User:Joni.kling

From DigitalCraft_Wiki
Jump to navigation Jump to search

Portfolio Joni --> portfolio

MINOR DIGITAL CRAFT

Lecture with Brain Eno


Brianeno.png


http://www.redbullmusicacademy.com/lectures/brian-eno


This is an interview at the Red Bull Academy with Brain Eno about music. In this interview he speaks of music and art in the same sentence, and the way he talks about music and it's new technological developments is very interesting to me. He talks about music and art in our society. How we like to create 'geniuses' and 'hero's' but they never come out of nothing. A lot of people were doing the same things a the time. A lot of artists were inspired by each other.


Quote Brain Eno from the interview:

You have to find out how to fuck up new technologies to create something new. Because new technologies are created for historical reasons doing things wrong, using stuff how it's not meant to be used has been a really important part of the new development in the art and music scene.


I posted this link because I think it's interesting how the developments between two different elements (music and art) are a lot the same and have a connection. And I like the way he thinks about using the new technologies in a different way (see quote).

//FANTASTIC FORGERIES//

HellaJongerius.jpg

Object chosen: Long Neck & Groove Bottle by Hella Jongerius - Jongeriuslab


ABOUT THE PRODUCT

Long Neck and Groove Bottles

Year: 2000

Material: Porcelain, glass, plastic tape

Dimensions: Long Neck Bottle: 50 x Ø 14 cm. Groove Bottle: 44 x Ø 18 cm Commission: Initiated by the designer

Production: Jongeriuslab

Category: Unlimited production

Because glass and ceramics, two traditional materials, become respectively soft and hard at different temperatures, the two can never melt and fuse together. Therefore Jongerius chose to link them with a common type of tape, used for the packaging of fragile objects. The usual hierarchy is reversed because a simple plastic tape has become the constructional device of each vase.



ABOUT HELLA JONGERIUS:


Profielfotohella.png


Born near Utrecht in 1963, Hella Jongerius graduated from the renowned Design Academy at Eindhoven in the early 1990s, working briefly for Droog Design before launching her solo career. Today she is one of the most important designers of her generation. Her designs combine new technological achievements with the uniqueness and importance that only handmade historic objects possess: 'I'm trying to make products that can be loved and that people want to own their whole lives to then pass them on to the family.'

Designer Hella Jongerius has become known for the special way she fuses industry and craft, high and low tech, tradition and the contemporary. After graduating Eindhoven Design Academy in 1993 she started her own design company, Jongeriuslab, through which she produces her own projects and projects for clients such as Maharam (New York), KLM (The Netherlands), Vitra (Basel), IKEA (Sweden) and Royal Tichelaar Makkum (The Netherlands). Her work has been shown at museums and galleries such as the Cooper Hewitt National Design Museum (New York), MoMA (New York), the Design Museum (London), Galerie KREO (Paris) and Moss gallery (New York).


Hella Jongerius says there's more to design than simply creating more and more new objects. Jongerius also explained that she enjoyed her role at Vitra as creative director of colours, because it enabled her to use her design skills more sustainably instead of constantly trying to create completely new objects. "Why make new stuff every year? I don't believe we have to have more stuff," she said. "I believe a designer can use her talent to update a collection and also be sustainable. Making stuff is just one design solution. Jongerius believes that it is important these days to give a identity, in the physical work, that gives it a real signature, so it doesn't have to have marketing stories.



INDUSTRIAL DESIGNER

Quote Hella Jongerius

I call myself an industrial designer because I believe the industry needs this crafty approach. At the start of my career I only did self-initiated projects and it was always a theme of mine to make individual products in an industrial way. To do individual pieces is just not interesting to me because that's just a hobby. As soon as a piece is in the machinery, in the system, as soon as you start talking about a market and money, you can reach a lot of people, you can change the system. If my ideas of individuality and creativity resonate with the consumer, then the product is more than just slick, cheap mass production.

So that's why I call myself an industrial designer. I know I am not a traditional industrial designer, sending technical drawings from my computer to a company. I have questions and I like to change the way we produce.


In the 1990s she introduced imperfections and individuality into the industrial manufacturing process. Jongerius believes that the quality of craftsmanship is not legible in perfect products but only in the ‘misfits’ that betray the process and the hand of the maker. That is why she's such an important designer to my opinion.



DROOG DESIGN

Droog has played a big part in the rising of the Dutch Design in the past decade. In the early 90s, humor and intelligence brought an end to the reign of slick Italian design. No more luscious curls or bright colours, and certainly no shiny chrome, but a chandelier made up of about 40 bare bulbs knotted together and a chair that is just a bundle of old rags. Thanks to Droogs rebellious anti-design, The Netherlands were squarely placed on the map as the birthplace of progressive design talent in one fell swoop. Although a dozen rag chairs and scrap wood cabinets were ever made, they did become design classics. Droog has changed opinions about design forever - it's not just about products it's also about ideas. Droogs critical approach to designing has evolved into an open mentality in which nothing is predeterminded, and everything is up for discussion. In the 21st century, Dutch Designers create products that are elegant and very accessible, exuberant or simple breathtakingly beautiful. Dutch design stands for exclusive showpieces, but also useful objects. It utilizes both traditional crafts and digital production techniques, but it is always adventurous, singular and well-thought out. And very important: it's manufactured in the designers own workshop.

TejoRemy.png Marcelwanders2.png RodyGraumans.png

Tejo Remy - Chest of Drawers // Marcel Wanders - Knotted Chair 1996 // Rody Graumans - 85 lamps, 1994


Droog was founded in 1993 by Renny Ramakers and Gijs Bakker to promote modern Dutch Design. They decided to present works of young Dutch designers at the Salone del Mobile, the international furniture show in Milan. They used the name 'Droog' because in the designs the concept was more important then the use of it. the objects contain simplicity and dry humor. The duo presented a selection of sober designs made of industrial materials and found objects.

Droog works with independent designers to design and realize products, projects, exhibitions and events. Droog has worked with amongst others Marcel Wanders, Hella Jongerius, Tejo Remy, Richard Hutten, Ed Annink, Jurgen Bey and Joris Laarman.

