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MARKO BAKOVIC
AeROtRAY: 3Ode tO WIM CROuWel: 4dAIlY extReMe: 6JACKet: 8BOOts: 10sneAKeR: 12HeAtIng sYsteM: 14CHAIR studY: 18BOttles: 19JuxtApOsed: 20AppendIx: 25
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pROJeCts
1: there must be a dialogue between the analogue and the digital.
2: Material hierarchy does not exist. One material is not be considered more valuable than the others. One material can be considered more appropriate than others.
3: never cover up, or hide. All elements should be exposed and contributing to the larger whole.
4: things are expressions of time frozen. It should be taken in account that things are always in a process of materialization or dematerialization.
5: never impose color without the intention of a higher cause or concept. like durability. Material has its own color, do not dye it to make it more appealing. If picking color go for neutrality.
6: Always consider objects in a larger scenario. Objects are props in a world created by the designer. give context to the object.
7: Material rips, ages, cracks and time leaves it traces. take this in account, and if possible celebrate this fact. Imperfections are the coincidental finish of the product.
8: Always aim for a balanced cleanness, but not for sterility, you do not want your object to be lifeless.
9: Reinvent your past projects, and bring them to perfection, but do not be afraid to close chapters.
10: try to get to know yourself through your projects, but do not forget it is a business too.
AEROTRAY 3
Ode tO 4
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WIM CROuWel
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dAIlY extReMe
7dAIlY extReMe
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JACKet
BOOts 10
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sneAKeR
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HeAtIng sYsteM
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HeAtIng sYsteM
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CHAIR
studY
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19BOttles
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JuxtApOsed
21JuxtApOsed
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JYxtApOsed
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pHOtOgRApHY: RAIsA KIngMA
gRApHIC desIgn: suZIe WeMpe
MARKO BAKOVIC 25
AppendIx
AeROtRAY: 26Ode tO WIM CROuWel: 27dAIlY extReMe: 28JACKet: 29BOOts: 30sneAKeR: 32HeAtIng sYsteM: 32CHAIR studY: 33BOttles: 34JuxtApOsed: 35Index: 36
AeROtRAY 26
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27Ode tO WIM CROuWel
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28dAIlY extReMe
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29JACKet
01 02
30BOOts
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sneAKeR 31
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HeAtIng sYsteM 32
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CHAIR studY 33
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34BOttles
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JuxtApOsed 35
01
AeROtRAY
usually the food trays in planes are practical, but their look lacking in imagination. this is my aerodynamic proposition of the foodtray not for the airlineindustry as we know it, but for the next step we will make in voyage. Fashioned in an aesthetic borrowed from Hussein Chalayan’s short film: place to passage, this tray is in line with the speed we are heading towards.
“through a journey from london to Istanbul in a vessel, place to passage explores the implications of speed, technology and displacement to the extent of urging a return back into the womb. the vessel fills up with water as it enters the Bosporus in Istanbul which marks the division of Asia and europe. With references to domestic memories of another life, isolation, neocapitalism etc the journey allows an intimate space for contemplation.”—Centraal Museum utrecht 2005
I have used the tray as a main subject in my video Juxtaposed.
Materialspu foam (mould), polypropylene.
techniquesManual technical drawing, 3d Rhino drawing and render, CnC milling in foam, vacuum forming.
Captions01: technical drawing of plate.02: technical drawing of lid.03: Foam CnC’ed model ready for vacuum forming.
Ode tO MR. CROuWel
A threedimensional architectural shape spelling A4, depending from viewpoint in the iconic typeface archetype stedelijk by Wim Crouwel. By making the font 3d, the qualities of the font translate in a exciting play of lines.
“stedelijk first appeared in the seminal vormgevers poster, commissioned by the stedelijk Museum, Amsterdam in 1968. Crouwel created a rigid grid system across the poster of 57 vertical by 41 horizontal lines, also forming the basis for the construction of the letterforms. Although all hand drawn the resulting typeface had a machinemade appearance. this striking black and white poster with it’s visible grid became one of Crouwels most iconic designs.”
MaterialsCnCmilled MdF, steel rods.
techniquesRhino modeling, CnC milling, woodworking, spray painting, ironworking.
