20120425

NYC based magazine Surface featured the 3D printed bracelet Torus by Claesson Koivisto Rune. This is what they wrote: Swedish design trio Claesson Koivisto Rune (CKR) has fallen in love with selective laser sintering. The affair began last year when Belgium-based manufacturer Zigg Zagg pro- duced their Leaf cellphone prototype for Huawei by using the laser-powered process. When Stockholm-based manufacturer DFTS Factory asked CKR to create something wearable, they returned to the technique, curious to see if it could be used to fabricate a limited-edition bracelet. It could—but the job wasn’t easy. Constructing a single Torus bracelet takes four hours and begins with sintering 2,208 min- iscule polyamide-powder links via three lasers to form a solid material through a 3-D rendered computer file. Eero Koivisto, who describes the structure as “basi- cally a tube of links creating another tube,” says the architec- tural result is a lightweight, geo- metric bangle that feels “like a hard textile.”—Brigette Brown
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20120215

Download pdf Torus is a new bracelet for women designed by Claesson Koivisto Rune and produced by DFTS Factory. Its probably safe to say that Claesson Koivisto Rune is the most interesting design and architec- ture firm working from Sweden today and definitely its most prolific. “Always modern, always inno- vative, always fresh. That’s how we think of Claesson Koivisto Rune, it doesn’t matter if they’re making a house or a paperclip,” says Gustaf Kjellin, ceo and co-founder of DFTS Factory. Yet it’s not this which drew DFTS Factory to the company for a collaboration. “They’re a lot like us. They’ve got their eyes open, a real keenness to know what is happening in popular culture, music and tapping into that for inspiration. They’re like adult youngsters with a hunger for the new,” explains Andreas Aaltonen, co-counder DFTS Factory. Claesson Koivisto Rune holds a deep respect for the traditional handicraft so etched in Swedish culture but blends this with a fervent appetite for the most cutting edge techniques in the industry and it’s this element which has been important in making Torus. “Through modern 3D manufactur- ing and selective laser sintering (SLS), new shapes are possible. Shapes that cannot be made either by conventional machines or traditional handicraft. Torus is such a shape. The torus can be described as a surface of revolution generated by revolving a circle in three dimensional space about an axis coplanar with the circle. It is now also the name of a bracelet.” Claesson Koivisto Rune, architects and designers. Torus is built solely out of 2208 individually loose plastic links that together form the shape of the bracelet. The whole process of making one bracelet takes four hours. With precision made distances between the links, the bracelet feels like something that can only be described as textile fabric. With Torus, Claesson Koivisto Rune has pushed the boundaries for what is possible within the SLS manufacturing technique. It is a bracelet that perfectly shows the infiltration of architec- tural construction into fashion and visa versa. A bracelet that couldn’t have been made any day sooner than right now and with the feel and look of how the future might be. Mail info@dftsfactory.se for further information. High res images from www.dftsfactory.se/press Andreas Aaltonen +46 (0)763 05 28 85 andreas@dftsfactory.se Gustaf Kjellin +46 (0)735 71 06 74 gustaf@dftsfactory.se Notes to Editors: Claesson Koivisto Rune is one of the most internationally acclaimed Swedish architect and design studios. Like Scandinavian masters before them, such as Aalto or Jacobsen, Claesson Koivisto Rune practise both architecture and design. The company’s work includes architecture, furniture, interior and product design, for such clients as Asplund, Cappellini, David design, E&Y, Iittala and Offecct. Selective laser sintering (SLS) is an additive manufacturing technique that uses a high power laser to fuse small particles of plastic, metal, ceramic or glass powders into a mass that has a desired 3-dimensional shape. The laser selectively fuses powdered material by scanning cross-sections generated from a 3-D digital description of the part (for example from a cad file) on the surface of a powder bed. After each cross-section is scanned, the powder bed is lowered by one layer thickness, a new layer of material is applied on top, and the process is repeated until the part is completed.
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20120209

Download pdf The Last Ashtray by Richard Hutten for DFTS Factory Since the inception of DFTS Factory in 2010, the creative lure offered by Richard Hutten has been burning strongly in the ambitions of its founders, Andreas Aaltonen and Gustaf Kjellin, “We’ve met him in various cities around the world since 2003 and think he’s one of the best. So our second release had to be a collaboration with him,” says Gustaf Kjellin ceo and co-founder of DFTS Factory. There’s aesthetical thinking as well as functional reasoning behind The Last Ashtray’s form. The four pits are sculpted so that ash will not be easily scooped up and scattered by gusts of wind and in this sense they also work equally well in the hands and homes of the non-smoker - for contain- ing sauces, spices, office accessories... In Huttens own words; “Smokers are a dying species and the ashtray will die with them. I designed this ashtray to throw my last cigarette in and I hope other smokers will do the same. If you then don’t use it as an ashtray, you will find other purposes for it - reminding you on your wise decision. And if you keep smoking, well, then it’s still a beautiful and handy ashtray.” “We’ve used melamine for The Last Ashtray. There’s a reason it’s used in the production of most ash- trays in that it can take a kicking; it’s resilient” expains Andreas Aaltonen co-founder DFTS Factory. Proportionally speaking, the piece is a perfectly square 15x15cm to let an average 84mm cigarette rest safely in its recesses. Attention to detail has also been given to the colour selection for the initial run. The Last Ashtray will initially be available in four colours, matched to iconic cigarette tones - filter, skin, glow and ash, chosen by Hutten and DFTS Factory. DFTS Factory’s collaboration with Hutten has resulted in something which, while perhaps being for a controversial purpose, is a genuine design-offering beyond its primary task. Another statement piece from a Swedish company specialising in engaging vivid pieces and its collaboration with a designer whose work has never been anything but. The Last Ashtray will be launched at this year’s Stockholm Design Week. Mail info@dftsfactory.se for further information. High res images from www.dftsfactory.se/press Andreas Aaltonen +46 (0)763 05 28 85 Gustaf Kjell +46 (0)735 71 06 74 Note to editor: Richard Hutten graduated from the Academy Industrial Design Eindhoven in 1991. The same year, Hutten opened his own design studio, working on a variety of projects covering the design disciplines including furniture, products, inte- rior and exhibition design. It was at this time that his recognisable No Sign of Design and Table upon Table concepts were developed. One of the most internationally successful Dutch designers Hutten is a key exponenent of Droog Design, which he has been involved in since its creation in 1993. His work is part of the permanent collections of, among others, Stedelijk Museum of Modern Art Amsterdam, Vitra Museum Weil am Rhein and San Francisco Museum of Modern Art. His clients include E&Y Tokyo, MOSS New York, Karl Lagerfeld and HRH Queen Beatrix of the Nether- lands. www.richardhutten.com
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