Category: SectionB

G3DP2 is a newly designed additive manufacturing technology that is 3D printed to be a revolutionary instability and optical implementations. This new glass takes away uncertain variables and gives users and designers greater control of material and experience. G3DP2 is able to be altered for users’ needs in terms of thermal control to molding. To advance a traditional material such as glass is easily overlooked because of the long satisfaction we’ve already had with the material. However, with this, there is greater “flow control, spatial accuracy and precision, and faster production rates with continuous deposition of up to 30kg of molten glass”.

The algorithm and idea behind the new design and structure of G3DP2 are based on the preferences which are the manufacturing platform and structural system. The “geometric expression” is the column surface area, number of lobes, and the turning radius of the printer. A lighting system inside the column is also programmed to move with kaleidoscope-like patterns. The work of The Mediated Matter group is very similar to projects like this. They are inspired for natural design in nature and use computational design and various digital fabrication skills to mimic natural patterns and processes. G3DP2 is an accurate depiction of The Mediated Matter group’s goals and focus.

One project that is incredibly inspiring to me is Meshu. Meshu is an on-demand business created by Rachel Binx and Sha Hwang. The company makes custom jewelry with a 3-D printer.
The algorithmic technique used in this project is meant to generate graphs in 3D form. These graphs are based off the locations in which a person has traveled.
This project really caught my eye because I had never thought about the implimentation of coding in the fashion world. I have always loved the fashion industry and with this project it is clear to me how endless the options are. Meshu really opened my mind to the plethora of possibilities of coding applications within this industry.

A project of computational fabrication I admire is Michael Hansmeyer and Benjamin Dillenburger’s “Digital Grotesque I.” “Digital Grotesque I” is an installation that resulted as a result of Hansmeyer’s desire to explore the forms that could be created by 3D printed algorithms. I admire the intricacy and sculptural qualities of the space created because as an architecture student, I want to eventually be in a position where I can design architecture with similar visual qualities. Hansmeyer says that “every detail of the architecture is generated through customized algorithms, without any manual intervention.” As such, I suppose that the algorithms generate permutations of forms based on size and angle, that are affected by where they are generated in the model. I think that the creator’s artistic sensibilities are reflected in the intricate detail of the final result. The creator wanted to use algorithms to generate forms that are “between chaos and order, both natural and the artificial, neither foreign nor familiar.” The intricate sculptural definition of the resulting space reflects that immensely.

Zaha Hadid Architects created a gallery that is now displayed as The Winston Gallery in London’s Science Museum. The Handley Page aircraft is placed in the center of the artpiece while a three-dimensional pod structure curves around it. The design of the creation imitates the movement of airflow used throughout aviation industry history. I admire how the piece encapsulates the entire room and draws your eyes up towards the ceiling. I also admire the fact that the context behind this piece is deeply rooted in history and mathematics. Mathematics has allowed for the progression of the society that we know today, solving the world’s biggest problems and allowing us to advance.

Mathemiticians and engineers used mathematical models in wind tunnels to design new aircraft. Similarly, the creators of the artpiece had the actual aircraft. They used it to construct the geometry of the gallery and the airflow that would have followed the aircraft.

The creator’s artistic sensibilities manifest in the final form with a very elegant design. Dame Zaha Hadid, who was known for her use of curves, designed the smooth, curving surfaces and soft contour lines throughout the gallery.

One piece of generative design that has been digitally fabricated is Brazilian architect Guto Requena’s Samba stool. It is a piece of furniture that was created based off traditional Brazilian music. The architects extracted parameters from the songs, such as the bass and treble. From that data they received frequencies that generated the curves, which grew in “real-time following the music.” The data was input into a motorized machine that is controlled by a computer, which sculpted the digital file from a cube of marble. I admire that the architects took music, which to me is a field that seemed disparate from computing, and was able to use innovations from computing to celebrate and share. The stools themselves are also beautiful! While the architect’s design sensibilities weren’t necessarily extremely prevalent, the material choice as well as the concept itself were reflective of Requena’s design personality and background.

Benjamin Dillenburger and Michael Hansmeyer and their team created “Digital Grotesque” in 2013. They used algorithmically generated geometry and additive manufacturing to create 260 million individually specified surfaces. The final product was 3.2 meters tall and used 11 tons of printed sandstone.

I admire the depth and form of this piece. From a distance the piece looks closed off but the closer you get to it the more details are revealed. Their effective use of perspective draws the viewers in. The artists are able to create an immersive experience of computational art by allowing viewers to walk through the piece itself. I also admire how ornate and aesthetically pleasing the piece is.

Dillenburger and Hansmeyer’s artistic sensibilities are seen in the intricacy of their design. They wanted to highlight how there can be chaos in order which they successfully do by using symmetry and hierarchy to create balance in their detailed design.

Sources
http://benjamin-dillenburger.com/grotto/
https://vimeo.com/74350367

var x;
var y;
var r=0;
var g=0;
var b=0;
var xtrans=300;
var ytrans=225;

function setup() {
    createCanvas(600, 450);
    background(0);
}

function draw() {
    var dir=mouseX * 1.5;
    x=mouseX;
    y=mouseY;
    translate(xtrans, ytrans);
    r=mouseY; //makes color change with mouse movements
    g=255-mouseY;
    b=mouseX;
    fill(r, g, b);
    var m = max(min(mouseX, 400), 0);
    var size = m * 350.0/400.0;
    rotate(radians(dir));
    rectMode(CENTER);
    var n = max(mouseX, 400);
    rect(x + m * 190.0/400.0, y + m * 190.0/400.0, m, m); //the two rectangles are opposites, one is big when the other is small
    rect(-(x + n * 190.0/400.0), -(y + n * 190.0/400.0), n, n); //both sizes of rectangles depend on mouse
    if (mouseIsPressed) { //moves the origin to mouseX and mouseY when mouse is pressed
        xtrans = mouseX;
        ytrans= mouseY;

    }
}

I like squares.

Iris Van Herpen is an innovative fashion designer who has dressed some of the biggest stars in Hollywood, including Lady Gaga, Solange, and Katy Perry. Her designs are unique because she is constantly creating new materials and pushing the boundary of what fashion is. The collection I’m looking at is “Shift Souls,” which she unveiled in January, 2019 during Paris Fashion Week. The specific piece I’ll be talking about is “Cellchemy” face jewelry that was created in collaboration with Delft University of Technology.

I admire this piece because Van Herpen is constantly trying to reinvent the definition of fashion, and the piece is not only beautiful, but extremely intriguing when you realize what’s behind it. They used Grasshopper 3D to develop a generative design process based off of a 3D face scan, which was then combined with color information. This mapped a structure which resembled the face and worn as a mask. Van Herpen’s vision for this collection was based around advancements in DNA engineering which created the first human/animal hybrid. She confronts the unclear implications of the reality that we now have to address. The idea is manifested in “Cellchemy,” because the mask represents hybridity by creating lace-like masks of the human face that look animalistic.