contribution: concept development and implementation - qualitative research - theoretical background - exhibition design and implementation - experience design - storytelling - material research
the Lick Thing is about relationship between people, materials, objects, non-people, phenomena. It’s about appreciation of agency of nature and other beings. It is a manifesto of our current approach to creation - the essence of it expressed through force and matter. We ask a question if all the processes we use have to be only an effect of human activity. It is also a reflection on how we position our presence in the environment and how we see other beings as a whole.
The initial inspiration was an attempt to find a solution for a human-wildlife crisis taking place in the mountains due to climate change and the presence of people in wild animals’ habitat. The objects we were designing were supposed to supplement animals with minerals that they lack and at the same time create a situation that inspires the observer to reflect.
The result of the project are objects co-created by people and animals. The material is a composite of minerals supplementing the nutrient deficiency in an initial form of a machine-produced lick. The final objects are formed as a result of material processing by animals and our decisions as curators of this process. By taking man- and machine-made objects created in a fully controlled way and placing them in animals’ surroundings, we subject them to the process of unpredictable change, which results in creating a new form. A perfect cube is transformed into an object that belongs to a realm of nature.
The key element is the exhibition of objects, which aims to trigger reflection on the receivers. Due to the complexity of the context, the forms created are a medium of redefining many concepts - creation, nature, relationships between people and non-people. The observers at first associate the objects with forms and materials that they know based on their experiences, not yet knowing that the objects are a result of human-animal co-creation. After seeing the objects, they can watch movies presenting how the objects were in fact created. The moment of surprise is also a moment of understanding and acknowledging that the assumption that they were created by human hands and tools and materials such as clay or stone is wrong.
team: Emilia Omilianowicz
project exhibited at: Design for Coexistence Warsaw, Poland; Rozkwit Warsaw, Poland
contribution: concept development - composition - aesthetics - curation - display design - personal interpretation - moodboard
A project manifesting my practice of intuitive observation and collecting pieces of the surroundings. As a surrounding exploration method I collected objects that I intuitively got drawn to and created a curated board as an attempt to organise and translate what’s organic. The grid represents a mathematical order contrasting with the unruly and indescribable forms of nature.
The center piece of the collection is a piece of a tree - a trunk rotten from the inside that I found by the river. Amazed by it’s natural aesthetic features - shapes, colors, textures I cut it in order to fully see it. I created a series of pedestals to display the original geometries of the tree trunk.
Other pieces consist of a color palette, a layering arrangements composed of organic and man made, a reconstruction of a tree trunk made out of sliced wooden bloc and than burnt, shape exploration through translating organic shapes on man made.
All pieces have potential to be further developed into products concepts taking either of explored features as a starting point.
Done during Cultivating Nature workshop tutored by Lex Pott in Domaine de Boisbuchet 2018 that I participated in as a residency winner.
contribution: concept development - qualitative research - theoretical background - speculative storytelling
Oyster mushroom is suitable to grow at home due to its ability to grow on varied media such as straw or coffee waste. Some say it's the easiest and most forgiving mushroom to grow. The wearable is made out of clay which provides the mushrooms with ideal conditions. They grow inside the object in dark, moist and aerated environment due to the properties of fired unglazed clay - its porous structure and ability to hold water. The user should observe the development of mycelium and leave the object open when it's time for the mushroom to fruit.
This object is a part of Biorevolution MAD Design Summer School 2017 'mobility' group project. We designed wearables that allow the user to grow and harvest their own food refering to premaculture principles.
team: Olga Zelenska, Andrejs Strokins, Laura Pazo, Min Young Choi, Liisa Kivimäe
tutors: OS ∆ OOS
drawings by Min Young Choi
contribution: concept development - qualitative research - theoretical background - material research
There has been a surge of interest in bio materials and circular design. But this has been offset a repulsion that most people have towards biological materials such as fungi. This research project addresses this issue by asking how can we make bio materials, specifically fungi(mycelium), more aesthetically and sensually attractive. In a series of preliminary experiments at Mediamatic Amsterdam’s Clean Lab, we have been developing a series of fungi-based materials in combination with various substrates, such as beer production waste, cocoa shells, turmeric etc. These result in different textures, colours and scents that have the potential to be more easily accepted by the wide public.
team: Wasabii Ng
contribution: concept development - qualitative research - theoretical background - material research - prototyping
Shoes made out of of simple, easily accessible components. To create the final sole we tested numerous adhesives, both synthetic and organic. The final sole is made of sawdust, gelatine and vinegar. To create a shoe you simply add an unused sock while the pulp is still moist.
team: Emilia Omilianowicz, Ada Lozynska
contribution: concept development - technology implementation - design - 3D modelling - 3D printing - 3D scanning - prototyping
A series of projects using 3D printing and 3D scanning technology
a device indicating air pollution. It consists of pm sensor and a diode. It's an open source project so anyone can print out the body and install and program the hardware. The model is designed allowing the device to be attached to a bike handle.
