MATERIALI, PROCESSI E INDUSTRIAL DESIGN
Transcript
MATERIALI, PROCESSI E INDUSTRIAL DESIGN
MATERIALI, PROCESSI E INDUSTRIAL DESIGN USO CORRETTO DI MATERIALI E TECNOLOGIE Funzione Tecnologia Design Materiale Forma Processo creativo è …. … ricerca dell’equilibrio Materiale Forma Funzione Tecnologia Design You will notice quite of few chairs in this presentation and with good reason: new technology and materials frequently developed for other areas of industry were often applied to furniture production, fundamentally shaping the changes that have occurred in chair design this century. This evolution in chair design and the development of new materials and techniques serves as a good illustration of the intimate relationship designers have had with their vastly expanding medium. During the second half of the nineteenth century, the chair became an industrialized product, mainly as a result of the pioneering research into the steam-bending of wood laminates and later solid wood by Michael Thonet. Michael Thonet Table, c.1885 Michael Thonet Side Chair No. 14, c.1858 In the 1870's, Christopher Dresser designed some of the most forward-looking metalwork to emerge from the nineteenth century Christopher Dresser Tureen, 1869 Christopher Dresser Decanter and Glasses, 1881 Christopher Dresser Teapots, 1885 A pioneer of modern design, and arguably Europe's first industrial designer, Dresser explored the possibilities of materials like glass, metal and ceramics, applying every available advanced technique. He would combine inexpensive materials with more luxurious ones such as ebony and mahogany. There is the same geometric simplicity and contained functional feel, but his work is more organic and reflects his studies of plants and animals. Christopher Dresser Tea Kettle, 1880 The Bauhaus, started by Walter Gropius in 1919 to be a "laboratory for mass consumption" The Bauhaus Dessau, 1925-1926 Marcel Breuer "Wassily" Armchair, 1925 Ludwig Mies van der Rohe Weissenhof Chair, 1927 design and material choices that were appropriate for mass production This famous chair is closely related to the cantilevered chair by Ludwig Meis van der Rohe at the Bauhaus at the same period. Marcel Breuer Chair B32, 1928 Mart Stam Side Chair S33, 1926 Simultaneously Dutch architect Mart Stam also designed a chair that used his skills from his experiments with bent wood. Le Corbusier Grand Confort, 1928 Ludwig Mies van der Rohe Barcelona Chair, 1928 Why was this tube construction technique such a dramatic advancement in furniture design and manufacture? First of all, it made possible a far more efficient method of joining components. The parts could be welded together for clean, strong joints, with no bulky structures. Second, the tubes could be finished with chrome plating, paint, enamel or other coloring systems to provide an attractive durable protection. Finally, the results of this system were lighter in appearance and far stronger than wooden members of similar size. The nature of wood required that joints be of substantial size to give necessary strength. This is a good example of how technological advances affect the way products are made and how they look. Ironically, chair designs such as these, which appear very much to be machine-made, were in fact very laborintensive to produce and, therefore costly to manufacture—an aspect that ran counter to the Bauhaus philosophy. It was realized that the true mass-production of Modern furniture would only be possible if a form of mechanized standardization was adopted. However, it was not until after World War II that it became economically and technically feasible to achieve this on a wide scale. Alvar Aalto evolved a language of curvilinear and organic forms with natural materials such as plywood Alvar Aalto armchair, 1931 Cut from a single sheet of plywood and given its final form without any joinery, this armchair by Gerald Summers is purely simple in construction. Gerald Summers armchair, c. 1934 Here are some more examples of the wide range of materials being used and experimented with by designers of the 30's. While he had designed this Zig-Zag chair in steel tubing a few years earlier, Gerrit Rietveld responds to the Breuer and van der Rohe cantilevered steel chairs with a simple wooden execution that was more visually cohesive and seems to anticipate the single-piece plastic chairs that became possible in the sixties. Gerrit