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Designer · Copenhagen, Denmark
Designer · São Paulo, Brazil
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Estimated production time: 16 weeks
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“Gathering Heat” is a free standing, bio-ethanol fireplace designed for our innate instinct of gathering around sources of warmth. Its form plays on the dynamic movements of the campfire, historically a signifier of heat and sustained life. In the past, fire kept us warm and predators at bay, while today its heat remains along with its ability to draw us together. “Gathering Heat” is made of materials that uniquely employ heat in their production such as the hand-carved, lava stone base and the slumped, smoke glass centerpiece.
Gathering Heat is part of a series of objects designed to reintroduced the fire and is various roles back into our modern homes in safe and beautiful ways. The collection of work is an ode to the fire and the lively conversations that grew around it.
100x70x62
30
Glass, Lava Stone, Metal
2019
Black and Grey
Christian Hammer Juhl (DK) and Jade Chan (SG) are a design duo educated at the Design Academy Eindhoven, Netherlands and currently based in Copenhagen, Denmark. Christian + Jade celebrates the influence that our products can have on our lifestyle by designing everyday objects to encourage sensible and valuable interactions. Working out of the intention to rethink our living environment, the duo manifest works that spans between a variety of material and techniques, which comes together in a strong visual language and intent.
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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