Squama Mehala ya Mmele ka Mehrnaz Zarrin Hadid

Moralo oa Squama Mehala ya Mmele ka Mehrnaz Zarrin Hadid ke mohlodi oa khau e hlomphehang haholo ya 2025 Moputso oa Khauta oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Mekgabiso.

KhautaMekgabiso· 2025

Squama Mehala ya Mmele

ka Mehrnaz Zarrin Hadid

Moreki: Mehrnaz Zarrin Hadid

Mohlodi oa Moputso oa Khauta oa A' Design Award Mokhahleong oa Mekgabiso

106,088

Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #164814

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Squama Mehala ya Mmele

Squama ke karolo ya Kerf Collection, letoto le sebetsang le mmele jwalo ka naha e fetohang. Ka dikepe tse nepahetseng tsa kerf, silevera e fumana ho phalla, e kobehang ka bonolo ho latela sebōpeho sa tlhaho sa mmele. Bokahodimo ba yona bo phaphamang bo tšoara le ho hasanya lesedi, bo theha phapano e kganyang e fetohang ka mosebetsi. Tshebedisano ya diqhapho tse fihlileng le moriti o nang le phethō ya satin e totobatsa sebōpeho sa mmele, e fetola ponelo hore e be pōnatshō e phelang ya lesedi. Lebitso Squama le hopotsa lera tse apahaneng tsa lipeiti, di pōnakalang lesedi ka mekgwa e rarahaneng.

Kamohelo

Mabapi le Moputso oa Khauta oa A' Design Award

Squama Mehala ya Mmele ke mohapi oa Moputso oa Khauta oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo ea maemo a pele, e ntle ka ho makatsa le e ikhethang. Bahapi ba Khauta ke lintho tse hlahisitsoeng tse nang le mehopolo e mecha haholo, tse shebileng pele le tse khanyang ka ho foufatsa, tse bontšang botsebi, bohlale le bokhoni ba baqapi ba tsona. Squama Mehala ya Mmele e lebelletsoe ho ba mohopolo o babatsoang haholo, o thehang mekhoa e mecha le o moholo, o tlisang boleng bo sa kang ba bonoa. Moralo ona o hapileng Moputso oa Khauta oa A' Design Award ke mosebetsi o tsosang maikutlo, o hlomphehang, o tlisang molemo o moholo le o sutumelletsang meeli ea bonono, mahlale, moralo le theknoloji. Squama Mehala ya Mmele e hlahisa maikutlo a matla a takatso, e tsosa tjantjello, e khothalletsa boqapi mme e re khahlisa.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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.
Boholo le Phuthelo: 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.
Lithegi: Body as context, Body landscape, Kerfs collection, Transformation, integrity of technique and aesthetics in design Technique, Reflection, Squama , Alive piece, luminous gradient
Theknoloji ya Tlhahiso: 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.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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.
Nako ya Projeke: The project started in March 2023 and finished in 2024
Tsamaiso ya Mosebetsi: 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.
Litlotla tsa Setshwantsho: 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