At first blush, industrial designer Sam Thompson's gently-arched 45-Degree Bowl, above, looks like it might be made from veneers that were steam-bent and laminated together in a form. But flip it over and you'll see it was CNC-milled out of a solid block. If the protruding feet aren't a dead giveaway, Thompson's intentionally had the bit leave kerf marks to remove all doubt:
"The smooth sanded top of the tray contrasts with the exaggerated kerf on the bottom," he writes, "showing the process of CNC routing in an intuitive and surprising manner."
The awesome video below shows an earlier wooden bowl, the Big Square, that Thompson designed and produced via CNC—his tagline is "I make things by hand, with digital tools"—and while it lacks any explanatory narrative, you don't need it. It shows him performing every step of the process, going from prepping the rough-cut lumber to drawing the 3D files to running the CNC mill and the laser engraver:
Within the Passionswege ("pilgrimage ways") craft and design project of Vienna Design Week, Vienna-based designer Valentin Vodev was asked to collaborate with J. L. Lobmeyr, the renowned Viennese glassware manufacturer, now run by the sixth generation.
Vodev developed a series of pictograms to reveal "secret" information about the long-standing Lobmeyr product portfolio—information about the glassware that is never communicated to the buyer, yet passed on verbally from generation to generation to distributors and within the company.
These inside stories are based on technical as well as socio-cultural properties that have been discovered over the past 150 years of the Lobmeyr business. Vodev has brought these attributes to the surface to make them visible. Even though the unobtrusive symbol engravings are not clearly marked at first sight, the delight of discovering them at a second glance is part of the experience when looking through the Lobmeyr glasses.
For one of the Passionswege projects of Vienna Design Week, London-based designer Mathias Hahn was assigned to work with Staud's, a Viennese producer of fine vegetable and fruit preserves.
Hahn created an intriguing installation in which he approached the world of Staud's by poetically addressing color, material and the meaning of preserving for winter time. Each of the various vessels on display seemed to capture all the good stuff that summer has to offer; almost like a time capsule, recallable during a long, cold winter.
Eindhoven-based designer Dave Hakkens has been on our radar since we first got wind of his "Break Soap" concept, and it so happens that wind was the inspiration behind the more recent oil pressing machine. So too does his latest project begin with a seemingly straightforward concept—that porcelain shrinks when you bake it—and end with a fascinating, allusive series of objects. Curious about the 'diminishing returns' of the material, Hakkens "made a huge jug from all kinds of materials to see the shrinking process on different textures."
From this jug I made a mold and poured porcelain in. Then baked it at 1260 degrees, and it shrank... With this porcelain model I made another mold and baked it, it shrank again. Made a mold from this model and so on... Every time the porcelain deforms a little bit and slowley the textures loses its detail.
After 13 rounds of casting and baking, he arrived at a collection of 14 jugs, each of which comes in at roughly 60% of the volume of its progenitor. Thus, the original jug is a healthy, pitcher-sized 5000mL, while the last one holds a mere 10mL, or a whopping two teaspoons.
Meanwhile, minor deformations emerge in more subtle fashion, as details fade and the vessel develops a slight crook in its back. Although molds are intended to mass produce exact replicas from a single template, Hakkens' "Shrinking Jug" series clearly illustrates the variations that characterize handmade objects.
Marli Fruit Holder for Matzah or Display Apples. Designed by Laura Polinoro
With the High Holidays in full swing, Alessi and The Jewish Museum in New York City have partnered again to offer a special selection of homewares from the Italian brand. The new collection includes a Rosh Hashanah Apple and Honey Set by Christopher Dresser and Honey Pots shaped like apples by Kazuyo Sejima and Ryue Nishizawa of SANAA.
The ongoing collaboration between Alessi and The Jewish Museum began in 2010 with the introduction of the Connection mezuzah by Dror Benshetrit exclusively for The Jewish Museum. This year's offering includes accessories for the Sabbath as well as a beautiful Passover Seder Plate that combines Zhang Ke's Ming tray and six of Pietro Gerosa's Blip spoon rests. See more from the 2012 Collection after the jump.
