Venus Ke Kīʻaha Inu na Tiger ChongSheng Guo

ʻO Venus Ke Kīʻaha Inu na Tiger ChongSheng Guo he mea lanakila hanohano loa o ka 2020 A' Design Award Hao ma ka Māhele Hoʻokūkū Hoʻolālā Lako Hōʻoma, Pā ʻAi, Kiʻaha a me Lako Kuke.

HaoLako Kuke· 2020

Venus Ke Kīʻaha Inu

na Tiger ChongSheng Guo

Mea Kūʻai: Victoria University of Wellington

Mea Lanakila A' Design Award Hao ma ka Māhele Lako Kuke

14,600

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #97961

Kipa i ka Pūnaewele Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Venus Ke Kīʻaha Inu

He kīʻaha inu ʻo Venus me kahi kumu kaʻawale, i hoʻolālāʻia no ka hoʻohana home. Hana ʻia kēia pūʻulu me nā ʻano ʻelua maʻalahi e kākoʻo ana i kekahi i kekahi. Hiki ke lawe ʻia ke kīʻaha mai ke kumu me ka lima. Ma muli o ke ʻano a me ke kaumaha o ka ʻumeke ʻōmaomao (ceramic), paheʻe koke ke kīʻaha i kona wahi pono ke hoʻihoʻi ʻia i luna o ke kumu. Ua paʻi ʻia ke kīʻaha ma ke ʻano 3D me ka hui ʻana o ka ʻumeke ʻōmaomao a me ka polymer, a laila puhi ʻia i loko o ka umu (kiln), ʻānai ʻia a hoʻāliʻi ʻia. Ua paʻi ʻia ke kumu ma ke ʻano 3D me ka hui ʻana o ka lāʻau a me ka PLA, a laila ʻānai ʻia a hoʻoluʻu ʻia. Ua koho ʻia ke kālai ʻana hoʻohui (additive manufacturing) e hana i nā ʻāpana ʻelua me ka ʻole o ka pau wale ʻana o nā mea.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Hao

Ua lanakila ka hoʻolālā Venus Ke Kīʻaha Inu 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 Venus Ke Kīʻaha Inu 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 Venus Ke Kīʻaha Inu 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: Venus is a luxury homeware set designed to encapsulate the symbiosis between two forms, and the unique qualities of 3D printed geometries. Similar products traditionally implement subtractive manufacturing methods (taking away material through cutting, sanding, and thinning). These processes are imprecise, and produce immense waste, and lack any quality from the original material. 3D printing Venus allows the unique qualities of the 3D filament (mixes of materials) to be captured serendipitously, with no waste.
Nā Ana a me ka Hoʻopili: 137 x 154 x 109
Cup alone: 112 x 125 x 101
Base alone: 137 x 154 x 35
Nā Lepili: venus, homeware, cup, 3d print, wood filament, luxury, victoria, vuw, design
ʻEnehana Hana: The design was 3D printed at an external industry partner in a ceramic and polymer mix. The print was then fired in a kiln to finish the ceramic. The ceramic was then lightly sanded and polished. The wood base was 3D printed in a PLA and wood mix. The print was then sanded and stained.
Pilikia Hoʻolālā: The most challenging aspect of this project were the restraints. The design needed to be simple, sleek, and elegant, comprising of no more than 2 independent forms. The symbiosis between the forms was critical. I aimed to make it a mutually beneficial one, with one supporting the other in radial forms, much like the celestial entities within a solar system. The requirement to use 3D printing and explore materials previously not printed was also challenging. I had never worked with ceramics before, let alone 3D print them.
Noiʻi: The project began by undergoing rapid concept ideation, aiming to explore as many forms as possible. This initially took the form of abstract form ideation, followed by iterative design, and finally volumetric design. These were all done via traditional mediums, but soon moved to digital ones. Ergonomics and anthropometric studies were undertaken with early prototypes to refine form, surface, and scale.
Hoʻoulu Manaʻo: Venus was inspired by the alignment of the planets of the Solar System, and the age old notion of "the stars aligning". Celestial entities often create unique and beautiful visages, with many becoming constellations, lights, or other phenomenons captured in human history. These visages are often no more than a few simple forms in perfect symbiosis, celebrated by the serendipitous surface qualities of stars and moons. Venus was inspired by this and aims to capture the beauty of forms complementing one another in a manner of purity that also honours the serendipity of material quality.
To achieve this, digital fabrication was implemented. Venus takes additive manufacturing methods - such as 3D printing - and combines them with contemporary industrial design to celebrate the purity of materials reconstructed; much like celestial bodies.

Traditional manufactured methods we found, were not up to the degree of quality we pursued to achieve this goal.
For thousands of years; since the invention of the lathe in ancient Egypt; subtractive manufacturing methods have been implemented as the industry standard. Even today, many products are still manufactured by taking away material through cutting, sanding, and thinning. These processes are imprecise, often requiring multiple passes to compensate for flaws produced by the previous; and consequently, produce immense quantities of waste; many times the size of their products.

Venus aims to break this trend.
Digital fabrication introduces a new possibility; additive manufacturing; the means of production by adding material rather than subtracting. Chiefly amongst these means stands 3D printing. Whilst traditionally a prototyping tool, recent innovations in 3D printing have permitted it to become a fully-fledged manufacturing method. When combined with highly precise material quality control through a digital interface, allowing complex heterogenous forms to be created perfectly with no waste; 3D printing can produce marvels of geometry and interaction. Seizing this opportunity, Venus was designed to both captivate minimalistic contemporary industrial design, and celebrate the raw material quality through such a pure manufacturing method. After all, these same materials came from the stars millions of years ago.

Venus was designed by Tiger ChongSheng Guo at Victoria University of Wellington’s School of Design.
Ka Lōʻihi o ka Papahana: The project started in July 2017 and finished in January 2018.
Project was exhibited at Victoria University of Wellington's RNDR 2018 Exhibition.
Reproductions have been since made using local industry, most recently in early 2020.
Kaʻina Hana: The cup element can be lifted from the base. Due to the shape, the cup can be put on the base and itself will slide into the correct alignment due to the weight of the ceramic.
Nā Palapala Kuleana: Copyrights belong to ChongSheng Guo, 2018.
Nā Lālā Hui: Tiger ChongSheng Guo - Designer
Zach Challies - Tutor/Lecturer
Joshua Felizardo - Assistant Photographer/Model
Nā Kuleana Kiʻi: [ Example: Image #1: Photographer ChongSheng Guo, Venus 1, 2017. ]
[ Example: Image #2: Photographer ChongSheng Guo, Venus 2, 2017. ]
[ Example: Image #3: Photographer ChongSheng Guo, Venus 3, 2017. ]
[ Example: Image #4: Photographer ChongSheng Guo, Venus 4, 2017. ]
[ Example: Image #5: Photographer Joshua Felizardo, Venus 5, 2017. ]