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This story began at a stone company where Filip discovered a huge pile of redundant scrap stone like marble and travertine, in theory unusable for any natural stone project and destined to be destroyed. Mesmerised by the patterns and imperfections in the marble and travertine pieces, Filip took some of them home and imagined this lamp. The material was beautiful by itself, with all its imperfections. So the specific design of “Lunair” brings those imperfections to light.
At the top of the marble plank, two 45° miter corners form the hood of the lamp housing the cable and the LED-strip. The LED strip embedded in the stone acts like a lamp over a painting. “Lunair” diffuses a soft light like the sun that lights the moon. The natural stone is not treated, so no hazardous substances have to be used. The fabric cable is pinched in a slit that runs down at the back of the lamp. The transformer is cased in a small untreated wooden box. All parts can be separated in a quick and simple way.
Born January 29th 1964, Belgium Formed as a Latin and History teacher. Self taught furniture and interior designerFilip Janssens first started designing modular made to measure furniture for his own home. In 2008 he opened his own design studio in order to develop his personal approach to product and furniture design and art projects. Filip Janssens also collaborates with design editors like Per Use and Serax.Filip Janssens brings out his own designs like the modular Flex collection. The past years he is exploring the use of waist materials like scrap wood, redundant scraps of travertine and marble both for the sustainable character and the real aesthetic qualities. This resulted in the reclaimed Lunair lights that won a Henry Van De Velde Award in 2020 in the category design-led crafts.
Recently he is working on Trinity, a design project in collaboration with Circular Matters using local waste materials that are 100% plant based. These materials are made from rescued beer grains and from brand and both can be 3D shaped like plastics through the use of moulds. Trinity will consist of a series of bowls made from these natural residue streams. Trinity will also be available in a reclaimed marble and a reclaimed ash wood version.
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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