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r The old profession of goldsmithing is experiencing a whole new dimension
thanks to computer-aided design (CAD) and 3D printing. How much craftsman-
ship is still in the Sian rings, earrings, pendants and bracelets you create and
how much high-tech? Besides, how simple or complex can we imagine the de-
sign and production process to be?
Simon Vorhammer (SV): Our jewellery is created through the interplay of digital
planning, additive manufacturing and the traditional craft of goldsmithing. The
share of the traditional craftsmanship varies from piece to piece. However, it is
safe to say that the digital design process accounts for the lion’s share of the work.
At the beginning, we always start with a basic geometric principle. This means
that the enveloping surfaces of basic geometric bodies are partially resolved into
single or double interwoven meshes. We then programme a basic algorithm that
describes the complex geometry and takes into account all limitations presented
by the manufacturing technology. Using this basic algorithm, specific parametric
models for the individual pieces of jewellery are created in many iterations. The
3D models derived from the algorithm correspond with absolute accuracy to the
printed wax model. This positive wax model is used to make a negative mould
from fine plaster, into which the precious metal is then cast. As both the wax
model and the plaster mould are lost each time, this is known as the “lost-wax
casting” process. Each piece of jewellery is then carefully hand-finished by our
goldsmith to achieve its individual, vibrant appearance.

r What are the obvious advantages and new possibilities offered by the digi-
tally assisted manufacturing process as compared to traditional goldsmithing?
Antonia Frey-Vorhammer (AFV): With the help of the additive manufacturing pro-
cess, it is possible to implement design ideas that could only be achieved with a
great deal of effort or not at all using traditional methods. The Neta necklace with
pendant, for example, consists of a single continuous surface that interlocks with
itself in more than one hundred places without ever touching. The meshes the-
reby follow an irregular freeform surface. In areas of higher local surface curva-
ture, they are placed further apart to maintain a constant distance. So, the digital
manufacturing process and algorithmic design approach facilitate interlocking,
richness of detail and design freedom all at once. Because of the geometric com-
plexity and the elaborate production process associated with it, our jewellery is
made of 18-karat gold to make sure that the costs of production and material are
proportionate.

r Are your pieces of jewellery unique or produced in series? Also, does Sian
Design make individual pieces of jewellery according to the specifications of
your customers?
SV: The majority of our jewellery is industrially manufactured. However, the me-
ticulous manual work of the goldsmith gives each of our pieces of jewellery an in-
dividual and lively finish and appearance that distinguishes it from a product ma-
nufactured in series. At the request of our customers, we are regularly producing
variations. For example, one customer wanted a wider variant of the Iva ring,
another wanted a narrower version of the Emi Cocktail ring. The Emi earrings
were the result of a suggestion by one of our customers. So far, there has not been
a completely individual design according to a customer’s wishes. It takes a lot of
time and effort to write a specific algorithm for an individual piece.

r Both of you still work as architects. How do you combine your two jobs in
terms of time and organisation?
AFV: Managing the various projects and accommodating their varying require-
ments is often not that easy for us. Time and again we find ourselves stretched to Mit Designboden vom Experten
our limits in terms of time. Our project work in the fields of architecture and com-
putational design is mainly bound to regular working hours. For Sian Design and Räume gestalten.
Formfeld, our company for acoustically effective, computer algorithm-based woo-
den wall panels and reliefs, we therefore often work in the evenings and on week- www.project-floors.com
ends. Having more than one string to our bow is good for us, but it also has the
disadvantage that none of them develops as quickly as we would often like them
to do. We have to realise again and again that a lot of patience is necessary. On
the other hand, we can take our time, and all the pressure is not on one particular
project. Besides, there are often synergies between the different areas.