On-going experiments in form and material that are created and documented with low pressure outside of regular projects or collections. It is a kind of serious playground that often drives real studio output.
Aside from result-focused work on regular projects and collections where the development always works with a brief and a concept it is also necessary to do other things that don’t have this pressure on the outcome. It is often these slightly naive or open-ended experiences that refresh the mind and that give so much energy to innovation elsewhere in one’s creative work. I also believe that starting with an idea, doing some work on it and then coming back to it or simply letting it be for a while is a great way to progress. Showing this unfinished work is an important part of getting my feedback and triggering clients and collaborators out there. Visions also benefit from the fact that the design process is not an exact science. With every project comes a whole range of extra ideas, extra models and tests that did not make it into the final design. The creation of something does not necessarily have to align with the purpose of it in time. All of these extras receive sufficient creative attention to be inspiring in the future and they get well documented.
Jesmonite & potassium permanganate
The incredible acrylate-based Jesmonite casting material combined with crystals of potassium permanganate create this dalmatian-looking organic cell pattern. It happens on its own and it is created throughout the whole material. The success of this formula depends on certain mixing and casting conditions, but it seems to be quite controllable. The material mix also responds well to 3D printed molds as well as metal and polycarbonate molds. The only issue to resolve still is the removal of moisture during the curing process.
An open box of 5 connected walls is a classic typology of an object. This idea shifts one half of it forward and creates an extra opening. The resulting form gains many possibilities in terms of functionality and the relationship with surrounding space. It is a very versatile storage unit and even a bar stool. Multiplying the object also seems to create so many opportunities. The models above are 1:10 3D prints. The next steps for this idea would be to find a 1:1 material solution. Ideally the object would fold flat and allow a combination of easy logistics and an easy build.
This is about scaling the thread and turning it into a physical tangible feature of an object. It usually hides within objects in the scale of nuts, bolts and screws. Yet it is a striking asymmetric structure that has its own appeal. It is not certain these ideas here would work and the material solution is not quite there. The next step for these sketches and models would be to test probably some low-friction plastics and see how much of a scale the thread can really handle and still work and feel right when in use.
It seems more natural to imagine that relationships of angled rectangles would be rather rough and would require some cleaning and cutting to create a harmonic overall form. These examples show a different approach where all rectangles are kept strictly 90° all around while the overlapping connections of the rectangles are all angled. Somehow there is an unexpected harmony and fluency in something that is composed of such basic forms. This design language would be probably well suited for something like a public space collection of furniture where simplicity and easy replacement of elements are key.