Almostpic
This is my image bookmark
Almostpic
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aqqindex:

Alex Wall and OMA (Office for Metropolitan Architecture, The Pleasure of Architecture, 1983
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tinycartridge:

Four more Spelunky Minis ⊟
The adorable Spelunky Minis toy series will be back in stock at Fangamer this Tuesday, in case you’ve failed to decorate your house with them. Even better, they’ll be joined ey four more deadly yet lovable enemies.
It’s like having a really great limited edition of Spelunky.
BUY PS Vita (PS Vita Slim bundle), PS TV, upcoming games
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aqqindex:

Masatsuga Nichimura, Cabinet, 1988
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aqqindex:

Ikuyo Mitsuhashi, Chair, 1988
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margauxdereume:

Disegno / graduation fashion project / Fashion and DA © Margaux Dereume pictures © Fiona Torre Model Lia Catreux
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A Pocket Guide to Master Every Day’s Typographic Adventures
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prostheticknowledge:

Reverberating Across the Divide
Art tech project by Madeline Gannon for Madlab explores designing virtual forms through gestures, which are then physically realized with 3D printing - video embedded below:


Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.
Chronomorphology –– like its nineteenth-century counterpart chronophotography –– is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object — a virtual creature simulated within a digital environment. This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.
The chronomorphologic modeling environment facilitates the rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. This ease between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

Examples developed with this project includes not only wearables, but also possibilities for sculptural motifs.
You can find out more about the project at Madlab here
prostheticknowledge:

Reverberating Across the Divide
Art tech project by Madeline Gannon for Madlab explores designing virtual forms through gestures, which are then physically realized with 3D printing - video embedded below:


Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.
Chronomorphology –– like its nineteenth-century counterpart chronophotography –– is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object — a virtual creature simulated within a digital environment. This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.
The chronomorphologic modeling environment facilitates the rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. This ease between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

Examples developed with this project includes not only wearables, but also possibilities for sculptural motifs.
You can find out more about the project at Madlab here
prostheticknowledge:

Reverberating Across the Divide
Art tech project by Madeline Gannon for Madlab explores designing virtual forms through gestures, which are then physically realized with 3D printing - video embedded below:


Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.
Chronomorphology –– like its nineteenth-century counterpart chronophotography –– is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object — a virtual creature simulated within a digital environment. This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.
The chronomorphologic modeling environment facilitates the rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. This ease between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

Examples developed with this project includes not only wearables, but also possibilities for sculptural motifs.
You can find out more about the project at Madlab here
prostheticknowledge:

Reverberating Across the Divide
Art tech project by Madeline Gannon for Madlab explores designing virtual forms through gestures, which are then physically realized with 3D printing - video embedded below:


Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.
Chronomorphology –– like its nineteenth-century counterpart chronophotography –– is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object — a virtual creature simulated within a digital environment. This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.
The chronomorphologic modeling environment facilitates the rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. This ease between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

Examples developed with this project includes not only wearables, but also possibilities for sculptural motifs.
You can find out more about the project at Madlab here
prostheticknowledge:

Reverberating Across the Divide
Art tech project by Madeline Gannon for Madlab explores designing virtual forms through gestures, which are then physically realized with 3D printing - video embedded below:


Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.
Chronomorphology –– like its nineteenth-century counterpart chronophotography –– is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object — a virtual creature simulated within a digital environment. This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.
The chronomorphologic modeling environment facilitates the rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. This ease between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

Examples developed with this project includes not only wearables, but also possibilities for sculptural motifs.
You can find out more about the project at Madlab here
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aqqindex:

Ed Freeman
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edeux:

(via BIG-GAME)
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(via stfj 3.0)
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POSTmatter