Fine Motor Skills, 2022
Sharan Elran in collaboration with Yuval Harel
In this project we utilized a robotic arm to manipulate moist clay to generate intricate patterns and reach textures. See our ACM publication for comprehensive description
Archi-Numeri is a series of works based on 3D scans of ancient vessels dated 10th–8th century BC that were excavated in Israel and scanned by the Computational Archaeology Laboratory at the Hebrew University of Jerusalem. In this series, we integrated digital technology and traditional methods to fabricate highly textured ceramic surfaces to enhance ceramic glazing effects. Thus, each of these objects embodies how artists have used technology throughout history to develop new aesthetic expression. Given that traces of the digital realm are highly ephemeral, these objects serve as quintessential manifestations of contemporary technology and may function, similarly to archeological findings, as archival markers of our chronological and cultural era. The ancient vessels were the formal and spiritual anchors of our digital work. Formally, the scans served as the starting point of our design. We relied on viewers’ familiarity with the vessels’ archetypal forms and materiality to draw their attention to the newly designed surfaces. As mentioned earlier, these works demonstrate the unique role of surfaces as a space for innovative digital expression. To achieve the desired surface qualities, we began by generating a set of standard machine operations.We then collaborated with the machine by watching the process and manually intervening in it. For instance, we terminated one operation before completion and immediately started a new one, which allowed us to change pattern and resolution by dynamically responding to the visual cues the machine provided. Additionally, we designed a custom tool-path generator that produces machine operations with non-uniform resolution and complex patterns. The fabricated textures function as a decorative pattern and influence the glaze dynamics in the kiln; for example, coloring textured “valleys” in dark green and “ridges” in light green. The result is a synergy between contemporary technology and traditional techniques.
please read the full paper “ The Ghost In The Machine” (presented at SIGGRAPH 2022 ) for a more compressive description and context
Kylix was developed for XYZT Investigations, an exhibition that explored contemporary technology in archeological research as well as artistic responses to digital archeology. We chose to re-materialize a kylix made in Cyprus and dated 1150–950 BC, using a 3D scan by the Computational Archaeology Laboratory [The Institute of Archaeology, 2022]. The original object was eventually displayed alongside our digital interpretation of it. Our goal in this project was twofold: first, to further explore the aesthetics of non-standard machining patterns; and second, to expose the unique aesthetics of digital scan representations. We consider these representations to be quintessential manifestations of the “digital spirit” since they are the most fundamental and abstract objects we work with. We therefore derived the surface directly from the scan representation, expanding its role from that of an abstract manifold to a concrete set of production directives. The kylix scan is a 3D mesh—a set of vertices and connecting edges. Our algorithm defines a path by selecting Psequences of connected edges iteratively. At each iteration, one neighboring vertex is added either randomly or by minimizing the path deflection angle with respect to the previous step. Each vertex can be added only once. The path is completed once a dead-end is reached, or when the number of steps reaches a limit. Paths are added until no vertices are left with free neighbors. Eventually, all paths are connected to a unified toolpath. Three parameters control the final design: maximum number of steps, cutting tool geometry, and mesh resolution. For example, we used a ball nose cutter to create soft coral-like texture and a sharp conic tool to generate a more energetic line quality. The resulting surfaces are clearly different [Figure 2]. In contrast to the ubiquitous usage of multi-faceted surfaces to signify the digital origin of an object, we utilized the mesh aesthetics to generate a surface pattern. The interplay between the control parameters enabled us to achieve a variety of patterns that represent the polygon mesh but visually diverge from common representations of meshes in contemporary design.
please read the full paper “ The Ghost In The Machine” (presented at SIGGRAPH 2022 ) for a more compressive description and context
My goal with this project is to create a unique art piece for every person on earth. For this purpose I designed a mold comprised of 14 different pieces that can be re-arranged in a different sequence before each cast. The total number of unique permutations is 6,227,020,800 which roughly correlates to the current world population (see how I do the math below).
How does it work?
The mold is designed on the computer and then a negative is produced by a computer-controlled milling machine. Into this negative I cast plaster to create the actual production mold. I then use the plaster mold to cast porcelain vases. Unlike traditional casting here the arrangement of the mold pieces is alternated each time to produce a one-of-a-kind vase. Each piece of the mold carries a number or letter stamp, and so in each cast a unique ID number is stamped on the vase, I record these ID numbers to make sure I never make the same piece twice.
My commitment
All the pieces will be produced in my studio, it will never be outsourced.
I am committed to produce these objects myself. Their production is limited only by the unknown time I still have on this planet, and my ability to produce. Ultimately, this project aspires to create a direct human connection between the supporters of this project and myself. I will never reproduce your unique permutation.
