During my first visit at the Boijmans Museum in Rotterdam my expectation towards the size of the knotted chair clashed with the reality, in my head I had created a image of a throne, bold, but also at the same time perfectly done.
The knotted chair is the furniture piece that comes in my mind when the name Marcel Wanders is quoted. Undoubtedly is one of the most famous pieces of his career. Fascinated by my own feeling regarding the image of the chair I googled the chair’s name and I found a surprisingly number of more than 4 million links to it, truly impressive for a single piece.
For me, the starting point was to assume that the image of the chair could be even more iconic that the chair itself. The appropriation methodology takes place in the value that the image holds. Patterns will be created based in the image of the chair. The image will be manipulated by repetition and fragmentation and could be applied in wallpapers, wall applications with acid, tapestry etc.
Project mentored by Chris Kabel
Why do we attribute to the objects around us with such emotion? How could a simple static object transform some how our emotions? What if it could absorb and reflect our daily habits, postures and attitudes, would we react differently?
The starting point for the creation of the TRIO line was based on the movement factor, the fluidity of things. Questions like how an object could transmit a movement and react towards the user reflecting his habits were raised.
The TRIO armchair reacts accordingly to the actions of the User, being in constant movement or on a more static position. The shape of the armchair is directly connected to how the user accommodates him self.
The special elastic girdle that holds the back together works under stress, like a tensioned cable, thus creating the movement required adapting to the user.
In other words, the movement is based basically in the posture and weight of the user; therefore each movement of the chair creates a unique experience. This experience can be intensified graphically throughout color gradient (see drawings above). Three cylindrical solid rods of stainless steel and a special elastic girdle connect the TRIO armchair together. The stainless steel bars are connected to the ends of the chair (legs) and are then fixed with screws. The special elastic girdle is fixed in one of the faces of the TRIO Armchair legs with the help of a small bar of stainless steel and it passes through the middle of the back of all pieces to be fixed back again at the opposite face of the other leg. The working table was developed with the same design principle for movement as the armchair. Furthermore, its design allows a wide range of solutions for every situation, suiting the needs of each individual and their requirements within different areas and functions of their houses.
In addition to the table legs one can choose between four different modules of tabletops. They are: simple, back-rest, Book divisor and bookshelf. Various finishes: color MDF, color dyeing, matte lacquer, bright and others can be applied.
The series K.I.S.S. stands for keep it stupidity simple.
This collection of posters is a personal project that stands alone and has only one goal, to question the idea of simplicity. The name K.I.S.S came one day from a conversation with a friend about earthly moments.
My intention was to flirt with a wide range of colors and use to playfully work different shape compositions. In the end the simplicity is directly connected to how complex is the viewer's imagination to interpret the posters.
The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual.
Whether we conceive of the work of art on the model of a picture (art as a picture of reality) or on the model of a statement (art as the statement of the artist), content still comes first. The content may have changed. It may now be less figurative, less lucidly realistic. But it is still assumed that a work of art is its content.
From now to the end of consciousness, we are stuck with the task of defending art.
By interpretation, I mean here a conscious act of the mind, which illustrates a certain code, certain “rules” of interpretation.
Interpretation first appears in the culture of late classical antiquity, when the power and credibility of myth had been broken by the “realistic” view of the world introduced by scientific enlightenment.
Then interpretation was summoned, to reconcile the ancient texts to “modern” demands.
Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate by revamping it.
Interpretation is the revenge of the intellect upon art. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world—in order to set up a shadow world of “meanings.” It is to turn the world into this world. (“This world”! As if there were any other.) The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.
Interpretation makes art manageable, comfortable.
Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into and article to use, for arrangement into a mental scheme of categories.
Equally valuable would be acts of criticism, which would supply a really accurate, sharp, loving description of the appearance of the work of art.
Transparence is the highest, most liberating value of art – and in criticism – today. Interpretation takes the sensory experience of the work of art for granted and proceeds from there.
