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Estimated production time: 4 weeks
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This Basket series of small tables by Defne Koz for Makomim are made of composite materials. These monoblock pieces are produced one by one individually by hand in Izmir Turkey underneath the Makomim design brand Megaron. These tables are very light yet durable for outdoor and indoor use. We can see Basket’s designer Defen Koz’s interest in creating smooth forms that also have an underlying iconic character. The production of the Basket has been done at a high quality with advanced moulding techniques.
Acqua, Amethyst, Anthracite, Apricot, Azuro, Black, Gold, Grass, Iris, Ivory, Lagoon, Lemon, Lila, Lime, Luce, Melon, Olive, Orange, Peach, Pistachio, Pomegrenade, Powder, Purple, red, Rose, Sand, Silver, Stone, Sulphur, Taupe, Turquoise, White, Yellow
Defne Koz is a leading Turkish designer based in Chicago, Illinois. Active in her native Turkey and throughout Europe more broadly, she maintains an original idea of design that is influenced by her training in the Milan studio of famed Italian designer Ettore Sottsass, as well as by the combination of her Turkish and Italian backgrounds. Her interests span from humanizing new technologies like digital audio systems to rediscovering the tradition of handmade ceramics. She has produced designs for leading design and furniture brands, often assisting them in exploring new territories. For Alessi, she reinterpreted the technique of metal-wire frames; for Guzzini she worked on transferring the qualities of Murano glass into industrial injection molded plastics; for VitrA she proposed hi-tech gel materials for the bathroom environment; and she helped revive the tradition of Iznik ceramics in Turkey. Common to all her projects is her distinctive design language and research into the sensorial qualities of 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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