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Ceramic with Copper Wire
Inspired from the existing physical and informal boundaries that impact the pedestrian movement in the city of Beirut.
These boundaries shape and deform the urban experience thereby creating new ‘pockets’ in the city. These ‘spaces’ are social productions shaped by the practices of the people.
Thus, we embrace the intervention of these boundaries allowing them to naturally shape the raw ceramic.
In some instances, we showcase the remnants of past boundaries that have left their mark permanently on the city affecting the behavior and movement of the people.
At other times, the boundaries have become sacred and establish their value by the recurring social practices.
SaccalDesignhouse aims to evoke Emotion and instill a sense of Wonder and Ambiguity that is explored at different scales.
Through product design, Saccal Design House aims to explore design in different mediums/materials to invite emotion and even a sense of confusion in the positive sense. Designed elements are not solely thought of as static objects; instead as tools for engendering actions, reactions and sensibilities.
They launched their first product collection in June 2015 in Beirut and have been on a journey to showcase their designs around the world.
Their philosophy is simple; whether it is a high rise or a piece of furniture, good design can generate emotion and make life a little more optimistic.
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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