One Piece at a Time by Jonathan Brand is a 3D paper version of a 1969 Ford Mustang. Stuck for cash, Jonathan had to sell his Mustang to buy a diamond engagement ring. The sculpture is almost as complete as the original including the body and interior. The details of the car are based more on his memory and a few photographs.
This work begins as 3D drawings on a computer. I utilize a large format printer to translate the digital into the real world as a flat inkjet print. I then cut, fold and glue these numbered and labeled shapes together much like a complicated three-dimensional jigsaw puzzle.
I no longer have access to the original car and chose not to use a surrogate to measure and get all the details correct. I like when things are slightly off, in the wrong place or missing, just like my memories of the original.
- Hydro-Fold by Christophe Guberan – Self folding inkjet printed paper Created by Christophe Guberan, student at Ecole Cantonale d’art de Lausanne (ECAL), this inkjet printer prints patterns that contort pieces of paper into specific 3D forms. Dezeen reports that the modified printer uses a mixture of water and ink in the cartridge and causes the paper to fold along wet lines and humid areas. Whereas normally these complex forms would require somewhat complex simulation in Rhino before being folded manually, Christophe method makes use of the shrinking quality of paper to allow it to reform into required shapes based on the patterns printed. Different patterns, grids and shapes can be printed on paper using this specific liquid. While drying, the paper contorts, folds and retracts around the printed and humid areas, transforming it self from a 2-dimensional paper sheet to a 3-dimensional structure where lines become edges and surfaces become volumes. There will be a live presentation of the project at the Salone Satellite at the Salone Internazionale del Mobile in Milan next week. Read more on Dezeen […]
- RGB Colorspace Atlas by Tauba Auerbach Created by Tauba Auerbach is the 8 x 8 x 8-inch hard-back book illustrating the RGB gradient in a page-by-page format. Using a digital offset print on paper with airbrushed cloth cover, the book shows the full gradient of blue axis offset. The special binding was co-designed by the artist herself in collaboration with Daniel E. Kelm, and were printed at Wide Awake Garage, an independent bookbinder, with help from Leah Hughes. Below is also the simulation of one of the books (blue axis) showing the all 3632 pages. Tauba Auerbach /via […]
- H / AlCuTaAu – An ore mined out of technological objects H / ALCUTAAU is an object created using precious metals and stones mined out of technological objects and transformed back into mineral […]
- Best Friends – Casting in wax 451 connections on Facebook [Objects] Is post social media friendship an emotional investment of diminishing returns? It really depends who you ask. Midwest-based designer Colin Pinegar's recent BFA project Best Friends definitely calls the authenticity of ubiquitous connectivity into question, or at least adds some nuance to qualifying these relationships. Pinegar created a 'scorecard' for his Facebook friends that awarded each online connection 1-25 points based off a range of criteria (do I know this person's phone number? can I recognize this person by their name alone? etc.) These scores were plotted on a colour spectrum representing the 'intensity' of friendship and wax busts were crafted for each of Pinegar's 451 connections and arranged by value. The resulting array offers not only a bar graph plotting the prevalence of weak ties versus more meaningful bonds, but a physical representation of (and personal response to) social data culled from the web. Colin's 'friend plot' was accompanied by a series of concise information graphics and CAN was curious as to how this sidebar material related to the arrangement of wax busts. Colin provided the following response via email: "The printouts were supplemental infographics showing data from my 'friend audit' that I found interesting, e.g. when I met my friends, how many busts were in each row, as well as the data I found most alarming: how many of my "friends" I had never met (1%), how many 'friends' I didn't recognize by name alone (14%), 'friends' with an unknown (to me) location (24%), and 'friends' that I hadn't even seen from a distance in the year prior to my project (55%). There was also a short description and some FAQ's about the project and a small poster showing how the meaning of the word 'friend' has changed." When asked to describe the reasoning behind articulating his quantified friendship analysis as physical artifacts, Colin offered the following thoughts on post-digital production: "Like a Facebook 'friendship,' most graphic design relies too heavily on the computer—probably for the same reasons: it is quicker, easier, and what most people expect. Since this project was all about the importance of physicality in relationships, it seemed appropriate to avoid the computer and make something with my hands, and I think the outcome provided more impact than reading a number or seeing a graph on a poster. I also wanted to make something for my friends as an act of love and gratitude for supporting me and coming to see the exhibit (each friend was given the bust that represented him or her at the closing reception)." Best Friends clearly capitalizes on a pervasive social vertigo that has become all too familiar. Colin denies that the piece is anti-Facebook—or a polemic against any social network for that matter—but is concerned that the social web is "the communication equivalent of fast food". While Colin may be wary of the standardization of mediated relationships, he certainly has been savvy in reappropriating this logic to claim ownership of his own social data. Check out Colin's project documentation for additional info and images. via The New […]
- 75 WATT (2013) – Product as choreography by Cohen Van Balen In the increasing world of things where objects are no longer critically assessed based on just their aesthetic appearance and function, Cohen Van Balen address the politics of technology through the means of manufacture in their new project 75 […]
- Parallel Image [Environment, Objects] A Parallel Image is an electronic camera obscura. This media-archaeological, interactive sculpture is based on the fictive assumption that the currently still valid principle of electronically transmitting moving images, namely by breaking them down into single images and image lines, was never discovered. The result is an apparatus that attempts a highly elaborate parallel transmission of every single pixel from sender to receiver. This is only possible by connecting camera and monitor using about 2,500 cables. Unlike conventional electronic image transmission procedures, A Parallel Image is technologically completely transparent, conveying to the viewer a correspondence between real world and transmission that can be sensually experienced. Wonderful!! Read more at gebseng.com/08_a_parallel_image Parallel Image is an installation by Gebhard Sengmüller, in collaboration with Franz Büchinger, supported by […]
- 12 – Sound sequencer comprised of 12 digitally controlled music boxes 12 is a sound machine comprised of 12 custom built music boxes with specially tuned lamellae controlled by on/off switches and […]
Posted on: 18/01/2012
- Freelance Interactive Producers at Psyop
- Senior Digital Designer at CLEVER°FRANKE
- Interaction Designer at Carlo Ratti Associati
- Creative Technologist at Deeplocal
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- Coder to collaborate with Agnes Chavez
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