Rietveld Zig-Zag chair, 1934 Gerrit Thomas Rietveld (1888-1964) Zigzag child's chair Jesse Wood, five-plywood, 1944 Collection: Centraal Museum, Gerrit Th. Rietveld 2000 c/o Beeldrecht, Amstelveen As a precursor to the work of Eames and Saarinen, the Landi chair in the middle was made of perforated aluminum with thin splayed legs and gained attention in Switzerland, as it could be entirely shaped by machine. Hans Coray Landi chair, 1938 ALLUMINIO Isotropo Lavorabile Densità 2600 Kg/m3 Modulo elastico 70 GPa Resistenza …… Hans Coray Landi chair, 1938 As a precursor to the work of Eames and Saarinen, the Landi chair in the middle was made of perforated aluminum with thin splayed legs and gained attention in Switzerland, as it could be entirely shaped by machine. Although aluminum is more costly than steel and was rarely seen in the furniture industry of the 1930's, it was deemed appropriate in this application because of its high strength-to-weight ratio for use as a furnishing in German Zeppelins. The Butterfly chair is one of the most copied chair designs in recent history. The original design used a leather sling seat, which in later models changed to canvas. Grupo Austral Butterfly chair, 1938 World War II had a dramatic and long-lasting effect on the design and manufacture of consumer products. In the 1940's, furniture designers were excited by the possibilities offered to them by new laminates, new bending techniques, and combinations of laminated wood, metal and plastic. The laminated wood furniture prototypes that Charles Eames and Eero Saarinen developed in 1940 involved experimenting with molded shells and compound curves, and with electronic cycle-welding borrowed from the automotive industry. Eames applied these techniques of laminated wood forming to produce molded leg splints, stretchers, aircraft parts and glider shells that he developed for the Department of the Navy during the war. Charles Eames Leg Splints, 1942 In 1946, Charles Eames exhibited the first of his later famous chairs, which he developed with his wife Ray, composed of plywood shells, including some mounted on steel rod legs by means of a rubber-weld joint attached with a new synthetic resin developed for the war. Charles and Ray Eames LCM chair, 1945 Eames was personally involved in the technology of all his designs and rejected the primacy of aesthetics. "Thinking of how a chair looks comes pretty far down the list of things I worry about when designing," Eames admitted. "I only think about how they look in relation to how they are doing their job." Using fiberglass, which was developed in the war for aircraft radar domes in 1942, Eames developed the first fiberglass chair to go into production. This was the material he and his collaborator Eero Saarinen were looking for. However Saarinen elected to cover his shell to make the Womb chair with foam rubber padding rather than leaving the fiberglass exposed as Eames initially did. Eames later offered an upholstered version of his plastic chair as well. Eero Saarinen Womb chair, 1948 But these forms were also easily assimilated into new production processes like plastics which flowed easily into curved molds. Plastica = + libertà di forma The design dispenses with metal blades and in their place uses safer cross-hatched fabric blades which were replaceable. This removed the need for a protective cage and thus contributed to the fan's stylish, modern image. The streamlined Bakelite Bandolero fan (left) was produced by Biehl, the electrical division of Singer, for the Sears catalog. With the advent of television on the 1940's, plastic molders tackled the challenge of producing the larger onepiece cabinet by the same means that had been used to mold smaller radio housings using injection molding. A 1949 article in Modern Plastics explained that a wood cabinet required 525 different construction operations before the chassis could be installed; a plastic cabinet required from 3 to 6 operations. This, and the fact that production runs would be much faster, contributed to a set that was as much as $100 less than wooden television sets. Weighing 250,000 pounds, this vertical press shot 35 pounds of phenolic resin into a 20,000 pound mold within a seven minute cycle to produce a 36" tall television cabinet for Admiral. Eero Saarinen invented a onelegged pedestal chair, intending to make it "all one thing... a structural total" cast in