Marcel Wanders, the dogma -defying designer, was born in the Netherlands, in 1963. Graduating cum laude from the Institute of the Arts, Arnhem, in 1988, he first gained attention with his Knotted Chair, which paired high tech materials with “low tech” production. Wanders opened his studio in Amsterdam in 200 0 and a year later co-founded the design label Moooi, of which he is co- owner, art director and product designer. His own studio is credited with more than 1,900 iconic projects, several of which appear in international art museums. Designing for premium brands (Alessi, Baccarat, Bisazza, Christofle, Kosé Corporation, Flos, KLM, Hyatt Hotels Corporation, Louis Vuitton, Morgans Hotel Group, Puma and Swarovski), Wanders develops his own language that he calls the “Contemporary Renaissance of Humanism”.

From starting off as a rebel, expelled from Design Academy Eindhoven, you ended up an internationally acclaimed, awarded designer. What changed and what remains from your initial attitude towards design?

Looking back on it, I think that school was basically one of many typical, modernistic oriented design schools, while I was interested in change, innovation, and experimentation. Reading between the lines, the reason I was expelled was that I didn’t want to go through with it, I wanted to ensure that I am against this establishment. And I am still fighting modernism, so basically nothing changed! I’m still experimenting and I’m still trying to push hard, just like I did in the first days.

You are renown for redefining old traditional techniques, like the Dutch Delft blue ceramics, in a quite unexpected manner, like in One Minute Mickey. By redrawing the materiality of the past, are you keen to make an impact on the time of this world?

I do this for a reason. At design school, I was taught that “design has no past, we are in a modernistic world where the past is irrelevant to the future”. This is what modernism says. It is the most important part of it, and it sounds like it makes sense, but if that is true, what does it mean for the things we do today? That they will be irrelevant to our future. This fundamental side of modernism shows no respect for the past, whereas we -as designers- ought to show our respect for it, so as not to create a world that throws away everything every day. About 25-30 years ago I started implementing everything, through technology, material, and cause, finding thousands of ways and I will find more, to show in my work my respect for the past and the future. See, the whole point is I want to make things that, once new, they’re already a little bit old. I want to make objects that sit between my grandmother and my daughter. I want to make objects that have more time in them.

A penchant for playing with people’s mindset is evident in your objects. What is the importance of subtle provocation to good design?

If you look at the various objects of the world, publicised or not, you will note that it is not the object per se that will reach your brain or your heart, but everything that it represents, everything it reminds you of, when you hear about it or read about it. Everything surrounding that object is relevant. So, the point is not just to make a physical object; the point is to change something inside you, to move you. The point of design is not to sculpt this piece of wood: it is to sculpt something in your brain or your heart. Otherwise it makes no sense.

In your projects, like the Mondrian Doha hotel, we encounter flowing –often monochromatic- landscapes interspersed with islands of bold hues, motifs, and relief patterns. Are such combinations part of your design philosophy?

I love contrasts. I don’t like to make objects or spaces that dissolve into nothingness, just as I don’t like spaces that are continuously full on. When making a space, or a sculpture, I don’t think about colour. When I use colour, I use the brightest colours I can find! I don’t do soft colours. I like my creations to be loud, bold, powerful, with a lot of contrasts. But there cannot be the same power everywhere, so we create balance. In our projects, every space is like a theatre set. There, a few items correspond to the important players, then there are supporting actors and lastly, the light. Upon entering a space, you immediately see who the main players are because they will automatically catch your eye. So, the secondary players have to be smaller, less bright or at a distance and different position, to make the space readable.

What are the criteria for selecting collaborating designers and what are the characteristics that an object should have, apart from being beautiful* of course, in order to be welcomed in the Moooi design family? (*Moooi translates as very beautiful, in Dutch)

In Moooi we are very open; there is a lot of wonderful design around and obviously we cannot do everything ourselves. A lot of people send us designs and we observe which ones we like and can make. I prefer to work with people who can do a series of great things, that have a mentality of their own, a design concept that they work on, a bold statement; they are their own designers. And that is basically why we set up Moooi: to show the works of people that make a first entrance to the world of design.

You create dream worlds that can also be a bit sinister and dark, like certain video art landscapes you have produced. What is their importance and how do you balance them with commercial ones?