Captions01: Rhino drawing of loose elements.02: different perspectives spelling out A4.
tHe dAIlY extReMe
When thinking of all my belongings, exploded neatly next to one and other in my mind, they all together form parts of one machine. similar to assembly instructions of some complicated Ikea furniture set. unfortunately my building set, contains loads of particles that are unnecessary. A tendency to hoard and collect is not in line with this idea. It clouds up the machine.
An essential part of my machine though is the woolen sweater. It comforts, it shields, it warms, it is soft or rigid, it can be formal or a cocoon on lazy days. daily used objects often suffer the burden of being mundane, ordinary and easily looked over.
Instead of hiding or erasing this property, I want to maintain it’s humbleness. My object will not be extravagant in its appearance, it’s material will not be radical. It will be an ordinary woolen sweater. At first glance. But before I do so, I want my garment to have a brief moment of outrageousness, extreme proportion, a frantic process of making, before the time comes for my sweater, to hush down in to mortal, acceptable dimensions.
In pursuit of the elementary materials of my daily extreme, I have had to bid up against many wool hunters on marktplaats.nl (the dutch equivalent of ebay). eventually to win, and to
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drive up to nieuw Weerdinge, a village in the northwest of the netherlands, close to the border of germany. Once there, to be confronted with my abundant treasure. Buying the wool for not even a tenth of what It’s worth I have gained 80kg of yarn, of all sorts. On an average, between 500800 grams are needed for one sweater. Just to get the idea of the vast amount of yarn.
I drove back to Amsterdam. Before even knitting one stitch, the extreme has started.
As mentioned before, my sweater is to undergo a series of ‘extreme’ phases before it settles to merely a sweater. A fine one, but nonetheless a seemingly ordinary sweater. It is knitted in ten parts, instead of the traditional four. usually there is a front and a back, a right sleeve and a left sleeve. But my sweater has a left front and a right front a left back and a right back, and the sleeves are cut in two as well, to top it of, there is are two more parts connecting all the elements together on two sides.
this frenzy of seams and parts is not a fashion statement or a unnecessary complication only in behalf of the esthetic. the sweater is scaled up to 156% of its original size. In order to knit this on the machine, the sweater has had to be cut up.
the sweater now, is more as double as big as its cousin hanging in my closet. to get here, It has tested my patients and perseverance,
having me spend whole days with no obvious results at the end of the day. It has a lot of mistakes, that diminish towards the last piece. In a way, it shows the battle I had with the knitting machines, and in the end I will wear the testimony as the scarring of an soldier in battle.
For its final stage, the oversized sweater will be felted by hand. It will shrink and thicken, its scars will fade and blend, but not disappear. Its fabrication will come to a conclusion. An ordinary sweater, with a not so ordinary story.
MaterialsFour different woolblend yarns, leather.
techniquesMachine knitting, manual knitting, designaKnit computer program, leather working, felting, pattern making.
CaptionsMachineknitted samples, felted and shrunk. Copies of sampled before shrinkage.
JACKet
An experiment of using discarded materials in an alternate way. using an old office carpet, and canvas advertisement poster, I have reclaimed value to worthless waste.
MaterialsOld polyester rug with latex lining, old advertising tarpaulin, thread.
techniquesBoiling the rug, facetcutting and restitching the tarpaulin (for flexibility), pattern making.
Captions01: Full jacket.02: Full jacket.
BOOts
Mens boots with trompel’oeil effect. due to the cut and seams, the boot seems to be merged with a dress shoe. the confusion is enhanced by having two zippers, one on the arch of the foot, and one bootzipper on the calf.
Materialstwo types of leather (cow), four zippers, saddle leather, prefab rubber sole.
techniqueslasting, pattern making, leather working, sewing.
Captions01: pattern drawing directly on the tape in last.02: stretching the sewn leather around the last.
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sneAKeR
As sneakers and sport shoes are a product of mass fabrication, and industrial manufacturing, a one man factory is started, in attempt to analyze and retrace the steps and materials of the production of a running shoe.