Our culture is based on excess, on a overproduction; the result is a steady loss of sharpness in our sensory experience.
What is important now is to recover our senses. We must learn to see more, hear more, to feel more.
Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all.
text: Susan Sontag - against interpretation
The MIMO chair is aimed to out stand the physical and aesthetic characteristics of EVA, the same material used to fabricate the famous HAVAIANAS, Brazilian’s top famous sandals. EVA is a synthetic rubber, odorless, non-toxic, washable and is available in a great variety of colors.
The chair’s configuration is based on basic premises of: easy assembly, storage, maintenance and flexibility. In this project the two sheets are glued together in different compositions to explore the great variety of colors, allowing the user to personalize his product. MIMO is primarily a singular project, which allows the EVA to be dismounted and the sheets return to its original shape to facilitate transportation. Another interesting feature is the reversion of the sheets, allowing the users to take advantage of the two colors of the seat.
The two production lines of the Consumer LABORatory have only one aim, to take the consumer/producer involvement to another level. By inviting them not only to choose visuals for the personalization, but also to the process of physically making them.
As consumers purchase a semi-finished object, the quality of the final product depends on consumers. This engaging process implies a total responsibility in the production to the consumers.
Inspired by a disappearing Korean street candy called “Dalgona”, consumers are invited by the designers to fully participate in the process of creation. From choosing colors to snapping off around pressed shapes, consumers walk away with a personal jewelry piece.
C-fabriek:
Within an empty factory in Eindhoven designers create their individual production lines, machines, tools and products; re-establishing a relationship with their audience. A place where designers work but also presents their processes and methods to the public. By doing so they suggest alternatives to industrialization, production and consumption.
PROJECT BY LOTA STUDIO AND JOONG HAN LEE
The video show one of the works of the artist Anish Kapoor that was exhibited in 2011 at the Grand Palais in Paris.
The concept was to flirt with the contrast between inside and outside in a dramatic form, like a live breathing form in need to burst out. Presenting the "bubble" first as small growing alive creature with a shape that is difficult to grasp in its totality.
The contrasts were enhanced by the music and the lost of colors from the first part of the movie, thus matching the outside skin real color. The second part of the movie was based on fluidity, translucent light and the idea of a being that is trying to burst our from inside of the "bubble", like a fetus ready to get be born.
music: Schubert piano trio N.2 in E flat, OP.100 D.929
The Bossa table was a private commission for a very Psychiatrist living in São Paulo, Brazil. The client specifications were that the table needed to be produce out of solid Teak wood, easy to transport from the ground floor of his building to his penthouse without extra costs of cranes. In addition the table needed to be wide and long enough for him and others, when necessary, gather around and discuss cases.
My proposal was based on 3 essential elements: the table needed to be dismountable, connected solely by joinery and the production needed to be as fast as possible.
For the production method selected I choose the computerized numeric control technique. The production was achieved by milling 2 sheets of pre-fabricated 50mm solid Teak wood using the CNC and finish it manually.
The first sheet was used for the tabletop and the second for legs and main connectors.
By having the tabletop divided in two pieces the transportation issue was solved, in addition any laptop could be easily connected to its cord without any hassle of having cables coming from the perimeter of the table.
The last and most interesting element was based on create a table that evidence its simple form and connections with all the parts. The tables’ design is based on simplicity, essential joinery and elegance.
Dimensions: 2100mm x 1000mm x 700mm
LIVO is a Brazilian e-brand that decided to produce and commercialize high-end eyeglasses with a fair price. After the huge success of it’s first collection they decided to open a POP-UP store in the most famous district in São Paulo.
The POP-UP store was conceptualized, designed and produced in less than 10 days, the essence was to make it as clean and simple possible, with a industrial look and with simple pre fabricate materials.The space is divided in 3 areas, the shop, the counter and the factory, being the last one a visual experience to understand better the process and the company.
In the shop sector also is included a mood area, which presents the brand in context: a presentation of the LIVO persona and its product, who is the consumer? What he/she could like and listen to? What will be in 10 years?
