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.

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This project was supported in part by funding from the Carnegie Mellon University Frank-Ratchye Fund For Art @ the Frontier (studioforcreativeinquiry.org)

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Music: "Portofino" by Teengirl Fantasy (teengirlfantasy.angelfire.com)

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