From left to right— CnC’ed MdF last, designed
in Rhino, sanded further by hand;
— epoxy clay mould for sole, sculpted by hand around the last;
— Cast pu rubber sample— thermoplastic innersole,
vacuumformed;— prefabricated Vibram sole.— laser cut and engraved
white leather for upper work;
— laser cut heel pattern, and leather parts;
— Moulds for ‘drop’ pieces, laser cut and hand sculpted in MdF;
— silver colored tyvek, lightweight mesh for inner lining.
Materialsleather, elastic band, purubber (sole), prefabricated sole, vacuum plastic, epoxy clay (mould), silicones (mould), MdF and glue (lasts).
techniqueslasting, shoemaking, pattern making, laser cutting, moulding, casting, vacuum forming, leather working, CnC milling, Rhino modeling.
Captions01: partly sewn upper of sneaker, (laser cut tyvek, white leather, vacuumformed polystyrene, elastic band).02: patterns for sneaker.03: 3dsculpted sole in Rhino.
peRsOnAl HeAtIng sYsteM
A proposition for the increasing demand for personal appliances, ranging from dubious muscleenhancers from the home shopping channel, to the newest appleproduct. It seems that the hardware count per head is increasing and that we are used to consume and discard more frequently from an early age (in the netherlands, the average machine and appliance count per household is 100!).
the first of a series of personal units, this is one that is pleading for a return of the lowfi and analogue. It is recovering the discarded forgotten appliances, and putting them in the spotlight, giving them a new destination. Instead of being a shameful outcast, they become a personal system, reminiscent of jewelry.
the heating system works like this; the stonecast tablet is heated by the toaster, the heat transfers through the copper wire weaponry of the stone into the rest of the copper knit. And thus distributing the heat to the neck of the wearer.
Materialssecond hand tefal toaster, birch wood, elastic, copperwire, copperplate and nails, casting stone, straps.
techniquesHand knitting, hard soldering, sewing, pattern making, woodworking, CnC milling, moulding, casting, Rhino modeling.
Captions01: drawing for CnC of toaster holder.
CHAIR studY
By alternating cuts and seams, a 3deffect is created, different than traditional quilting. the shape of the seat is dictated by the tensions made by the seams. As the seating is made out of paper, it will wear and wrinkle and the qualities of the paper will flourish until the highest peak is reached. the seating will be in a constant state of change.
MaterialsWood beams, screws, nylon thread, brown wrappingpaper, foam, paper tape.
techniquesWoodworking (fast sketch) machine sewing, cutting of paper.
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Captions01: sewing experiment with paper, creating 3dshapes with fragmented elements resewn together.02: 3dscanned model of paper surface in Rhino.03: Chair drawing in Rhino.
BOttles
Morphing, crystallizing, and doubling parts of a series of iconic dutch supermarket bottles. I am searching for the border of recognizability, of a shape with its incorporated colors and schemes. Creating new shapes and graphics by doing so. By using 3dscan, and certain 2d/3dprograms in a certain order, a kaleidoscopic machine is created,that produces in three dimensions.
the paper outer shell, is formed first, acting as a mould. the plastic bottle is rotationcasted in this mould in polyurethane Resin. As this process is the exact opposite of how an industrial bottle with labeling is produced, the appearance of an ‘upsidedown world’ is stressed even more.
Materialsprinted heavyweight paper, puresin, pet bottle necks.
techniques3dscanning with 123dcatch app, modifying in Meshlab and Rhino, flattening in paperkura, laser cutting paper, rotation casting.
Captions01: pattern for Cola bottle.02: pattern for dreft bottle.03: pattern for Fanta bottle.
VIdeO stIlls FROM‘JuxtApOsed ’
Juxtaposed is a short film, presenting a product, existing in two parallel worlds. On the left hand showcasing the object as nonpersonal and absurd, a limited edition.
suggesting a cultobject, an avantgarde prop. this opposed to the infomercial, wanting to sell it to the viewer, almost forcibly, making the object available, useful, a bargain. A clash of low and high culture, being reinforced by each other.
the juxtaposition results in a dialogue of the two opposing worlds. While not the intent of the videos separated, the two together caricaturize and question each other.
Collaboration withHortense lauras, stephanie smith, Ruben Baart.
MaterialsAerotray (own design), various props, model, built set.
techniquesdirecting, film editing, concept development, set building, scenario writing.
Captions01: scene set up for video.
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