{"title":"材料的影子","authors":"Virginia San Fratello","doi":"10.1080/20419112.2018.1504418","DOIUrl":null,"url":null,"abstract":"San Fratello VirginiaThis essay discusses 3D printed material ombrés created by combining clay bodies from different regions around the world. It focuses specifically on the Bad Ombré vessels designed by Ronald Rael and Virginia San Fratello and uses them as examples to illustrate how an object, through it's material gradient, can tell a story about politics, borders, geology and place.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20419112.2018.1504418","citationCount":"1","resultStr":"{\"title\":\"Material ombrés\",\"authors\":\"Virginia San Fratello\",\"doi\":\"10.1080/20419112.2018.1504418\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"San Fratello VirginiaThis essay discusses 3D printed material ombrés created by combining clay bodies from different regions around the world. It focuses specifically on the Bad Ombré vessels designed by Ronald Rael and Virginia San Fratello and uses them as examples to illustrate how an object, through it's material gradient, can tell a story about politics, borders, geology and place.\",\"PeriodicalId\":41420,\"journal\":{\"name\":\"Interiors-Design Architecture Culture\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2018-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/20419112.2018.1504418\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Interiors-Design Architecture Culture\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/20419112.2018.1504418\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHITECTURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Interiors-Design Architecture Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/20419112.2018.1504418","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHITECTURE","Score":null,"Total":0}
引用次数: 1
摘要
本文讨论了通过结合来自世界各地不同地区的粘土体创建的3D打印材料ombracys。它特别关注Ronald Rael和Virginia San Fratello设计的Bad ombr容器，并以它们为例，说明一个物体如何通过它的材料梯度，讲述一个关于政治、边界、地质和地方的故事。
San Fratello VirginiaThis essay discusses 3D printed material ombrés created by combining clay bodies from different regions around the world. It focuses specifically on the Bad Ombré vessels designed by Ronald Rael and Virginia San Fratello and uses them as examples to illustrate how an object, through it's material gradient, can tell a story about politics, borders, geology and place.
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
