Tuesday, May 17, 2016



For the final review:

1. Neck it project

A fully articulated 3D printed chain with a clasp, Research in the form of models, photos, chain samples and tests

Documentation in the form of digital renderings and photographs

2. Like a rolling stone

A wearable piece that takes advantage of in house 3D printing technology to include stones that are relevant to conceptual content. Tests and mock-ups are required.  Multiple prints and castings may need to be made.  With this and all projects for this course renders and spec drawings will be turned in.

Documentation in the form of digital renderings and photographs

3. Cameo/selfi

A wearable piece that takes advantage of 3D printing and 3D scanning technology to include geometry that is relevant to conceptual content. Tests and mock-ups are required. Multiple prints may need to be made in order to fit print to brooch back. With this and all projects for this course renders and spec drawings are to be turned in.

Documentation in the form of digital renderings and photographs

4. 50 posts 

A minimum of 50 pages is required OR if in digital format such as a blog you must have at least 50 posts. If a student turns in a sketchbook with less than 50 pages they may receive a failing mark. Any medium may be used for sketches.  Recommended sketching tools are watercolor, gauche, pencil, acrylic and water based inks. All blog links must be emailed to me by the second day of class. ALL RENDERS must be processed at the highest level when submitting them for a grade.  Please post all relevant support material to your blogs.  This could be links to articles, photographs, research images, renders etc. Document everything! 

Thursday, May 5, 2016

... I was particularly intrigued that it [Manus x Machina] would stimulate a conversation exploring the relationship between what is made by hand, and what is made by machine. That it would challenge the preconception held by some, that the former is somehow inherently more valuable than the latter. In the design team at Apple, we do share similar preoccupations and goals with the designers whose work you will see here today. Many of us I think believe in the poetic possibilities of the machine, while in equal measure, we have tremendous respect and admiration for what is made by hand.

Our goal has always been to try to create objects that are as beautiful as they are functional; as elegant as they are useful. Our physical designs are informed by our passion for materials and processes, based on an experience gained from making things actually ourselves.

Surprisingly fewer and fewer designers, regardless of their particular design discipline, seem to be interested in the detail of how something is actually made. With a father who is a fabulous craftsman, I was raised with the fundamental belief that it is only when you personally work with a material with your hands, that you come to understand its true nature, its characteristics, its attributes, and I think – very importantly – its potential.

As I have watched the exhibition's narrative evolve, it has been exciting to see craftsmanship considered not only in the context of today, but also the future. The Chanel dress that Tom [Campbell, Met director] mentioned, which was Andrew's inspiration for the exhibition, is a wonderful example of artisan-like craft executed with the deepest consideration, yet enabled with the every latest technology.

Most breakthroughs in craft were once, of course, perceived as truly innovative. Often shockingly so. Once, even the simple metal needle challenged the conventional thinking of a time. I'm humbled by the innovations of the past, in the same way that I'm humbled by the work that we can see here today.

It's easy to think that craft can't change, but important to remember that all craft process was at some point new; at some point challenged convention – not to be contrary, but enabled by some breakthrough; some newly discovered principle, or sometimes some wonderful accident.

Fundamentally though, the most critical of all for me in this discussion is the notion of care. When something's made in the smallest volume, as a one-off couture piece, or in large quantities, deep care is critical to determine authentic, successful design and ultimately manufacture.

It is extraordinary care and resulting beauty that I recognise in every object here today. Regardless of whether is has been made by hand or by machine, it is creation led by great consideration, rather than driven by a preoccupation with schedule or price.

I believe this will resonate with visitors to the exhibition. Ultimately, it is the amount of care invested – whether machine-made or handmade – that transforms ordinary, modest materials into something extraordinary.

I would like to sincerely thank Anna, Andrew, Tom and the team here at The Met on behalf of all of us at Apple, for the opportunity to be a part of this beautiful and thought-provoking show. I know that it will be an inspiration to many, and challenge us to recognise that far from being mutual exclusive notions, technology are craft are of course not at odds. And much like beauty and utility, go hand in hand – all the more powerful in combination.

-Jonathon Ive

Tuesday, May 3, 2016

Tuesday, April 26, 2016

repeat post dying parts

We had a visitor in the lab over spring break. Bin Dixon Ward is a jeweler from Australia that 3D prints all of her work. Her work pushes the tolerance of the 3D printer by making thin interlocking substructures that would be nearly impossible to make by hand.  She uses SLS 3D printing technology to build the work and then hand dyes all of the pieces.  Her work has a playful, whimsical feel being that has a wonderful movement when worn.  It is hard not to play with the work.  The is a lot of complex geometry inspired by map data that adds a level of sophistication and comfort to her work. 

 She happened to be passing through New York on her way to Shanghai and I begged her into doing a little mini presentation in the lab.  

Thank you Bin.  Safe travels.

vinyl cutter as resist.

Using the vinyl cutter as a resist for etching