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Jaguar Magazine 01/2017 – American

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Lassen Sie sich elektrisieren in der Frühjahrs-Ausgabe 2017 des Jaguar Magazins: Wir stellen Jaguar's revolutionären I-PACE vor, zeigen digitale Diamanten, die mithilfe neuester 3D-Technologie erstellt werden und freuen uns über Jaguar's Rückkehr in die Formel E. In Schweden entdecken wir im F-PACE die Stadtfluchten nahe Göteborg, die kaum jemand kennt und in Texas lassen wir den F-TYPE SVR mit seinen rund 322 km/h auf die Straße. Es gibt viel zu entdecken in der neuen Ausgabe des Jaguar Magazins!

OPPOSITES ATTRACT:

OPPOSITES ATTRACT: Designer Norman Weber walks the line between the classic and the modern, using traditional high-end materials like precious stones in combination with synthetic components made from plastic or nylon as shown in this brooch. 44 THE JAGUAR

DESIGN “Even in the era of 3D modeling, the ability of the jewelry designer will remain a thing of beauty and fascination.” PHOTOGRAPHY: JULIA SKUPNY, PR and processes to create his pieces. Though Kruger works with traditional methods, his pieces are representative of direction in jewelry design. Structures, colors and patterns are central to his approach, allowing his work to convey what he describes as “ideas expressed in a small format.” The work of Chinese artist and one of my own former Royal College students, Dorry Hsu, is characterized by an intelligent embedding of digital technologies inside traditional craftsmanship. Her work has an exuberant, baroque design language, features extensive experimentations with colors and not least, shows how intricate workmanship still has a place once the additive manufacturing phase has been completed — much of her finishing is still done by hand. Norman Weber is another artist who has embraced the digital revolution, but is prepared to imitate jewelry design clichés while doing away with traditional hierarchies, even going so far as to incorporate non-precious stones and synthetic materials into expensive high-end products. Weber’s work incidentally helps underline another important point: while we are indeed faced with a brave new world in terms of production and design it would be wrong to assume that jewelry is leaving craft behind and heading toward mass production, even if some individual components can now be produced faster. We still have some way to go before we can produce precious metal components using additive manufacturing. Moreover, behind the scenes, aspects of production have in fact become more complicated thanks to increasing complexity in component shape and a growing diversity of materials in use. We are at the beginning of a new and exciting journey in the creation of modern jewelry, a journey in which the focus will lie on the interaction between the creative artist and the computer. But there is no magic ‘print’ button; the finished product is always the result of painstaking experimentation across the whole spectrum of jewelry manufacturing. Even in an era of 3D modeling, the vision of the jewelry designer remains a thing of beauty and fascination. ABOUT THE AUTHOR German jewelry designer SILVIA WEIDENBACH holds an MA in Goldsmithing, Silversmithing, Metalwork & Jewellery from the Royal College of Art in London and a Diploma in Fine Art from the University of Art and Design, Burg Giebichenstein, Halle, Germany. Her jewelry combines traditional techniques and digital craftsmanship, coupling materials like diamonds entirely set by hand with modern technologies, such as the haptic arm, a digital sculpting tool that allows the user to work on the ‘virtual clay’ of a given design. Weidenbach is based in London’s Hatton Garden goldsmith center and is a guest lecturer at the Royal College of Art. THE JAGUAR 45

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