The pallets of wood used to transport the raw material from the industry to the production line were the essence to create the overlaying counter. The last sector tries to bring the factory and its processes to the store, presenting unfinished pieces, textures, materials, and playing with lenses and colors.
IN COLLABORATION WITH H2C ARQUITETURA AND SERGIO CABRAL
Researching about high tech industries in my own country I could notice that Brazil is amongst the largest producers of Aluminum for consumers goods in the world and the first in recycling.
In the high tech industry all-industrial moulds are perfect, expensive and by definition away from most people’s reality. My goal was to recreate a crafted aluminum bottle, therefore the processes that are use to form and moulding aluminum were analyzed and recreated in a crafted way to bring an element of uniqueness to each piece.
I started by researching processes that could be related with the high tech material that I selected to work with: the aluminum foil. I inspired my crafted aluminum piece in the process called backward extrusion for aluminum bottles and cans. By combining different everyday elements like plaster mould, air pressure and aluminum foil I could achieve the opposite that is expected from a industrial mould, I obtained different pieces on every press I made.
To connect then together I used polyurethane, a polymer that give more strength to the bottle, but on a further investigation I discover that this harder could be substitute by Bee wax, a natural and renewable material.
This video is playful, ludic and is related to the Planned obsolescence in products.
A piece of furniture that's neglected by having some part broken and not repaired decided to do take the matters to it's on "hands" and do something about it.
I believe that a Pop up store need to be something more than a common store, it needs to have some BOSSA*. Due to its ephemeral nature a Pop up Store must have a strong but simple concept.
The concept created is strongly based on the relationship between the online universe and the offline world. It was based on a creative way to show the beauty that exists in the duality between the intangible (digital) and the tangible (analog).
From the digital universe one of the selected elements was the binary code. All computer language is based in binary code. It is the back end of all computer functioning. Binary means that there is a code of either 0 or 1 for a computer to toggle between. All computer functions will rapidly toggle between 00 or 01 at an incomprehensible speed.
Through the deconstruction of archetypes, rescale, repetition, and graphic manipulation we create a set where the viewer will feel as an element within the digital world. The layout of the store is deep and narrow, which led us to opt for a simple but stunning approach: create a sight as open possible and at the same time submit a layout that is fluid and light. The elements that were brought from the analog world were the servers, elements that when repeated create a surreal and wonderful landscape. To make this element the lightest visually possible it was decided to produce them in welded mesh with a white finishing. Since our concept is strongly based on the relationship between the intangible and tangible it was decided to create a sculpture for the entry. The piece will be a stunning binary code that contains the text: Dafiti is coming to life.
*(Bossa is old-fashioned slang for something that is done with particular charm, natural flair or innate ability.)
IN COLLABORATION WITH H2C ARQUITETURA
Containers are often discarded due to the loss of their main property and because it’s high cost of transporting when empty.
From these premises the company contain [it], decided to transform this “obsolete” raw material into various structures, given then new purposes like ephemeral spaces for exhibitions, commercial and residential areas. This transformation eventually generates the disposal of parts of the container that is made of Corten steel, a noble material.
LOTA Studio together with other designers where invited to design products that would give another meaning for the disposable parts of the containers. The collection designed by us is formed by: a desk lamp, floor lamp and a center table.
The essence of the lamps was to bring the “heavy duty” poetry that lies on everyday object trough life by merging industrial materials as the Corten steel and the concrete together with top of the line LED technology. The table was conceived to transmit the opposite feeling of the material: lightness.
The starting point for my set design was based in one very important element in the Dutch house: the window. Differently from other countries in general, in the Netherlands the windows are bigger, wider and an essential part of the house.
The curtains are always open to show, to exhibit something, and consequently introducing some object that could express the owner's taste, opinion, desires, etc. The live talk show's essence is to be provocative, to have their own angle of opinions, fluid, bold and witty. By using the windows as a support for projecting the contents of the show through out the night a link between inside (private) and the outside (public) is born, thus creating an element of communication in the set.