one piece of material, in this case plastic. After a two-year period of extensive experimentation, however, the durability and loadbearing capabilities of the glassreinforced plastic could not be assured and the weightlessly elegant chair was instead produced with an aluminum stem and a reinforcedplastic shell. The stem was subsequently painted to match the shell Eero Saarinen Tulip chair, 1955 The MAA chair (below) designed in 1958 by George Nelson has a molded plastic seat and backrest using innovative plastic shock mounts. It earned the reputation for being the first plastic chair with a moveable back. George Nelson MAA chair, 1958 Incidentally, this chair was only produced for one year before it was withdrawn, owing to an inherent design flaw. The rubber sockets, which are welded to the back of the chair and connect with a system of pivoting ball pins allowing the back section to articulate through 90 degrees, degrade under stress. As the appeal of functionalism began to fade in favor or the new pop culture of the 60's, designers continued to explore the new pallet of materials and processes at their disposal. Joe Colombo Universale chair, 1965 Plastics allowed the designer to challenge the user's experience with weight, color and form. Joe Colombo experimented with synthetic materials creating flexible furniture systems and units that combined a variety of domestic services into a single assembly. His chair was the first of its kind to be injection molded in one piece (with the exception of the legs). Marco Zanuso child's stacking chair, 1960's Verner Panton stacking chair, 1967 Borrowing a cantilevered shape dating back to Gerrit Rietveld's ZigZag design of 1934, shown again in the lower right picture, and fulfilling Eero Saarinen's goal of making furniture completely of plastic, Verner Panton's stacking chair was the first single-piece, continuous construction to enter large scale production. The Valentine typewriter by Ettore Sottsass for Olivetti is a departure from the drab workaday designs of office machines. This typewriter is designed using ABS and was conceived as a personal accessory. Light and portable, this novel design was the "anti-machine machine", built around a very common mechanism, it almost looks like a toy Ettore Sottsass, Jr. Olivetti Valentine typewriter, 1969 a new furniture material developed by Frank O. Gehry using laminated layers of corrugated cardboard. Cardboard's popularity began in the 60's with Peter Mudoch's Spotty child's chair in 1963 made of polyethylene-coated laminated kraft paper. It was the first piece of commercial furniture made of paper. Inexpensive and durable, the chair was sold as a flat, brightly ornamented laminated sheets in supermarkets and department stores to be assembled at home by simply folding along the pre-scored lines. Peter Murdoch Spotty child's chair, 1963 Because of its possibilities, cardboard continues to be an intriguing material today as shown here by the Suite Cardboard Family by Oliver Leblois from 1995. Oliver Leblois Suite Cardboard Family, 1995 Frank Gehry 1992 Frank Gehry is an architect who designs very unusual and breathtaking buildings and never does anything boring! This is his ‘Power Play’ chair made from plywood. Phillippe Starck 1994 Starck is a wacky French designer - designing buildings, toothbrushes, lemon-squeezers, furniture… This television is interesting because it is made from compressed wood and plastic that has been recycled. Polymer Processing Materiali in un aereo di linea Estrusione! Il profilo della trafila Flusso continuo Sezione uniforme Extrusion (cont’d)! Calandre Rigid Sheet Laminatura Die • Extruded Through Die • Supported and Cooled by a Stack of Polishing Rolls • Cut and Trimmed Once Below Glass Transition Temperature • Sheet May be Used in Thermoforming and Compression Molding Compression Molding Softened sheet is! placed in a mold then! pressed into shape by! compressive force.! Compression Molding! Compressive Force! 1! 2! Part! Trimming! Soft Sheet! 3! Thermoforming! 진공 성형(Vacuum Forming)! Softened Sheet! Atmospheric Pressure(14.7 psi)! Part! Mold! Vacuum! Blow Molding (중공 성형) Blow Molding (cont’d)! 1!Parison Drop 2!Pre Blow 3! Full Pressure 4! 5!Release Pinch Bar Mold! Part! Injection Molding Equipment Barrel Unit" The Reciprocating Screw! Hopper! (Filling) Throat! Heating Coils! Force, Torque! From ! Injection Unit! Nozzle! Barrel! Screw!