These landscapes-virtual interiors are not at all commercial. There’s something wrong and dark there, you feel that someone in that space did something wrong. They’re a warning to myself these works. You see, we constantly have to score something wonderful, something beautiful. But why would someone want so much beauty? What is he trying to achieve? Who is he trying to impress, right? What’s he selling? And that is something we have to be aware of, I think. With my projects, addressed to people with love, I proclaim beauty. I think my art, my task is to give the audience a fantastic experience, invite them in a place without doubts. But to the professionals surrounding me I say: “Doubt yourselves sometimes. You think this is for the greater good? Or is there a hidden agenda here? Is it valid? Is it something we can accept and live with? Or is it too much power, too much darkness?” So, I doubt and then go on.

Maria Kalapanida

Apartments 2019

The post Interview: Marcel Wanders was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Just before the announcement of this year’s winners of the “Hotel Design Awards”, we discussed with Dimitris Antonakos – CEO of the fair 100% Hotel Show – among others, the history and his vision behind the contest, and the current trends in the hotel design sector.

How and when were the Hotel Design Awards launched?

The Hotel Design Awards were launched in 2015, as an action parallel to the 100% Hotel Show. The warm welcome of this Exhibition by Architects and Boutique Hoteliers made us wanting to give back some of this positive energy. And what is better than an action that would provide the platform for promoting the most inspiring hotels, and the talented architects that designed them.

What do you think about its evolution in recent years, and what is the feedback you are receiving from architects?

The response is increasingly dynamic, with the architects now pursuing their participation in the competition. We have in fact demonstrated with the objective assessment of all participations that the results are not only credible, but also enjoy acceptance by an audience as demanding as architects are.

What are the selection criteria of the projects participating in the competition and what is the process?

It is a fairly simple process: after submission of the proposals, we proceed with an initial assessment and we then bring the final shortlist before the Jury. The criteria are varied, since in addition to the rules of Architecture and Design we put emphasis on the functionality of space, the facilitation of the operation and the shaping of the travellers’ overall experience.

The show has a special approach to architecture and design, which indisputably has coincided with the general growth of the Greek tourism product. How important is good architectural design in a modern highly demanding hotel?

It is one of the most critical points for the success of a hotel. Good Architectural Design sets the scene for the overall operation of the accommodation facilities and significantly affects its entire management and the customer’s satisfaction. The Design underscores the unique experience of the space, creating memories that can even transform into reviews to boost hotel sales. In summary, the overall design of a hotel affects its overall business.

What are the prevailing trends in hotel design in Greece and what are main differences with tourism facilities abroad?

We no longer talk about trends since new hotels are designed to serve individual concepts that make them unique. This also gives a boost to the creativity of Architects who can create more “unique” accommodations. And this is exactly the trend we see abroad. Greece is in fact a strong player in the global hotel market.

What luxury hotel design trends do you see emerging in the coming years?

The emphasis is on the experience. Design is now considered a non-negotiable necessity, which means that the luxury traveler seeks the experience. This is why Architects nowadays cooperate with specialised Hospitality & Concept Makers, who give form to the experiences which the space must serve, aiming at commercial success, profitability and the customer’s satisfaction.

What are your future plans for the Hotel Design Awards and what do you hope their evolution will be?

The Hotel Design Awards institution is constantly growing. Our goal is the openness and general promotion of Greek Hotel Design abroad. In fact, last year’s big winner of the Hotel Design Awards was selected and then presented an architectural hotel room proposal at a 1:1 scale in the Hotel Show Dubai, all expenses covered. This openness and the institution’s ties with international design are even stronger this year, with the winners traveling to Lake Orta in Italy, to attend the customized “Fantini Workshop”, giving them the opportunity to meet the company’s designers and top executives.

*The Hotel Design Awards contest was launched in 2015 and is an integral part of the 100% Hotel Show annual fair. The contest’s main objective it to highlight the decisive role of proper design in hotels nowadays, through the evaluation and presentation of selected projects. Eligible to participate in Hotel Design Awards are: Architects and Architectural Offices from Greece and Cyprus for projects that have been created (both realized and unrealized) all over the world, Architects and Architectural Offices from abroad for projects that have been created (both realized and unrealized) in Greece and Cyprus.

ek-mag.com

The post HOTEL DESIGN AWARDS was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Ross Lovegrove is considered to be a pioneer in the field of industrial design, having focused his research on intelligent organic form. He is a graduate of the Manchester Polytechnic School (now renamed to Metropolitan University of Manchester, 1980), holds a Master’s degree in Design from the Royal College of Art, London (1983) and is the founder of Studio X, which is set up in Notting Hill, London. The Welsh born designer is a passionate enthusiast of digital technology, which he combines with principles of nature’s evolution to create what he calls “fat-free design”.

