Temporal Formations: Object 01

by Amer Madhoun United Arab Emirates

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Est delivery: Nov 18th, 2021
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Dimension LxWxH (cm): 40x40x65
Unique Pieces Material : Foam, Sand
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Temporal formations: Object 1 is the first chair from the research and collection that attempts to understand how designing objects can be approached with “life expectancy” methodology. The aim of the project is to understand and adapt how materials behave over time to help design furniture through deterioration. Foam and sand are the key materials used in the project, where expandable 2-part foam is manipulated through the foaming process and the ratio of one active solution to the other. An additional consideration was the importance of working with easily accessible materials such as 2-part foam and sand to create furniture that could manufactures potentially anywhere, and has the capability to be easily returned back to the earth.

Additional information

Weight 15 kg
Dimensions 35 × 40 × 70 cm
Dimensions LxWxH (cm)

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About the designer

Amer Madhoun

Amer Madhoun is a multi disciplinary Architect and designer based in Dubai, UAE.Amer achieved his B.A in interior architecture from the American University if Sharjah, and since has been a practicing Architect and designer.Amer Madhoun’s practice is focused on the study of the built environment and to answer questions on how to best Design for the current day and age. The work combines both physical material and computational exploration methods and tries to best create Design that is detail specific and thought provoking.

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.