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rossstevens.com

rossstevens.comrossstevens.comrossstevens.com
Home
Contact
Publications
  • Books
  • Magazines
  • TV
Portfolio
  • Power Pot Plant
  • Metaglobs
  • Lissom
  • Liquid Printing
  • Fluidity of Plastic
  • Computers as Co-authors
  • Recyclebot
  • Containerhouse Wellington
  • Pure Audio
  • Perreaux
  • Plinius
  • Thomson TVs
  • UFO CD player
More
  • Home
  • Contact
  • Publications
    • Books
    • Magazines
    • TV
  • Portfolio
    • Power Pot Plant
    • Metaglobs
    • Lissom
    • Liquid Printing
    • Fluidity of Plastic
    • Computers as Co-authors
    • Recyclebot
    • Containerhouse Wellington
    • Pure Audio
    • Perreaux
    • Plinius
    • Thomson TVs
    • UFO CD player
  • Home
  • Contact
  • Publications
    • Books
    • Magazines
    • TV
  • Portfolio
    • Power Pot Plant
    • Metaglobs
    • Lissom
    • Liquid Printing
    • Fluidity of Plastic
    • Computers as Co-authors
    • Recyclebot
    • Containerhouse Wellington
    • Pure Audio
    • Perreaux
    • Plinius
    • Thomson TVs
    • UFO CD player

Metaglobs



    Metaglobs

    Nature or man-made

    So far humanity and most of its  societies have created standardized structures for most aspects of our  daily lives: square houses, doors and windows; cupboards, drawers and  shelves that fill the geometric layout of our homes to store our  increasingly standardized geometric belongings, literally making us fit  within a box.

    Up until now experiments into more  natural designs have resulted in more or less crude imitations of the  real thing, nature. Products that have been designed on computers and  drawing boards, manufactured by all kinds of machines have so far been  easily identifiable as man-made parts of our lives.

    Man-made or nature

    A serendipitous collaboration between Ross Stevens (Industrial  Designer) and Michael Groufsky (Generative Artist) in 2008 created  objects that had pushed and broken down design and manufacturing  boundaries. The design experiments yielded man-made products that mimick  nature not through a conscious-replicating design but through the  evolution-like process of generative coding, utilizing the latest  state-of-the-art 3D printers available at that time.

    The industrial designer had to abandon  the traditional CAD design process involving a previsualized shape with  specific and exact dimensions, while concentrating on the development of  aesthetic qualities within broad parameters.

    The generative artist had to create  code and scripts that created boundaries within which the objects could  develop and create an “evolutionary” path of development for them to  take shape on the screen.

    Neither had any expectations of what would come out of these experiments.

    Coming to Life

    As with many baking recipes, the cake  at the end proves whether it’s good or not. So, as the objects started  to come alive on the computer screen, Ross wanted to see what they were  like in real life. And realized a major flaw: part of the 3D printing  process involved destroying their dynamic quality by “freezing” them in a  particular moment of their development and clearly not showing them in  their whole life-like existence.

    Nonetheless, they looked intriguingly  different to anything else that Ross had created before, in fact they  appeared so out of context relative to products typically derived from  industrial processes that he decided to place them in a natural pristine  environment where they looked perfectly at home!

    Ross realized that a less restrictive  design process combining design experiments into generative code can  result in naturally looking, evolved objects.

    All photography and video work done by Szilard Ozorak.

    Copyright © 2023 Ross Ernest Stevens - All Rights Reserved.

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