During his career, Ross Lovegrove has fruitfully collaborated with many leading companies from various fields, like Artemide, Kartell, Moroso, Apple Computers, Tag Heuer, Herman Miller, Issey Miyake, Peugeot and Japan Airlines among others. His admired work has been exhibited in Europe, Asia and the United States of America, while his pieces of art stand in permanent museum collections around the world.

How important is culture to a designer? Does ethos play any part?

Cultural objectives that raise awareness and educate in design are extremely important.

It’s at the core of what we create here, embedded fundamentally in the way we think and the results we obtain. It’s related to a life of design, a total commitment to elevating design as a universal agent of change, responding to the Arts and Sciences.

Tell us what guides your designs.

Design should be guided by human and earth centric sensitivity and understanding. It should embrace the issues of our time and seek meaning and relevance. It’s also an aesthetic profession, with the power to lift people’s spirits to a new dimension. Today, the digital realm is helping us advance the form pool and celebrate a new kind of natural beauty.

Designers are often put under pressure to deliver results quickly in a demanding market. Do you perform better under stress?

Most of the pressure comes from Chinese and Korean companies who expect design to happen in an instant. This is very stressful and, quite frankly, meaningless…  good design comes when the time is right. To better understand this, I suggest reading the latest interview with Jony Ive (Apple’s Senior Vice President of Design,) who recently slammed corporations that force designers to alter good product design for marketing’s sake, resulting in what he calls ‘careless’ design. It’s a pity, because there is great potential in Asia, but they just don’t understand the design process, which has essentially been evolved by leading European Designers. I decline a lot of projects because they want 1000 ideas a day!

Constantly evolving technology has helped mankind achieve things in everyday life previously unheard of. You are justly considered a pioneer in technology-based design; have you ever been overwhelmed by the apparent ease with which progressive technology can alter life as we know it?

Yes, we have to go with the flow on this, because the new economy will be based on technology not oil. Look at the amazing level of progress in cars, aviation, aerospace and communications technology, health and biosciences… It’s a fantastic time to be giving form to technology and welcoming these new developments, which have global impact and are game changing.

How does evolution influence form? 

We are in the course of constant evolution, so at any one time, we are pivotal in the sequence. Looking back for human understanding and looking forward to a better world. Nature and natural forces are an absolute God’ send in gleaning a greater perspective οf our position and potential.

Your work has not only been exhibited in many museums around the world (Guggenheim Museum NY, Centre Pompidou in Paris, Axis Center of Japan amongst others,) but is also being held in the permanent collections of various design museums (MoMA New York, Design Museum of London, Vitra Design Museum as well as others.) How does it feel to see your work exhibited all around the world? Did you expect to have such a successful career when you started back in the ‘80s?

No, not at all… when I hear of my success, it just feels as if it is about someone else and another life. I am forward thinking and my optimism about contributing to life, is based on the next day and how I can grow, mature and adjust, to remain relevant to all things considered in a social, as well as industrial, realm. I still feel that I’m capable of inventing something truly groundbreaking if I’m given the time and space to think it through.

What advice would you give young designers today?

Understand the big picture and develop your awareness to the point where you can judge what you do… I still believe that a great idea on paper is better that a meaningless object made.

It’s philosophy first.

Maria Kalapanida, architect MA AADipl

The post Ross Lovegrove was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Joaquin Torres and Rafael Llamazares constitute the Madrid-based architecture team known as A-cero. Lovers of strong architectural geometries, the two architects have achieved a very distinct, very personal style of architecture, characterized by their perfectionism and their affinity for crossing the lines of imagination with ambitious projects.

A-cero’s work ethic lies in developing each project from the more general concept until completing the definition of the smallest detail that materializes, wheteher it is residential, office, award-winning tower buildings, landscaping, product design or even shoes!

With two books to their name ( A-CERO WORKS 1996-2006, VIVIR EN LA ARQUITECTURA A-CERO) and Joaquin Torres’s architecturally derived autobiography (DETRÁS DE LA PUERTA), studio A-cero is currently experiencing a significant internationalization process with offices in Dubai, Dominican Republic, Vietnam, Moscow and India and projects in Europe, UAE, Lebanon, Russia, Saudi Arabia, and the U.S.

