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Estimated production time: 3 weeks
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The free standing “Tree” Bookcase is inspired by the stylized shape of a tree, with a base that recalls magazine racks of the early 1900s.
The oblique shelves alternate, giving a rhythm to the library. The vertical elements welded to the shelves allow books to stand or newspapers to be rolled up.
The bookcase can be completed in a green or gold painted, powder-coated finish and is available in three different heights: H.74, H.125, H.176 cm.
28x40x176, 28x40x125, 28x40x72
Green powder coated
Gupica is the brand and the artistic identity of Gunilla Zamboni. After completing a degree in Foreign Literature, she continued her studies in Florence focusing on the art of fresco and mural painting, completing her studies with a Master\'s degree in Peintre en Décor in Versailles, France. She later specialized in Interior Design at IED in Milan. She worked with Italian and French masters, honing the secrets and techniques of decorative painting in France and the study of design in Italy.
The creative studio designs projects using a multidisciplinary approach, involving decorative arts, interior and product design, contemporary experimentation and craftsmanship. It is a transversal approach where decoration becomes a tool to propose useful codes to explore the expressive and sensorial dimension of the project. Attention to detail and a constant dialogue between contemporary and fragments linked to tradition are always distinguishing elements in the projects.
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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