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The Naïve Chair could be drawn by a child – six sticks and one seat. The chair is stripped to the minimum – only seven parts – a carved, solid ash seat and six legs of equal length. The length and angles of the legs are set to get the best proportions for looks and comfort.
The chair can be flat-packet to a pizza box and takes only a minute to assemble or disassemble.
natural ashwood, oiled
Inesa Malafej and Arunas Sukarevicius have been working together since they began their design studies at the Vilnius Academy of Arts. In 2012, while continuing their studies at the Royal Danish Academy, they started their own studio, entitled “etc.etc.” During the past two years, “etc.etc.” has already been working for several brands in Europe, an accomplishment recognised by industry’s prestigious “IF” and “Red Dot” awards.
“In our work we hold a deep respect to the crafts, traditions, and evolution of every object. Together with this we are constantly looking for the next step in making them new, better, different, adapting it for today’s environment, technology and society.”
Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process.
This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency.
For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.
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