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Estimated production time: 4 weeks
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Abacus is a table composed of a powder-coated steel structure and black medium tops. Abacus pushes conventions aside. The table tops glide and move freely along the structure without any constraints, leaving the user free to choose the layout. As the plates disappear, the structure reveals itself and becomes a graphic element that takes shape in space. From a dinner for two, to a family meal, the table is composed and broken down in a playful way. Abacus is a game of translation and composition between the different guests where the placements are random and change according to our needs and desires.
“Abacus” can be customised in different colours, materials, and lengths. Model shown is a black, 6 foot table in oak wood and steel.
180x80x75
40
Black powder-coated steel frame, Oak wood
2020
Black, natural
Born in 1991, Belgian designer Pierre-Emmanuel Vandeputte received his master’s degree in industrial design from the ENSAV La Cambre in 2014. Following his graduation, he opened his design studio in the Brussels city center. Since the beginning of his professional career, Pierre-Emmanuel has been invited to exhibit annually in cities such as Copenhagen, Paris, and Milan. From conception to production, Pierre-Emmanuel imbues his designs with a sense of the surreal and a respect for craftsmanship. Each piece has a unique voice, and emotional power. Together, they speak to our more playful and curious nature, inviting us to live experiences unlimited by everyday expectations. His work is enigmatic, challenging what we consider to be evident in order to change habits and perceptions. His designs are indeed symbolic of an urge to break free from the mundane, to chase originality, while staying within the framework of the most noble materials.
The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.
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