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“Weave” Screen is an object that works with depth. I think the first visible aspect is that it tries not to belong to any genre or period – it can be regarded as a “now” object or maybe it was done 20 years ago. The materials were the same, the process was the same.
Going forward, the design is more of a decision-led process, rather than a subjective design. The bullrush screen size was decided with Florica through a weaving process. The wood components were tailored with Atelier Vast so that they could be bound naturally and also stand. Sustainability is also key in the design.
Every piece employs a person, so that the final object carries a certain energy to it. Last, but not least, the user experience is thought on different fields – first, smooth, tactile with the wood presence and continuing to a more rough/tactile surface as the bullrush screens.
Oak wood, Tucumã straw
Vinklu started in 2017 as a collaborative practice, based in Bucharest. It pursues a narrative process through various creative fields: architecture, interior/exhibition design and object design. In time, the key aspect is to develop a personal praxis that revolves around idea, intention and intuition. The context is the starting point rather than allowing the programme to dictate the architecture. A keen interest is always showed in how materials contribute to the creation of particular atmospheres. The design process is structured by imagination, empathy, craft, thinking about how people can experience architecture. Durability is a key aspect of a project’s social value and a quality that\'s always pursued; it is important to choose the right material, detail them carefully and understand how they will weather. In the past years, the energy invested has kept the focus towards the rural and restored. The main direction is to keep developing the praxis in the countryside, whilst investing ideas in the other small scale projects.
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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