Joaquin Torres, your buildings often consist of curving enveloping skins joined into clean geometrical forms with a touch of the futuristic; how would you describe your architecture style?

We draw directly on the formal universe of large contemporary sculpture. A-cero architectural geometries recreate a long evolution over a relatively short period of time, from purism to clearly curvilinear objectification… We like extreme curves and angles but we also believe that in architecture, function is as important as the form. In the end, our architecture simply tries to answer to our aesthetic criterion… it is a very functional architecture with sculptural forms that, to us, they “thrill” us.

There is also a tension, a monumental quality in your architecture that, regardless of scale, gives the viewer a sense of awe. Is that intentional?

You know, our first major studio project, the house of my father was a huge building with classic art works and it added something to our radical contemporary forms; so we kept that monumentality as our personal touch, the freedom in posing, distributing heterodox structures of domestic spaces. It is thus intentional without any doubt… this emotion that is produced in us, we try so that the rest can also perceive.

You are very active in product design, with your extensive line of furniture, home accessories, even shoes! How involved are you in the interior design after the completion of a building?

Architecture is something we live in, design does not stop in any one point; the continuation is simple… interior design, it is not something that happens later… Εverything is projected as where undoubtedly it should be, so the interior design is quite a part of this whole.

Regarding your collaboration with each other, do you usually both agree on a design route or is the tension evident in your buildings the result of a creative argument?

We have been working together more than 20 years, day by day, and if there ever was any conflict at the creative level, today there isn´t anymore… We are almost one… we have been adapting each other and today I can say that he (Rafael Llamazares) and I work together to the perfection… We have the same criterion and our respect and admiration for each other shows on the creative level, on which I would say we are very consistent.

You state that your practice is experiencing an internationalization process. Does this affect your personal style and how?

It is clear that this is something that concerns us… there are the geographical and the cultural differences determining those changes that will be determinant for us… Evidently it is more complex to design a project for another different culture from yours and for a new environment … but in the end, all that undoubtedly enriches the Project.

Should location morphologically affect a design, or do you prefer to adjust the site according to the building use?

Undoubtedly a design is affected by the environment, the climate, the topography, the orientation… there are elements that necessarily affect the form and the functionality of the projected building.

You have spoken about ideas that form an architectural culture – would you describe your industrialisation process, A-cero tech, as such an idea?

The industrialization you are referring to (A-cero tech) is another simply way of constructing with a better adjustment to the parameters of the current company… Our modular product architecture gets the benefits of an assembly line production: improved finishes, quality, delivery, price, etc… It is the specialization of each phase of the construction process, eliminating downtime – with 15 weeks of period construction for each house – and all the problems arising from it… after all, time is something very determinant.

Examining your quote ‘design architecture not relegated to a cultural and economic elite’, one may perceive you as a romantic. How would you respond to such a characterisation?

We all tend to use cliches… It is true that we are in the habit of working with big budgets but with more of 80 projects opened in the study, I can guarantee that we also design buildings where the limited budget is the determining insurmountable one.

Maria Kalapanida, architect MA AADipl

The post A-cero was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

As the CEO of iF International Forum Design, how did you personally get involved in design?

Earlier in my career – from 1981 until 1998 – I was involved in international trade shows and exhibitions for the world-renowned HANNOVER FAIR. Since iF was founded by that company in 1953 and was originally situated within the exhibition grounds, I had heard of iF but had very little specific knowledge of what it was doing. My background is marketing, not design. In the summer of 1995, my former boss, the CEO of HANNOVER FAIR, asked me to take a closer look at iF as it was struggling financially. So, for the first time, I met with designers like Dieter Rams, Herbert Schultes and Richard Sapper to hear what they thought about iF. I was fascinated by their answers and profound ideas about design. 
I went back to the CEO and informed him that I thought it should be manageable. Of course, he then asked me to take up the challenge of managing iF. For almost three years I kept my job at HANNOVER FAIR while also running iF, until I had to make a choice – thankfully, I decided to stay with iF.

In your opinion, how has the advance of technology affected the original Bauhaus motto of ‘Good Form’, which is still honoured by your institution?
Design today is more influential than it’s ever been. And the Bauhaus understanding of ‘good form’ still applies. But technology and many other factors have changed the role of design. Whereas a few decades ago design was largely dedicated to mass production, today in many ways it serves the individual. Some would go as far as to say that “everybody can be a designer” – but I say this is nonsense. Sure, you can decide on the decoration of your shoes but does that mean you’ve designed them? Not at all. A person has to study and work hard to reach the higher level of skill and competence that distinguishes a true designer. Ergonomics, choice of material, functionality, usability, safety, branding and many other criteria have to be taken into consideration by designers. Can ‘everybody’ do that? Design is a very complex profession that should be left to designers.

