Objects are not innocent, some hide attitudes for crime.
In some violent acts the weapon is a banal object: a heavy candelabra, a trophy on a base, a 19th century bronze vase…
Deadly totem contemplates this second function of a decorative object. It is an elegant and heavy roly-poly which hides a very dangerous blade.
The designer does not take responsibility on these alternative uses and advises to distrust these objects of which we do not know where do they come from or which intentions do they bring.
“Life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end.”
Social alienation, a feeling of being partly connected to, and at the same time, alienated from our surroundings, is like floating in a spacesuit. I was inspired by the idea that such a spacesuit provides room in which you can live, breathe, and communicate, but simultaneously alienate you from the space around you.
With this idea, I came up with jewellery which creates a space both around the wearer’s body and the piece itself. I imagine wearing it will create a bubble and, at the same time, a spiritual and physical space on the body, and this pure space – a halo-like protection – can help the wearer feel safe. The jewellery thus plays a central role in creating the space, that is to say, a thin line is built from the jewellery and delineates the space around the body.
Nothing food a provocative design project about the potential projections of 3d printed food in 2040. It combines natural food with biochemistry and current processed food methods. Comparable to Ferran Adria’s famous gastronomy in which Adria liberates new tastes and developed new methods such as nitrogen-infused foams Nothing food tricks the eye by promising tastes textures and nutritional value, yet in reality each sample food attains no nutrient value at all. The main question for this project aroused during the conversation with a biochemist. How do we define eatable? Is it based on whether we will recognize the object as food outside the body? Or is based on whether the body will recognize it as food once it is inside?
Nothing food is a cautious concern for the future of unconsumable consumption, manufactured meals and forgotten food.
The Tavola Arcaica is a conceptual project that relies on our ability to build a strong emotional bond between people and food with everyday objects, that goes beyond their use.
The use of the first tools made from stone was the first technological discovery of our species.
However, we have assimilated their use in a way that we no longer give them the importance they deserve.
These elements were the origins of ergonomics and have been the first contact between man and artefact, allowing the human being to carry out everyday activities such as cutting, chopping, picking and beating. The various stone tools ex axes, knives, containers, etc. designed by our ancestors can be considerate the first design product in history.
A sophisticated evolution of good habits took us to the use of these tools under current forms such as blade type, fork and spoon, but our needs have not changed since then, they just follow a protocol that society has imposed on us. These preformed concepts caused us the missing of the primary bond that we created between us and food, building a small barrier of communication.
To tell the stories of Slovak heritage in the language of masses.
Lost & Found is an original set of furniture and interior accessories. The basic creative process of the selected students this time was linking the traditional Slovak folk furniture types with unmistakable aesthetic of Vitra elements.
Benches, tables, storage cabinets, or even a cradle underwent a thorough renovation so that they could be not only be visually appealing, but above all functional. The perceptive observer will recognize, however, in non-traditional connections also working tools, originally designed for the processing of hemp and flax, winding of yarn, churning butter, kneading dough or butchering.
Poetics of Slovak folk art and craft is thus materialized in unique authorial “ready mades” carrying message of everyday object being used more than 100 years ago. Through a sensitive and intelligent intervention the selected new pieces acquired a new, current meaning and at the same time they did not stop telling a story. It is becoming more and more attractive even for a global-minded user who is hungry for added value in order to be able to establish a long term relationship with the given object and thus to establish the reason to retain him in his/her home as long as possible.
Flowers for Slovakia
RÄTHEL & WOLF is a creative team with a portfolio of experimental work around the body. We are interested in new ways of wearing jewellery, exploring gender roles and adorning unusual body parts.
Sari Rathel says “I am a jewellery designer, exploring the body, physically and intellectually, through adornments, objects and collages. I love working collaboratively with other artists and designers from different fields such as fashion and architecture and I am always keen to expand the mediums I works in.
I have recently finished my Master of Art in Jewellery & Metal at the Royal College of Art in London and won the Best Work In Jewellery Award by Theo Fennel and the ITS Jewellery Award with my degree collection.”
Giria – a collection of bowls and plates balancing between tactility, shape and color.
The project is aimed to pass the sensations of the forest through the dishes, to establish a connection between the user and the object. This process is an allusion into the urban person`s connection with the nature.
Tree dishes are the result of an experimental process by which I wanted to show how materials, which are destined to become waste – tree bark and leaves – can be transformed into sustainable design through the traditional crafts. The transformation process is the rebirth of a tree into new objects – dishes.
Tempt me, entertains the idea of preparing healthy handfuls in advance of purchasing decisions. Navigating temptations in the cafe environment inspired the development of a food wallet. The object from a viewerís perspective appears as a minimal corporate accessory, but for the user, the prevalence of tactile feedback nudges the Corporate CafÈ Creature to purchase the coffee not the cupcake. By providing a space for healthy snacks, the concept aims to trigger her to prepare as oppose to purchase.