Like the content that is gathered throughout the day, the set of the show is designed in 3 hypothetically projections of lighting from the sun through the windows inside the studio. The different lightings will delimitate the space where all the items will take place.
The live audiences both inside and outside the studio will, through the projection of the content, share a visual connection creating a fluid program, where the audience outside can share visually a live talk show while is happening.
Mutual symbiosis started by questioning the perception of what is the relation between object and package, how it could be presented in a fresh and interesting manner.
The start of this research was based on the essence of the word rather than its current material proprieties, therefore shifting from a pre-conceived idea of what a package is to a more abstract perception of what a package suppose to be. In essence a package can be used to transport, as a protector for fragile and precious objects, as an element of mystery surprise and so on. The package nowadays is only another layer to be discarded afterwards, its perception of the connection between them surely could be more.
By analyzing and combining the characteristics of package I connected the object to its protector like a symbiotic interdependence. By gradually removing the bee wax from the object it’s functionality is affected, as it the object only fulfills its functionality by having part of the packaging, therefore the package becomes as important as the object and vice versa.
"Smile! You are under surveillance" Is a project that aim to somehow take advantage and bring some humor and awareness into our current "1984" lifestyle by shifting our state of mind.
After a thoroughly research and interviews with people of different nationalities and backgrounds I came with the conclusion that great part of people don't perceive this constant surveillance as a real treat, but still they feel that somehow this exposure is not beneficial on their behalf.
The proposal is based on reversing the actual STATUS QUO.
By taking advantage of the fact that CCTV is all around us I design a system that aloud the common public to apply for selected footage. After approved by an organization they can use the data for personal/work reasons. More details are exemplified on the images bellow and a short video.
The Curator and Art journalist Ekaterina Krupennikova commissioned LOTA Studio to develop her visual identity and create a brand around it.
The starting points for my research were elements and images that could define the essence of a curator. What a curator does? What subjects to choose? How to showcase the identity in a unique way?
In essence choice plays an extensive roll in the life of a curator, therefore this would be the guideline for the identity. The business card supposes to be an extension of her, of the way she presents as a curator but not forgetting her essence.
Ekaterina is known on the Art world as Katia, a shorter version of her name and very common old traditional Russian name. One of the points raise by her was the necessity that having both names.
The concept was to create a business card were she could select exactly how to introduced her self by marking with a pen which name, phone and current activity she is engaging.
The Coat of Arms that would represent the tradition of her name and play with the possibilities of it: EK = Ekaterina & Krupennikova / Ekaterina & Katia.
Minimalism in form Tibet was designed to be visually light. The study started with sheets of paper and end up being produce with only one technique and one sheet of carbon steel (thickness 2,5mm). Less form and material all condensed on a poetic center table.
An investigation between the relation of mold/piece, how one can influence the other and how it shapes can change trough time. What are the materials that make a mold a mold? They need to be fixed or they can be transformed in the process of creation? Here I use one material that could be transformed literally by human hands and modified as the Chair's design was developing in my mind. Later on, in time, the surface of the chair starts to suffer a slowly transformation due to outside factors. Moss accumulates creating a soft surface in some areas.
Materials: Styrofoam, concrete and moss
Dutch band The Royal Engineers commissioned Lota Studio to develop the graphics for the release of their first EP. This six-piece band from Utrecht is ready to conquer the scene with their fair catchy pop songs and a heavy dose of rock. Though clearly inspired by the analogue 70s the band puts down a modern sound with smooth polyphonic melodies and uplifting beats. I wanted to convey the same drawing feeling as the Revolver Cover (a classic album from Beatles) but with my own twist. By combining hand drawings of the members with geometric elements that could be confused with an optical psychedelic feeling the album One was born. The Lettering style was created in collaboration between Lota Studio and Nacor Martina. The Royal Engineers consisting of René Geeldhoed (keyboards/guitar/vocals), Rob den Tuinder (bass), Rens Ouburg (guitar/vocals), Michael Buijsse (drums) and two epic vocalists Simone Dekker and Butet Tamba, both give the music an extremely cheerful sauce.
