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The Emerita shelf design uses the REmix exercise to investigate Belén Moneo’s favorita tapies.
The transparency of the plexiglas shelves (our signature material) lets us see a forest of wooden columns. The rotundity and solidity of this element is thus magnified, revealing all its powerful qualities. At the same time, the suspension and rotation of the columns, which appear to float, defying gravity, playing with the viewer’s perception and lightening the piece.
70x42x206, 150x33x84, 150x38x150
Wood & Cabinetmaking
Acrylic, Beech wood
natural wood, Transparent
Belén Moneo is an architect and founding partner of Moneo Brock, an international architectural, planning and design firm of versatile professionals committed to the identification and implementation of sustainable solutions, with great faith in the promise of good design.
Belén studied Art History and Visual Arts at Harvard University, graduating Magna Cum Laude in 1988. In 1991, she obtained a Master of Architecture from Columbia University’s Graduate School of Architecture, Planning and Preservation in New York.
Since 2014 she has also taught Architectural Analysis at the Escuela Técnica Superior de Arquitectura de Madrid. She has participated in conferences in the USA, Japan, China, Turkey, Panama, Mexico or Peru. Her architectural projects and product designs have been published extensively in international publications. Currently, she is working on projects in Spain, Mexico, Colombia and the Dominican Republic.
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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