Zestrea Collection

by co/rizom

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Est delivery: Nov 4th, 2021
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Estimated production time: 4 weeks

Dimension LxWxH (cm): 28x40x71
Unique Pieces Material : Oak wood
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Traditional Romanian folkloristic chairs have personality. Individually tailored to the recipients needs – they not only radiate character & humour – but also transport this rich, distinct local heritage through centuries & cultures.

Five chairs in oak, left to right: weasel / robot / madame / monster / squid

Made by Vasilica Isacescu for Zestrea & co/rizom, beius, RO 2020.

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Additional information

Weight 6 kg
Dimensions 40 × 40 × 20 cm
Dimensions LxWxH (cm)


Wood & Cabinetmaking

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About the designer


co/rizom - tools to empower artisans        At a time when interest in crafts is exploding but traditional making skills are vanishing, the co/rizom methodology will use design principles and product development methods, as well as simple but effective branding and marketing strategies, to help artisans form small social enterprises and become suppliers to retailers. To develop this process, they have built a team of experts, created a network of advisors and ensure that the artisans they work with are involved every step of the way as the co-designers of the process. They believe that traditional crafts can only survive if artisans are empowered and supported and that the co/rizom development tool will help create thriving, resilient and connected communities that can enact fair employment practices, improve the quality of their products and ensure the survival of context-specific skills and historic ways of making that might otherwise be lost forever. co/rizom was founded by Alina Serban and Nadja Zerunian the creative mind and the social business developer Andrei Georgescu. Team members are Gabor Nagy and Lisa Pock. www.corizom.org co/rizom\'s methodology creation programme is funded by The ERSTE Foundation

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.