// MISFITS //

Hella Jongerius: Misfit is a detailed survey of the work of Dutch product designer Hella Jongerius (b. 1963). Jongerius studied Industrial Design at the Eindhoven Design Academy and graduated in 1993. She came to prominence very soon after graduating, with a series of her designs being produced by the influential Dutch conceptual design collective Droog Design. She started her own design company, Jongeriuslab, in 1993 in Rotterdam, and in 2008 moved to Berlin. She has collaborated with many prestigious manufacturers, including Vitra, Royal Tichelaar Makkum and Swarovski, and her work is held in the collections of MoMA, the Stedelijk Museum and the Design Museum in London, amongst many others. Jongerius designs a range of products, including furniture, lighting, textiles and glassware but has a particular interest in ceramics. Her work combines the traditional with the contemporary, she is interested in new technologies and processes, and in older techniques. An extreme example of this is her ‘Red White Vase’, the shape is based upon an amalgamation of medieval pottery shards, glued together to form an archetype, put into serial production, and decorated with a type of paint usually used to paint car bodies. Jongerius is also fascinated by the value of the individual character and qualities that objects can assume, and in how individuality can be incorporated into manufactured products. For example her ‘B-Set’ of porcelain crockery, produced for Royal Tichelaar Makkum since 1997, is fired at too high a temperature during the manufacturing process, ensuring that the clay deforms slightly and giving each set a completely unique shape.


[[1]]


Keywords for Hella's approach: - Experimenting - Material en Technique mixing - Simple and smart solutions - They are not aiming for perfection. - Don't always try to invent different things but use it in a different way - Storytelling is an important element, and not only the quality - Color organized - No new collection every year but update and improve last one.




TECHNIQUES & MATERIALS IN MISFITS COLLECTION:



Colored-vase.png Pproces-cv.png


Coloured Vases (series 3)

Year: 2010

Material: Porcelain, 300 self-made colours through a process of mixing old and new glazes

Dimensions: Each vase: 41 x Ø 16 cm

Commission: Initiated by the designer

Production: Royal Tichelaar Makkum

Category: One-offs


Collection: Collectors Edition: 300 one-off vases are linked to copies of the monograph ‘Hella Jongerius – Misfit’ (published by Phaidon Press 2010). The second series of 300 vases is part of the collection of the designer. The three series of Coloured Vases show experiments with colours in which the vase (Red White Vase of 1997) is used as the ‘canvas’. The first series (featuring 40 RAL colours) was produced in 2003, the second series (with 42 NCS colours) in 2007. The third version of 300 Coloured Vases, an investigation into the perception of colours that optically merge, was produced in 2010. On the basis of 100 old mineral recipes and 100 industrial colour transfers, 300 polychrome colours were produced which are reminiscent of the colour intensities of old paintings.




Giant-prince.png

"Giant Prince"

Year: 2000

Material: Earthenware, glaze, embroidery

Dimensions: 44 x Ø 81 cm

Commission: Initiated by the designer

Production: Jongeriuslab

Category: Limited edition





Embr-tablecloth.png


Embroidered Tablecloth

Year: 1999

Material: Linen, cotton, earthenware

Dimensions: 80 x 120 cm

Commission: Initiated by the designer

Production: Jongeriuslab

Category: Limited edition

Decoration is reintroduced as a meaningful component in design. The merging of plate and cloth, which results from the embroidery, distorts the functionality of both items and can be considered a comment on the link between functional objects and compulsory conventions (eating). The patterns of the flower and the dragon are inspired by 14th- and 15th-century Ming vases in the Museum Het Princessehof in Leeuwarden.





Plates.png

Shippo Plates

Year: 2007

Material: Copper, enamel

Dimensions: Plate # 1: 3.5 x Ø 19.5 cm, plate #2: 4 x Ø 19.5 cm, plate #3: 3 x Ø 24 cm, plate #4: 3.5 x Ø 30.5 cm, plate #5: 6 x Ø 42 cm

Commission: Cibone, Tokyo

Production: Cibone and Frozen Fountain

Category: Unlimited production

A contemporary interpretation of an almost lost craft: ‘shippo cloisonné’ or ‘enamel’. The piece not only reinterprets old deco­rations, but also employs untreated copper, which will eventually turn black /green.





Arti-flowers.png

Artificial Flowers (Natura Design Magistra)

Year: 2009

Material: Various materials, including paper, wood, plastic, ceramics, glass, leather, tape, metal

Dimensions: Table: 85 x 60 x 185 cm. Flowers: various. Total height of table and flowers: 213 cm

Commission: Galerie Kreo, Paris

Production: Jongeriuslab and Galerie kreo

Category: Limited edition

Collection: Private collections

Natura Design Magistra. The flowers represent a parallel world to “real” nature, whose complexity is expressed in the diversity of materials, techniques and forms.



Frog.png

Frog Table (Natura Design Magistra)

Year: 2009

Material: Walnut wood, blue semi-transparent coating

Dimensions: 120 x 210 x 105 cm

Commission: Galerie Kreo, Paris

Production: Galerie kreo

Category: Limited edition

In many works Jongerius deals with the relationship between users and their products. In Frog Table the frog functions as an intermediary. The decoration has become an almost autonomous 3D figure, who will not be ignored at your table. Frog Table plays with the imagination of the user; at the same time the design reveals an outspoken view of the power of decoration in design.




Officepets1.png Officepets2.png Officepets3.png Officepets4.png

Office Pets

Year: 2007

Material: Leather, metal, polyester, embroidery

Dimensions: Heights: 136, 195, and 124 cm

Commission: Vitra, Basel

Production: Jongeriuslab

Category: Limited edition

Only when the mind is able to fly do exciting ideas develop. Based on this idea, Jongerius created 3 objects that connect the rational world of offices and the narrative world of fairy tales. The limited edition is part of the Vitra Edition project (2007), a laboratory that provided architects and designers with the freedom to create experimental objects without having to deal with the constraints of market and production logic. Office Pets push the boun­daries of the field, emphasising the role of the imagination rather than the function of the objects.

The first set was created by Vitra and Jongerius­lab, the next sets were created with Galerie kreo.