Among the evaluation criteria of iF Design Talent, the combined student and recent graduate award of which you are also in charge, the following are mentioned: Human dignity, Respect for the individual, Social responsibility and Societal value. Evidently, iF awards advocate for social change through design, but how feasible is the implementation of such change at a global scale?
As designers learn to identify problems or challenges they also learn to understand the needs of human beings. Most designers would love to help make this world a better place. So, it’s in their DNA to understand social issues as well. That doesn’t mean designers are necessarily deeply involved in social projects. But a lot of design ideas have been socially influenced, and design students, in particular, love to think about the social impact of their work. That’s one of the reasons we initiated the iF SOCIAL IMPACT PRIZE, which has no entry fees and a prize fund of EUR 50,000. We also identify and promote social projects that are already being implemented – so this is not an area for student ideas. In our opinion, design and social impact are closely connected, and more and more corporations understand the need for social engagement if they want to create a positive and successful brand and company. The best talents want to work for reliable and socially involved companies. I really like that idea. And with our support for students and the iF SOCIAL IMPACT PRIZE we are trying to offer a positive example of what can be done.

Bearing in mind that the iF awards attempt to link the German school of thought with more international approaches, what criteria do you apply in selecting the jurors?

The core criteria are experience and international design knowledge. It is a different thing to design for the Latin American market than for the European or Asian markets. Our jurors understand such differences and take them into account when judging the submissions.
Being a good juror means being fair and being able to identify a smart approach, even if the execution may lack some necessary elements of quality. Supporting a promising idea is sometimes more important than giving an award to a product that’s already known for its design quality.
Teamwork is another important issue to consider. We don’t try to form a jury of ‘stars’, but rather invite highly qualified professional designers, either working inhouse or in design or architecture studios. It’s the overall configuration of a jury that makes the difference, not the individuals.

After sixty years of existence, and having established itself as a part of design history, what are iF’s future plans?
I could give you a very long answer to that question, as our medium-term strategy includes numerous promising new projects and services. But, maybe it’s better if I just give you one quick peek: the upcoming iF design center Chengdu. This will provide 4,000 square meters of space spread over two floors, and will open in April 2018, offering unique opportunities for our target groups. To give you just one example, we will offer temporary offices for design studios and smaller companies thinking about entering the Chinese market. They use our space, we connect them to target groups and government services, and after three to nine months they should be in a better position to decide “yes, I will” or “no, I won’t”. This is a very exciting project!

The post Ralph Wiegmann was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Carlotta de Bevilacqua is one of few women major players in the world of contemporary design; she is in charge of her architectural and design office, designing innovative spaces and buildings with reduced environmental impact and reinterpreting the relationship among man, architecture, nature and light, aspects of which she investigates in relation to physiological and psychological well-being.

Graduated in 1983 in Architecture at the Politecnico di Milano; worked as Designer and Art Director of Memphis and Alias from 1989 to 1993 where she expounded important research on lighting design. She is currently Vice President and General Manager of Artemide for Brand Strategy and Product Innovation with reponsibilities in Marketing, Communication and Vision & Strategic Futures. In 2000 she acquired Danese, the leader company in Italian design during 60’/70’s, which she revived in a very short time, gaining new market shares and a new leadership.

For these two companies Carlotta de Bevilacqua has developed many new generation LED products, recognized with several patents (Algoritmo dark, Pad, Cata for Artemide and Una Pro for Danese), introducing in lighting contest new technological scenarios in terms of performance, environmental impact and sensitive experience. Since 2001 she is a fully established university lecturer for the lighting design project lab, for Design Faculty of Politecnico in Milan, where she also teaches in Light Product Design Master, having served as Project leader of innovative products within the Strategic Design Master (Mip) Program two years prior. From 2001 to 2004, she was a lecturer in the Design Master Program at Domus Academy in Milan. Additionally, she frequently lectures at Bocconi University. In 2013 she became member of the Board of Direction of Fondazione La Triennale di Milano.

Carlotta de Bevilacqua’s presence is very much appreciated at conventions and seminars all over the world.

