This means you can trust that these models have accurate dimensions and official materials that come from an authoritative source. Under the products tab, you’ll see “verified” models that have been uploaded by product manufacturers and distributors. Quickly and easily find these real-world products through a more robust way of searching-either by product category, manufacturer, or product name. What’s even better is that 3D Warehouse offers hundreds of thousands of verified, real-world product models, making it easier to create accurate designs and spec the right products from the start. That’s where 3D Warehouse comes in to play-with millions of digital assets available to download for free. When designing a space in 3D (think: interior floor plan, kitchen remodel, entire commercial building), architects and designers need models of actual products to use in their projects, and nobody has the time to accurately model each piece of furniture, light fixture, and appliance. The music for ‘The Dolls’ was specially composed by the media artist and digital composer Kurt Hentschlaeger and adapted for dual-channel audio in the Transfer Gallery Dolls House.No matter what industry you’re in, efficiency is key to meeting tight timelines and keeping your project on track. Hart’s Velazquez princess dresses are modeled by computer and produced as mixed-media works on paper with projection mapping, and 3D printed sculpture for the exhibition. This child princess was the central figure in the famous painting Las Meninas, a canonical masterpiece by the great 17th-century court painter, Diego Velazquez, and the subject of many of his paintings. Like her doll houses, Hart’s 3D modelled tutus are also drawn from the scion of a fallen empire: the gowns of Margaret Theresa of Spain, among the last of the Spanish Habsburgs. These include The Arch of Labna (a Mesoamerican archaeological site and ceremonial center of the pre-Columbian Maya civilization), the Roman Forum-of-Ceasar, Marie-Antoinette’s Le Petit Trianon (the small chateau on the grounds of Louis XIV’s Versaille, where she dressed as a milkmaid with her ladies-in- waiting), a Queen Anne House from Victorian England the Dragomir Mansion from Bucharest and the Paulwall House - still standing in our own ruined Detroit. She scoured Google’s 3D Warehouse – available as shareware for all users of Internet – for architectural monuments from a decadent history, past empires from all over the world. Hart imagines an abstract computer warehouse filled with old dollhouses culled from the junk heap of some future history. The end result is in some ways like a stroll through Times Square or a glitzy night in Vegas – but it is also paradoxically and strangely quite trance inducing and meditative, a vehicle for some kind of enlightenment. Distributed among these are the current logos and graphical icons of our own multinationals, corporations and tech giants. The animated patterns are also based on the symbols of further collapsed empires - from the Faberge eggs of The House of Romanov to the banners and heraldry of Gengis Kahn and the Mongol Empire. The passage of time is marked by a cyclical animation in which a track light moves around the virtual set, and cast shadows rotate from sunrise to sunset. Hart’s brightly colored, algorithmic flickering patterns are the ultimate component of her contemplation on the passage of time and the death of kings. To embody this, Hart molded mathematical cycles into visual form, into a figurative flicker film defined by rhythmic animations of pulsing patterns that are mesmerizing and intentionally hypnotic as a result of their algorithmic qualities. The Dolls House was a special series of video, drawing and sculptural work inspired by the media ballet The Dolls, based in the philosophical idea of the “eternal return” – the notion that history endlessly renews itself through a process of decadence, decay and rebirth.
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