Squama Mea Hoʻonani Kino na Mehrnaz Zarrin Hadid

ʻO Squama Mea Hoʻonani Kino na Mehrnaz Zarrin Hadid he mea lanakila hanohano loa o ka 2025 A' Design Award Gula ma ka Māhele Hoʻokūkū Hoʻolālā Lei a me Kahiko.

GulaLei Kahiko· 2025

Squama Mea Hoʻonani Kino

na Mehrnaz Zarrin Hadid

Mea Kūʻai: Mehrnaz Zarrin Hadid

Mea Lanakila A' Design Award Gula ma ka Māhele Lei Kahiko

106,088

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #164814

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

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Squama Mea Hoʻonani Kino

ʻO ka Squama kekahi hapa o ka Hōʻiliʻili Kerf, he papahana e mālama ana i ke kino ma ke ʻano he ʻāina neʻe. Ma o nā ʻoki kerf pololei, loaʻa ka kahe o ke kālā, kulouʻana māmā e hahai i ka hiʻohiʻona kūloaʻa o ke kino. Hopu a hoʻokahe kona ʻili nalu i ka mālamalama, e hana ana i kahi kiʻina mālamalama e loli me ka neʻe ʻana. ʻO ka hui pū ʻana o nā wahi ʻālohilohi welawela a me nā aka pāʻoloʻolo e hoʻonui ana i ke ʻano o ke kino, e hoʻololi ana i ka hoʻākaʻaka i mea hōʻike ola o ka mālamalama. Hoʻāla ka inoa Squama i ka manaʻo o nā pāpā pāpālua e hui pū ana, e hoʻākaʻaka ana i ka mālamalama ma nā ʻano palepale wikiwiki.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Gula

Ua lanakila ka hoʻolālā Squama Mea Hoʻonani Kino i ka A' Design Award Gula, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā pae mua, kupaianaha a kūʻokoʻa. He mau hana hou loa, ʻike maka a nani hoʻolaʻa nā lanakila Gula e hōʻike ana i ka ʻuhane akamai, ka naʻauao a me ka mākau o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Squama Mea Hoʻonani Kino he mea hoʻokumu i hoʻomaikaʻi nui ʻia, e hoʻokumu ana i nā ʻano hou, he nui, e hāʻawi ana i ka waiwai ʻaʻole i ʻike ʻia ma mua. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Gula he papahana kupaianaha, mahalo ʻia e hāʻawi i ka pōmaikaʻi nui a hoʻoneʻe i nā palena o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana. Hoʻāla ka hoʻolālā Squama Mea Hoʻonani Kino i nā manaʻo makemake ikaika, hoʻāla i ka ʻiʻini, hoʻoulu i ka hana noʻeau a hoʻopūliki iā mākou.

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: 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.
Nā Ana a me ka Hoʻopili: 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.
Nā Lepili: Body as context, Body landscape, Kerfs collection, Transformation, integrity of technique and aesthetics in design Technique, Reflection, Squama , Alive piece, luminous gradient
ʻEnehana Hana: 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.
Pilikia Hoʻolālā: 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.
Noiʻi: 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.
Hoʻoulu Manaʻo: 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.
Ka Lōʻihi o ka Papahana: The project started in March 2023 and finished in 2024
Kaʻina Hana: 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.
Nā Kuleana Kiʻi: 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