the improvisation machine by annika frye
 
the improvisation machine by annika frye
nov 03, 2012

the improvisation machine by annika frye

  ‘the improvisation machine’ by annika frye all images courtesy of annika frye

 

 

 

conceived by german designer annika frye, a series of rotational pieces are produced in a experimental production setup using a self-made rotational moulding contraption. in her project titled ‘the improvisation machine’, frye produces a collective variation of objects rather than straying within repetitive forms. each of the moulds are made from simple geometric patterns, with the material being a special plaster that hardens within a shorter time. hollow objects are cut in order to create a vase/dish/containers, where by incorporating wooden parts and other materials, the objects maintain unique elements.

 


improvisation machine video
video courtesy of annika frye

 

 

 

frye states ‘machine, for me, is more than just a tool: I designed the machine itself by using basic characteristics of a piece of furniture such as brass fittings, multiplex and steel tubes.’  \

 

‘at the first glance, the material resembles to ceramics, but the plaster is more lightweight. some objects were cut with a saw in order to  create a container or a vase. in this way, the top and the bottom of the vase/container/dish can be produced within a single mould.’

the improvisation machine by annika frye the collection concceived using the improvisation machine

 

 

 

the first series of pieces compromises different items such as vases, containers and bowls. still, as each object is unique, all objects are related to each other as all forms are based on an octagonal grid. with the quick setting plaster hardening within 30 minutes, the containers are then sanded from the outside, their inside is covered with varnish for its final finish.

the improvisation machine by annika frye

 

 

the project is now part of the adhocracy show curated by joseph grima at the istanbul design biennial from october 13 to december 12, 2012 at the former galata greek primary school

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye product view of the improvisation machine

 

the improvisation machine by annika frye

 

the improvisation machine by annika frye a drill with constant variable speed

 

the improvisation machine by annika frye first prototype experiment

 

the improvisation machine by annika frye detail after the plaster has dried

 

the improvisation machine by annika frye incorporating wooden elements within the process

 

the improvisation machine by annika frye detail of the moulds

 

the improvisation machine by annika frye geometric patterns for the moulds

 

 

the improvisation machine by annika frye

 

istanbul design biennial october 13th – december 12th, 2012

with the aim of underlining the importance of design for production, economy, cultural interaction and quality of life, the first istanbul design biennial will be realized in 2012 by istanbul foundation for culture and arts. istanbul design biennial will be open to all disciplines of the creative industries in major fields such as urban design, architecture, interior design, industrial design, graphic design, new media design and fashion design, as well as their subfields.

  • you are grown old and a bit flabby. Do more Sports.

    Dr. Koonz
  • A good first step, there is a level of improvisation in the sense of the slight unpredictability of the final object. Ditch the preformed molds, magnify the unpredictability and we\’ll have something truly interesting.

    Toby
  • This is a very interesting project, but misnamed and misrepresented. The forms are dictated by the molds, the design and creation of which we are given no information, but probably involve a digital stage, and maybe some laser cutting of the mold material. The mold machine is great, but there are machines for casting that precede this, usually great hulking devices. Improvisational — that’s the promise, and that’s what I’m missing from this.

    Jay Alan Babcock

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