This weeks Designer Spotlight focuses on Isaie Bloch, an incredible artist who uses the capabilities and limitations of 3D printing to inform his designs.
Tell us a little bit about yourself: Who are you? Where are you located?
I’m a Belgian architect and CG artist under the name of Eragatory. After receiving my first master degree in architecture, I joined the postgraduate program Excessive in 2010 lead by Hernan Diaz Alonso, at dieAngewandte, Vienna, Austria. My ongoing research and design ambitions are focused on the correlation between craftsmanship and additive manufacturing within several creative domains including Architecture, Fashion and Plastic arts and the digital methodologies blending in between them. I have been working as an artist in the field of hyperrealism exhibiting in Belgium, Italy, the Netherlands, China, Dubai and the USA, creating a range of art-pieces reaching from small prints, to 3D printed sculptures and huge hand manufactured installations. I have also been working together with designer Iris van Herpen on several sculptural dresses which have been shown on the catwalks at the Mercedes-Benz fashion week in Berlin and the Paris Haute Couture Show.
What’s the story behind your designs?
I generally seek to design pieces dedicated to the geometrical capacities of 3D printing. In my opinion it does not make sense to use 3D printing for the production of regular objects unless they are intended to be prototypes. Just like all production methods all of them have specific characteristics 3D printing offers the incredible advantage of being able to produce almost any type of intricate geometry. And that specifically is the characteristic that I want to project in my work as much as possible. Highly ornamental, specific geometrical conditions and subverted aesthetics are elements which will always be found in my work. The Floralia vases are a design that balances on the edge in-between functionality, digital aesthetics, mass customization and object-oriented eclecticism. In contrast to contemporary thought and design, which views things as the aggregation or assembly of smaller bits and parts, in Object Oriented Design new objects emerge out of an ecology of interaction of multiple and heterogeneous objects. Through a process of formation or computation, highly differentiated, contradictory concepts and structures can become one object, without resulting in an incongruous collage.
Pink Floraria vase printed in Full Color Sandstone
What brought you to 3D printing with Shapeways?
For me personally Shapeways offers the ideal balance in between a very good online service (which is really hard to find) quality, price, materials and production time. Being able to get a direct quote and first checkup of your 3D model instantly is very useful. It speeds up your design process a lot, since you don’ need to wait for several days in order to know if you should make this or that differently according to your estimated price. The whole website is so clear and easy to use, the web shops are pretty good looking and not complicated in any way.
How did you learn how to design in 3D?
As an architecture student I was confronted with the possible use of 3D tools. We were not forced to use any of them but it was very clear for me that these tools were going to be a great help according to my own aesthetic and geometrical preferences. So I started to instruct myself using a lot of tips and tricks that I found on the internet. Because of my attraction to ornamental overload and high resolution geometries I acquainted myself to the types of softwares which would not be directly related to architecture like 3DS Max, Z brush and Meshlab.
How do you promote your work?
I try to get as much exposure as possible by publishing my work on design and 3D printing related blogs and magazines. I organize workshops once in a while and during those I lecture about my work as well. All my work is published on my Eragatory blog as well.
Green Floraria vase printed in Full Color Sandstone
Who are your favorite designers or artists?
My interest is pretty wide according to artists I follow. Differing in physical or digital disciplines and status, some are very known and could be on the edge of being commercial and others might just be students or unknown artist with a very good oeuvre. But all of them have a touch of absurdness, eccentric material usage, high resolution intricacy and would preferably have a high level of tolerance for mistakes. Abhominal, Barry x ball, Henrique Oliveira, Jan Manski, Jerry Judah, Mrmann, Katsuyo Aoki, Lebbeus Woods, Michael Hansemeyer, Juliaan Lampens, Wolfgang Tschapeller, Stephan Balleux, Mack Scogin Merril Elam Architects would be a good representation of what I seek for in the creative industry.
Anything else you want to share?
I can not stipulate it enough, despite all the magical 3D tools on the market it is still very important to have a design intent at the beginning. I use these tools as a new set of crayons impowering me to form my ideas not as a series of digital trics generating random geometry. It happens way too often that people get mislead by automated fuctions in 3D software, generally resulting in mainstream/predictible/d?j? vu results. We should be subverting the logic of perfection: what used to be about mastering the perfect result of non-perfect processes should now be about the production of misfit and the grotesque through perfected processes.
That’s some incredible advice for budding 3D designers, thank you Isaie! You can see more of his work on his Shapeways Shop or his blog.