Each vase produced will be recorded in an online data base stating the patron geographic location (if patrons allow their contact info will be attached to it). This project will continue until I can no longer produce (hopefully until the day I die)
The math
To compute the total number of unique permutations, I calculate the factorial of 13, omitting the 14th part that is used as an indicator to tell me where the serial number begins. For the first part I have 13 options to choose from, for the next one I’m left with only 12, then only 11 and so on until 1. So the total number of unique permutations equals to 13x12x11x10x9x8x7x6x5x4x3x2x1 which equals 6,227,020,800. The two prototypes photographed are numbered 05642CBD7A9138, and 0D1583BCA79246
Photography PD
Penroscape (2014) is based on the work of British mathematician Roger Penrose. This wall piece is built from two simple building blocks whose placement in relation to one another is determined by one simple geometric rule. With each unit added to the piece the pattern develops in a non-periodic way, causing the overall pattern to continue to change ad infinitum. While Penrose’s original work dealt with two dimensional tiles and its typical applications use color to make the pattern appear, I added a third dimension using only light and shadow to reveal the pattern. Penroscape functions as a decoration (a term I intentionally use despite its pejorative cultural implication) that enhances the architecture of the site it is installed in, while it is also a meditation on infinity and the transcendental.
Photography: Barak Brinker and Rodrigo Cañedo-Gattegno
Gridish is a set of eleven tiles designed to produce an infinite number of patterns. This work continues my research into ways of creating complex forms using a simple generating algorithm. In this work the algorithm is defined as follows:
1. Start by selecting any one tile and placing it on a surface.
2. Add any tile that keeps the smooth flow of the form (ridges must meet ridges and valleys must meet valleys).
3. If there are any tiles left, repeat step 2 until desired space is covered.
Using this algorithm, anyone can create their own unique pattern. Adding a third dimension to regular 2D hexagon tiles enables the pattern to be periodic, free-flowing, or a mix of both.
Gridish is inspired by Islamic tile work and more specifically by the concept of Girih tiles. There are five Girih tiles which are not actual tiles they are a design tool and they are believed to have been used by Islamic artisans in the middle ages to design complex patterns that would later be transferred into an actual tile work, creating some of the most inspiring tile work in history. Without using the Girih tiles designing these complex patterns would become extremely hard to accomplish. To read more on Girih tiles and their geometric properties go to Peter J. Lu who re-discovered them.
Gridish is intended to be used as a decoration as well as a meditation on the impossibility to represent infinity and the transcendental.
Credits:
Photography: Izik Mishan / Video: Rodrigo Cañedo-Gattegno / Music: Tal Gur / Thanks to Yael Erel for helping fine tuning the design and Karen Cho for helping to produce this.
Felideo is based on a vessel from Peru’s Chimu culture dated to the 10th–15th centuries, which was damaged, but survived the devastating fire at Brazil’s Museu Nacional. More than forty artists responded to studio Unfold’s call to re-materialize this vessel from a 3D scan the museum acquired prior to the fire. The ancient design is dominated by a figurative animal face, which inspired us to develop a digital interpretation of manual sculpting. Similarly to sculptors, we used different methods to fabricate the large features and the finer details. To reproduce the general form, we fabricated a mold using standard machining [Figure 3]. Our intervention yet again focused on the object’s surface, for which we designed a unique machine operation that loosely mimics manual carving. Carvers commonly apply short strokes that are tightly dependent on the form they intend to render. We hypothesized that these strokes are dominated by two considerations: first, carvers clusters their strokes around semantically distinct parts, such as an eye or a mouth; second, for manual carvers, changing the direction of the stroke is complicated and unnatural. Hence, a sharp
change in the underlying geometry would result in shorter strokes, whereas smooth, larger areas would yield longer strokes. In contrast, standard machining covers the form with a simple geometric pattern (most commonly,
parallel lines), and completely ignores form semantics and local geometric qualities. To integrate manual carving qualities into our machining process, we used the algorithm we developed for Kylix while controlling the mesh resolution and length parameter. This process generated a set of strokes directly derived from the form itself. To localize the strokes, we set the maximum stroke length to be relatively short and added the strokes to the unified final toolpath based on proximity. To achieve the nuanced differences in stroke lengths that characterize manual carving, we took advantage of some typical qualities of 3D meshes where polygons are rarely uniform. Large, smooth areas are modeled using fewer, larger polygons, whereas areas with complex geometry are modeled with many smaller polygons. Thus, a ten-edges long path in a smooth area will be physically longer than ten edges of a dense mesh. Moreover, since we minimized the deflection angle between steps, we satisfied the requirement to generate strokes that follow the form in a more natural way. Finally, we milled the clay while still moist, allowing the machine to interact with the material. The clay was not only removed but also pushed in some unpredictable ways, generating complex patterns. The resulting aesthetic is not fully algorithmic, but rather a reflection of an interaction between the virtual and physical worlds [Wegner, 1997]. Coupling high-precision equipment with a non-linearly changing material like wet clay created a very productive environment forus to collaborate with the machine. We created a process through which the machine felt like an extension of our own bodies, making the final product simultaneously, and paradoxically, personal and mechanical .We found the bare carving patterns rich and evocative, and thus decided to leave them unglazed.
Rough Vase—Bricks #4 Series (2015) derives its form from the effect of liquid clay pushed in between the mold parts. these by products of the slip cast process are usually trimmed and removed.
I'm interested in these left overs because they reveal the process and stand as a counter point to the original 3D model that was used to create this mold. It's a celebration of the gap between clean pure mathematical form and the messy real world of material where friction and gravity and viscosity work in slightly chaotic ways.
Like other projects of mine the mold creating these vases can be assembled in many different ways and is also used to create some other projects. It based on a generic contour of a vase that was digitally modeled, then sliced and then transferred to actual material using CNC milling.
Photography Brian Jones
