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Estimated production time: 8 weeks
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The “S-70” Sculptural Chair is both geometrically and anatomically based on the structure of the human spine. It is an artistic piece that embodies anatomical similarities to scoliosis.
“S-70” possesses a very real mimicry that can be touched and interacted with. The “S-70” Sculptural Chair lays the foundation of two worlds coming together: the natural and manmade. Through the delicate oak wood and industrial manipulation of its metallic framework, it creates an art form that is not only engaging, but physically represents the structure on the human spinal anatomy. To get the most of S-70, while enjoying comfortable wooden seat, be careful not to tilt your body in one direction as the backbone of the object touches the ground at an angle.
A seat representing an image of the human spine and pelvis, the “S-70” arouses an innate desire to be seated on its unique shape.
46x38x126
9
2021
Metal, Oak wood
Black
Open Editions
STUDIOFER is a creative design studio based in Istanbul,envisioning objects and spaces with genuine aesthetic to be unique and enduring.Specializing in life-enhancing furniture/interior/set design and creative direction.Our inspiration is drawn from everyday scenery and various disciplines of artistic form. To us,creation is a part of life,and from what we experience in life gives birth to our inspiration creating organic processes. Within that freedom of expression,we allow each product to guide us through its own production cycle and we shape them within that natural journey.
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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