Gothic Reimagined

[3D Printed Stone]

In collaboration with Dustin White & Concr3de [September 2022]

For the massive stone convention MARMOMAC in Verona, Italy, Concr3de is a newcomer to the space. Their primary goal is to harvest the waste from the stone industry and through additive processes rather than subtractive ones, give it a new life in the most efficient way possible.

Concre3de reached out to us to design a set of center pieces for the convention that would showcase the capabilities of their new 3D printers. Dustin White developed a set of images taking influence from gothic architecture and together we turned those images into a pair of 3D printable “columns”. Each face contains one of four images. That was then broken into a set of parts that key together atop one another forming a panel. Two panels dovetail into one another to form a double sided column sitting around five feet tall and weighing in around 800lbs each.

KALEIDOS

[Fabrication in PRogress]

In collaboration with Dustin White & Design Morphine

This contemporary Chandelier [5’ x 3.8’ x 5’] was designed for Jump Into The Light, a company in NYC that is home to an array of VR/AR based experiences. This interactive installation implements an digital process developed in-house to create clean, 3D printable joints for complex structures. These Nodes are printed in Onyx, a proprietary reinforced plastic from Markforged, with additional fiberglass reinforcement where necessary. Our friends at Design Morphine are creating custom interactive LED lights that will push color off the reflective, chromatic panels on the interior. Dustin White’s personal process for creating intricate plastic netting via laser-cutting and hand forming will act as a diffuser around the main body of the chandelier.

Antique Hardware

[Replication Via 3D printing]

In collaboration with Moon Jelly

In the film industry a variety of hardware is sourced for most films, especially period pieces. Not only are these unique items usually quite expensive, but they can be slow to source as well. On top of this, while some pieces may become assets to a studio and be kept for years, most things on films sadly disappear or get disposed. Our solution was to utilize resin 3D printing (SLA) and the power of 3D modeling to create a growing collection of replica parts that are based on real era accurate hardware. The printers can utilize a variety of resins with different properties for different uses, and with a few edits on the computer they can go from brand new to scratched, weathered and aged all before printing and painting. They are even durable enough to be fully functional on a set, and for a fraction of the cost.

FILM + EVENTS

[working in a fast-paced shop]

- CNC Routing | 3D Printing | Vacuum Forming | 3D Modeling & Drafting | Coordinating | Experimenting

[Jan 2021 - Present]

Over the past few years, a majority of my time has been spent in a fast-paced production environment with a team of talented fabricators. Mostly focusing on film (Movies, TV, and commercials), the goal was often to create a convincing illusion, however, we produced permanent high-quality work as well. This gallery attempts to capture a snapshot of this time and the variety of projects we worked on. My role in this team has been a flexible one. Serving as the sole operator of the digitally controlled equipment, and the only in-house drafter, I often switched between a coordinator, designer, and fabricator.

EXCAVATION

[DESIGNING WITH BLURRED INTENT]

- CNC Routing | 3D Printing | Casting | Hand Brass Detailing

[Spring 2017 UNCC]

With fabrication, there is an opportunity lying within the process uncovered through understanding how each step can inform the next. This is the concept that drove the sculptural experiment you see here. Geometric abstractions were staged in a floating, historically fictional site to be excavated. Once uncovered, they transformed into an articulated piece combining multiple methods and materials chosen for their ability to effectively express what was uncovered and projected. There were intentional patterns of course, but also intentional gaps in the process in order to make room for accidents. Many of the resulting textures and discrepancies exist thanks to those happy accidents.