Woolhanging.png

IKEA PS Pelle, Mikkel and Gullspira

Year: 2009

Material: Wool, cotton, decorations embroidered by hand

Dimensions: 93 x 70 cm

Commission: IKEA, Sweden

Production: IKEA

Category: Unlimited production

An IKEA-Unicef project that helps Indian women to earn a living and meet other women while their children attend school. The wall-hangings result from both industrial and craft production and honour the role of the craftspeople, as each specific fabric carries the name of the woman who contributed to it. The images are taken from Swedish fairy tales, a reference to IKEA’s homeland. This kind of time-consuming craftsman­ship can only be done at affordable prices when commissioned by manufacturers who can produce and distribute the objects in large quantities.





Ikeavaas0.png Ikeavaas1.png Ikeavaas2.png

IKEA PS Jonsberg

Year: 2005

Material: Stoneware, earthenware, porcelain and bone china, glaze and various decorations

Dimensions: 34 x Ø 30 cm

Commission: IKEA, Sweden

Production: IKEA

Category: Unlimited production

Collection: The vase is held in a large number of musuem collections, including the Stedelijk Museum ‘s Hertogenbosch and Stedelijk Museum Amsterdam. It is also held in numerous private collections!

This responds to the challenge of how to pre­serve traces of the craft process within a mass-produced product. The same archetypal forms are made in four ceramic techniques and their decorations refer to specific parts of the world, the Soviet Union, Africa, Asia and Europe. This kind of timeconsuming craftsmanship is only possible at affordable prices when commissioned by manufacturers who can produce and distribute the objects in large quantities.



COPY & MUTATION

Tim gave us the assignment to find projects that have similarities with my chosen object. Like color, shape, material, function or concept. This is my result.

File:Matching-projects.pdf


RESEARCH

My research began with the Long Neck Bottle from Industrial Designer Hella Jongerius. There are a view aspects that I found interesting in her approach as a designer. The Long Neck Bottle is a part of her Misfit collection which was exhibited a view years ago in the Boijmans van Beuningen Museum. This 'misfit' collection explains why she became so famous to my opinion.

In the 1990s she introduced imperfections and individuality into the industrial manufacturing process. Hella was one of the first designers in Holland who didn't care about the perfection of products, but she sees beauty in little 'flaws'. Hella Jongerius has become known for the special way she fuses industry and craft, high and low tech, tradition and the contemporary. Her work is also all about experimenting, that is an interesting element to me. The search for new and exciting combinations between different materials. To use them in a different way then they are supposed too.

The misfits exhibition shows the search and experiment in new combinations. Some of the products lose their functionality because of these combinations which make them purely decorative. This is really caught my attention because now you can really see that functionality is not always the most important thing in a design. It's not always the use of the products that is most important but the combination of different techniques and materials which will get your attention.

Hella Jongerius says there's more to design than simply creating more and more new objects. Quote:"I believe a designer can use her talent to update a collection and also be sustainable.". This quote I also want to take with me in my project because I think it is important to think about that subject as an designer nowadays as more and more useless stuff is product every year.

These elements I would like to take with me in my process:

Process important element

Experimenting with materials and techniques

Combining industrial design and handmade work

Imperfection is Perfect

Updating a product

Function and use not most important thing to a product

High tech and low tech


//COPY//

For my copy I learned a new technique. My goal was to combine and show handmade elements and an industrial process into one product. Functionality isn't the most important thing for me with this development. The vase was intentionally unfinished because it was important for me to see the progess of the product and the development of it.


Vaas1.jpg Vaas2.jpg Vaas3.jpg


Vaas5.jpg


Vaas6.jpg Vaas7.jpg Vaas8.jpg

Vaas.jpg


Tools


Tools.jpg



//MUTATION//


We started this project with the discussion of 'Copying'. What is copying ecxactely, when is it copying and when is it not? This was interesting to me because I found a link in Hella's vision which connects to these questions. Quote: Why should you create more and more new products every year? Why can't you update and evolve a last collection and be sustainable this way. With my project I wanted to show Open Source and 'copying' can be very usefull and inspiring to create something totally new. Taking inspiration from a product and making your own vision of it, is not copying at all but a development to a new path a product could evolve to.

Because my project is about the Beauty of Development, experimenting and process, my mutation will come foreward out of some material experiments. For my mutation I will make a new collection out of the Long Neck Bottle for the misfits collection from 1999.

My goal is to create a new material out of 2 materials which normally do not mix together and are not supposed to be used way and in this combination. I chose 2 materials to work with, Acrylic One and Polyester. I chose these two materials because I was looking for a material where you can make al sorts of shapes with because it's liquid, and because it's liquid you can easily mix it with other substances to create a chemical reaction. Because of this reaction the material changes form, color and structure and it becomes something new. I hoping for a curious reaction from the viewers when they see the vases. A feeling that you want to touch and question the products. They are vases but are made out of a material which is not standard, and will give something extra to your interior. I also chose these materials because because the color, appearance and the feeling of it, fits my style as a designer and fit in the design interiors nowadays.


Materiaal1.jpg Materiaal2.jpg


Acrylic One beschrijving:


Een op gips lijkend acrylhars bestaande uit een poeder en vloeistof dat , na kort roeren, een uitstekende vloeibare massa geeft. De Acrylic One is zeer sterk en kan men gebruiken voor het gieten van modellen, replica’s, ornamenten, schaalmodellen, prototypes en nog veel meer. De Acrylic One kunt u toepassen voor beelden of modellen die buiten worden geplaatst. Hiervoor brengt men het best een sealer of verflaag aan. Voor het inkleuren van de Acrylic One zijn speciale pigmenten te koop zoals brons, koper, goud etc...


Verwerking Meet de juiste hoeveelheid Acrylic One poeder en vloeistof af volgens de mengverhouding. Strooi de poeder over de vloeistof en roer het mengsel krachtig met een mixer of garde zonder luchtbellen in te slaan. Blijf mengen totdat er geen klonters meer zijn en houd rekening met de potlife. Giet met een dunne straal en breng een dunne laag aan om eventuele luchtbellen te voorkomen, het verder vullen van de mal kan in eenmaal gebeuren. Na circa één uur kan men het uitgeharde model uit de vorm nemen.


