Squama Ọla Ịchọ Mma Ahụ nke Mehrnaz Zarrin Hadid

Ihe emepụtara bụ Squama Ọla Ịchọ Mma Ahụ nke Mehrnaz Zarrin Hadid bụ onye meriri a na-asọpụrụ nke ukwuu nke 2025 Ihe Nrite A' Design Award nke Ọlaedo na Udi Asọmpi Nhazi Ọla Ịchọ Mma.

ỌlaedoỌla Ịchọ Mma· 2025

Squama Ọla Ịchọ Mma Ahụ

nke Mehrnaz Zarrin Hadid

Onye Ahịa: Mehrnaz Zarrin Hadid

Onye Meriri Ihe Nrite A' Design Award nke Ọlaedo na Udi Ọla Ịchọ Mma

103,497

Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #164814

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Squama Ọla Ịchọ Mma Ahụ

Squama bụ akụkụ nke Mkpokọta Kerf, usoro nke na-ele ahụ mmadụ dị ka ala na-agbanwe agbanwe. Site na mbelata kerf nke ọma, ọlaọcha ahụ na-enweta mmegharị, na-ehulata n'enweghị nsogbu iji soro ọdịdị ahụ mmadụ. Elu ya na-efegharị efegharị na-ejide ma na-agbasa ìhè, na-emepụta ọkwa ìhè na-enwu nke na-agbanwe site na mmegharị. Mmekọrịta nke ihe ndọtị na-enwu ọkụ na onyinyo dị nro ka satin na-eme ka ọdịdị ahụ doo anya karịa, na-atụgharị nkwughachi ìhè ka ọ bụrụ ngosipụta dị ndụ nke ìhè. Aha Squama na-akpali nzota maka akwa efere na-adakọta, na-egosipụta ìhè n'ụdị dị mgbagwoju anya.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaedo

Squama Ọla Ịchọ Mma Ahụ meriri A' Design Award nke Ọlaedo, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa mbụ, dị ịtụnanya ma pụtara ìhè. Ndị meriri na Ọlaedo bụ ihe e kere eke dị oke ọhụrụ, nwere ọhụụ ma na-egbu maramara nke na-egosipụta ọgụgụ isi, amamihe na nka nke ndị designer ha. A na-atụ anya na Squama Ọla Ịchọ Mma Ahụ ga-abụ ihe e mepụtara kacha enweta otuto, na-edu ọnọdụ ma bụrụ ihe ncheta nke na-enye uru na-adịbeghị mgbe ọ bụla. Design a meriri A' Design Award nke Ọlaedo bụ ọrụ dị ebube, a na-asọpụrụ nke na-erite uru buru ibu ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Squama Ọla Ịchọ Mma Ahụ na-eweta mmetụta ọchịchọ siri ike, na-akpali agụụ, na-akwado nzụlite ihe ma na-adọrọ anyị adọrọ.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: The Squama is part of the Kerf Collection, a series that explores the interplay of technique and material properties while treating the body as context. Through precise kerf cuts, the silver gains fluidity, bending effortlessly to follow the body's natural topography. Its undulating surface catches and disperses light, creating a luminous gradient that shifts with movement. The interplay of incandescent highlights and satin-finished shadows accentuates the body's form, transforming reflection into a dynamic expression of light. These reflective effects keep the piece alive, almost like a living creature. The name 'Squama' alludes to overlapping layers of plates, reflecting light in intricate patterns. The Squama design pieces showcase their own material techniques and properties independently, without relying on external materials for structure or superficial bending.
Nha & Mkpuchi: The simple version of the Squama bracelet measures 30mm x 0.5mm x 228mm but can be customized to fit individual wrist sizes. The Squama necklace measures 380mm x 0.5mm x 32mm. Additionally, the extendable version of the bracelet can be adjusted to fit personal preferences, allowing it to extend from the wrist to the elbow.
Mkpado: Body as context, Body landscape, Kerfs collection, Transformation, integrity of technique and aesthetics in design Technique, Reflection, Squama , Alive piece, luminous gradient
Teknụzụ Mmepụta: The experimental phase of this project has been crucial in examining the integration of kerf bending techniques with various material properties. I tested a range of materials and methods to identify the most effective combinations for achieving optimal results in both functionality and design. Techniques such as 3D printing and laser cutting were utilized. Key factors included curve geometries, cut depth, strip width, material thickness, and spacing. An important aspect of this phase was emphasizing the self-sufficiency of both the techniques and the materials used.
Ịma Aka Imepụta: This kerf collection project is experimental in nature and requires the testing of a series of prototypes. However, I face challenges due to the limited availability of 3D printing and laser cutting technology, as well as materials in Iran. Balancing the design with the necessary technology for the final products can be difficult. Additionally, there is a shortage of skilled operators for these devices, requiring me to find qualified individuals to manage the technical aspects of laser cutting and 3D printing. As a result, I must conduct extensive independent research on relevant technologies and materials.
Nchọpụta: How can technique operate as a generative design machine?The vital experimental phase began with 3D printed prototypes utilizing the kerf bending technique, followed by laser cut devices. Factors such as cut direction, distances, and material properties were explored to optimize bending and achieve material self-sufficiency without the need for additional structure. The aim was to identify suitable technologies and materials, with silver emerging as the most effective due to its transformative properties when transitioning from flat to bent shapes based on the technique.
Mkpali: Mehrnaz Zarrin Hadid's inquiry begins with the question: How can technique generate aesthetics simultaneously? This exploration transcends mere ornamentation and fundamentally emphasizes the intrinsic role of technique itself. In her research for designing this collection, it is essential to integrate both experimental and technical aspects. She investigates the technical possibilities that align innovative aesthetic concepts with robust technical principles, viewing them as interconnected rather than isolated processes. A cohesive approach to design, technique, and material properties can unlock new possibilities that might remain inaccessible when approached from a fragmented perspective. Furthermore, exploring the integration of architectural thinking with design thinking reveals new opportunities within this design process.
Oge Ọrụ: The project started in March 2023 and finished in 2024
Usoro Ọrụ: The Squama Jewelry features a silver flat design when not in use, effortlessly transforming to fit comfortably around the wrist and neck when worn. These pieces are part of the continually expanding collection known as the Kerf Collection, which reveals the body's landscape as context. The fabrication technique and materials create dynamic reflections that shift with the wearer’s movements, adding an interactive element. With the ability to extend from the wrist to the elbow in a single piece, it adapts to create a customizable look that reflects personal taste.
Asụsụ Foto: Image #1: Photographers: Gabriel Salcedo, Mahbod NourMohamadi, Kerf Collection, Squama , 2024, Image#2: Gabriel Salcedo, Mahbod NourMohamadi, Kerf Collection, Squama 2024, Image#3: Gabriel Salcedo, Mahbod NourMohamadi, Kerf Collection, Squama ,2024
Image#4: Gabriel Salcedo, Mahbod NourMohamadi, Kerf Collection, Squama ,2024
Image#5:Mohammad Esmaeili, Kerf Collection, Squama , 2024 ,
video,Videographer and Editor: Amir Doustdarnia, Lighting and Videographer assistant:Mohammad Esmaeili