Andreas Kamolz is a London based product designer, graduating from Design Products at the Royal College of Art.
Throughout his work, the continuous reflection of cultural and technological novelties becomes manifest in both clear and thoughtful objects combined with an unobtrusive functionality - embodying what he is most passionate about: make, create and innovate.
Before his MA he has worked as a design manager in a brand retail agency producing high-profile window display campaigns for global consumer brands.
Previously, he studied at the Bauhaus-University, Weimar and Pratt-Institute, New York.
Combining the professionality of having managed and executed extremely fast paced industry projects with the ability to thoughtfully balance contextual insights and empathic understanding make him a versatile strategic and future oriented thinker and doer.
Awards & exhibitions:
- KI Award: highly commended, SE17 Chair, 2020
- Design Plus award of the German Design Council (winner), Aurora, 2016
- Bauhaus Essentials price (winner), Aurora, 2014
- MDR design price (finalist), lux aeterna, 2013
- the exhibitionist, Royal College of Art, London, 2019
- Milan Design Week, (Euroluce 2013, Satellite 2015, Ventura Futures 2019)
- light + building fair, Frankfurt/Main, 2016
- SUPER SALE, graduation show, Bauhaus University, Weimar, 2015
- Summaery, Bauhaus University, Weimar, 2011- 2015
- Designers Open, Leipzig, 2013
- Ambiente fair, Frankfurt / Main, 2012
human-robot making // focus — exploring ways of how a collaborative robot can be used in a making and craft context through combining the precision of the robotic arm with the human ability to intuitively judge a situation in a dynamically changing casting process. Focused, slow and gentle interactions create extremely fine structures while faster flowing movements allow for more dynamic casting outputs.
human-robot making // flow
application scenario: slip casting — 1. liquid porcelain is poured into a plaster mold which is then mounted on the robot. 2. the maker steers the robot to create a finely layered vessel. 3. after a few minutes of casting movements, the porcelain has cured and it can be taken out of the mold and is ready to be fired. 4. vases, vessels and tableware are unique pieces which reflect the constitution of the maker.
application scenario: lost wax casting — 1. molten wax is poured into the mold which is then mounted on the robot. 2. the maker steers the robot to create a unique and filigree structure. 3. once the wax has fully solidified, it can be released from the initial casting mold. 4 & 5. a plaster mold is constructed around the wax piece and either through lost wax casting or sand casting, the wax positive is replicated as a structurally stable metal part. 6. possible applications for this process are table-, chair- and stool legs among other furniture components.
human-robot co-creation — wax casting // round
human-robot co-creation — wax casting // triangular
ccc /// collection - examplary furniture & tableware — a speculative collection consisting of two tables, vases, tableware and stools.
ccc /// coded craft collection - examplary furniture & tableware applications — table trestles & stool legs: the shape and generative ornaments of the legs are created through the human-robot making process and are assembled through a connecting structure to support the respective tabletop or seating surface.
15 wax castings — a selection from countless castings made from various molds and interaction modes.
process video — a quick run through the entire casting process: from pouring in liquid way to releasing the structure from the mold.
further process documentation — to see further documentation of the mold making, motion planing, wax testing and coding, feel free to visit my website.
combining robotic precision with human intuition in an experimental casting process.
Industrial robots have not only massively transformed the world of production in recent years, but have also been developed to operate within close proximity to humans. These direct human-robot interactions are not only limited to skilled factory workers but also start to conquer our immediate surroundings.
Within my project, I explored collaborative interactions with an industrial robot and created a dialogue between a robotic arm and a human maker through combining robotic precision with the human ability to intuitively judge a situation and react to the changing dynamics of the moment: In an experimental making process, liquid wax is poured into a mould which is mounted on the robotic arm. The maker is then steering the robot through a repeating set of movements to co-create finely layered, delicate and sometimes even translucent structures as the wax slowly solidifies.
A speculative furniture and tableware collection visualises potential applications for future development.
Thanks to Ioannis Galatos.
Medium:collaborative robot, wax
aluminium: impact & transparency
The research is referenced and visualised through the creation of a mundane object: A universal hook, mono-material and of unobtrusive elegance, represents an ideal object to propose an alternative value system of transparency beyond glitz and gloss. A hook which does not deny the traces of its origin by its external characteristics and thus becomes a direct and individual link to its creators.
Aluminium is one of the most common elements on earth and extensively used in our product world. The mining of ores and smelting of primary aluminium uses vast amounts of energy and resources, but once in the system, its fascinating properties enable infinite recycling which only requires 5% of the initial energy.
However, with ever-increasing global challenges questions should not only be raised about our current systems of producing commodities but equally, emphasise the need to challenge our decisions as individual consumers.
But how much do we actually know about the impact of our everyday actions and consumption?
Interviews about the knowledge and understanding of one`s environmental impact revealed that barely anyone has an idea of it and how to relate to C02 emissions.
Furthermore, almost none of the products available on the shelves provide any kind of information about their carbon footprint or the way of how they are sourced.
A paradigm shift in providing information and the amount we trust a customer to take is urgently needed. This leads to numerous further questions of how transparency might generally affect consumer behaviour and ultimately result in the establishment of transparency as a new value system.
To gain the contextual insights I have collaborated with New Pro Foundries and the Centre for Environmental Policy, Imperial College to understand the casting process and perform a life cycle assessment to consider and minimise the environmental impact (C02e emissions) of cast objects from early production stages on. The most important insight is that the environmental impact can be significantly lowered through the minimisation of molten and cast material which is not used in the final object.