Geometry of Fiction Apo Lima na Nazanin Saranjampour and Mahdi SheykhRezaee

ʻO Geometry of Fiction Apo Lima na Nazanin Saranjampour and Mahdi SheykhRezaee he mea lanakila hanohano loa o ka 2022 A' Design Award Hao ma ka Māhele Hoʻokūkū Hoʻolālā Lei a me Kahiko.

HaoLei Kahiko· 2022

Geometry of Fiction Apo Lima

na Nazanin Saranjampour and Mahdi SheykhRezaee

Mea Kūʻai: Nazanin Saranjampour

Mea Lanakila A' Design Award Hao ma ka Māhele Lei Kahiko

14,843

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #139979

Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Geometry of Fiction Apo Lima

He hōʻiliʻili kālā kāpeka ʻo Geometry of Fiction i ʻekolu apo lima. Ua hoʻoulu ʻia nā ʻano mai ke kūkulu hale kahiko ʻo Golshan Bathhouse ma Yazd, Iran. Ua hoʻohana ʻia kekahi ʻano hoʻāʻo: ua hui pū ʻia nā ʻano kumu e like me nā pahu hā ʻaoʻao a me nā pahu poepoe i loko o ka polokalamu kolu-ʻāpana me ke ʻano hoʻohuli ʻia o ka hale ʻauʻau, a hoʻopuka mai ai ma mua o 250 ʻano hou. A laila, ua koho ʻia kekahi mau ʻano no nā apo lima. Ua hana ʻia nā mea ma ke ʻano kikohoʻe, ua paʻi ʻia me ka resin, a ua hoʻoheheʻe ʻia i ke kālā. Hiki ke ʻaʻahu ʻia nā apo lima ʻekolu ma ke ʻano hui, ma nā paʻa ʻelua, a i ʻole hoʻokahi wale nō.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Hao

Ua lanakila ka hoʻolālā Geometry of Fiction Apo Lima i ka A' Design Award Hao, he ʻike hoʻohanohano i hāʻawi ʻia i nā hoʻolālā maikaʻi e hoʻokō ana i nā koi ʻoihana a ʻoihana hana i manaʻo ʻia mai nā mea hoʻokumu i hana maikaʻi ʻia. Hōʻike nā lanakila Hao i ka mākau nui, ka loea kiʻekiʻe, ka ʻike akamai a me ka hiki hana noʻeau o ka poʻe i hana iā lākou. Manaʻo ʻia ʻo ka hoʻolālā Geometry of Fiction Apo Lima he mea hoʻokumu i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia e pono a hou. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Hao e hoʻohui ana i nā hana maikaʻi loa o ka ʻoihana a loaʻa nā ʻano ʻenehana mākaukau i hui pū ʻia me ka ʻike hana a me ka makakoho. Mahalo ʻia ka hoʻolālā Geometry of Fiction Apo Lima no kona nānā pono a ua hoʻolālā ʻia e hāʻawi i nā hoʻomaikaʻi ola e kōkua ai i ka hana ʻana i ka honua i wahi maikaʻi aku.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: There are three stages to this experimental design process. In the first phase of the method, some primary shapes such as cubes, cylinders, and other shapes were transformed in 3d software using Rhino. Second, the designer created the antithesis of the Golshan bathhouse's form; the mass space was reversed to empty using an experimental method.Finally, the three-dimensional collision of the primary forms with the reverse geometry of the Golshan bath resulted in the creation of more than 250 new shapes in the following stage. Finally, the designer chose a few of the best shapes to create rings by evaluating them. The use of 3D computer software has enabled the visualization of new forms that would not have been possible otherwise.
Nā Ana a me ka Hoʻopili: This silver jewelry set consists of three pieces of the ring. The pieces in this collection are 28, 20, and 2 grams in weight, respectively. These three rings can be worn as a set, in a double combination, or independently. These rings have been designed to be as ergonomic as possible, so there are no problems with the fingers when wearing them.
Nā Lepili: Jewelry, Experimental Design, Speculative Design, Golshan Bathhouse, Ring
ʻEnehana Hana: The shape of the rings is very complex due to their delicate and precise angles, and conventional manual jewelry production methods are not suitable for their production. Therefore, this jewelry collection was first modeled using 3D modeling software and then printed from resin material. And then, they were made of silver metal by the micro fusion casting method.
Pilikia Hoʻolālā: The most critical design feature of this jewelrycollection is the aesthetic, which reflects the visual characteristics of the source of inspiration and has unpredictable forms due to its experimental design method. There are two significant obstacles to overcome when designing such a project: 1. Each piece's weight should be kept under control. 2. Take into account the ergonomics of the user's hands and fingers. Heavy forms were removed to optimize the result in design development and evaluation as forms inconsistent with hand anthropometry. Finally, the forms were lightened so that they could be easily worn.
Noiʻi: Since old artifacts have always been a source of inspiration for designers, this jewelry collection was born out of research and study into the roots of Iraniandesign, which are found in Persian architecture, to create new Persian forms. Is it possible to be inspired by a monument without getting a repetitive and predictable result? That was the starting point for the design. This collection's design process is speculative and employs an experimental design method developed by the designer. Iranian design has essential characteristics such as balance, two-dimensional order, and many details; the researcher expected these characteristics to appear in a newer aesthetic and represent Persian thoughts, so ideationbegan, leading to the production of over 250 experimental forms of origin. They re-created the above-mentioned Iranian features in Persian design.
Hoʻoulu Manaʻo: The historic Golshan Bathhouse in Yazd served as the project's primary source of inspiration. The Iranian architecture of the Golshan Bathouse is typical of Qajar-period Iran, and the structure's geometry demonstrates many aspects of Iranian art. This collection has created new ring forms due to formal alternatives to Golshan bathhouse geometry. Roofs, corridors, and pools have visual elements that can be seen in the shapes of the rings indirectly in the details of this collection's pieces.
Ka Lōʻihi o ka Papahana: April 2021-November 2021 Tehran, IRAN
Kaʻina Hana: Persian architecture is rich in meaningful concepts that can inspire a great deal of creativity when translated into modern language. Jewelry is the meeting point of art and design, and it can be used to convey a message in the same way that a medium can. This jewelry collection has been able to demonstrate the complexity of Iranian art. One of the most appealing aspects of this collection is that it can be viewed from various perspectives and represent a new form; it can also be worn from any angle without looking the same. This feature delights the user every time she wears it.
Nā Lālā Hui: Mohammadmahdi Sheykh rezaee