"San Lucas" Container Set

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141 Incl.0% TAX

1 in stock

Insured Delivery: 14
Est delivery: Nov 4th, 2021
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Dimension LxWxH (cm): 25x25x15
Open Editions Material : Lava Stone, Zapotillo wood
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Description

In 2013, the “San Lucas” containers project gave birth to Piedrafuego. Exploring our passion for cuisine and inspired by the traditional molcajete mortars, we designed these volcanic stone containers and added a lid in tropical zapotillo hardwood – from the Yucatán peninsula – to allow ground spices and salsas to preserve their aromas.

The containers are hand carved by master artisan Don Ignacio García, in central Jalisco, with whom we preserve a seven-year long friendship and professional alliance.

The San Lucas container set contains four different sizes:
Large (diameter 15 cm x height 15 cm)
Medium (diameter 15 cm x height 10 cm)
Small (diameter 10 cm x height 10 cm)
Extra Small (diameter 10 cm x height 5 cm)

Additional information

Weight 14 kg
Dimensions 33 × 33 × 25 cm
Dimensions LxWxH (cm)

discipline

Wood & Cabinetmaking

Weight (kg)

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About the designer

Curated by

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.