Mehrnaz Zarrin Hadid tarapyndan Squama Beden şaý-sepleri

Mehrnaz Zarrin Hadid tarapyndan döredilen Squama Beden şaý-sepleri dizaýny Şaý-sep Dizaýny Bäsleşik Kategoriýasynda 2025 A' Design Award Altyn Baýragy baýragynyň abraýly ýeňijisidir.

AltynŞaý-sep· 2025

Squama Beden şaý-sepleri

dizaýner: Mehrnaz Zarrin Hadid

Müşderi: Mehrnaz Zarrin Hadid

Şaý-sep Kategoriýasynda A' Design Award Altyn Baýragy Ýeňijisi

103,497

Tassyklanan Baýrak Ýeňijisi

#164814 üçin Baýrak Ýagdaýyny Barlaň

Sahypa giriň A' Design Award-da görüň Metbugat beýannamasy Baýrak nyşany

Reňkler

Dizaýn

Squama Beden şaý-sepleri hakynda

Squama, bedeni üýtgeýän peýzaž hökmünde kabul edýän Kerf kolleksiýasynyň bir bölegidir. Takyk kerf kesimleri arkaly kümüş akyjylyk gazanýar we bedeniň tebigy görnüşine aňsatlyk bilen laýyk gelýär. Tolkunlanýan ýüzi ýagtylygy tutýar we ýaýradýar, hereket bilen üýtgeýän ýagtylyk geçişini döredýär. Parlaýan öňe çykmalar bilen matlanan kölgeleriň özara täsiri bedeniň görnüşini belleýär we şöhlelenmäni ýagtylygyň janly beýanyna öwürýär. Squama ady biri-biriniň üstüne düşýän plita gatlamlaryna yşarat edip, çylşyrymly nagyşlarda ýagtylygy şöhlelendirýär.

Ykrar etme

A' Design Award Altyn Baýragy hakynda

Squama Beden şaý-sepleri A' Design Award Altyn Baýragynyň ýeňijisidir; bu birinji derejeli, ajaýyp we tapawutly dizaýnlara berilýän aşa abraýly ykrarnamadyr. Altyn ýeňijileri dizaýnerleriniň alymlygyny, paýhasyny we ussatlygyny görkezýän aşa täzelikçi, uzakgörüjilikli we göz gamaşdyryjy eserlerdir. Squama Beden şaý-sepleri deňi-taýy ýok gymmat berýän, köp öwülýän, ugur kesgitleýän we ýadygärlik ýaly oýlap tapyş bolmagy garaşylýar. A' Design Award Altyn Baýragyny gazanan bu dizaýn sungatyň, ylmyň, dizaýnyň we tehnologiýanyň çäklerine uly peýda berýän we ony öňe sürýän ajaýyp, hormatly taslamadyr. Squama Beden şaý-sepleri güýçli isleg duýgularyny döredýär, höwesi oýarýar, döredijiligi höweslendirýär we bizi haýran edýär.

Dizaýnyň sahna arkasy

Metbugat toplumy

Dizaýner tarapyndan berlen kreditler, topar agzalary we tehniki maglumatlar.

Üýtgeşik Aýratynlyklar: 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.
Ölçegler we Gaplama: 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.
Bellikler: Body as context, Body landscape, Kerfs collection, Transformation, integrity of technique and aesthetics in design Technique, Reflection, Squama , Alive piece, luminous gradient
Önümçilik Tehnologiýasy: 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.
Dizaýn Kynçylygy: 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.
Gözleg: 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.
Ylham: 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.
Taslama Dowamlylygy: The project started in March 2023 and finished in 2024
Iş Akymy: 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.
Surat Awtorlary: 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