Bijzondere aanwijzingen De Acrylic One kan men ook laminerend aanbrengen. Gebruik voor het lamineren een penseel en verwerk glasvezeldoeken/ -snippers ter versteviging van het materiaal. Maak uitsluitend gebruik van zuiver werkmateriaal en overschrijd de verwerkingstijd niet.


Verpakking De Acrylic One wordt geleverd in een kit bestaande uit: 1 kg poeder en 0,5 kg hars, 2 kg poeder en 1 kg hars of 10 kg poeder en 5 kg vloeistof.


Houdbaarheid Mits de componenten in gesloten verpakking, koel en vorstvrij worden opgeslagen, is de houdbaarheid minstens 1 jaar.


Veiligheidseisen : Voor zover bekend is de Acrylic One onschadelijk voor mens en milieu.

Kenmerken

Eenvoudige gietmassa

Homogeen in te kleuren

Uitstekende resultaten

Zeer sterk

Geurloos

Niet giftig

UV resistent

Vriendelijk voor uw siliconen mal

Gereedschap kan men met water reinigen, oplosmiddel is niet nodig



Polyesterhars.

Een polyester is een polymeer dat bestaat uit een keten van esterbindingen. Polyesters worden gevormd door een polycondensatiereactie van dicarbonzuur en een diol of door een polycondensatiereactie van een groot aantal moleculen met zowel een carbonzuur als een alcoholgroep. Er kan ook polycondensatie plaatsvinden onder andere functionele groepen, zoals de -NH2 (amino) groep en een carbonzure groep.

Textieltoepassingen bijmenging bij katoen en wol overhemden en blouses japonnen, kostuums, rokken en regenkleding, bedrijfskleding sport- en vrijetijdskleding vitrage meubelbekleding.

Technische toepassingen jachtzeildoek trossen voor boorplatforms transportbanden versterking voor autobanden veiligheidsgordels.



Pres2.jpg Pres3.jpg

These photos above are a selection of my research materials. My conclusions of my research are that I want to continue with Arcylic One and Salt to make one vase because this has a big chemical reaction and changes (the normal flat and mat) material into a kind of natural, rock like, crystal and embossed surface. It has more power and personality to my opinion and I felt like this transformation works good as a developing material in my project.

For the other two vases I would like to create tension between the products, so I will have to do more experiments to find out which combinations of material work best for the collection.




MUTATION: ACRYLIC ONE & SALT

Proef1.jpg Proef2.jpg Zout.png


Natriumchloride is een zout met de formule NaCl. Dit zout wordt in de volksmond keukenzout genoemd omdat het bij de bereiding van voedsel vaak gebruikt wordt als smaakmaker en conserveermiddel. De kristallen van dit zout zijn kubisch-vlakgecentreerd van vorm. Dat wil dus duidelijk zeggen dat de ionen gestapeld zijn als denkbeeldige dobbelstenen; ieder chloride-ion is omgeven door zes natriumionen en ieder natriumion is omgeven door zes chloride-ionen.

Closeupproef.jpg

After my copy and my first material research I came to the conclusion I wanted to work with salt and Acrylic One. Acrylic One because it's a material that is very versatile and has qualities good for this project because it's liquid so good to mix, hardens quickly, almost unbreakable and lasts long so sustainable that way and it's a material that is not harmfull for nature which is important to me. Knowing that, I made the next step.

I was looking for a weird reaction between two materials, and wanted to choose a second material that is a not obvious combination. Hella uses a everyday utensil, tape, to combine the two materials. I wanted to use that idea and searched for a everyday material in and around the house. After a lot of experiments, salt was the most fitting for the rest of my project because salt is a material that enhances taste, so maybe it can enhance my project aswell. Not only that but if you add salt to another product it stays sustainable for a longer period so it's not temporarily and it makes it stronger. So I came to this conclusion.

Maybe salt becomes the most important ingredient in this project because I take it out of it's context, I change the function and the look of it. All of the sudden the salt becomes admirable, becomes a esthetic thing when normally people don't even notice it. The look of salt transforms into an unrecognizable way, so it gets an added value and is upgraded


Nest.png

For a beter research in mixing materials, reactions and researching possibilities I found a exposition in Nest at Den Haag. This exposition is called ALCHEMY. I will attend a lecture from Navid Nuur who experiments with salt a lot. There are also a lot of artists at the exhabition that experiment with mixing materials. Navid Nuur's 'Mineraliun' transforms during the exhibition. De pile of salt, withdraws moisture from the space and from the bodies of the passing visitors, making the iron filings to the surface starts to rust. The filings are held in place by magnets, and dark spots transform slowly to orange sweeps as the iron rusts and the oxidation process is visible.


Sadly this lecture was more about Navid Nuur as a person and how he had come this far instead of more about the research in salt. But still it was very interesting to see al the works and to learn more about the material experiments. So it was definitely very useful for me to have been there.

Expozout.jpg Roest2.jpg Roest.jpg

Link to website nestruimte.nl --> [[2]]


Link to movie: ALCHEMY_ state of change --> [3]


ALCHEMY_ state of change

Frank Ammerlaan

Myriam Holme

Alastair Mackie

Navid Nuur

David Rickard

Oscar Santillan

Lawrence Weiner


Gecureerd door Will Lunn ism David Rickard

De alchemist zoals we die uit de verhalen kennen is een wereldvreemde geleerde die pogingen deed om van iets waardeloos (lood) is waardevols (goud) te maken. De verbeelding en de wetenschap gaan in dit klassieke beeld hand in hand.

De curatoren van Alchemy, David Rickard en Will Lunn zien Alchemie enerzijds als een uitdaging om fysieke eigenschappen van materialen in te zetten of aan te passen, anderzijds als een streven om kennis en inzicht te vergaren. Ze hebben acht kunstenaars uitgekozen die in hun werk de transformatie van materialen inzetten; in fysieke zin of op conceptueel vlak.