Photos by: Stephen Wings
IBIS POWER commissioned LOTA Studio to redesign its visual identity.
The IBIS POWER is, step by step, changing the way in which energy is supplied to society. Their team works on developing most innovative solutions to overcome pollution, future energy shortage, and unpredictable energy cost.
The starting point for my research was the physiognomy and movements of the bird and an extensive selection of IBIS images that could define the essence of the company. The Ibis is not only a bird that makes a positive use of the wind but also It is a very special bird which can tell exactly where and how the eye of a hurricane is moving. By this, the ibis is the last leave its territory and the first one to return, and has the highest survival rate of any animal. The Ibis is, therefore, the most weather resilient bird, and on top of it a very elegant one.
The concept was to create a very sharp, simple and elegant visual identity that could trough simple shapes and colors express elegance, movement, confidence and a trustworthy company.
Energetic gradient colors were use in the winds as a representation of the movement of the wings flapping while a more sober approach were selected from the body to the name IBIS POWER.
The IBIS name is solidly based on the word POWER, creating an even more strong sense of trustworthiness.
Injected moulds are very expensive and time demanding to be executed; generally its production is justified due to the massive quantity that will be sold worldwide.
Quickplast is a Brazilian company that decided to develop a technology that presents the same visual characteristics of an injected piece without the massive costs of production. Further more the production doesn't need to be extensive as an injected mould piece, quite the opposite, since the design of the product can be updated without any extra costs. Basically drawings are made in CAD and reproduced by CNC, then bend, connected perfectly in selective precision machinery.
Having all these elements in my mind LOTA Studio was commissioned by Quickplast to design a furniture piece for the most important design prize in Brazil, the MCB Design Awards in São Paulo, SP.
The OTTO table has as main characteristics: to be a dismountable, easy to store and pack piece. The connection works by pressure by twisting the element in a shape of a star with nothing more than a one Real (Brazilian Currency coin). OTTO was design to be a practical Hype plastic center table for tiny indoor areas, but can also be used in outdoor spaces. Two different colors in one piece are possible as well.
The aesthetic characteristics were defined by an productive methodology based on studies of biological structures founded in nature, architecture and artistic movements such as Art Nouveau.This methodology allowed a far greater creative atmosphere to develop details than the convectional methods.In the dinner table the table legs are double to simulate a tridimensional effect between figure and background. The Los Angulos family consists of : dinning table, central table, coffee table, side table and coat hanger.
Collaboration with Sergio Cabral from superlimão studio
BRUTA light started as a study case. To develop a floor lamp with materials known by the studio and easy to find in Portugal.
Bruto in Portuguese could mean raw, imperfect.
The Lioz is a recognised Portuguese limestone, used for centuries in civil construction in Portugal, being considered one of the oldest and most used limestones in the country. It is a bege - coloured stone, known for its abundance of fossils and inclusions and its somewhat confusing structure.
The chosen wood was oak due to its great resistance even with minimal thicknesses.
Ideally the connector of both should be an element easy to hold both materials easily, a thick rubber band does the trick even though new forms are being developed for version 2.0.
News coming soon.
more info, description and images coming soon
Challenged by the architecture firm subvert studio to develop a ceramic tile that was in line with the proposed concept to cover the new Portugal dos pequenitos´s building in Coimbra, the studio chose the sea as its starting point and as an element of inspiration.
The development of the tile will be based on one of the organisms found in the ocean: barnacles, their shapes, textures and colors.
In addition, how these organisms adapt to nautical elements created by Man, such as caravels, the greatest symbol of the conquest of the sea at the time of the Discoveries.
Barnacles come from an infraclass within the class of marine crustaceans, they are organisms with a conical shape, formed by layers of calcareous plates tat serve as a protective shield for internal organs. Their polygonal growth form adapts to any surface creating grooves and depressions.