You started as an architect and through a cross-field journey you have become the President and Managing Director of Danese. Was this something included in your original career vision?

Danese is part of my childhood memories. My mother was an architect, and often took me in the first shop-laboratory opened by Bruno Danese. I have always admired the spirit of research and experimentation that characterized this reality so unique for the transversality of its collection and the ability to mix crafts, art and industry. When I learned that the company was for sale I could not resist and I embarked on this new experience.

Apart from your extensive and successful work for Artemide, you also lecture about lighting design and products in Milan Polytechnic. How did your fascination with light begin?

Light has always fascinated me, since my architecture studies. Light is the material of space constructions and more than others can give shape and identity to the environments by establishing a relationship that involves humans in several respects: perceptive, communicative, emotional, psychological and even physiological. But above all the light is like air and water, man and nature cannot live without it. At the same time, however, design light means taking care not only of matter but also energy and therefore pay great attention to its use to meet the limited resources of the planet. Also we are in the field of light at a time of great technological transition thanks to the revolution introduced by the evolution of the LED, for this Light project capacity embraces many important issues and values.

You have stated that you are often invited to give lectures because you manage to grasp changes in contemporary society and international markets; do these changes influence your personal design, and how?

Certainly, in my path to project the social aspects are a key point to understand the new needs that light can help to satisfy. The research on technological innovation should always be combined with a more humanistic reflection and confront with the market to make it as accessible as possible to all a good light(ing).

Unlike other innovative designers, there is particular warmth characterizing your design style; just when it is about to become austere, a playful element emerges. Is that intentional?

I believe it is the feminine touch that emerges but I do not like to talk about style, it is a concept too often tied to formal aspects only. In my project the shape is only the synthesis, the result of the convergence of continuous technological innovation with an anthropological approach. The will to create always a close relationship between man and his light spaces certainly contributes to ensure that my products have a warm appearance. Make man the author of his own light with products that invite you to contact and active management is definitely among the goals of many of my projects. This because the man has the right to have spaces that transmit wellness but also has the duty to dose with awareness the use of light and therefore energy.

Your products are sensational while minimalistic, they seem like smooth machines. Could you tell us about your explorations with form and technology?

For me, the shape is the expression of limitations and technological opportunities, is not an element for its own sake. In my projects often the luminous, thermal and optical machine necessary to ensure the operation of the LED is left bare, matter is reduced to a minimum to ensure optimum performance with minimum waste and maximum sustainability. Working with the LED imposes in my opinion a true paradigm shift; LED opens new possibilities and its design calls into question the way we design for use with traditional sources. LED as light source allow minimizing and dematerializing but at the same time is a heat source that requires material and formal measures to ensure proper dissipation. Also from the optical point of view called a planning with lenses and reflectors still largely to explore.

As someone who has worked around the globe, have you experienced any differences in design process and decision-making, regarding innovation techniques, between Western and Eastern producers and markets?

Innovation and research can be universal, ideas and information as “bit” can be quickly moved from end to end of the world. The technical capacity instead is closely related to the “matter” and therefore has more local reasons, often related to manufacturing and craft traditions, is an element most often attributable to specific geographic areas.

Would you say that it is easier to design for an abstract material as is light, compared to concrete, or suchlike? Bearing in mind the work of certain architects in the field of ‘architecture with sound’ for example, does lack of materiality allow you to formulate your own path or does it pose more problems?

Certainly I have repeatedly stated that the light is the material with which I prefer to work as an architect and designer, to create spaces and give shape to the products. Certainly is for me the most fascinating but not the easiest. Working with light requires especially today a great technological competence and a constant work of update and research that calls the ability to open up to share the project with specialized figures and skills. Dematerialization in architecture can help to leave space to light to express themselves to redefine the spaces but the most comprehensive and valuable results certainly you have when the light project integrates from the beginning with the architecture, not when it is seen as a final add.

The post Carlotta de Bevilacqua was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Maria Haralambidou graduated from the Architectural Association School of Architecture in London and has worked for high-end architectural projects in London, UK, including the Stratford Olympic Village interiors. Following an MA in “Management in the Creative Economy” in Kingston Business School, she won a grant to collaborate with the British Council, Kingston Design School and African NGO ‘The New Basket Workshop’ using her design and business skills to help marginalised female basket weavers in Zimbabwe. After a research field trip to India, Maria moved to Malawi and founded ‘People of the Sun’, an award-winning non-profit social enterprise, empowering marginalised artisans through design and business training.

