30th June 2014
With her project 'Haptic Immersion', recent textiles graduate from Chelsea, Abby Bucknall questions our perception of materiality in a increasingly digital age.
As a materials designer Abby, like many other designers, believes we are starved of tactile immersion and as such wants to engage people with their senses in a physical domain.
Fusing materials such as carpet, foam and perspex her materials palette is further enhanced with screen printed surfaces that offer a playful and tactile experience and challenge notions of depth, tactility and preconception.
Abby's use of graphical forms, unexpected still life and colour bring a very modern and engaging experience to future textiles.
26th June 2014
My favourite project from New Designers part one yesterday - and it seems the judges too as it won runner up Designer of the Year - was 'suck: a ba starter'.
The first part of a three part collaboration with a chef and designer Ellie Corp, the project is a series of tools designed for eating. For the first course her tools focus on sucking of a kind of noodle soup and as such she has designed objects that interact playfully with the rituals surrounding eating.
Working with soft and hard materials Ellie has used silver and stainless steel with natural sponges to help with the liquid retention and the over all experience of eating.
Part 2 and 3 are to follow as will be an actual dinner where visitors will be able to experience the utensils.
26th June 2014
For those who know me and those who read my blog regularly will know that I love mould, algae and bacteria so I was delighted to find this beautiful work from Katie Petrie at New Designers yesterday.
A jewellery designer she has been exploring the beauty to be found in the colour and textures from bacteria and mould.
Culturing her own 'live' patterns she has then translated them onto silver and copper pieces exposing beautiful greens, browns and uncomfortable but beautiful textures.
24th June 2014
Although 3D weaving has been around for a while, the meeting of 3D printing and weave structures is a new take on the idea.
Recent graduate Oluwaseyi Sosanya from Industrial Design Engineering at the RCA has invented a machine that relies on a similar layering process to 3D printing, but adds an extra step of coating with silicone to maintain the structures.
The Structure of Protection project was inspired by Sosanya looking at traditional weaving structures and re interpreting them into 3D. Using cotton, wool and paper threads the machine feeds yarn through two tubes and wraps it around a pre defined shape of vertical poles that act as a vertical warp.
What is interesting about this project is that he has researched how different machines work such as the industrial knitting machine and sewing machines and he has combined this with the workings of the 3D printer.
To demonstrate the capabilities of his materials he has collaborated with a shoe designer to make a flexible and 3D woven/printed sole and aims to work on future materials as his project evolves.
23rd June 2014
Breathtaking in its beauty and in its intellectual narrative, Marcin Rusak's Flowering Transition project shown at the RCA explores ideas around the life of flowers and perfection.
Considering the idea that nature was once the model of perfection, but our aesthetics have changed and with it our view on perfection, Rusak questions how flowers are now highly engineered in order to meet the demands on modern day desires in order to live longer and have brighter colour, but as a result they are loosing some of their natural attributes -for instance their scent and locality.
Split into a series of chapters his speculative project questions the future of genetics and imagines where this path could lead to future blooms or the 'Monster flower'.
This speculative project looks to the future of genetic modification and re imagines this future flower and poses questions as to whether this is really what we would want it to be.
Using 3D modelling and clever photography he has created the 'ultimate' flower that embodies all of the requirements of modern day desires. This monster flower needs to be available all year round, cheaper, controlled stem sizes, efficient for packaging, better smell and longer vase life and so on.
Somewhat contradictory in its requirements, this list of demands is now controlled by man and not nature.
In his other chapters he also illustrates how flowers are loosing their scent as a juxtaposition to longer life and brighter colour as well as the ephemeral nature of flowers which are not meant to last with a perishable vase made from flower waste that naturally decays over time.
By far the most beautiful project shown at the RCA last week, Rusak comes from a family of flower growers and illustrates his journey and that of his family in a beautiful book to accompany the project.