“Sombra Verde” is a bamboo pavilion constructed by AIRLAB and Singapore University of Technology and Design utilizing raw bamboo poles, 3D printed connectors, and a transparent polycarbonate roof. Unlike traditional building methods, which utilize natural materials haphazardly and through guess and check estimation to a certain extent, the researchers, designers, and builders for Sombre Verde constructed this canopy with the optimization of each bamboo pole’s position. To do so, they measured and digitized the thickness, height, and bend of each bamboo pole, processed that in their algorithmic machine, which then calculated the optimal capacity and positioning of each pole. In addition, this data was used to design and fabricate the connecting PLA (inexpensive, plant based plastic) that would hold these bamboo poles together. In juxtaposition with the rigid computation of optimal bamboo positioning, the designer’s personal sensibilities shine through with the choice of a bright green, roof, which seem to mimic a large leaf.
I appreciate this architectural piece because of how it incorporates an obviously man-made shelter into nature (bright plastic green roof), without stripping the project of certain natural components (raw bamboo poles) whilst using technology to optimize it’s strength and infrastructure so that it can stand the test of time and nature, rather than become obsolete and broken in a couple years time.
Engineer Zack Eckel, based in Malibu, California, creates 3D-printed free-form, strong, and temperature resilient ceramics. These ceramics can withstand pressure and heat without breaking, warping, or cracking. By 3D printing these essentially invincible ceramics, Eckel addresses the design problems of both ceramics and of regular 3D printing. Ceramics, such as ceramic plates or mugs, are typically made of clay, easily breakable, despite their strong presence in American households. By designing these flawless, strong, 3D-printed ceramics, Eckel re-envisions and redefines the boundaries of ceramics. In addition, Eckel address the design problem of 3D printing products, as the material that typical 3D printers utilize are not heat resistant or particularly pressure resistant. As a result, Eckel uses stronger, revolutionary 3D-printing materials in order to address this. I found Eckel’s work to be not only aesthetically captivating, but also highly revolutionary in terms of human factors and ergonomics.
The project is intended to embody Hyundai’s adaptive and evolving design language; as tiny spheres act as randomly distributed molecules that aggregate and illuminate based on viewer interaction. I am inspired by the breadth of visual experience that is created by such a large collective small objects.
The work uses a water pond, 12,000 illuminated spheres, and 8 high-speed laser projectors to create a physical point cloud. A computer algorithm randomizes the arrangement of the cloud particles based on the positions and projection angles of the projectors. The program also analyzes the positions of the viewers by calculating their posture and gestures using 3D camera tracking systems. This data is used to determine the cloud’s dynamic motion.
Video documentation of the FLUIDIC – Sculpture in Motion installation; shows viewer interaction and reaction.
The artwork is an innovative example of parametric 3D fabrication that I particularly admire for its ability to account for viewer interaction in its algorithm.
I’m inspired this week by an Ukranian architectural chef named Dina Kasko. Kasko uses the term “architectural chef” to describe the process of her cake making. She creates 3D silicon molds for all of her cakes, coded using graphical algorithms inspired by and made with knowledge from her mathematical background. All of her molds use sharp, modern, geometrical architecture to shape beautiful and satisfying desserts.
I love this artist partly because I love dessert, but also partly because she is able to make such beautiful art using the exciting enigma that is the 3D printer. I suppose her algorithms are highly detailed and singular to each of her projects. One project (pictured bellow) required molds and calculations for 81 singular cakes to make the geometry of this full piece work the way it does. Though not minimalist in artistic style myself, I am fascinated by the satisfaction and beauty of Kasko’s sleek style.
I was really impressed by CMU Architecture student Madeline Gannon and her investigations in the combination of Kinect-based body-scanning. The field of creative coding in architecture is new to me.
The necklace depicted in the first photo is actually a 3D squid pulled across space and time. It is one repeated form merged into a beautiful sculpture. I love the combination of natural (but not random) shape, and the intricate geometry ruled by parametrics. The squid changes shape as it’s being pulled, ruled by simulation physics. There is so much going on behind the scenes in this complex necklace.
The 3D model is then exported for 3D printing. These are one of the projects that are perfect examples of the intersection between digital design and physical fabrication. I think this is an excellent use of the software Reverb. Reverb is context aware, and allowed Madeline to design these ready to print wearables. This new tech uses computer vision to record chronomorphology – a composite recording of an object’s movement. In this case it records the 3D squid which has rigged limbs. It is constructed as a closed mesh, with a spring skeleton that prevents self-intersections.
Syntopia is a collection by Iris van Herpen that was inspired by the organic and inorganic, in which biology comes together with technology. She collaborated with other artists from Studio Drift to create life-like immersive sculptures through the use of movement. I believe that she was inspired to slow down time through chronophotography to capture the different layers. This new perspective helped change her style of work because she found a unique way of the usual draping of garments. She studied bird flight and avian motion carefully to get to her final results. Using the bird’s sound wave patterns, she was able to use a layering of acrylic and silk to mimic the architecture of a feather, and you can visually see that from the photo above. I was really fascinated by her collections and the processes she and others go through to achieve their end results.