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Estimated production time: 9 weeks
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This poetic series of dishes has been decorated with a contemporary graphic language: this is why the collection is called ANOTHER NATURE. It evokes, in fact, a different way to look at the world around ourselves. The careful choice of the motifs is based on an attentive investigation of the Este Ceramiche atelier’s rich archives; the animals and flowers, typical of Este Ceramiche Porcellane’s acknowledged heritage, have been portrayed on the plates with an unexpected rhythm to recreate fantastic scenes. The delicate use of the precious gold lustre enriches the perception of the dinnerware with its glittering sparkles.
ANOTHER NATURE is a project developed together with the Italian Company Este Ceramiche within the frame of the DOPPIA FIRMA PROJECT, that brings together European design innovation and the tradition of great artisanship by creating a unique collection of original, refined objects.
This initiative is possible thanks to the FONDAZIONE COLOGNI and the MICHELANGELO FOUNDATION and curated by the magazine Corriere de la Sera Living.
Sold individually. Four available colourways: blue with fish; green with horse; brown with dog; & red with bird
38x38x
1.4
Ceramics
2018
multi colored
Blue plate with fish, Brown plate with dog, Green plate with horse, Red plate with bird
Spain
STUDIO INMA BERMÚDEZ is one of Spain\'s most international and respected design studios. They develop a wide range of products for different companies and brands from all over the world. Its commitment to sustainability and environment leads them to develop products with a strong respect for processes, materials and products use. They have collaborated with national and international companies such as Gan Rugs, Marset, Sentat, Sp. Berner, IKEA, Calma, RADO, Zaozuo, among others.
Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process. This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency. For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.
