Geometry of Fiction Aqellu sɣur Nazanin Saranjampour and Mahdi SheykhRezaee

Geometry of Fiction Aqellu sɣur Nazanin Saranjampour and Mahdi SheykhRezaee d anerbaz yettwaqadren meqqren n 2022 Tarbaḥt A' Design Award n Uzzal deg Taggayt n Tnaflit n Afeṣṣel n Lḥelya.

UzzalLḥelya· 2022

Geometry of Fiction Aqellu

sɣur Nazanin Saranjampour and Mahdi SheykhRezaee

Amsaɣ: Nazanin Saranjampour

Anerbaz n Tarbaḥt A' Design Award n Uzzal deg Taggayt n Lḥelya

15,094

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #139979

Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Geometry of Fiction Aqellu

Tignit n Tmucuha d yiwet n tkebbanit n loharat n lfeṭṭa i yesɛan tlata n yiqellal. Tiddet nsen tusa-d seg usenfaṛ n uɣerbaz aqbuṛ n Ḥemmam Golshan deg Yazd, Iran. Tettwaselkem-d tarrayt n usekyed: tiwlafin tibdayin am ikubab d yikunilinden ttwaddukklen deg lbernamej n telqey tazegzawt akked tignit tuɣalin n uḥemmam, ayen i d-yefkan ugar n 250 n tignitin timaynutin. Ɣur-s, ttwafernen kra n tignitin i loharat. Iferdisen-nni ttwaselken s telqey tuzzigant, ttwasiggzen s uḍebbu, syen ttwarran-d s lfeṭṭa. Tlata-nni n loharat zemren ad ttwalsen d kra n usenfaṛ, s snat-nsen neɣ mkul yiwet weḥd-s.

Asmekti

Ɣef Tarbaḥt A' Design Award n Uzzal

Geometry of Fiction Aqellu d amerbaḥ n Tarbaḥt A' Design Award n Uzzal, tagmat i yisnulfa yelhan i yemmalen ayen i d-ttrajun yimdanen seg yisnulfa yelhan. Imerbaḥen n Uzzal ttbanen d tmusni, tmahilt d tazmert n yimahilen-nsen. Geometry of Fiction Aqellu ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Isnulfa-a ttwaɛezzen imi ɛawnen deg tudert, rran ddunit ugar n lxir.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: 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.
Tigejdiwin & Akemmus: 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.
Tibzimin: Jewelry, Experimental Design, Speculative Design, Golshan Bathhouse, Ring
Tasnakta n Ufares: 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.
Asewḥel n Usnulfu: 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.
Anadi: 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.
Aseḥbiber: 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.
Tanzagt n Usenfar: April 2021-November 2021 Tehran, IRAN
Tanila n Umahil: 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.
Igmamen n Terbaɛt: Mohammadmahdi Sheykh rezaee