We're not sure if Marco Maturo and Alessio Roscini, the designers behind Studio Klass of Milan, are taking the notion of 'eye candy' a bit too literally, but their new "Non là" clock looks mighty tasty for a timepiece. In fact, I don't know that I would have guessed the actual inspiration behind the sculptural clock:
"Non là is a ceramic table clock with conical shape, inspired by the famous straw hat—Nón ló in vietnamese—and usually used by asian people to protect themselves from sun and rain. The form comes also from a functional aspect: when the watch is placed on the table, the base of the cone—on which the quadrant is on—is tilted, thus facilitating the reading time.
Yet the rounded, conical form resembles a spinning top or a turnip as much as it does a bon-bon, making it a perfect fit for Italian manufacturer Diamantini & Domeniconi, who boast a broad portfolio of unconventional clocks and housewares.
It's easy to be distracted by the political antics and acrobatics of an election year. Luckily, our friends at ODLCO are here to remind us to focus on the fundamentals and just pass the butter. Their Capitol Butter Dish, designed by Morgan Carter and made by ceramicists in Chicago, cuts through the fat while providing a tabletop spectacle for those who might be prone to debate politics at the kitchen table.
The Butter Dish is a fun take on the building souvenirs found at the local tourist gift shops around Washington DC; keep the going-ons in the hallowed political halls of the nation's capitol on the table. The front "lawn" of the Capitol Building serves as a knife rest reminding your round-table of advisors that the buck stops here.
The decorative vessel has long been an object of cultural significance, and the flower vase in particular embodies a certain dynamic meaning, as it is intended to complement the ephemeral beauty of its contents. For her most recent project, Israeli designer Hadar Glick chose to focus on vases precisely for their broad appeal—"they are communicative [to] a wide range of audiences"—arriving at "Six," series of as many vases that are "a memory of a loss."
Her statement (liberally copyedited by yours truly):
Day-to-day life in the Israeli society is intertwined with loss, who brings with it memory. The loss of a loved one is a part of our life cycle and the memory of that person, remains with us. After researching this subject in depth, I came to one major realization, which remained present in my work process: it does not matter if your loved one is a son, a father, a mother or a good friend. A loss is always a loss.
The world of memory and loss has an affinity to one of flowers and nature. Expressions such as "cut down in his prime" or "nipped in the bud" are familiar to many Israelis from their daily use of the Hebrew language. A flower is worn out and provisional, it resembles a clock and serves as a timer.
In our culture, flowers symbolize life and they can frequently be found at any home. They are present in our life cycle on its highs: in moments of joy and happiness such as birthdays and weddings, and in its lows in funerals and memorial days.
Vases are collective objects but they meet the individual. The vase as an object has an inner void, an exterior and it encapsulates.
Of course, any vessel refers us to this Taoist notion of 'emptiness' (a cup or bowl is the classic example); it's a matter of how the form expresses the idea. Each vase begins with a concept (given in its name) that informs the design—from daily rituals to materialism to the arrangement of the flowers themselves—to capture emotion and "allow people to express the memories of their loved ones" in a subtle manner. Thus, the recent Holon grad notes that, "in contrast to flowers, which wither and fade away with time, the vases are all made out of non-biodegradable materials and are constant [as] an eternal testimony of our memories."
And you thought you'd seen it all in ice cube making. Currently under consideration at Quirky is the Cube Tube, an ice tray designed to solve a specific problem: That annoying moment after you fill the tray at the sink and slowwwwly walk it over to the freezer, trying not to spill the water.
You fill the Cube Tube up, and close it, at the sink. There's presumably a little Archimedes action when you slide the insert in, but once that's done with you toss it in the freezer, spill-free.
The base is made out of silicone, so after it's frozen you can hit it against the counter to loosen the cubes. Then you just pull the insert out—there's draft angle, naturally—to dispense.
From what I can see, there's nothing that would stop you from refilling it when partially empty, as well.
I realize those of you with 'fridges that make their own ice don't give a damn about objects like this, but it's something an ice-tray-using peon like me could really use.
No, we don't usually go in for infomercial-grade products, but then again we've never seen the Sushi Bazooka before. When was the last time you saw a kitchen gadget being hocked by three singing sushi chefs, each holding a perfectly made sushi roll on a graphic with the slogan, "Make perfect Sushi rolls! Quick! Easy! Hilarious!" If you aren't excited yet, maybe the sixteen exclamation marks on the ad will do the trick, or perhaps the fact that you can become a sushi master with this "convenient and washable 3-piece set" will get you to pick up your phone and order NOW!!