team: Barbara Drozdek, Magdalena Mojsiejuk
designed during a workshop lead by Pan Generator 2016
tools: Rhinoceros + Grasshopper, Arudino, Zortrax + Z-Suite
2. ATOMS - BITS - ATOMS
3D scanning a monument - 3D modeling - 3D printing - creating a plaster mold - porcelain slip casting
team: Emila Omilianowicz, Ola Lukaszewska, Alan Kozlowski
tutor: Kamil Jerzykowski
School of Form 2015
tools: 123D Catch, Rhinoceros, Zortrax + Z-Suite
3. RE:made OBJECTS
a 'second life' for objects that would have been thrown away. I was working on creating a new function for a simple wooden stick - for example as a rake and a shovel or a towel hanger.
designed during a workshop lead by UAU Project
exhibited at: Gdynia Design Days 2016, Lodz Design Festival 2016
tools: Rhinoceros, SLS printer
4. TREE FUNGUS
3D scanning a tree fungus - 3D modelling - clay 3D printing
tutors: Jonathan Keep, Rasmus Einst
special thanks to Liisa Kivimae
designed during EAA Summer Academy 2017
tools: Meshmixer, Blender, Cura, Wasp
contribution: concept development - qualitative research - theoretical background - exhibition design - experience design - tool design - prototyping
This project is a result of a combination of two themes. The first one is brush-making, second calligraphy. The inspiration for our work was calligraffiti - large scale lettering made by artists using broad brushes. The main reference in designing the tool was an interview with an active professional craftsman - brush-maker R. Baryliński. Detailed information on the techniques of production and types of brushes allowed us to fit the characteristics of the tools to the needs of the project. The work started from manual programming - setting points of the trajectory of a robot. To get the effect of a perfect calligraphy we designed our font based on Humanist Minuscule, which has been transferred into a robot program. To design a tool that reflects the traditional nib, we added a metal plate to the brush. Striving to create perfect letters we had to solve the issue of regular distribution of paint.
An interesting side effect was initially uncontrolled rotation of the 6th axis of a robot. As a result, we created two types of letters. The first one is perfect, made in regard to the principles of traditional calligraphy - including a still set of the nib during the entire movement. The second one is a different, 'robotic calligraphy' that includes a movement impossible for a man - a precise 360 degrees rotation of the tool when writing.
As the project was presented live during several events it was scaled for a smaller robot.
team: Barbara Drozdek, Sara Bos, Taras Pastushchuk
project presented at: Noc z Designem School of Form 2016 // Cubetura Festival 2016 // Fresh Design 2016 // Lodz Design Festival 2016
contribution: concept development - qualitative research - experience design - interaction design - material research - prototyping
A material interpretation of the digital game “Flow”, where a single player must connect same colored dots into one continuous line. This must be done while taking into consideration leaving the right amount of space on the board for other colors, and taking care not to cross over and disconnect existing lines. In this project, the board used is a piece of fabric on which there has been printed a level from the original game, with the use of thermochromic printing paste. The threads used to form the lines are conductive, thus heating up once the dots have been connected, and revealing the colors underneath.
team: Kinneret Itzhak, Dafna Levi
tutors: Michal Rinott, Schoval Nir, Schachar Geiger
Kadar Media Lab Shenkar College 2017
project presented at TEI Twelfth International Conference on Tangible, Embedded and Embodied Interactions Stockholm, Sweden 2018
contribution: concept development - qualitative research - theoretical background - prototyping
A cooperation with Boleslawiec Manufacture.
The aim of the project was to create our own design of ceramics patterns using KUKA robot. We created a tool - a simple angled sponge stamp whereby a varied shapes could be obtained just by rotating the axis of the robotic arm setup. The robot would create a sort of a grid for a person to interpret by adding their own stamp by hand. This way we wanted to initiate a "cooperation" between a person and a robot. The project is based on the anthropological research and a visit in the Manufacture and interviews with the employees.
team: Magdalena Mojsiejuk, Barbara Drozdek, Mateusz Kotowski
set design: Magdalena Mojsiejuk, Barbara Drozdek
contribution: concept development - qualitative research - theoretical background - experience design - project implementation - space design - crafts
Project of a space for children Wolno Dzieciom for Malta Festival 2015.
woven playground is a concept of an area dedicated to children. We aimed to create an environment that would be contrasting to the urban surroundings. The design process was preceded by a workshop on alternative ways of working with children and their motorics and tactile development. The project refers to feelings of something homely, familiar and secure. We thought of a carpet as a primary area for playing and a flash point for imagination. We didn't want to offer imposed solutions but rather inspire to interpret the structure. We created our own yarn by cutting bales of fabric and then hand-wove the carpet. We went through the whole process on our own involving others to participate in the creation of the structure.
team: Zuzanna Zimecka
contribution: concept development - theoretical background - material research
An attempt to create a banana skin based bio-composite material. The aim is to create a new material made form organic waste (some say that banana skins shouldn’t be composted as they contain pesticides). Banana skin is composed of varied kinds of fibres that could be valuable for the material structure.
We tried to separate te fibres using different methods.
team: Ola Lukaszewska