Deskriptiv’s Remarkable 3D-Printed Sculptures

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“Processes that give rise to forms are at the heart of our artistic work.” says German studio Deskriptiv (the combined work of Dominik Kolb and Christoph Bader), who describe their work as being rooted jointly in the (occasionally conflicting) realms of design, art and computer science. “We work on the interface of computer science and design and combine both disciplines. In this area of conflict to find new processes to deal with it, to analyze it and graphically prepare, that’s what fascinates us and drives. The formation processes, we define purely digitally with the help of our main working tool, the computer.”

Naturally 3D printing fits neatly into the Venn Diagram shared by these disciplines (see previous examples, such as the world’s first 3D printed room, Nick Ervick’s incredibly complex 3D sculptures, and more at Beautiful/Decay) and serves as the perfect medium in which to explore their intersection. In works like their “Hüllen” series (“Wrap,” in English), the duo utilizes clear and opaque plastics, combining them with more mirrored silver surfaces. The intricate complexities (and the imagined difficulties to achieve such subtleties without blending the materials) can also be seen in the their “Verbowen” (translation, “Interwoven”) series, combines a variety of materials and surfaces, weaving them in tight complexity. Meanwhile, their “Klebend” (translation, “Adhesive”) series focuses less on blended materials and more on form, choosing a singular palate to exhibit the true range of surfaces the technology is capable of. (via hi-fructose)

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The Stone Field Algorithms of Giuseppe Randazzo

At first glance the Stone Fields of designer Giuseppe Randazzo seem to be akin to stoic environmental art a la Andy Goldsworthy.  Under closer scrutiny, however, these pieces are far from ‘natural’.  Randazzo begins with optimal packing algorithms – algorithms that determine the most efficient way to fill a certain amount of space with various sized objects.  He then modifies the algorithms to produce different arrangements of stones in the circular field.  Further, the stones aren’t ‘natural’ – that is, they’re not real! Rather, the images produced by Randazzo are actually hyper-realistic 3D renderings.

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