After this exhibition I went back to the workshop and started some more material experiments. So for, the result isn't what I expected it would be because the material works at it's own will. You can't really calculate how things will work out. Exciting and annoying at the same time. But I will just continue with mixing the salt and Acrylic One. Big amounts at once is a bad idea because it hardens very fast so I use only 300 ml at the time.

Malmut.jpg Proefmut1.jpg Proefmut2.jpg


Proefvaas2.jpg


As my new project is also going i"m still making some progress in my vase collection. I'm trying to create a collection of three vases where I want to create the illusion of a natural crystal material vase which is in various stages of 'growing/decomposing'. Because of the salt the vases keep changing through time. So if there's not a big crystal result now, there will be in a couple of weeks.


Vaas3luik.jpg

Proefmut1.jpg Proefmut2.jpg

(last one still under construction to be finished)






//TOOLS OF THE TRADE//

Assignment:

The notion of a ‘tool’ in contemporary artistic practice is much wider than a simple hand-held implement. Tools can move material as well as ideas. Tools can fabricate as well as disseminate. Knowing one’s tools (how they are defined, designed, and put in effect) not only gives one agency, but often becomes the crux of one’s artistic practice. This holds particularly true for digital craftsmen. The current range and access to new digital instruments--from dozens of desktop CNC technologies that can make almost anything to hundreds of sensors to measure can pretty much everything--have given rise to a new wave of artist-built machines. Moreover, recent critical practices that break away from the more commercial and industrial (affirmative) applications have brought a new spectrum of objects that instrumentalise design’s potential as a discursive tool. Whether milling-out matter or carving-out meaning, this project ask you to both envision and build new tools for you practice. In this quarter you will define, design, and put into effect a new tool or medium that will strive for two main aims: it will carry your traces and signature as maker, as well as apply/reflect on the technological possibilities of our time.


Spinnewielopa.jpg


//The old technique of spinning in todays world//

My research is a self initiated project about the spinning wheel and it’s existence in this world. In this fast moving consumer society , were everything is about massproduction I took a look at this old craft. To take the speed out of the making and buying society and to bring back awareness about it, I want to reseach and bring back the spinning wheel. The spinning wheel has triggered the industrial revolution and is therefore a very important craft that must not be forgotten. It’s also is a pure way of creating. Nowadays it’s not about the beauty of a craft or the crafted or about the process, but it’s about eas and comfort. People don’t care about how things are made. Production processes are hidden. Not only the spinning is a craft but to built the machine itself is also a craft. It takes a lot of devotion, time, knowledge and attention to master this. I want to zoom in on this process and all it’s lose ellements and I want to see how this old forgotten craft and technique will function in this world. Compare and combine the techniques from now and them, because I believe if you look to the past and the present you can create new things for the future.

With my product I want to show you can go back to the source, to give a product and technique more value. A more honest en pure way of creating by removing unnecessary production steps. Get people to think about those things instead of mindless buying.

In my research I want to explore the boundaries of a almost forgotten technique in this world. I would like to apply new techniques on an old craft. To change the raw material to 'craft' the machine with and to change the raw material to work the machine with will hopefully get the attention of the public.


Presentation first week: File:Operationspinningwheel.pdf

Pitch second week: PITCH-JoniKling.pdf



Some examples of projects that connect to mine:

Anton Alvarez

Anton.jpg

Link to the movie The Thread Wrapping Machine : [4]


Electric Eel Wheel

Elecspin.jpg

Link to the movie Electric Eel Wheel : [5]

//STORYBOARDS//

BRAINSTORING ABOUT STORYBOARDS

Idea Video 1: The power of string: Why re-invent the wheel?

The old technique of spinning is a forgotten craft. The textile industry is a fast developing industry where innovative changes take place every day. But why are we constantly busy making new faster machines when there is a perfectly working spinning wheel still available? Nowadays people don't know how or from what their clothing is made from, and are we mainly thinking about producing and buying more and more. Why can't we go back to slow design and really think about what we are making and how? That is why I want to make the process and technique of spinning open source to make sure this old craft will not be forgotten.

Storyboard kopie.jpg


Idea 3.0 Video 1:

In this movie the contrast between machinery and hand crafts could be clearly visable. Fragments of those two will be played side by side at the same time, or after each other. Of instance a spinning wheel at work, string being made vs. big fast loud machines. Fast against slow. Piles of the same t- shirts vs a hand knitted sweater with imperfections. A material example leftover to spin with vs a whole bunch of texile leftovers in a factory.

Storyboard3.jpg


FOR A COMPLETE VIEW OF MY FINAL STORYBOARDS --> File:Storyboards.pdf



//SPINNING WHEEL _ THE MAKING OF//

Wielonderdelen.jpg


For this project I would like to explore the boundaries of an old craft in this digital world. Not only the spinning is a craft and takes a lot devotion but also the making of the machine itself is a craft. This handcrafted machine versus the digital era we live in. Can I make this machine work with the tools we now use? That's why I decided to make this old machine with the new techniques of today. And after that experiment with different kind of materials to spin with.

First I studied the old spinning wheel of my grandfather really good, and it surprised me that I never noticed before how amazingly this machine is crafted. Al the parts must be in perfect balance and place to connect and work with each other. And that by hand without computers. So That's why I decided to first make the spinning wheel digital in a 3d programma called Solidworks. I've never worked with this program before so it was quite a challenge. If you work with this exact program everything should be perfectly calculated. So it should work right? I'm curious to what kind of problems I will walk into.


Digispoel.jpg Digispoel4.jpg

Digitalwheel.jpg


Making a aluminum spool:

My choice of aluminum was very simple; I'ts a relative light weight metal, which does not wear quickly and which slides easily which the plastic skiffy's. I preferred a spool of one piece, but sadly we don't have the right claw for the job, so it will be a three piece spool. I made the mistake of thinking it would be easily done. I made this mistake more then once in this project; calculating the right size of drill, the construction of various inside tubes in one tube and more and more, a lot of drawing and thinking precedes the actual making. And with a small mistake or rough handling you can start all over again, and do not forget the safetyness. But overall the calculating is one element which is a big time consumer and mistakes are easily made, as I did.


