Pedestal Square

by Vilde Hagelund Norway

1.150 Incl.0% TAX

1 in stock

Insured Delivery: 115
Est delivery: Mar 3rd, 2022
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Dimension LxWxH (cm): 30x30x64
Unique Pieces Material : Birch Wood
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The “Pedestal” side table series (2019) consists of geometric parts made by machine. A hand-carved texture is added on the surface for a tactile experience, enhancing the material agency and the value of craft. In a way, they can be seen as a representation of how machine and hand can coexist to make rare products in a world with overconsumption and mass production.

Additional information

Weight 15 kg
Dimensions 40 × 40 × 60 cm
Weight (kg)

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Dimensions LxWxH (cm)

About the designer

Vilde Hagelund

Vilde Hagelund is a Oslo based furniture designer. With degrees in both multimedia technology and product design, she has finally found her true passion within the field of furniture design. She strongly believes that material, form and function should be equally valued throughout a design process. Combining a crafters hand, an artists eye and a designers’ mind triggers the creativity and the need to create long-lasting, quality products.  Her master’s degree thesis Objectum was nominated for Designers’ Saturday Awards – Best Talents 2019, and she received a Design Scholarship from the Federation of Norwegian Industries the same year. In January 2020, Hagelund was presented with the DOGA Newcomer Award, and named one of the world’s most promising young design talents by Wallpaper*.

Curated by

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.