The element that was chosen to apply how these organisms adapt could only be the object that conveys the essence of maritime transport: the caravel, the greatest symbol of the conquest of the sea at the time of the Discoveries.
The production suggestion to develop the models for the molds was based on 3D Printing. Thanks to this technology, it is possible to recreate more complex shapes quickly and at the same time emphasise a beautiful parallelism between production and the way the barnacle develops. Just as barnacles continue to grow by adding new material to their heavy, calcified plates, 3D printing adds very thin layers on top of each other.
the finish on the polygonal pieces with different angles, variations in pigmentation and glaze sedimentation creates an interesting game of volume and shadow, giving more life to each piece.
PROPOSAL I
The larger tiles are a graphic representation of barnacles in 4 different stages of growth, all measurements are related to each other thanks to the study of the golden ratio in nature.
These stages of growth will be distributed along the base of the building structure, thus creating a parallel with the growth of barnacles on ship hulls and decreasing as the height of the building reaches its end.
Challenged by the architecture firm subvert studio to develop a ceramic tile that was in line with the proposed concept to cover the new Portugal dos pequenitos´s building in Coimbra, the studio chose the sea as its starting point and as an element of inspiration.
The development of the tile will be based on one of the organisms found in the ocean: barnacles, their shapes, textures and colors.
In addition, how these organisms adapt to nautical elements created by Man, such as caravels, the greatest symbol of the conquest of the sea at the time of the Discoveries.
Barnacles come from an infraclass within the class of marine crustaceans, they are organisms with a conical shape, formed by layers of calcareous plates tat serve as a protective shield for internal organs. Their polygonal growth form adapts to any surface creating grooves and depressions.
The element that was chosen to apply how these organisms adapt could only be the object that conveys the essence of maritime transport: the caravel, the greatest symbol of the conquest of the sea at the time of the Discoveries.
The production suggestion to develop the models for the molds was based on 3D Printing. Thanks to this technology, it is possible to recreate more complex shapes quickly and at the same time emphasise a beautiful parallelism between production and the way the barnacle develops. Just as barnacles continue to grow by adding new material to their heavy, calcified plates, 3D printing adds very thin layers on top of each other.
the finish on the polygonal pieces with different angles, variations in pigmentation and glaze sedimentation creates an interesting game of volume and shadow, giving more life to each piece.
PROPOSAL II
The tiles were designed to create a graphic representation of the barnacles multiplying on the hull of a Caravel.
The pieces total 3 different shapes, the simplest being a simplified representation of the hull of a Caravel and the other pieces different positions of the barnacles on the hull.
Lota Studio was invited to develop a tableware line by one of the most traditional Portuguese ceramics industries.
After realising the production possibilities, one of the challenges was to give a unique and individual character to industrialised pieces, a perception that aims to return to craft in the creation and production process.
Therefore, a study on volumetric and archetypes in the industry was carried out, creating a shape that was categorised by the Studio as “The Basic”.
The tableware´s original volume was then manually transformed, some of it removed with carving tools. Another detail that reinforced this character of a carved volume was the integration of the dish's support base as part of the whole piece, being normally something technical and unconnected, now it is part of the object and different for each one.
Finally, the name KOVO is a direct link to the process that were carried out while producing the pieces, KOVO in greek means to carve.
more info, description and images coming soon
This N1 armchair is made out of laminated cedar.
A single piece moulded creates the binomial legs/arms structure that, when put together in a specific angle, generates the curves and the necessary comfort for the armchair.
An elegant but simple detail is created when the tongue and groove joint connects seat and back on the structure. Where the angle meets the structure and back rest it seems to be connected only by a singular point thanks to the element.
The tongue and groove joint is often used instead of a edge-by-edge butt joint, which can allow the wood piece to easily slide onto another. These joints consist of a tongue, or a ridge, on one piece of wood and a groove, or channel, on the other. The tongue slides into the groove to create a strong joint.