Draaibank1.jpg Draaibank2.jpg

Draaimetaal.jpg

Tapdraaien.jpg

For my material choice I searched the internet for a good quality and price for plastics. I chose a HMPE 500 which is a workable plastic, not to expansive and available in a white color. For my wood choice I had a difficult time to find a nice kind of wood which is not the typical hardware store wood. What also made it harder to find my material is the fact that I wanted it to be 40 mm wide. I searched in various city's but I ended up in Zevenhuizen of all places. DEKKER is a company which owns 80% of the kitchen productions in Holland. A friend of my father suggested I come and take a look at their machines and material.

It was a inspiring experience to be in such a big company with monster milling machines and a production method where over more then 65% is digitalized and automatic. It's not often people can just walk around in such a factory. They use a lot of wood, high quality particleboard and birch plywood. That's their raw material, and it was nice to see that a big company like that uses the leftover wood for power. They've got a big big wood chipper and oven to provide them from power. After my tour through the factory they gave me wood for my project.

I was planning to get my milling work done at the factory, but due to unforeseen extra appointments at the company I had to re-schedule twice. I was very thankful for all their work for me, but I misjudged the unpredictability of working with a lot of extern factors. I think it's very difficult and confusing to communicate with different parties at the same time. I can't keep overview and made mistakes like wrong solid works milling files…because of that my project is delayed for a week...

7factory1-wiki.jpg7factory6-wiki.jpg Factory4-wiki.jpg7factory2-wiki.jpg


Making the spindle For my spindle I used some left over wood from the company Dekker where I visited couple of weeks ago. Only I didn't know at the time it was a very soft kind of wood and light so not compatible for a spinning wheel but a good way to practice my wood milling capacity. After I found out it didn't work, I chose Meranti wood. It's a hard red brownish colored hard wood, which is one of my favorites for a long time. It's a very strong but not to hard kind of wood with a nice drawing.

Asbegin2luik-wiki.jpg

Asproces4luik-wiki.jpg

Aseind1-wiki.jpg Aseind2-wiki.jpg

As2luik-wiki.jpg

Tools-wiki.jpg

//RAW MATERIAL RESEARCH//

Because I want to search the boundaries of an old craft in this world I also started doing some experiments with the raw material. I wanted to find other sources to get the hair from, this way I want to show the options within the craft, surprise and get attention for my project. I began collection dog hair and human hair. Surprisingly human hair works very good to spin.

String.jpg




//RESEARCH DOCUMENT - FUSION OF TIMES AND CRAFTS//

As a future product designer i'm really interested in old techniques and crafts. This usually comes together in ceramics or textiles, and within those two crafts I would like explore the boundaries.  Nowadays a lot of quality is lost and a lot is sacrificed because of the consumer society and for the mass production. Everything has to go fast and in big numbers for as little money as possible. This results in mindless-buying and impersonal products. 

I believe in quality over quantity. The power of my work is in experimenting with materials and researching, analyzing and zooming in on a process/technique or material. With those elements put together and designed in my own way I want to make a statement, get people to think about my project and concept. 

I would like to work with natural materials and with a preference for sustainability and esthetics. Natural materials for example wool, wood, leather, stoneware and many others. But there are also a lot of other techniques which are still an unknown area for me, techniques like silkscreening, csc milling and I want to get to know the embroidery machine, knitting machine and smyrna knotting technique for example. I'm also curious about the new techniques from nowadays. Those new technique are an unexplored area for me and that is why it fascinates me because if you combine those new techniques with the old crafts you can explore new boundaries and create something interesting.

For example Studio Maaike Roozenburg, with 'Smart Replicas'.  ‘Smart replicas’ are replicas of historical utensils made by a combination op high tech 3D scanning- and printing techniques and traditional’ ceramic techniques. They developed new ways to combine traditional crafts and history with recently developed 3D prototyping techniques. Linking traditional and high tech, the 'real' and the 'virtual', historical utensils and modern design. Merging the past, present and the future.

Spinning Origins For this project I want to research the spinning wheel. Spinning is a century old technique which is more and more forgotten these days. On one hand it's not weird that it is a forgotten craft because the world has found faster and cheaper ways to produce. And to evolve and to be innovative is a good thing. But the spinning wheel has triggered industrial revolution, it is where our world as we know it today, all started. The making of string has made so many things possible, and to my opinion that's something that we must not lose. Because if we only think about moving forward, we will forget where we came from. Nowadays people don't know what their clothing is made from or let only understand how a spinning wheel works. It all comes out of the factory 13 in a dozen which makes it so impersonal. Why don't we care about what happens before the t-shirt? Why do fashion designers choose a fabric and not a yarn? So many choices have already been made without you even noticing it. We are not thinking about what we buy anymore because we live in a disposable society, it's all about mindless buying.

So these are all reasons for me to research the spinning wheel. But aside from the social relevance there is also something poetic to the technique of spinning and to the wheel itself, the whole history about it and what it made possible.

The making of the machine But not the spinning alone is a craft, but the making of a spinning wheel is a craft as well. The classic spinning wheel is made entirely by hand, with only the use of tools to carve by hand and a wood milling machine. It is a precise, accurate work to make this machine.

For my project I want to explore the boundaries of an old craft in this new digital world and remake a spinning wheel with new techniques and materials. Because in this fast evolving digital world, there must be a good balance between digital and craft to my opinion. Will my machine work with these new materials I will use? And will my 3d digital document be accurate enough? Will this craft which is invented to be made by hand, still work if it is made by machines and digital programs?

With the new techniques in this digital era, a lot of things are possible today. I would like to explore the boundaries within this era by taking this old craft and reproduce it in a digital way. The technique of spinning is an almost forgotten craft and with this project I want give the old craft some new attention in a poetic way. Therewith I will give a critical note to the fast evolving textile industry and consumer society but at the same time show the possibilities of these digital techniques.

To reproduce an old craft with new digital techniques is a poetic process. It says something about the old and about the new. With new techniques from nowadays, back to the crafts from the old days, back to the source. As I said before with this old craft in a new form I want to show the digital possibilities, but at the same time I can also show the possibilities of this old craft again. I would like to do that by changing the raw material to spin with. Using other materials then people are used to, find other solutions.

