MadLab Brings Virtual Creatures Into The Physical World As Fashion Accessories

Back in the late 19th century, scientist and physiologist Étienne-Jules Marey began taking chronophotographs, an early form of photography that captured physical forms in motion over time. Those who've seen the 3D-printed artifacts in MadLab's Reverberating Across the Divide project will recognize Marey's influence, whether the design collective intended it or not.

As it turns out, MadLab designer Madeline Gannon's 3D-printed collars and bracelets were inspired by chronomorphology (biological structures over time), cousin to chronophotography. The 3D-printed fashion accessories are highly intricate, but also convey a sense of motion, like Marey's work.

So what differentiates

Reverberating Across the Divide

from other 3D-printed fashion, such as Iris van Herpen's

Voltage gowns

, the

3D-printed LED pixel hat

, and

3D-printed shoes

? Well, Gannon and the rest of MadLab aren't just interested in 3D-printing, but in introducing three-dimensional scanning and modeling processes to accurately blend the virtual and physical worlds.

Reverberating Across the Divide: Digital Design Meets Physical Context from Madeline Gannon.

This three-phase workflow exists to “enable a designer to craft intricate digital geometries around pre-existing physical contexts.” The pre-existing physical contexts, as seen in the images, would be the human neck, wrists, or pretty much any other area of the body imaginable (within reason). Hell, for those want to get silly, 3D-scan a dog and print a collar for it. In fact, there are probably some upper crest Manhattanites who'd like to do just that.

So, how does MadLab's process work? First, the 3D scanner records the physical form, inputing it into the virtual world. Then a depth camera translates this into a three-dimensional point cloud. As MadLab notes, this point cloud is used as a point of reference throughout the design process. Then, 3D modeling software builds the virtual creature around the scanned physical form. The depth camera also records the motion of the complex geometries around the physical form. Once printed, the fabricated item, whether a collar, necklace, or bracelet, or even a hat, can be fitted nicely onto the physical form.

MadLab describes the printed item as a closed mesh “virtual creature,” designed with a spring skeleton. “The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step,” reads the MadLab website. “Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.”

It's pretty rad that MadLab's software and hardware are able to achieve such an intricate balance. On paper, it seems like the 3D-printer might not be able to do exactly what the software dictates. That, more than the designs itself, is mind-bending. Now, can we have some custom 3D-printed sunglasses, please?