adnan agha
interdisciplinary designer & artist

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    object fabrication
a step away from the more theoretical academic world, my time at object was full of fast-paced, agile work with a hardworking team creating set pieces and props for creative agencies and artists. 

i joined the shop for a short term work study and hit the ground running. projects could come in at any moment and be dead within 48 hours or up for install within a week. the shop was always a dynamic, lively place to be and there was little border between fabrication work and office work.

the team was already capable of doing a lot, but i was able to bridge the gaps between ideas and execution. i created sketches with project leaders to clarify construction methods, material needs, and client deliverables as well as turning these into shop drawings for the build team. in doing this, we managed to dodge many errors, reduce material waste, and speed up production.








set design
in one of the larger projects i worked on, we designed and built three unique location sets for a commercial shoot-- a classroom, bedroom, and a basement. the walls were built out of multiple stage flats: wooden wall pieces that could be screwed together. the typical section was 4x8 feet but the set walls would be much larger and oddly sized, meaning some custom flats would need to be made.








parametric modeling
in working with clients, the needs of the project shifted from moment to moment as we tried to balance the budget. in order to create accurate models and drawings that could be flexibly changed, i developed a grasshopper script that could generate new flats at any given height, width, and board thickness.







on set
landing at set was when flawed, messy reality collided with cold digital precision. in the real world, the floor isn’t perfectly level, the wood isn’t completely straight. there’s bumps and imperfections all over, but with a little bit of movie magic, healthy preparation, and strong teamwork, we turned out something beautiful.





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