''Many jewellers cite architecture as an inspiration of their works. Still more exhibit in their visual vocabulary forms recognisable from architecture. Viewing jewellery alongside architecture helps to reframe the viewpoint of jewellery practice, encouraging to perceive the art form as a type of building practice; one concerned with the building of ornament. Yet even without altering the perspective, it is obvious to see the similarities that occur between architecture and jewellery as builts objects.'' (Anon., 2015)
One of the example that I've looked into is Mellisa Cameron who is studied interior architecture and decided to become a jeweller. Most of her works were influenced by the architecture and the space. ''The inspiration for her works are mostly geometry, from the regular rhythmic patterns of architecture to the seemingly random fractals of nature. Working in AutoCAD she conceives patterns using the tools of Euclidean geometry, these being translation, rotation and reflection, with which she also incorporates the function of scaling – self-similarity at shifted scales – the fractal influence. Her drawing is released from two-dimensions by way of a saw through material, following the lines of the plan precisely. The sawn shapes are then strung, attaining three-dimensions through the tension of the steel cable that connects the layers.'' (Anon., 2015) The same goes as an architects, as they too have kept pace with introduction of computers into design realm where all the working and construction drawings are too routinely completed in AutoCAD.
One of the example that I've looked into is Mellisa Cameron who is studied interior architecture and decided to become a jeweller. Most of her works were influenced by the architecture and the space. ''The inspiration for her works are mostly geometry, from the regular rhythmic patterns of architecture to the seemingly random fractals of nature. Working in AutoCAD she conceives patterns using the tools of Euclidean geometry, these being translation, rotation and reflection, with which she also incorporates the function of scaling – self-similarity at shifted scales – the fractal influence. Her drawing is released from two-dimensions by way of a saw through material, following the lines of the plan precisely. The sawn shapes are then strung, attaining three-dimensions through the tension of the steel cable that connects the layers.'' (Anon., 2015) The same goes as an architects, as they too have kept pace with introduction of computers into design realm where all the working and construction drawings are too routinely completed in AutoCAD.
Pictures were taken from : http://egetal.com.au/news/post/melissa-cameron-on-recycled-materials-hectacubes-and-mies-van-der-rohe
Pictures were taken from : http://www.danacadesign.com/blog/2014/07/14/melissa-camerons-pierced-steel/
''A shared outlook and understanding leads me to believe that there are insights to be gained by pursuing the convergences between architecture and jewellery.''As we can see from her works, she combine architecture and jewellery in her artistic works in order to create ''spatially dynamic objects for wear and display''. What inspires her the most is the''architecture principles by exploring the space or structure of the building, straight lines from one point to another point which could form a shape, logic, puzzles pieces by pieces to form a shape, and pattern.''''Through the manipulation of the materials of jewellery, and by dismantling familiar objects related to the body and the home, she interrogate the intimate space of jewellery and architectural space, where the body is located.'' (Society of North American Goldsmiths., 2012-2015)
''By viewing jewellery and architecture in tandem is particularly instructive, as it gives us the opportunity to discover the use of the contemporary practice of architecture to instruct and inform the contemporary artist jeweller.''
''By viewing jewellery and architecture in tandem is particularly instructive, as it gives us the opportunity to discover the use of the contemporary practice of architecture to instruct and inform the contemporary artist jeweller.''
Sources :
Anon. (2015), Conferences Presentation :Examining the Connections between Architecture and Jewellery. Available at : http://www.craftaustralia.org.au/library/presentation.php?id=jewellery_and_architecture Last accessed : 10/11/2015
Anon. (2015), Studio 20/17 : Mellisa Cameron. Available at : http://studio2017.com.au/melissa-cameron/ Last accessed : 10/11/2015
Society of North American Goldsmiths. (2012-2015), Mellisa Cameron. Available at : http://www.snagmetalsmith.org/members/Melissa/ Last accessed : 10/11/2015
Saj C. (2015), Interview - Mellisa Cameron. Available at : https://www.enamelguildnortheast.org/interview-melissa-cameron/ Last accessed : 10/11/2015
Hummel K. (2014), Mellisa Cameron's Pierced Steel. Available at : http://www.danacadesign.com/blog/2014/07/14/melissa-camerons-pierced-steel/
Last accessed : 10/11/2015
Anon. (2015), Conferences Presentation :Examining the Connections between Architecture and Jewellery. Available at : http://www.craftaustralia.org.au/library/presentation.php?id=jewellery_and_architecture Last accessed : 10/11/2015
Anon. (2015), Studio 20/17 : Mellisa Cameron. Available at : http://studio2017.com.au/melissa-cameron/ Last accessed : 10/11/2015
Society of North American Goldsmiths. (2012-2015), Mellisa Cameron. Available at : http://www.snagmetalsmith.org/members/Melissa/ Last accessed : 10/11/2015
Saj C. (2015), Interview - Mellisa Cameron. Available at : https://www.enamelguildnortheast.org/interview-melissa-cameron/ Last accessed : 10/11/2015
Hummel K. (2014), Mellisa Cameron's Pierced Steel. Available at : http://www.danacadesign.com/blog/2014/07/14/melissa-camerons-pierced-steel/
Last accessed : 10/11/2015