The technique will still be the same because why should I invent a new machine when there a perfect working one still available? The process of making a machine is an important element to me. It gives you the possibility to work from the source of something. It is satisfactory and gives you back the control. This process for me is to find out old and new techniques work together and how you can shift things around or makes changes within. It fascinates me how I can learn both new and old techniques in one project.


By making a fusion of the old with the new, the past with the future I am hoping to draw the attention to my project. Bringing back the old technique will trigger the mind to where it all began and hopefully will get them thinking about the way we buy and produce now. To give a critical note to the fast developing, neglecting and polluting textile industry and how we can slow done the making process. Be more aware of what is made and how it is made, to go back to the source. Because today it's not about the beauty of a craft and the crafted or about truth but it's only about comfort and happiness at all cost.

And by using the new techniques I would like to explore the boundaries and show the possibilities of digital creating. Showing that old and new can easily merge together. It is not my intention to get people spinning because there are more easy ways to get what you want. But more over I am also hoping to surprise people with this fusion of times and crafts.







//RESEARCH DOCUMENT - FUSION OF TIMES AND CRAFTS VERSION II//


As a future product designer i'm really interested in old techniques and crafts. This usually comes together in ceramics or textiles, and within those two crafts I would like explore the boundaries. Nowadays a lot of quality is lost and a lot is sacrificed because of the consumer society and for the mass production. Everything has to go fast and in big numbers for as little money as possible. This results in mindless-buying and impersonal products.

I believe in quality over quantity. The power of my work is in experimenting with materials and researching, analyzing and zooming in on a process/technique or material. With those elements put together and designed in my own way I want to make a statement, get people to think about my project and concept.

I would like to work with natural materials and with a preference for sustainability and esthetics. Natural materials for example wool, wood, leather, stoneware and many others. But there are also a lot of other techniques which are still an unknown area for me, techniques like silkscreening, csc milling and I want to get to know the embroidery machine, knitting machine and smyrna knotting technique for example. I'm also curious about the new techniques from nowadays. Those new technique are an unexplored area for me and that is why it fascinates me because if you combine those new techniques with the old crafts you can explore new boundaries and create something interesting.

For example Studio Maaike Roozenburg, with 'Smart Replicas'. ‘Smart replicas’ are replicas of historical utensils made by a combination op high tech 3D scanning- and printing techniques and traditional’ ceramic techniques. They developed new ways to combine traditional crafts and history with recently developed 3D prototyping techniques. Linking traditional and high tech, the 'real' and the 'virtual', historical utensils and modern design. Merging the past, present and the future.



DISPOSABLE SOCIETY / MINDLESS BUYING

We live in a disposable society where we don't think about what we need anymore, but only think about what we want. It's all about mindless buying. We only want more and more and it all comes out of the factory 13 in a dozen which makes it so impersonal.

But what happens before the t-shirt from the H&M? Don't we care about where our clothing is from, who is making it, how and from what kind of material? And in what circumstances? The textile industry has developed in such a fast way, it's polluting and neglecting process destroys at all costs because of our consumer way of thinking. Three of our biggest clothing companies (H&M, C&A and the Primark) place orders in factories in India where child labor still occurs and people work under appalling conditions.


Krantart1.jpg Krantart2.jpg


Why don't we care about what happens before the t-shirt? Why do fashion designers choose a fabric and not a yarn? So many choices have already been made without you even noticing it. So many manufacturing actions which you don't even know about which are polluting the earth.

It bothers me that nowadays people (and myself as well) do not know how to make things themselves anymore, and it scares me that I am so dependent from others to get my products.


BACK TO THE SOURCE

For this project I want to research the spinning wheel. Spinning is a century old technique which is more and more forgotten these days. On one hand it's not weird that it is a forgotten craft because the world has found faster and cheaper ways to produce. And to evolve and to be innovative is a good thing. But the spinning wheel has triggered industrial revolution, it is where our world as we know it today, all started.

The making of string has made so many things possible, and to my opinion that's something that we must not lose. Because if we only think about moving forward, we will forget where we came from and eventually get stuck.

I believe if I go back to the source and experience the start of producing and creating from the origin, I will think more consciously what I make and how. If you remove intermediate stations it will become a more pure process and your product/machine will be more satisfactory. The speed will be taken out of production process, because to my opinion the purpose of progress should not be comfort and ease.


SPINNING ORIGINS

In the 12th century the first hand driven spinning wheel appeared, but only in the 15th century the first spinning wheel with food drive was found. The real origin of the spinning wheel is unclear, was it India or China. I couldn't find any evidence from India so far.

This hand scroll ‘The Spinning Wheel’ was painted in ink and colours on silk by Chinese artist Wang Juzheng, who lived during the Northern Song Dynasty between 960 and 1127 AD. The spinning wheel was invented in China about 1000 AD and the earliest drawing of a spinning wheel that is found is from about 1035 AD (see Joseph Needham). Spinning wheels later spread from China to Iran, from Iran to India, and eventually to Europe.


Chinees-spinnewiel.jpg


Detail of a bas-de-page scene of a woman at a spinning wheel and a man with a basket of loaves on his back. The picture is from Raymond of Penafort's Decretals of Gregory IX wit glossy ordinaria (Smithfields Decretals) France, the last quarter of the 13th century or the first quarter of the 14th century.


France-spin.jpg


Obvious is that the origin is kind of vague, but it's fact that the hand spindle reached our country in the Middle-age. In any case, it will have reached our continent only in the Middle Ages. From ancient guild of Speyer documents show that in 1298 the hand wheel penetrated Europe. The spindle didn't enjoy much appreciation. Spinners literally had their hands full. And they still couldn't spin many miles. Hence, the next step was the kick wheel. Although it the accelerated wool production, spinning remained mostly indoors. It was a first necessity of life, and because of the making of string we started to evolve in a faster way then we did before. Because who says industrial revolution, says cotton industry. But first let me show the development of spinning. It began with hand spindle and the hand wheel and after that the foot peddle was introduced.

Beginspin.jpg

Laterspin.png




INDUSTRIAL REVOLUTION

The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. This transition included going from hand production methods to machines with new chemical manufacturing.

