research
Stuth is a design research practice. The work moves between code and material — parametric systems that generate form, fabrication methods that make it physical, and the gap between the two where most of the interesting problems live.
What follows is ongoing. Some of it ships as product. Some of it stays in the studio. All of it is the actual work.
Pattern Language
Each of the fourteen surface patterns carries a Scottish Gaelic name identifying its derivation. The name describes what the pattern *is*, not what it looks like.
**Water patterns** — derived from fluid dynamics at different scales:
- **loch** — concentric displacement from a point disturbance in still water
- **cuan** — rolling periodic displacement with variable amplitude (open ocean)
- **mar** — parallel flow lines with directional bias (tidal movement)
- **uillt** — high-frequency ridges from constrained fast-moving flow (stream)
- **lon** — low-amplitude undulation with irregular periodicity (marsh)
**Textile patterns** — derived from thread behaviour under tension:
- **tana** — fine parallel striations at high density (thin fabric)
- **tiugh** — bold ridges with pronounced depth (heavy weave)
- **cotan** — interlocked texture from warp-weft intersection (cotton)
- **anart** — crisp folded geometry with angular transitions (linen)
- **sioda** — continuous low-friction flow with minimal surface interruption (silk)
**Organic patterns** — derived from biological and material deformation:
- **fas** — branching displacement from biological expansion (growth)
- **neonach** — asymmetric deformation with no repeating unit (strange)
- **pasgadh** — coiled surface geometry from continuous winding (wrapping)
- **fidheall** — dense interlocking carved pattern from interlaced paths (weaving)
The naming system extends to forms (named for their character in Gaelic) and printers (named for water features). The language is ours — not heritage tourism. It connects computational work to something older than the tools.