Digital Grotesque I   (2013)

The algorithm behind Digital Grotesque begins with simplicity and builds toward complexity. Starting with a basic input form, it iteratively refines and enriches the geometry through recursive subdivision. Each surface splits into smaller surfaces, which then divide again—and again. Every modification cascades downward, influencing the entire lineage of "child" surfaces. By adjusting the division ratios, the geometry evolves in precise, controllable ways.

From minimal rules, maximal complexity emerges. Even a few subdivision steps yield astonishingly intricate forms. Remarkably, the core process remains unchanged—only the division parameters vary, yet they produce an extraordinary diversity of shapes.

This sequence demonstrates a square being subdivided into ever-smaller squares, with shifting ratios altering its expression. Though illustrated here in two dimensions, the same logic extends to three-dimensional space, allowing the generation of richly detailed volumetric forms.

Digital Grotesque inverts the conventions of computational geometry. Where architecture often embraces smooth curves and minimal surfaces, here we pursued maximal articulation — sculpting volumetric depth through hyper-detailed surfaces. Light is reflected in countless directions and the boundaries of the architecture are spatially diffuse.

The subdivision process that is used to articulate the form produces information at multiple scales. The closer one gets to the form, the more features one discovers. Such a hierarchical differentiation can also be found in classic architecture. Yet unlike traditional architectural design processes, here a single process is used both to sculpt the overall form, and to create the minute surface details. This procedural articulation can be used to create features that exceed the threshold of immediate haptic and visual perception.

For Digital Grotesque, we developed an innovative construction system based on a discrete assembly of smart bricks. These 3D-printed bricks feature intricate surface details at an unprecedented resolution. Internally, they incorporate a partially hollow substructure optimized for material efficiency based on force flow. The bricks have integrated labels as well as alignment and lifting details that enable a mortar-free assembly. All of these features are directly printed into the brick, without the need for any secondary material or processes.

In Digital Grotesque, these self-supporting bricks are dimensioned to fit onto standard Euro pallets [120x80cm] for easy transport. Their material thickness varies strategically based on position and load-bearing requirements, yet maintains uniform external proportions.

This system represents a paradigm shift in fabrication: ornament, structure, and assembly features coalesce into a single printed component, merging artistic ambition with constructional rigor.

The elements of Digital Grotesque are fabricated using a sand-based 3D printing process, where layers of silicate particles are selectively bonded with a binding agent. The printer's generous 4.0 × 2.0 × 1.0 meter build volume enables efficient production—either yielding massive singular components or numerous smaller elements printed simultaneously. Each layer is deposited with remarkable precision at 0.3mm thickness, achieving planar resolutions up to 300 dpi. Printing time of a full box is between one and two days.

After printing, loose sand that has not been bound is vacuumed out of the print box, and remaining grains of sand are brushed or blown off the printed forms. This leaves only the bonded structure intact.

Printing costs are measured according to the dimensions of bounding box of the printed forms. This means an intricately detailed, algorithmically complex structure costs exactly the same—and takes no longer to produce—than a simple solid block of equivalent dimensions. Furthermore, manufacturing hundreds of unique components becomes as economically viable as printing identical copies. In this new paradigm, complexity and customization are no longer impediments in design, but rather are opportunities waiting to be explored.

Natural sandstone has been used as building material since prehistoric times. Cathedrals, temples and other ornamental structures were often constructed with sandstone, as it is a relatively soft material that is easy to work while still having structural resistance. 3D-printed sandstone has very similar properties once it is post-processed.

To enhance the micro-detailing of the grotto, where some sections are thinner than 2mm, and to improve overall structural stability, the printed sandstone is infused with resin. This process seals the material’s pores, reinforcing its strength and preserving intricate details.

Different coatings have been tested with the goal of creating a smooth surface without a significant loss of detail. In contrast to the highly technological fabrication-process, traditional methods from conservationists of historic Swiss sandstone buildings were applied. After extensive trials with gilding and other coatings, we adopted a traditional shellac-based finish—a blend of pigment, alcohol, and natural resin. This solution honors material heritage while providing an optimal balance of smoothness and detail preservation.