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Estimated production time: 2 - 8 weeks
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Crystal, as glass, has a very interesting characteristic in which its composition and behaviour can be catalogued as both solid and liquid. It is called a “vitreous state”.
We often relate glass receptacles to pure geometries, which fall in the category of what in math is called “solids of revolution”. We believe these morphologies generally lack self identity as they tend to make the contained liquid look very rigid.
This collection of hand blown glassware seeks to picture an intermediate moment between two physical states of matter in order to give the contained liquid new and unexpected forms.
As they are compressed by gravity after being blown in their molds, every piece is different and unique.
Ries is a Buenos Aires based studio devoted to designing and producing furniture, objects, and spaces.
The studio’s approach to design is influenced by the mixed background in architecture and industrial design of its members, who, through a shared vision, achieve to combine different materials with production processes rooted in craft and industry to create pieces that seek to elevate the experience of the everyday life.
Drifting between aesthetic simplicity and resolutive complexity, their work covers diverse fields that range from the design of small objects to interior design projects, as well as from the creation of unique pieces to serial production.
The vast majority of the studio’s production is held at Cha co, the workshop that functions as a laboratory and experimentation space for the development of the ideas conceived at the design office.
In 2018, together with Juan García Mosqueda, they founded Quick Tiny Shows, an experimental platform to promote the exhibition of new ideas regarding art, design and architecture.
The studio was founded in 2016 and is directed by Marcos Altgelt and Tasio Picollo.
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making.
The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
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