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Estimated production time: 4 weeks
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The Archipiélago set is inspired by the organic, unexpected geography of islands. Each set of three nested tables is produced in powder-coated steel in Guadalajara, Mexico; and available in black or white.
While there is a vast possibility of arrangements, the set covers an standard area of 60 x 60cm. Though the shapes are not exactly geometrical, the individual dimensions (approximate lenght x width x height) of each table are:
a) high table: 36 x 36 x 56cm;
b) mid-sized table: 28 x 32 x 49cm, and
c) low table: 56 x 28 x 42cm.
The studio was born in 2013 as Álvareztostado, experimenting with materials and artisanal mexican craft techniques.
In 2016 the studio transformed itself into Piedrafuego, honoring the transformation of materials -the meeting of human hands and earthly resources- the subsequent dialogue between materials and those who make our objects.
The studio also develops architectural projects, artisanal manufacturing and interior design.
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.
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