For designers, it means that captured data will be coherently applied to the transformation of the mathematical representation of a three-dimensional surface of object, thus used to generate that object’s form. This process can serve to elaborate form, “decorate” or modulate a surface, generate an array of possible design solutions, or just learn how to use a post-digital design platform.
Jean-Baptiste-Camille Corot (1796-1875) was a French landscape and portrait painter as well as a printmaker in etching of the Barbizon school in the mid-nineteenth century. He lived and worked in Ville d’Avray and represented, using painting, the ponds that we will use as the testing ground for capturing atmospheres. His work simultaneously references the Neo-Classical tradition and anticipates the Impressionism of Claude Monet, as well as to the figure painting of Degas and the classical figures of Picasso. In the 1860s, Corot became interested in photography, which influenced his use of color and demonstrated his forward thinking approach to art using technology.
An atmosphere is the tone or mood of a place, space or work of art that is evoked by our feelings and sensations for this thing. Atmospheres are based on our perceptions, emotions and experiences of something material, but is expressed symbolically, as a painting, a photograph, a text or poem… This kind of atmosphere is both physical and abstract, and can be tense or relaxed, light or heavy, sad or happy… Using our 5+ senses, we can ostensibly feel the effects of an atmosphere, but we can’t directly see one. Atmospheres are an immaterial, invisible phenomena. FABMOBs|ATMOStag wants to reveal the forms and information that we cannot ordinarily see: to make the immaterial> material; that which is virtual> physical; that which is digital> concrete.
By thinking in terms of machines, a project can logically be organized in terms of inputs and outputs. Things like data, interaction and gestures, and digital media are fed into the machine, and a project’s forms are generated as its output. This way of working is known as parametric design. It is a dominant theme in contemporary design and the contemporary design process. Parametric design and 3d printing are compatible innovation that were made in each other’s image.
The idea and the reality of 3d-printing has entered into the main-stream. People talk about 3d-printing not as science-fiction but as today’s news. This has lead small businesses and artisans to ask themselves the question concerning their own production and where and how 3d-printing can fit in.
The value of an ATMOStag_TILE is based on the object’s reproducibility: receiving the tile’s license gives you the rights for future uses of this unique object. We can 3D print the TILE once, for its inclusion as part of the ATMOStag_INSTALLATION, but the tile and its rights to be reproduced belong to you.
The value of an ATMOStag_TILE is based on the object’s presentation: Each 3D printed ATMOStag_TILE is accompanied by a hand-made silicon sheath. The sheath fills out the TILE, forming a rectangular cuboid that’s easier to ship. After pealing it away to reveal the TILE’s surface, we see that the sheath forms its double and negative. The TILE is the sheath’s mould, and its interior is both the double and negative of its complex geometry. It can be used to hold hold the TILE like a precious artefact. It is also a demonstration of 3D printing’s the multiple use cases, as both object and scaffolding, support and content, structure and envelope.
The value of an ATMOStag_TILE is based on the object’s exhibition: the objects created during this testing process will compose a work of art, an extension of the work that we have been doing for the past 15 years as artists and architects. The public exhibition of this installation brings value to each unique tile for having been a part of this œuvre.