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“LIFE CABIN” is the final product of the collaboration of two designers: Busra Tunc and Jenny Nordberg, who aim to integrate industrial design processes in their design approaches.
Form wise, the pieces rejoice in the aesthetics of the building load – bearing systems. Like a building system, they propose a bearer/carrier where plants can reside and become a living architectural element. Taking reference from biophilic design, the “LIFE CABIN” builds on the idea of accommodating plant life-forms in contemporary interiors. A joint system was developed especially for the pieces’ surface connections. The process of painting the surfaces was an experimental and performative one; it was ideated and accomplished uniquely for every piece in the dye house using a powder-coating technique.
Powdercoated Iron, Stainless Steel
Green, light beige pink
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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