Squama Body Jewelry

The technique and geometry of the cuts, along with the choice of material, work hand in hand to create a design that feels almost like a living creature. The curvature of the kerf cuts—especially the gradient transition from soft, smooth curves to sharper radii—plays a crucial role in achieving this effect. This gradual shift generates a dynamic surface that catches and reflects light in constantly changing ways.As the jewelry moves with the body—or as the viewer moves around it—it creates real-time shifts in light, shadow, and even perceived color. One of the most important aspects is how the piece reveals the full natural spectrum of silver’s grayscale—from luminous highlights to deep, rich shadows. These tonal variations are not painted on or added as ornament; they emerge purely from the interaction between light, geometry, material, and technique. The color is a result of design precision, not surface treatment or additive color.Because the jewelry is made from polished silver, it also behaves like a subtle mirror, reflecting its surroundings. In a green-toned space, for instance, you might see a greenish reflection ripple across the surface—amplifying the impression that the object is alive and deeply responsive to its environment. It’s this combination of parameters—technique, material, geometry, light, and movement—that brings the piece to life and gives it the presence of a living creature.

As an architect, I like to explore pure and coherent approaches to design—I don’t see design as a fragmented process. In the Kerf Collection, I focus on approaches that emerge from the interplay between technique and material behavior.The Squama piece is part of this collection, turning material constraints into expressive opportunities through technique and design.In this experiment, drawing on my background in architecture, I view the body as a context for design exploration.I’m curious about how materials can be subtly manipulated to produce complex geometries, and how their transformation is guided by both design intention and fabrication processes. I experiment with kerf cut geometry and its effects on design, investigating the transition from a flat, rigid surface into a flexible, body-conforming form. This transformation is made possible through strategic kerf cuts, which allow rigid material to bend, articulate, and adapt to different parts of the body.

Working with limited access to advanced 3D printing and laser cutting technologies in Iran—especially across diverse materials—was both challenging and time-consuming. This was particularly true during the experimental phase, where trial and error and prototype testing are essential. Testing specific design parameters on various materials often became a slow process, as certain 3D-printed materials I needed weren’t available locally and had to be sourced from abroad, which delayed iterations.Another major obstacle was the mindset of local machine operators, who typically focus on commercial mass production and are often reluctant to engage with experimental or unconventional projects. I spent considerable time meeting with operators, explaining my concept in detail, until I found a few professionals willing to collaborate despite the risks and limitations.These constraints forced me to be resourceful—sometimes adapting the design to available technologies, and other times finding unconventional workarounds. In the end, I aimed to balance the core design ideas with the available techniques. It is worth mentioning that despite these challenges, there are some well-educated and professional academic experts in Iran who provide valuable consultation on devices and techniques, helping to bridge communication with local operators.Looking ahead, I plan to collaborate with international companies to gain access to a broader range of technical resources and material options, which will open up more possibilities for design exploration.