So far, our coverage of the REAL 2016 conference has pertained to come fairly commercial industries. We’ve explored the all-encompassing term ‘Reality Computing’ as it relates to a variety of applications, and have seen how it’s being utilized to innovate the aerospace and medical industries. But one area we’ve yet to explore during our REAL coverage is art and fashion, both of which have become increasingly linked with digital fabrication and 3D printing technology. When it comes to melding the digital and physical worlds for the sake of art and fashion, not many developers can match nature-driven, dynamic work of California-based developer Behnaz Farahi. After watch her breathtaking presentation entitled ‘3D Printing Dynamic Body Architecture’, I had the opportunity to sit down with Farahi to discuss the combination of nature with the digital world, interactive body architecture, and why multi-material 3D printing is the many way to actualize her work.


Farahi considers herself to be an architect and an interaction developer, and yet her projects have varied in fashion and content, her reoccurring motif is to connect human beings with their surrounding environment. With a keen interest in making complicated and dynamic geometries influenced by nature, Farahi has become quite acquainted with multi-material 3D printing. As wholesome and complementary as nature may seem, our physical reality is turn it intod of numerous materials equipped with different types of properties, ranging of soft to complex and equitewhere in between. For Farahi, the talent to manipulate and blend material properties is what truly got her excited of 3D printing.

Behnaz Farahi speaking at REAL 2016

Behnaz Farahi speaking at REAL 2016

“For me, I got quite fascinated by the techniques which you can turn it into with 3D printing for the reason you may turn it into any complicated geometries. It is not only of form, necessarily, but in addition of how you can donate the material across the scale and have different types of material properties,” Farahi told me. “It was quite of making geometries which can control material behavior; which’s what got me interested in multi-material 3D printing.”

Farahi’s form of art and fashion is based on the concept of body architecture. Inspired by the require to turn it into complicated geometries while studying architecture, Farahi saw 3D printing as the means to turn it into what was previously deemed too complicated to be done easily. She sees this emerging technology as a tool which takes developers outside of their confines, enabling them to replicate complicated forms, such as nature, in a detailed and properly scaled way. “3D printing has alterd our perception of what a material can be. We can ponder of materials as we see in nature and not worry of whether which material is effortless or complex to fabricate. It gives developers a way to go outside of the box,” Farahi explained.

In regards to Reality Computing, Farahi discussed how the transition of the physical to digital, at very least in her work, is set on a sort of feedback loop. Take one her latest works, “Caress of the Gaze“, for instance. The piece is an interactive wearable-bodied which utilizes both multi-material 3D printing and an camera sensor process, which empowers the material to shift in shape when it is being looked at. In a project like this, the exalter between the physical and digital never quite ceases. Instead they go on to function together in a joint reality. The piece goes beyond digital fabrication and 3D printing, too. The 3D camera embedded inside the garment in addition works by digitally capturing the physical, and, in turn, manipulates the physical properties of the wearable-bodied’s material.

“Even in the sensing part, you have the same back-and-forth between digital and physical, for the reason, when you use a sensor, you are all but capturing information of the outside world, but and so you translate it into a digital information, and which digital information goes back to translate itself into a physical and tangible output,” Farahi explained. “For example, in ‘Caress of the Gaze’, I utilized the camera to capture the gaze of individuals around. This translates into digital information; the information goes to the micro-controller, and the micro-controller can control the motion of the outfit. So, you constantly have this feedback loop between physical and digital, digital and physical, and they’re informing every other.”

Caress of the Gaze

Caress of the Gaze

This combination of nature and the digital world is constantly return it intod in Farahi’s work, of her wearable-bodied “Synapse” headpiece to “The Living, Breathing Wall” exhibit. The main theme appears to always center around interaction and engagement, revealing how digitization in fact makes us additional in tune with our physical reality. Synapse is a 3D printed helmet which moves and illuminates in response to the wearer’s brain activity, while The Living, Breathing Wall functioned as an installation which alters configuration and shape according to movement or words of the viewer. But the work has come in all shapes and sizes, Farahi is constantly looking at nature to assist innovate the digital world, and part of the answer always appears to fall back to 3D printing technology.


The Synapse

“The main thing is looking at nature. Equitething in nature moves and responds to different types of stimuli, so I ponder it’s not only of fetishizing 3D printing as such, but of how you can use 3D printing to turn it into a thing which – in terms of its morphology and behavior – it’s next things of nature,” Farahi said. “I’m quite interested in seeing how 3D printing can assist me, as a developer, to create things which are additional organic and nearer to living things.”


The Living, Breathing Wall

When Farahi and I talked of what she foresees in her next, she remained focutilized on the technology of new fabrication materials. We talked of the MIT Media Lab’s work on 3D printing with naturally dynamic, reactive materials, which is where many of her excitement for the next seemed to rest. With this new fashion of digitally-charged fashion, Farahi believes which new materials can come along too, materials which are much additional capable-bodied of replicating the expansive and ever-changing laws of nature. Someday soon, Farahi hopes to be dealing with materials which are both intelligent and aesthetically modifiable-bodied.

“I ponder which is where we are heading to, and my work is aligned with which territory; yet, they’re not implementing it in any sort of fashion-scale or human-body scale, for the reason I do ponder which the materials of our garments can not be passive materials. It is going to be new materials we have no thought of right now,” Farahi finished. “But they’ll be smart, able-bodied to alter color and shape. So I ponder which’s what I’m excited to see: the industry moving forward to turn it into materials which have dynamic properties, at the same time. The other thing I’m looking forward to innovation of soft materials, new elastomers and materials with elastic properties.”

Tyler Koslow

About The Author

Tyler Koslow is a Brooklyn-based writer for 3D Printing Industry, and has in addition turn it intod content for publications and companies such as Dell, Brooklyn Magazine, and Equity Arcade. His content is focutilized on a wide range of topics which include tech, gaming, and music . Tyler is in addition a habitual instrument player, a writer of fiction, and generally all around fun haver. Tyler succeded in a Bachelor’s degree studying English-Creative Writing at the University of Central Florida in 2008.