MARKO BAKOVIC

AeROtRAY: 3Ode tO WIM CROuWel: 4dAIlY extReMe: 6JACKet: 8BOOts: 10sneAKeR: 12HeAtIng sYsteM: 14CHAIR studY: 18BOttles: 19JuxtApOsed: 20AppendIx: 25

1

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

5

WIM CROuWel

6

dAIlY extReMe

7dAIlY extReMe

8

9

JACKet

BOOts 10

11

12

13

sneAKeR

14

15

HeAtIng sYsteM

16

HeAtIng sYsteM

17

CHAIR

studY

18

19BOttles

20

JuxtApOsed

21JuxtApOsed

22

JYxtApOsed

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:190

0:3

40

0:4

0

23

01:21

01:12

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:52

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

01

02

03

27Ode tO WIM CROuWel

02

01

28dAIlY extReMe

01

29JACKet

01 02

30BOOts

01

02

sneAKeR 31

01

02

03

HeAtIng sYsteM 32

01

CHAIR studY 33

01

02

03

34BOttles

01

03

02

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

Index 36

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.

37Index

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.

Index 38

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.

Index 39

gRApHIC desIgn: suZIe WeMpe

text & pHOtOgRApHY: MARKO BAKOVIC