Georg Sampl

CUTOUT

Veröffentlicht am März 9, 2022März 9, 2022 von Georg Sampl

CUTOUT derives from experiments on materialising sound. Through visual programming
samples of different genres of music were investigated according to their effect on the distortion of digitally described surfaces. For the final form an extract of Arnold Schönbergs Opus 30 was picked, because of him beeing unboubtedly a pioneer for the later developed electronic music and therefore predestined to overlap with an effort of how to digitally materialise sound.

Due to the technical feasability and immaterial appearance of the sound sample the wallthicknes varies from five millimeters at the center of the bowl to 2,5 millimeters at the four outer edges.

In cooperation with Neue Wiener Porzellanmanufaktur Augarten prototypes with different surfaces and glazings were produced.

Hylē

Veröffentlicht am März 4, 2018März 9, 2022 von Georg Sampl

Hylē explores the technical impression of certain material appearances and its actual process of making. The term Hylē means „matter“ or „stuff“ getting informed to a „gestalt“ by „techne“, which can be described as craftmanship. Technological creations with yet uncanny appearances are often received under the influence of prefabricated expectations. This expectations can be seen as a consequential approach which according to Vilém Flusser originate from „Kalkulieren und Komputieren“. The here applied process of actual manual labour is often beeing referred to generative production methods, suggesting that outsourced production processes in general are attributed more virtuosity than craftmanship.

TRANS

Veröffentlicht am März 4, 2018März 13, 2022 von Georg Sampl

Simultaneously to the work on an essay about Eileen Grays architecture first sketches for the Loungechair „TRANS“ evolved. The typology is influenced by the specific term “style camping” coined by Gray in 1927, when she built her first house E 1027 including the adequate furniture in Roquebrune- Cap- Martin.

Centerpiece of the Loungechair TRANS are the specially developed wooden joints, which were milled multilateral with a „KUKA KR120 R2500 “ robot, whilst being finished and glued manually. Due to the geometry of the used milling tools, which logically inform the formal appearence of the furniture a very short milling time for each single part is resulting. The parametrically programmed milling process is the only production step which is not performed manually by craftsmen and -women.

The implementation of robotic fabrication and automation is significantly rising from the automotive industry to porcelain production or even smaller businesses, such as joineries or the carpentry business.

This ongoing shift towards partially outsourcing craftsmanship has to be considered from the very first sketch on, long before the production comes into play.