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Designer · Madrid, Spain
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Estimated production time: 7 weeks
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The “Crooked Lounge Chair” forms part of “The Crooked Collection”, an ongoing series of asymmetric and angular furniture pieces launched in 2020. Every piece is made to order, using hand glued timber from selected oak slabs, planed, and finished with hard wax oil. The design remains as pure as possible by keeping all the joins hidden. The use of massive oak gives a very premium finish and provides a warm contrast to the angular lines.
All pieces are available in natural massive oak, walnut, and white lacquered wood. Additional sizes, woods, and finishes are available on request.
H 79 cm x W 51 cm x D 89 cm / Seat height: 33 cm
Wood & Cabinetmaking
Nazara Lazaro was born and raised in the Canary Islands, part of Spain but located right off the coast of Africa.
She moved to Madrid to pursue a degree in interior design at the Istituto Europeo di Design. After her studies she travelled to Japan where she stayed for almost two years on and off. During this time she learned about Japanese woodwork, architecture and exhibition design. Since 2014 she is based in Berlin, working as freelance interior and product designer.
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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