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“Raitūzai” is a collection of home accessories – mirrors and candle holders – created using unique waste material derived from a collapsed building. The main details of these objects are gypsum-like pieces that were used to decorate ceilings at the beginning of the 20th century. They are now transformed into new objects. Each piece is unique by its cross-section and surface that changed over the years. It is a collection where 20th and 21st centuries blend into a new objects, connecting past, present, and, hopefully, future.
20th century gypsum, Galvanised steel
white with pigmented layers
Evelina is a product designer based in Vilnius, Lithuania.
She sees the object through materiality and the concept of transformation. Evelina is searching for different materials and processing techniques. Applying them to everyday objects, creating the opportunity to see them from a different perspective.
Designer creates her personal collections as well as developing products for home accessories and furniture brands. Her projects are always based on an awareness of function and rationality, combined with a poetic and emotional dimension.
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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