Textiles were the dominant industry of the Industrial Revolution in terms of employment, value of output and capital invested. The textile industry was also the first to use modern production methods. The Industrial Revolution marks a major turning point in history; almost every aspect of daily life was influenced in some way. In particular, average income and population began to exhibit unprecedented sustained growth.

The industry is known for it's ground breaking technical developments: Spinning Jenny, Waterframe and Mule Jenny.


Spinning Jenny 1764

Spinning Jenny was a hand spinning reel which, like the spinning wheel was powered by hand, but she had eight reels, so 16 yarn to spin simultaneously. Later versions had 130 yarn. Spinning became faster and cheaper. Later Spinning Jenny replaced by Water frame because her yarns were to weak.


Waterframe 1769

Water frame was the second generation spinning machine. This machine was too large to fit in a home situation so from now it was on is no longer suitable for home industry. At this stage you lose control over the production process as the machines were moved from domestic environments. Water frame works on hydropower and could only spin strong rough yarn.


Mule Jenny 1779

Mule Jenny was a combination of Spinning Jenny and Waterframe. It could both spin rough and fine yarn and was built to handle pure cotton. In 1780 the first spinning machine on steam power was designed.


Spinning jenny.jpgWaterframe.jpgMule jenny.jpg




SYMBOLIC PURPOSE

After the industrial revolution the spinning wheel lost it's practical purpose and people started to lose the skills to make. But it was once used for symbolic reason as Gandhi used it as a sign of protest. He sat there for 80 days without a word, just spinning and reading. As a protest to how the world (The English at the time) was developing.


Gandhi.png


notes that Bourke-White sent from India to LIFE’s New York offices in 1946

LIFE article in June 1946

Gandhi spins every day for 1 hr. beginning usually at 4. All members of his ashram must spin. He and his followers encourage everyone to spin.

Even M. B-W was encouraged to lay aside her camera to spin. . . . When I remarked that both photography and spinning were handicrafts, they told me seriously,'' “The greater of the 2 is spinning.” Spinning is raised to the heights almost of a religion with Gandhi and his followers.

The spinning wheel is sort of an Ikon to them. Spinning is a cure all, and is spoken of in terms of the highest poetry.''



MY PROJECT/ THE MAKING OF THE MACHINE

It started of with my annoyance to mass production and fast consumerism against all costs. So when I started to think about mainly the textile industry and how this all came to be I went back to the source of it all. I started to look beyond the 13 in a dozen t-shirts and the making of yarn. Because not the spinning alone is a craft and takes you back to the beginning but the making of the machine is a craft and art as well.

I was inspired by the pure way of making the machine those days and how dedicated one must be to do so. The process you go through and knowledge you absorb when you start this project. And eventually you will know all the ins and outs of the product you make, and that's what I would like to achieve. To not just make new products, or let them be produced somewhere but to create something from scratch. A machine which can provide raw material to work with. It contradicts the way we think and live right now, by changing the way I produce, by making the machine, the eventual product becomes timeless

The way of designing and crafting a spinning wheel is very different from the way it is possible nowadays. I could do it in the exact way they used to do it but for my project I want to explore the boundaries of an old craft in this new digital world and reproduce a spinning wheel with new techniques and materials. Will my machine work with these new materials I will use? And will my 3d digital document be accurate enough? Will this craft which is invented to be made by hand, still work if it is made by machines and digital programs?

The technique of spinning and the making of a spinning wheel is an almost forgotten craft nowadays and with this project I want give the old craft some new attention in a poetic way and give a small critical note against the textile industry and the fast consuming society.

I can also show the possibilities of this old craft again. With new techniques from nowadays, back to the crafts from the old days, back to the source. Because in this fast evolving digital world, there must be a good balance between digital and craft to my opinion.


The classic spinning wheel is made entirely by hand, with only the use of tools to carve by hand and a wood milling machine. It is a precise, accurate work to make this machine.

The technique will still be the same because why should I invent a new machine when there a perfect working one still available? The process of making a machine is an important element to me. It gives you the possibility to work from the source of something. It is satisfactory and gives you back the control. This process for me is also to find out if old and new techniques work together and how you can shift things around or make changes within. It fascinates me how I can learn both new and old techniques in one project.

By making a machine which can provide you raw materials to work with, raw materials which are unique, pure and handmade. That is something that gives more value and load to a product. When you make the string from your own machine it's timeless. You do not want to dispose it every season because you know the effort behind it.

BRONNENLIJST

Bronnen

Project: Beauty of Development.

Boek Handson Dutch Design in the 21st century by Jeroen Junte, pag 6 t/m 20.

http://www.jongeriuslab.com/work/long-neck-and-groove-bottles

http://de.phaidon.com/agenda/design/picture-galleries/2010/october/28/hella-jongerius-misfit/

http://www.dezeen.com/2014/08/30/hella-jongerius-book-of-interviews/

http://www.droog.nl

http://www.frozenfountain.nl/hellajongerius

http://www.boijmans.nl

http://studio-ps.nl

http://www.acrylicone.com/acrylicone

http://www.siliconesandmore.nl/media/downloads/327/NL_-_Informatieblad_Acrylic_One.pdf


Project: The Power of String: Why Re-invent the Wheel?

Boek:Textielwarenkennis door JCP Schulte en JGPM schrijnemakers

Boek: Eenvoudige textielwarenkennis door WJC Ruygrok

http://www.antonalvarez.com/The-Thread-Wrapping-Machine

http://www.volkskrant.nl/onk/dit-zijn-de-jongens-en-meisjes-in-de-textieljungle-van-bangladesh~a3777535/

http://mocoloco.com/archives/012530.php

http://www.designacademy.nl/EVENTS/Graduation14/Project.aspx?ProjectId=940

http://v2.nl/archive/people/ebru-kurbak

http://www.wildfibres.co.uk/html/chinese_spinning_wheels.html

http://www.refdag.nl/oud/series/uitvindingen/990223weet04.html

http://time.com/3639043/gandhi-and-his-spinning-wheel-the-story-behind-an-iconic-photo/