We understand that some people are actually good at rolling sushi with nothing more than a bamboo mat, but for everyone who's ever tried to impress a date with a homemade sushi dinner only to wind up with rolls that disintegrate when you cut them up, this Sushi Bazooka, as cheesy as it is, is actually kind of awesome. Oddly enough, it's produced in New Zealand, so the instructions are in English—not that you'd actually need to reference them. This plastic wand is pretty self explanatory: "Make sushi. Eat sushi. Wash sushi off. Repeat the process at your convenience." What more do you need to know? Could this just be the next $25 piece of kitchen crap you buy? Yes, it very well could be. OR it could also be the light saber of the sushi world? Remember, "Do, or do not (make sushi). There is no try."
Set up by Benetton in Treviso, Italy in 1994 as a communication research center, Fabrica describes itself as "an applied creativity laboratory [and] talent incubator." If you were at Salone de Mobile earlier this year, you may have seen their impressive presentation for which they asked designers to create 25 objects inspired by the 1930s-era Villa Necchi in Milan. Fabrica is consistently generating good work. Most recently they staged a live performance by Sam Baron in the windows of the Sisley store in Piazza san Babila and created a line of seven outdoor furniture products for an event at the Milano Scala Hotel.
Fabrica has a proven eye not only for remarkably beautiful and minimal design, but also for color. Take "Objet Colore," a system of store display fittings for Benetton's retail locations. All the pieces are modular and customizable so they can be used in any store around the world. And like the company's full title ("United Colors of...") suggests, the items are bright, bold and lively blocks of green, red, yellow and blue.
Another collection exhibited as part of their presentation at Salone del Mobile that's worth calling attention to is their limited edition collection of glassware for Secondome gallery. Eight pieces by seven designers include vases, vessels and more unusual pieces like Catarina Carreiras' "Necklaces," a set of two to three vases strung together like gem stones on a gold chain. The pieces can be hung on a wall or set on a table. The most successful pieces in the collection—in my opinion—are by Scottish designer Dean Brown. His "Uplifting" series of carafes for chianti, prosecco, balsamic vinegar and olive oil (his specifications, not mine) create the illusion of suspended animation. The larger carafes operate as normal, with a handle, while the oil and vinegar vessels are set into a larger glass stand and lifted with a smaller, looped handle.
Keep tabs on the other exciting projects coming out of Fabrica, including two short films and a calendar/yearbook. You can also apply to be part of their creative design incubator.
Tradeshows are often induce sensory overload, and design shows are no exception. Every booth and its contents scream for attention—"Over here! Look at me! Touch me! Hear me!" All of it can quickly wear on the senses, and my patience.
Oddly, Dwell on Design—held this past weekend in LA at the Convention Center—felt more calm than most trade shows. Having recently moved from NYC to LA, I am hyper-aware of these differences, but I was surprised at the marked contrast between the Dwell show and ICFF nonetheless. Granted, the two events are incomparable in many ways: ICFF is a huge annual event, overtaking the NYC design scene for days, while Dwell on Design is decidedly more low-key in its intentions and purpose overall. But, whether due to the scale, or general NY/LA differences, it was actually a pleasure to casually walk the show and talk with participants, rather than run around in a frenzy trying to catch it all.
One booth where my senses were actually intrigued and happily engaged was at the A+R Store. The LA shop had a few new, interesting sound design objects for the home, for music and otherwise. Each have a refreshing take on how we hear.
Balance-Wu's loop speaker
Taiwanese designers Balance-Wu's loop speaker is a hollow loop of pressed, recycled paper pulp. The power supply and amp sit in the base, distributing sound through the circular tube, with the paper acting as a filter. The speaker has a rechargeable battery and USB outlet, and connects via an earphone plug. The device is incredibly lightweight, the sound is decent, and the presence of the paper pulp loop is nicely subtle but recognizable as a speaker.
Balance-Wu's loop speaker
Another interesting sound machine in the A+R space was Louise van der Veld's Chick-a-dee Smoke Detector (pictured at top). Inspired by the "canary in a coalmine" story of miners relying on canaries' senses to detect and warn of gas leaks, van der Veld created the American black-capped Chickadee to detect and warn of smoke. After winning the Dutch Association of Insurer's competition for new solutions for fire prevention back in 2006, the design was recently approved for use in US homes.
