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The monolithic seat of the “Ermis” Chair follows simple and ergonomic lines and is robotically crafted with a single spiral plastic thread that follows the geometry. The layer orientation constantly follows the geometry of the chair via a slight rotation. As a result, the chair is strong with minimal material usage. At the same time, this approach creates a graphic texture on its surface.
Design studio The New Raw goes zero waste by creating a limited series of the “Ermis” Chair, which is crafted from the waste material of their in-house production facilities in Rotterdam. By using this material resource, they give a new life to their own waste and, at the same time, create “one of a kind” objects of high durability. In this limited edition, the “Ermis” Chairs are made with batches of different colored production wastes which provide a unique identity to each piece through unexpected color transitions and gradients.
The New Raw crafts plastic waste with robots.
The New Raw is a research and design studio based in
Rotterdam (Netherlands) founded in 2015 by architects Panos Sakkas and Foteini Setaki with the ambition to give new life to discarded materials through design, robots and craftsmanship.
The New Raw develops its own (digital) craftsmanship techniques through a formal and technical language that highlights the texture and the layer-by-layer character of its in-house robotic manufacturing process. The exploration of the possibilities that the robotic techniques provide transform
plastic waste into beautiful and meaningful products that are 100% circular.
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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