ADORNO’s LONDON DESIGN FAIR 2018 COLLECTION
A selection of the most collectible pieces from this years London Design Fair
curated by the founders of Adorno.
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Discussing the forced migration of African people during the colonial era, this investigation is in response to how powerless these people must have felt. Iklwa, therefore, offers a speculative sense of protection from this aggressive practice as, when used, the throne conjures up notions of authority, empowerment, and dominance against oppression.
Drawing inspiration from his African Cultural heritage, Mac has created a furniture piece which is in tune with the ideas of Afrocentrism and Afrofuturism. Through a composition of powerful, spear-like forms, an encompassing backrest, and a vivid, ultramarine hue, the designer has created a visually intense object designed to dominate and overwhelm its surroundings. Much like a throne, this dominating ash structure is intended to frame, enhance and empower its human subject. Having been eased into a nonchalant sitting position, the user is then encouraged to investigate and explore the sculpted forms and intricacies that hide below the intense blue stain. Winner of Cræftiga 2018.
The RTB table consists of a dark grey glass plate leaning onto a black patinated steel base maintained together by a stainless steel threaded rod and custom-made bolt.
The glass is sandblasted on one side creating a gradient of greys and blacks at the surface of the plate. The base is blackened with a patina that reacted with the steel and formed a subtle variation of dark blue and grey colours, contrasting with the polished stainless steel of the connection system. The RTB table is the result of a careful work of proportions and material associations, its design is essential yet technical and made to offer a subtle object with refined details.
RTB is designed and entirely made by Johan Viladrich, it consists of a limited edition of 8 pieces + 2 artist proof and 1 prototype. Each piece is signed and numbered and professionally packed.
Black Trine Variations
Designed and made as an edition by John Makepeace OBE, Winner of the Prince Philip Designers Prize.
The design of this chair has evolved over a number of years. The objective is to provide a visually lively, secure and physically comfortable seat with five main components – a seat, back and three lags. It applies a materials technology developed at NASA to achieve high performance from minimal materials. The curve, slope, and sculpting of the seat draw the base of the spine to the back of the chair. The rear leg is shaped to provide vital lumbar support. The curved back embraces the body. Made in English oak and scorched to reveal the natural texture of the grain. Should buyers want six chairs all different, John would design another variation for their approval. Price per piece.
This bespoke hand-made side table is part of a wider “Industrial Craft” collection featuring sculptural tables and decorative vessels. A material led project where the focus is concentrated on the transformation of polyurethane foam dust that comes as a by-product from CNC fabrication companies. Table 01 is made from recycled polyurethane foam dust and resin to create a new durable composite material. The materials characteristics are highlighted within the table to show both its natural textures as well as are refined and controlled. Sculptural and functional elements are equal within this handcrafted piece. The table can be made to order with colour and height variations possible upon request.
Using paper infused with plastic these tables are ‘cast’ from the inside out and set rapidly to create very strong, very light, completely unique forms. What gives the pieces in this series their shape is 300gsm watercolour paper. The paper is injected with a liquid plastic and manipulated to create unique shapes whilst setting. As they don’t use a mold and are manipulated by hand during the hardening process, each piece is entirely unique.
The method used follows Richard Lowry’s interest in finding ways to apply hand craft techniques to materials which are usually considered industrial or for mass production. The plastic sets rapidly to create forms which can support high loads (they can be sat on) whilst remaining extremely light.
Dimensions are for each table.
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The Venus stool. Originally carved from a block of tulipwood, the shape has been lost wax cast in bronze. At the time of carving, I was probably thinking of a strong woman or mother figure and the shape started to come out like a female torso. I was thinking of strength, beauty, and power, like a powerful strong shape, like a bollard that a ship is tied to, (as I spent many years sailing) or a woman on which you are tied, something unmovable and strong and solidly placed.
The shape reminded me of the Venus figurines, so I started doing some research and came across some interesting prehistoric pieces, especially the fertility forms of the Blagotin site in Serbia which I had never seen before and had a similar form. The astronomical symbol for Venus is the same as that used in biology for the female sex: a circle with a small cross beneath. The Venus symbol also represents femininity, and in Western alchemy stood for the metal copper. From antiquity, polished copper has also been used for mirrors, and the symbol for Venus has sometimes been understood to stand for the mirror of the goddess.
|Full dimensions (cm)||450x350x500|
WURST bench is a scagliola phallus inspired by the texture of German sausages and the form of beached whales, on a set of ebonised conical feet. The WURST bench is the headline work to come out of Workbook I, the launch collection of the dirty luxury brand General Life. This collection is inspired by, amongst other things; the dirty sports sock like presence of a dead whale on a beach in Dorset; the fundamentals of daily rural life; the very modern contradictions and excesses of the Georgians; German hospitality expressed through the boiled sausage; Gaudi’s brave and joyful juxtaposition of materials and forms; the itinerancy of modern life; the sensuality of the sculpted male body; the building of a colourful beach house in Cambodia; the growing sense of impending catastrophe; the geometry of the cone and the cylinder; Omega Workshops challenge to the position of the artist in the early 20th century; repetition, process and mastery; the fold and the pleat; the comedy of failure; the idea of escape.