Besting 587 entries, the grand prize winner is Chicago-based designer Amanda Ip with the Innermix Desk, created with the designer's own live/work preference. The desk offers a large workspace and simple storage solutions that together create a clean, organized work area. That touch of color also adds a sense of fun and play, a welcome change to a predominantly gray and bleak office furniture.
Congratulations, Amanda! We hope to see the Innermix Desk in DWR stores soon!
Before you ask, it's actually somewhere between a bowl and a plate... and seeing as it has a hole in the center, I'd rather use Martin Zampach's "Poly" for a BLT than a bouillabaisse. As for the cork bit? Well, it's made of a 'lightweight but firm' material that consists of cork sandwiched between layers of veneer.
Flexible build materials allow for extreme shaping of the segments. When all parts are locked to form the bowl the structure gets its strength.
The bowls come in different sizes and proportions. They fit together in several ways to form illusional 2D/3D ornaments. Their simple functionality makes the bowls an ideal table accessory.
Although life in Tokyo is more or less back to business as usual since the tsunami last spring, one of the long-term effects has been the setsuden efforts: to conserve energy in a country that relies on nuclear reactors for upwards of 30% of its power. Nearly all of the nuclear power plants have been shut down since then, and the nation has made a commendable effort to reduce energy consumption in kind... especially during the sweltering summer months, when air conditioning is all but required to maintain sanity in the urban heat island of Tokyo.
Although setsuden is no longer mandated by the government, individuals and companies alike have adopted energy conservation for good. In addition to efforts at more conscientious and efficient manufacturing, Japanese companies also have a concrete incentive to develop eco-friendly products for staying cool and dry during the rainy season and beyond (Uniqlo, for one, is incorporating deodorant and 'silky dry' technology in much of their undergarments). Thus, several Japanese companies at InteriorLifestyle Tokyo were pleased to present natural products to rival AC as the primary means of combating the oppressive humidity.
SOIL by Isurugi Co. & H concept
Developed by Isurugi Co., LTD and H concept, "Soil" is a product line that incorporates traditional plastering techniques with a material known as diatomaceous soil. The naturally-occurring material is "known for its moisturizing and absorption qualities, as well as a pleasant touch," which makes it both recyclable and non-irritating to the skin. According to the press materials,
Diatomaceous soil is a sedimentary layer formed from deposited plankton on beaches and lakes. The "soil" is very porous and therefore good at absorbing moisture, moisturizing, and deodorizing. The soil is naturally found in different environments and climates, and therefore naturally has different colors.
As for the craftsmanship? Isurugi specializes in sakan, an age-old technique of plastering soil (and later, cement) that dates back to the year 645 AD.
The mat is mostly dry after just 10–15 seconds
The product line consists of desiccants and deodorants for a wide variety of household applications. From food containers to small blocks for, say, a salt shaker to dishracks and floormats—all with an understated aesthetic—"Soil" is a veritable ecosystem unto itself.
Since 1875, Japanese manufacturer Kaikado has been creating beautifully crafted tin canisters, Chazutsu for tea and drygoods storage. These airtight containers are simple, everyday objects of form and function that get better with use—the patina from regular handling can be admired below and some Kaikado chazutsu have been passed down through generations. The 6th generation family-run company has been handcrafting each canister from their Kyoto-based studio for over 130 years.
The manufacturing process for the Kaikado chazutsu involves anywhere between 130 to 140 steps, "the hand-made tea caddies have virtually remained true to the designs established by Kaikado's founding generation. The die and mold used in the early years of the company is still in use today, whilst some shapes of tea caddy used 130 years ago are still in production today."
Here's a great example of re-thinking an everyday object and using a little science to improve the user experience:
The shape of your basic cooking pot hasn't changed much since its invention, though nowadays we use metal drawing rather than hand-hammering. But an unnamed Japanese inventor has been prototyping pots with Bundt-pan-like fluting in the sides, angled in the manner of a helical gear. The reason? When heated up, convection causes the liquids within to move (hot water rises to the top), and the vortex shape channels that movement into a fixed direction. The result is a pot that essentially stirs itself!
A Japanese company called Watanabe Co. Ltd is currently seeking a manufacturer for the device, called the Kuru-Kuru Nabe ("Round and round pot.")
If you're going to make design predictions, you have to get used to being wrong. I'd have told you Quirky's Click n Cook system of cooking utensils wouldn't sell, and I'd have been incorrect.
