as the directional growth of plant-like simulations). While this was touted as demonstrating the capability of algorithms to approximate organisms, I found it to be a reminder that life itself is merely algorithmic.
This project is called the “Silk Pavillion”.
It was constructed, frame wise, with a CNC mill, and then spun using a threading device based off an algorithm. I don’t know the algorithm type that generated the organization of the thread, but I do know it’s designed to create an even spread and to form even, circular holes in the structure of each frame.
I think this is an incredible use of parametric design because it uses an extremely nature-based construction process. The designers used 6500 silkworms to construct the finer layer of the pavilion and created something incredible.
I think the artist’s sensibilities were based off two things: The algorithm, and nature. Neither can be fully predicted with the human mind and so the artist understood fully that the final product would be completely unpredictable to every fine detail. He did understand the type of structure that would result, as well as the texture and feel it would create because he still designed the overall structure.
I think sometimes, parametric design lacks a natural, human element to it, but this project incorporated nature in such a direct way that it avoided that common pitfall.
This project, Rocailles, done by Benjamin Dillenburger, struck me for its illusion of almost fabric-like texture. The way the material folds and falls reminds me of an afghan bunched up, perhaps hanging from some sort of wire or string. At the same time, though, it also gives the sense of a hard, shell like texture, through its sharp lines and crystalline weaving. These textures are at a sharp contrast to one another, and thus give an interesting affect to the viewer.
The number of folds, as well as depth in relation to the viewer, give this piece quite a bit of emotional impact — casting powerful shadows and fading in towards the center. Paired with the folds and the sense of gravity they give the piece, it feels like you are being pulled towards the center darkness. This sort of material affect would be hard to accomplish by any other means.
I think the Dillenburger used an algorithm to create a sort of “stitching”, that look like N’s aligned in rows lined by one long piece of elastic material. Then, by using a great number of parameters, he probably slightly shifted on of the lines in the N, or the angle between them, to pull and push the entire sculpture into its desired shape.
To look at more close up images of Rocailles, check out this page: http://benjamin-dillenburger.com/rocaille/
3D Print Gown by Michael Schmidt and Francis Bitonti, 2013
This is the first fully 3D printed gown in the world. This gown is designed by Michael Schmidt and 3D modeled by Francis Bitonti. Michael Schmidt was inspired by the well-known Fibonacci Golden Ratio Sequence which mathematically measures the ratio to create the ideals of beauty. It has been proven in many cases, especially in nature. He applied this golden ratio of beauty to create a beautiful and sensual form of a gown. This gown was 3D printed in Nylon and consists of 17 pieces that can be assembled. Its customized design made a perfect fit to a model’s body.
In my opinion, this project displays the future of clothing. It could be the very beginning step of the way manufacture garments in our future. So, if clothing can be printed, there would be more variety of design methods and customized to make a perfect fit for specific customers. I really admire their effort and attempt to create clothes in 3D print that could be a future method to produce our clothes, and also still to keep aesthetic aspects of clothing.
My first encounter with Madeline Gannon’s project helped me think about things from another perspective. Can this organic and hand-made like wearable decoration be made by computational digital fabrication? Watching Gannon’s video, I was attracted by this combination. Exploring even deeper, I found many similar ideas where digital fabrication and computational algorithms are used to produce wearable and fashionable objects. One project that I really like is the “Kinematics Dress” by Nervous System. Jessica Rosenkrantz and Jesse Louis-Rosenberg, which is also called as “Nervous System”, have been doing highly influential work in the computational design of constructing decorative objects and garments.
The Kinematics Dress is a technical achievement made by a 3D-printed garment to satisfy people’s needs of wearing a dress made out of current technology that is comfortable and durable. The Kinematics Dress is fabricated in nylon by 3D printing with Selection Laser Sintering. The first idea of the project is to make a necklace where the necklace is printed flat and can be folded later. The object will be made in computer code relating to kinematics algorithms first and then printed in a 3D printer.
The Nervous System intends the move from assembling all little pieces and construct a larger piece to making a smart material that will self-assemble itself. They start with computational folding and simulation to construct the dress in one piece. They then create a large object of a 3d scanned person that is larger than the 3d printer and then fold to suit the fabrication. Then, when taking out of the machine, the dress gets unfold. The final presentation of the dress is hard material connected with softer connections where they link with each other and can move freely. I really admire this project as it combines engineering and science with design and fabrication. It presents me with a bigger idea that opens up more possibilities to create garments with today’s technology.
One of the projects at the Computational Fabrication Group at Massachusetts Institute of Technology involves analyzing faces and recreating them on a computer. Faces are challenging because we are sensitive to the minute details on a face, and algorithms can only do so much. The CFG managed to develop algorithms to analyze and reproduce human appearances in real-time. They use this technology to make advances in cosmetics, movies, computer vision, and even virtual reality.
This is fascinating to me because human face details are so intricate and complex. All of my projects have been very simple so I can’t imagine how they managed to develop an algorithm to track and recreate faces in real-time.
Marius Watz is an new media artist using generative software processes. I found his work is very interesting because he is using visual algorithms not only for fabricate installation art, but animation and sound-responsive performances. It is very interesting that those open sauce languages provide new form of arts to new media artist like Marius. I’m not sure how he generate images with algorithm since I have a very little knowledge about programming, I know one thing that he creates all images with numbers with generative code. I’m quite suprised about the fact that this random generative numbers could create such beautiful images.
You can find more amazing works from Marius on this website.