Interview with Oliver David Krieg
Oliver David Krieg is an expert in computational design and digital fabrication in architecture. As Director of Technology at LWPAC in Vancouver, Canada, and doctoral candidate at the Institute for…
Designer of the Day Interview
23 May 2019
As an architect, designer and PhD researcher I have engaged with both wood and digital technologies for almost ten years. I have always been fascinated by the relationship between the scientific, almost purely mathematical approach of robotic fabrication, and the aesthetics of the material that is directly affected by this process.
In my opinion, the tension between the digital and physical - the method and the result - is most prevalent in wood. The richness and visual detail of a wooden surface stands in contrast to the clean manufacturing process, and yet they depend on each other. While I was conducting research about architectural potentials of robotic fabrication at the Institute for Computational Design and Construction at the University of Stuttgart, I couldn't help but notice the aesthetic potentials of this captivating relationship. AESTUS became a passion project that I was only recently able to develop into a finished product.
Good design is one that is true to its material, simple in its expression, and yet shows a high degree of sophistication in how it was made. A design is successful if people can use it without thinking about it. It is successful when people engage with it, appreciate its materiality and like looking at it or touching it.
Design Legend Interview
23 May 2019
As an architect, designer and PhD researcher I have engaged with both wood and digital technologies for almost ten years. I have always been fascinated by the relationship between the scientific, almost purely mathematical approach of robotic fabrication, and the aesthetics of the material that is directly affected by this process. In my opinion, the tension between the digital and physical - the method and the result - is most prevalent in wood. The richness and visual detail of a wooden surface stands in contrast to the clean manufacturing process, and yet they depend on each other. While I was conducting research about architectural potentials of robotic fabrication at the Institute for Computational Design and Construction at the University of Stuttgart, I couldn't help but notice the aesthetic potentials of this captivating relationship. AESTUS became a passion project that I was only recently able to develop into a finished product.
odk.design was founded as a platform to explore the relationship between technology and material, and to explore the forces of formation in robotic fabrication.
I chose to become one in order to explore the relationship between material and machine indepth.
In the broadest description, I design surfaces that are defined by their material and the process of making.
Good design is one that is true to its material, simple in its expression, and yet shows a high degree of sophistication in how it was made. A design is successful if people can use it without thinking about it. It is successful when people engage with it, appreciate its materiality and like looking at it or touching it.
There can be many values: The appreciation for the material, sustainable materials or fabrication processes, durability and resiliency.
I draw inspiration from many other designers who engage with material and form in similar ways.
Technology is changing the way we think, design and make. Craft is redefined to include digital processes. The future of design will engage with technology and use it as a tool just like the chisel or screw driver have become the tools of masters.
Designer Interview
23 May 2019
As an architect, designer and PhD researcher I have engaged with both wood and digital technologies for almost ten years. I have always been fascinated by the relationship between the scientific, almost purely mathematical approach of robotic fabrication, and the aesthetics of the material that is directly affected by this process. In my opinion, the tension between the digital and physical - the method and the result - is most prevalent in wood. The richness and visual detail of a wooden surface stands in contrast to the clean manufacturing process, and yet they depend on each other. While I was conducting research about architectural potentials of robotic fabrication at the Institute for Computational Design and Construction at the University of Stuttgart, I couldn't help but notice the aesthetic potentials of this captivating relationship. AESTUS became a passion project that I was only recently able to develop into a finished product.
odk.design was founded as a platform to explore the relationship between technology and material, and to explore the forces of formation in robotic fabrication.
Design is the negotiation between form, function and material. Within this, the process of making is directly related to all of them, and as such, engages heavily with the human aspect. Design is always the result of the available tools, which is why technology is so intriguing to me.
I like designing surfaces and shapes that can express both their materiality and the fabrication process. Although AESTUS is a series of vases, the process can also be applied on many different shapes such as columns, chairs, or wall panels.
My most favorite design is one that is true to its material, simple in its expression, and yet shows a high degree of sophistication in how it was made.
I enjoy working with wood products, and I enjoy working with digital manufacturing such as industrial robots and CNC machines.
I feel most creative when working in a quiet environment or when I can discuss design with friends.
I focus on how a design can be made, and how the material can be expressed.
Seeing your designs realized is the most humbling yet elevating experience. I work a lot in 3D CAD and therefore can see the designs long before they are fabricated. Yet, experiencing the design in real life is always so much more impressive.
A design is successful if people can use it without thinking about it. It is successful when people engage with it, appreciate its materiality and like looking at it or touching it.
A design should appreciate its material and the process of making. It is the designer's responsibility to be truthful about the materials they are using, and the process involved in fabrication. Society needs to understand how wasteful certain materials and processes can be, and that good design can be resourceful yet beautiful.
Technology is changing the way we think, design and make. Craft is redefined to include digital processes. The future of design will engage with technology and use it as a tool just like the chisel or screw driver have become the tools of masters.
My last exhibition was at the Toronto Interior Design Show in January 2019.
Natural materials and digital fabrication give me endless inspiration as their possibilities are endless, too.
My design style is dynamic and intricate, yet simple and calm. I try to show layers of complexity that benefit from each other, while always focusing on the expression of the material. I engage with complexity in the fabrication process in order to achieve simple yet intriguing designs.
I'm from Germany but I live and work in Vancouver. Being close to nature but also living in a city is the balance I need.
During the development the robot's movement became one of the main design tools as it directly influences the shape of each groove. Parametric software and digital simulation tools were specifically developed to explore the design possibilities and seamlessly integrate the robotic fabrication, while prototypes were manufactured to precisely understand the constraints of the robot and to achieve a continuously high quality.
Design is all about making. Engage with prototyping as soon as possible in order to understand the constraints and possibilities.
The material you choose defines your design
It is important to be able to think three-dimensional.
I am using McNeel Rhinoceros and the programming plugin Grasshopper. The design is manufactured using a 7-axis industry robot setup.
It took me about a year from conception to final prototype. AESTUS was finished in mid 2018.
I work on my designs by myself but I'm open for collaborations.
oliverdavidkrieg@gmail.com