Invented by Fred Ende, the Click n Cook consists of five commonly used utensils and just one handle, which snaps into each like a razor handle does with disposable blades.
My rationale for dismissal would have been that the footprint of the base isn't much smaller than a cylinder you could throw five full-sized utensils in, thus negating any countertop space savings, but consumers disagree: Since hitting production the Click n Cook has shipped more than 10,000 units, paying out nearly $16,000 to the developer(s). That might seem like a drop in the bucket to corporations targeting Target, but I think it's a handsome payday for Ende and his contributors, considering it took just one month to develop.
I love that Quirky enables these possibilities, and also dig that they put together a nice vid detailing the design and development process:
Before entering design school I worked as a prep chef. I learned to sharpen knives and observe some industrial-speed kitchen designs. One of my jobs was to transform neverending containers of vegetables into bite-sized pieces--quickly. (I can still hear head chef Rich yelling at me to pick up the pace.) The design system in place for this--designed both for speed and for right-handed people—was as follows:
I worked at a stainless steel table that had a rectangular cutout on the right side of the top surface. Into this cutout was dropped a rectangular plastic bin with a lip around its perimeter that prevented it from falling through; the top of the bin was roughly level with the worksurface. To the left of this, in the center of the table, was a two-inch-thick cutting board. Its thickness brought its top surface slightly higher than the bin, an important detail. To the left of the cutting board was the target container of vegetables.
A senior in the Industrial Design program at the Rhode Island School of Design, Brett Newman hails from Salt Lake City, Utah. Newman's passions for biking, skiing and making are evident throughout his work—whether it is designing a pair of sustainable skis with friend Patrick O'Sullivan, or creating the Tri Bike Rack.
Since the age of ten, Newman loved drawing and would spend the majority of his time designing numerous iterations on soccer shoes and athletic equipment. Drawing soccer shoes was his dream job long before he knew of Industrial Design as a viable career path. His focus has changed a lot since then, but the primary principles of Industrial Design (problem solving, getting your hands dirty, and designing for a real purpose) are still a huge motivation in his work.
Below are two of his projects, the Tri Bike Rack and Ready to Reassemble.
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Tri Bike Rack
Commercial and residential bike display systems have different and specific requirements, but the goal for the Tri Bike Rack was to create one system that could seamlessly function in both environments. For the bike shop setting, Tri offers a modular solution that can easily display the bike in any of the three most popular orientations; floor mounted, dropouts, or by the top tube. For those who desire a solution in the home, Tri is made from high quality materials and pays as much attention to style and detail as the bikes that it stores.
At this year's Home and Housewares show, we were impressed with the number of brands that had over a 100 years of manufacturing experience—Eva Solo, Lodge and SodaStream to name a few. Design leads the way for each of these companies as they continue to innovate into the next century. Two Japanese brands that caught our attention showcased a rich design heritage that looks towards the future: Marna (established in 1872) and OIGEN (since 1852). These two brands are household staples in Japan but look to expand into a globalized market in the 21st century.
Marna products are ubiquitous in Japan. Founded in 1872 with the manufacturing and distribution of the first Western-style brushes in Japan, in 1950 the company began expanding into products beyond household and industrial brushes. Today, this fourth-generation family-run company produces delightfully designed, award-winning products for kitchen, bath and home. We loved their display of silicone pig steamers and hanging collapsible cups.
Their product range featured a number of GOOD Design award winners for the kitchen: a Spoon Whisk, Standing Rice Scoop, Stacking Soy Sauce Pots, Combined Tongs, and Masher. Their fish-shaped dish sponges bring a bit of joy in mundane household tasks.
Like Core faves Kikkerland, Fred & Friends and Suck UK, housewares purveyor DCI offers a whole range of clever products, from humorous housewares to stylish stationery and plenty of 'things-that-look-like-other-things.' Founder Roni Kabessa wasn't sure what to expect when he first relocated from New York City to Providence, Rhode Island, but he's been pleasantly surprised by the local talent pool (thanks largely to perennial top school RISD). In fact, DCI was pleased to partner with student-run conference A Better World By Design on a design challenge, and we were pleased to see the inaugural results of the collaboration at IHHS2012. (This year's challenge is currently open for submissions.)
