THE EMBODIMENTS are six 3d printed objects, representing fragments of interior or exterior organic building skins. I conceived them entirely in the digital space, using a carefully-selected toolset, containing five different computer-aided design techniques: animation, free-form modeling, generative modeling, parametric modeling and rapid prototyping.
THE EMBODIMENTS’ designs arised from my interests which span across the visual arts, design and engineering. Taking these disciplines as a point of departure, I carried out artistic experiments engaging the new technologies. Despite the highly rational character of these technologies, I managed to apply them to a highly intuitive design process, which enabled me to go along creative paths impossible in traditional design.
NOTES ON THE CREATIVE PROCESS # 1
“THE FREE-FLOWING BUILDING SKINS”
+ + + The shapes of these three material artifacts stem from a dynamic series of creative processes, which I carried out in the digital space. My first creative act in that space was the formation of a cloud of oscillating particles, which were disturbed by the action of five animated forces. The behavior of particles as the time passed was frozen in a series of computer animation frames. Using a spatial arrangement of particles from one of these frames, I constructed a free-flowing, gently undulated surface. I then molded and trimmed this surface by means of intuitive, manual procedures in digital space. In the next creation step, I augmented the surface with ornamental elements, which gave shape to three richly-decorated, ethereal building skins. Finally, these virtual skins were materialized into tangible physical objects using 3d printing technology […] + + +
NOTES ON THE CREATIVE PROCESS # 2
“THE GEOMETRIC BUILDING SKINS”
+ + + These three material artifacts also originate from a dynamic process of particle animation, which I carried out in the digital space. This time, however, one of the particle clouds was turned into a surface not through a manual modeling process, but rather a mathematical one. I used a computer algorithm to generate the very first surface outline with a mosaic structure. I then refined this tessellated surface by means of intuitive modeling interventions in digital space. In the next steps of creation, I employed a series of different computer algorithms again, to embed the decorative elements within the surface. These operations gave shape to three ornamental, celestial building skins, which gained a geometric and jagged character. Eventually, I embodied these virtual skins as physical objects through the computer-driven medium of 3d printing […] + + +
I showcased my artifacts in the exhibition THE EMBODIMENTS: Transitions from ethereal digitality to tangible materiality, curated by the international AHA! Art & Science Festival in Gothenburg, Sweden. I immersed each 3d printed object in an intriguing light & shadow environment of its exhibition capsule, which I designed for the needs of showcasing. By looking inside these capsules, the viewers of the exhibition had a unique chance to personally experience the expressive, richly-decorated forms, conceived through a fruitful synergy of human creativity and advanced technology.
The Strong Research Environment ‘Architecture in the Making’ at Chalmers Architecture.
AHA Festival organizers, with special thanks to: Peter Christensson, Anna Maria Orru & Andrej Slavik.
A-Workshop at Chalmers Architecture: Peter Lindblom & Tabita Nilsson.
Everyone who gave their inputs to this research & exhibition.