Squama Nacayo Īteōcuitlachīhualiztli ītēchcopa Mehrnaz Zarrin Hadid

Tlanāhuatīlli Squama Nacayo Īteōcuitlachīhualiztli ītēchcopa Mehrnaz Zarrin Hadid cē cencā mahuizzō tēmacēhualōni īpan huēyi 2025 Mahuizolli A' Design Award Cozticteocuitlatl īpan Cozquitl Tlachihchihualiztli Nēhuilīztli Tlamantli.

CozticteocuitlatlCozquitl· 2025

Squama Nacayo Īteōcuitlachīhualiztli

īpal Mehrnaz Zarrin Hadid

Tlanāhuatīlli: Mehrnaz Zarrin Hadid

Mahuizolli A' Design Award Cozticteocuitlatl Tēmacēhualōni īpan Cozquitl Tlamantli

106,088

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #164814

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Squama Nacayo Īteōcuitlachīhualiztli

In Squama ca īpan Kerf Tlacentiliztli, cē tequitl in nacayo quitequilia īuhquin nenemi tlālli. Īca chipāhuac kerf tlateqtiliztli, in iztāc teōcuitlatl quipiya ātōyōtl, colōni īca ahmo chicāhuac īpan nacayo īyōliztemiliztli. Īn olocāyo ixtli ana īhuān xāyana tlanextli, quichihua cē tlanextlapālli moxipetla īca ōlinaliztli. In tlanexcuāhuītl īhuān tzāyānqui tlālilli quitlazohcuīnia nacayo ītlachīhualiztli, tlanextli mocuepa yōlizqui neltiliztli. Squama tōcāitl quināmictia tlapālōtēmalliztli, tlanextli neci īca nepapan nemiliztli.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Cozticteocuitlatl

Squama Nacayo Īteōcuitlachīhualiztli ca in quicuic in Mahuizolli A' Design Award Cozticteocuitlatl, huel mahuiztic tlamahuizoliztli tlen momaca in achtopa, huel cualli ihuan mahuiztic tlachihualli. In quicuicah Cozticteocuitlatl ca cenca yancuic, tlachiyani ihuan tlanextic tlachihualli in quinextia in tlamatiliztli ihuan toltecayotl. Ca quinequi in Squama Nacayo Īteōcuitlachīhualiztli quitlalizque yancuic tlamantli ihuan quimacazque tlazohtli. Ni dizayno in quicuic Cozticteocuitlatl ca mahuiztic tlamantli in quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Squama Nacayo Īteōcuitlachīhualiztli quiyolchicahua ihuan quipaquiltia in tlacah.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: 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.
Tōcāitl: Body as context, Body landscape, Kerfs collection, Transformation, integrity of technique and aesthetics in design Technique, Reflection, Squama , Alive piece, luminous gradient
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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.
Tēquitl Cāhuitl: The project started in March 2023 and finished in 2024
Tēquitl Ōhuitl: 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.
Īxiptla Tlanēxtīlli: 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