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When a week of the cloudy sky is replaced by a sunny day, faces of people suddenly change. Long winter seasons, short days, and a shortage of natural lighting in ones living environment could make us feel a longing for the Sun. “Sunday” is a light mirror which creates an emotion of sunshine. The light projected by it is psychologically associated with a sunray coming through a window.
The “Sunday” Light Mirror is an interior detail, which changes a visual atmosphere and it can also be used as a mirror. In order to regulate the direction of light, the user can rotate the mirror and choose which side of a room to brighten up or adjust the angle of the mirror to see a self-reflection. The idea of “Sunday” is to be seen not as a lamp, but as an experience of a sunny day.
Mirror, Oak wood
Barbora Žilinskaitė is a Lithuanian designer working between Vilnius and Brussels.
The designer questions the possibilities of environmental impact on a human being and translates her ideas into functional objects. During the creative process, she seeks to distance herself from definitions of practices and combines different methods into one. Through her works designer searches for new ways of interactions between people and objects, sometimes it provokes a certain emotion, encourages a change in habits or creates a new routine, sometimes it formulates questions or initiates a discussion.
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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