General Life flows from the creative practice of Ivan Morison and Heather Peak Morison, capturing significant moments in their artistic process and shaping them into products to be shared. All of General Life’s work originates in the artist’s studio and is made by hand in its own workshops and in collaboration with a community of small-scale fabricators in the West Midlands – the traditional heartland of British manufacturing.
A bicycle is an object in which the user can feel a seamless relationship to and subsequently the road. This relationship between body and object is echoed in bicycle design with tubes flowing seamlessly into one another, constantly changing shape, to improve function and aesthetic.
The Velo Chair is a response to modern bicycle design with its components seamlessly wrapping around the user, constantly changing form for comfort and then blending into the next component, leaving the user feeling at one with the chair.
The Velo Chair //1 earth series is inspired by the textures and palette we are more familiar with experiencing outside of the home. The Bleached Oak is reminiscent of the of the ash and charcoal left behind after the fire, whilst the scrubbed organic texture mimics that of the timber we often overlook outside, where the elements have sculpted the surface.
The Matrix project is and began as a system to allow for endless configurations and constructions. The base concept is derived from architectural constructions and solutions for multipurpose “form meets function” situations.
As the construction of the Matrix is built up of individual ribs, the ribs can be designed any which way. This allows the system to be applied to products as well as interior features, or even architectural structures themselves.
When viewed from the front the grid structure has a very transparent character but as the structures start to bend the transparency disappears in a gradient of light type fashion. The inner surfaces of each individual square capture and play with light and appear differently from all other perspectives. A showcase of surfaces, seating, and lighting that together show a broad application of the concept, to showcase the possibilities as well as the visual aesthetic.
“Not only hollow” Cabinet
The “iced bubbles and oak” cabinet suspends solid wood in a low-resolution 3D printed shell. This pairing is autobiographical in nature: drawing upon Dutch designer Dirk van der Kooij’s background in carpentry and present-day explorations in synthetics.
The glass-like outer ring is the product of Dirk’s house-developed 3D printing robot. Reclaimed polycarbonate, ranging in origin from CDs to chocolate molds, is extruded into a single, molten thread–akin to the filament of standard 3D printing. As the robot draws upwards, the unlikely source material settles into crystalline hills and valleys. Solid wood shelving grounds the form with a countering simplicity. As the oak appears to sink into its foamy casing, the plastic reveals impressive strength.
Much like the struts and trusses of a bird’s hollow bones, the bubble pattern simultaneously lightens and reinforces the design. The “iced bubbles and oak” unit displays synthetics and wood on a shared platform. In doing so, Dirk Vander Kooij honors the opposing materials equally. The embrace sees knots in wood echo pulsating printed strata: both, ultimately, are textures of growth.
“Being used to scrutinizing yourself in the mirror and harshly judge your own physical appearance, there’s not much room for reflection on more important matters. The underlaying motive of creating Eclipse was to challenge the function of a mirror with its only purpose to provide a reflection of our external surface, shifting focus onto more essential aspects of self-reflection beyond meaningless needs and dim desires. Hidden in the depth of the reflection an abyss to another dimension opens, breaking the boundaries between dream and reality. The gently polished diabase is intended to appear three-dimensional, one might say almost like a celestial body in orbit, enabling the spectator to view and experience the mesmerizing stone from various angles and distances.” / Stoft studio
The mirror is produced by Kullaro with its diabase stone taken from their local quarry. The pieces of diabase are gently worked and polished by hand, then mounted on a mirror-polished sheet of stainless steel with lightly brushed edges.
This piece is made with a self-developed technique that recreates the look and feel of traditional marquetry. A combination of modern computer controlled machinery and a specially developed hand dyeing techniques is needed for the production process. The front and back of the piece show a different pattern. Drawing and colors of the room divider are originated in classical ornamentation and are dictated by the technology and production method used. The piece is made of pine wood and finished with a matt lacquer.
|Full dimensions (cm)||145x26x175|