The three items in the ABWBD designer collection included René Woo-Ram Lee's "Plug Out," a wall-mounted cord organizer intended to facilitate energy conservation; McKenzie Powers' "I Am a To Go Box," a microwave- and dishwasher-safe silicone container; and the "Eco Tray" by Queenie Fan & Angie Lee, a conscientious take on a picnic plate.
We hope that a couple of augmented scissors transcend their novelty appeal: the "Straight Edge" laser-guided scissors feature a built-in laser pointer to ensure straight cuts, while the "Scissortape," designed by Lou Henry (A2), is a combination of exactly what it sounds like.
A brand-new collapsible water bottle design (by Wei Young of Mydesign Group) fit both the trend of silicone kitchenwares and portable drinking vessels. The bottle comes apart in the center, such that each half can be extended, as in seen in the bottles in the foreground and center above.
These Peleg-designed magnetic vases appear to stand on their own: the magnetic plate (as seen in the bottom right) can be concealed beneath the tablecloth for the gravity-defying effect. They come in a set of five.
The design team at Seoul-based design studio cloudandco, led by Founder/Creative Director Yeongkyu Yoo, is pleased to present their latest product design, the Bottle Humidifier. The designers note that the ubiquitous household object is often an inelegant or outright ugly device hiding in plain sight: "When the context of the humidifier as a product is considered—an object that sits on your desk or table for long periods of time—it is clear that design needs to be more considered."
Their solution, the Bottle Humidifier, is "at once a functional product and art object." The antibacterial plastic exterior shell comes in a matte white finish, while the thick glass reservoir at the bottom "allows the user to see the water level inside." The device is powered via a retractable USB power cable.
It's not always so bad to be part of the 1%. Tokyo-based nendo is showing his newest collection of 1% products this April in Milan. This second release follows his 2006 inaugural collection which included light bulbs, furniture, vases and tableware—my favorite piece was the "Fruit Template," a witty take on a fruitbowl.
Six years later, nendo's new collection continues with the project parameters of creating a limited run of 100, but this time around the collection is more focused with five sets of ceramic tablewares that reflect the designers considered and delightful aesthetic.
Only 100 of each object will be made.
100 is the perfect amount: they're neither one-off "works of art" nor mass-produced products made in the millions.
Whether its the skill of the artisans or new technologies,
we want to make things that are only possible.
because there are 100 of them. Not more, not less.
To give owners the chance to experience the joy of owing 1%.
Photography by Glen Jackson Taylor and Ray Hu for Core77
The winter edition of the New York International Gift Fair kicked the year off with some fresh new kitchenware, lot's of eco-friendly toys, vintage type, jewelry, and bird motifs—seriously, we weren't the only one's making Portlandia jokes.
Design collectives American Design Club (AmDC) and Join set up shop in the Javits Center foyer again presenting objects, jewelery, accessories, and stationary from a curated selection of independent young designers. R&L Goods caught our attention with their recycled leather wallets made from finely ground scraps of leather which would otherwise be discarded, the finished material is 90% post industrial waste combined with natural rubber. As far as finding original gift items with integrity, these booths were killing it!
Seeing as he cut his teeth with the likes of Max Lamb, Studio Gilthero, Martino Gamper and Julia Lohmann, it comes as no surprise that designer Phil Cuttance is well-versed in materials and processes. "FACETURE" is a series of household objects that take a vaguely crystalline appearance based on a unique fabrication process. Each vase, lamp and side table looks is made by casting a water-based resin in a handmade mold:
First the mould of the object is hand-made by scoring and cutting a sheet of 0.5mm plastic sheet. This sheet is then folded, cut and taped into the overall shape of the product that is to be cast. The mould's final shape, and strength, is dictated by which triangular facets I pop in and out. I do this each time I ready the mould for the next object, meaning that no two castings are the same. I then mix a water-based casting resin that is cast in the mould where it sets solid.
The resin is poured into the hollow mould and rolled around to coat and encase the sides, controlled by me on the casting jig on the machine. The material soon sets creating a hollow solid object. Then another, different coloured measure of resin is poured into the same mould, and swirled around inside, over the first. When it has set, the mould is removed to reveal the solid set cast piece.
The results look something like stalagmites from a virtual cave, though Cuttance notes that their origin is neither geological nor digital: "The casting appears with sharp accurate lines and a digital quality to its aesthetic, a visual 'surprise' considering the 'lo-fi,' hand-made process from which it came."
But the real gem is the bespoke machine with which Cuttance creates "FACETURE":