Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka láti ọwọ́ Nazanin Saranjampour and Mahdi SheykhRezaee

Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka láti ọwọ́ Nazanin Saranjampour and Mahdi SheykhRezaee jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2022 Àmì-ẹ̀yẹ Irin A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ohun Ọ̀ṣọ́ Ara.

IrinOhun Ọ̀ṣọ́ Ara· 2022

Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka

látọ̀wọ́ Nazanin Saranjampour and Mahdi SheykhRezaee

Oníbàárà: Nazanin Saranjampour

Aṣẹ́gun Àmì-ẹ̀yẹ Irin A' Design Award nínú Ẹ̀ka Ohun Ọ̀ṣọ́ Ara

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Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #139979

Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka

Ọ̀rọ̀ Ìwé: Geometry of Fiction jẹ́ àkójọpọ̀ ohun ọ̀ṣọ́ fàdákà ti òrùka mẹ́ta. Àwọn ìrísí náà ni a fa àwokose wọn láti inú ilé-iṣẹ́ ayaworan ti Ilé Ìwẹ̀ Golshan tí ó ti pẹ́ ní Yazd, Iran. A lo ọ̀nà àdánwò kan: àwọn ìrísí ìpìlẹ̀ bí kúbù àti sílínda ni a so pọ̀ nínú sọfítíwia onílọ́nà mẹ́ta pẹ̀lú ìrísí tí a yí padà ti ilé ìwẹ̀ náà, tí ó sì mú jáde ju ìrísí tuntun 250 lọ. Lẹ́yìn náà, àwọn ìrísí díẹ̀ ni a yàn fún àwọn òrùka náà. A ṣe àwòkọ́ṣe àwọn ohun-ọ̀ṣọ́ náà lórí ẹ̀rọ ìkọ̀nputa, a tẹ̀ wọ́n jáde ní resini, a sì dà wọ́n ní fàdákà. A lè wọ àwọn òrùka mẹ́tẹ̀ẹ̀ta náà gẹ́gẹ́ bí àkójọpọ̀, ní méjì-méjì, tàbí ọ̀kọ̀ọ̀kan.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Irin A' Design Award

Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka jẹ́ olùborí Àmì-ẹ̀yẹ Irin A' Design Award, ìdánimọ̀ olókìkí tí a fún àwọn àwòṣe tó dára tí wọ́n pàdé àwọn ohun tí iṣẹ́ àti ilé-iṣẹ́ nílò tí a retí láti ọ̀dọ̀ àwọn ẹ̀dá tí a ṣàwòṣe dáradára. Àwọn olùborí Irin ń fi ìjáfáfá ńlá, ìmọ̀ pàtó gíga, òye ògbóǹtarìgì àti agbára ìṣẹ̀dá àwọn olùṣẹ̀dá wọn hàn. A retí pé Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka yóò jẹ́ ẹ̀dá tí a kà sí gidigidi, tí a gbóríyìn fún tí a sì nífẹ̀ẹ́, tó wúlò tó sì ní ìmúṣẹ̀dá tuntun. Àwòṣe tó borí Àmì-ẹ̀yẹ Irin A' Design Award yìí ń kó àwọn ọ̀nà tó dára jùlọ ilé-iṣẹ́ jọ, ó sì ní àwọn ànímọ́ ìmọ̀-ẹ̀rọ tó péye tí a so mọ́ ìmọ̀ ṣíṣe àti ẹ̀bùn. A bọ̀wọ̀ fún Geometry of Fiction Ohun Èlò Pàtàkì: Òrùka nítorí ìfọ̀kànbalẹ̀ rẹ̀, a sì ṣàwòṣe rẹ̀ láti pèsè ìmúdára ìgbésí ayé tó ń ran ayé lọ́wọ́ láti di ibi tó dára jù.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Ìwọ̀n àti Àpò: 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.
Àwọn Àkọlé: Jewelry, Experimental Design, Speculative Design, Golshan Bathhouse, Ring
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: April 2021-November 2021 Tehran, IRAN
Ìlànà Ìṣiṣẹ́: 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.
Àwọn Ọmọ Ẹgbẹ́: Mohammadmahdi Sheykh rezaee