People of the Sun has brought international designers and local artisans together, resulting in award-winning products. Within two years of existence, People of the Sun is a success. The artisans are beating poverty and are able to sustain themselves off their income, becoming more independent. As for their products, with the Cone Stool and Blantyre Jar selected among the ‘Best Products Out of Africa’ at the South African Design Week 2014, a sponsored invitation to showcase during the Milan Design Week 2014 in Italy and winning the Coup de Coeur Prize at the Africa Design Awards in Gabon, 2014, it is safe to say they are of the highest quality. Finally Maria was also invited to give an inspirational speech during the TEDx event in Malawi, where she talked about economic empowerment through design and trade in Malawi.

First of all, why the move from the field of architecture to that of Home furnishings? Was it something you wanted to do, or did you decide along the way?

I was always fascinated by artisans during my travels. I loved scrolling in local markets of a new country to find traditional handicrafts, meet the artisans and understand all the techniques involved into making one product. Its actually impressive all the work that goes into all these handmade products yet most artisans in developing countries live below the poverty line. So I decided to do something about it! Follow my passion, while also doing something good! I managed to win a small grant, through Kinston University and the British Council, to work with a group of basket weavers in Zimbabwe for a month and I loved it! Combining my experiences with these artisans and the ones I had met during my travels, it was obvious that they all shared the same problem: access to markets. But how could they ever access markets? They all lived in remote villages and their products lacked design. So thats how the idea of People of the Sun started.

You may think that it’s so different to architecture, but architecture is also about solving problems in a creative way, which everyone now calls design thinking. Even though the final product of People of the Sun is furniture and home deco, the aim is to use design and design thinking as a tool to overcome poverty challenges.

Apparently you started the whole thing by seeing a beautiful basket, identifying the artisan who made it and he then gathered his village into the Mango club, your first collaborators. How hard was it to explain to them about business trade, to set up a training platform from scratch?

To be honest the beginning was very hard! I picked up this artisan from the market and we went to his village, with the Poodle of the Sun of course! There we were welcomed with extreme curiosity, by the artisans and only 3 joined the very first day! A lot of individuals and organisations try to help the poor but many times this help is only temporary resulting in hopes that are not fulfilled therefore developing a mistrust. But I was persistent and went to the same village every week. By spending a whole day with the artisans, and above all, by inspiring them with books and design magazines, I made sure to introduce them to endless possibilities available and explain completely new topics, like value chains and market forces. This time was also invaluable for me to understand the local culture and dynamics in order to develop the strategy and direction for People of the Sun. I think by now I’ve won their trust and People of the Sun works with over 100 artisans in different villages! What is more important though is that they all know that only through trade they can improve their livelihoods. This factor is very important because it breaks the charitable dependency, and at the same time, empowers and dignifies their newly reinvigorated profession.

You have stated that local artisans are knowledgeable in their traditional techniques but lack in international design apprehension. Were they easily convinced to collaborate with acclaimed designers such as Rentaro Nishimura (designer of the Cone Stool) and Donna Wilson (designer of the Peaks & Blocks Basketware)?

They were very excited to work with designers such as Rentaro and Donna and now they see how adding value to their products brings in more orders and hence more income. Of course they don’t understand how famous these designers are! And that’s the beauty of it…

Rentaro Nishimura is a designer, who I knew from London and I knew that he was perfect to transform a traditional handicraft into a modern piece of furniture! So I send him pictures and videos to understand the local techniques of basket weaving and he transformed a traditional basket into CONE, two nesting stools that derive their structure from a double curvature. It was a very difficult product and took many prototypes, but eventually it worked and we were all so excited! Cone Stool is such an innovative product! In fact it was selected and showcased last year in Cape Town during the “Africa is Now” exhibition as one of the most innovative products coming out of Africa.

Donna Wilson, came into the project through Sheridan Coakley, the owner of SCP in London, one of the most renown furniture retailers in the UK. Sheridan was captivated by the story of People of the Sun and was keen to collaborate with a unique collection for his store, so he brought in Donna, who designed “peaks & blocks”. When the artisans saw Donna’s drawings and intricate patterns for the first time, they were terrified! They thought they could never do it! We worked with 1:1 drawings and after a few prototypes they managed to execute quality baskets that, of course, have been a huge success!

You currently work with several micro-enterprises, including Atekwene (wood carving) and Warm Hearts (paper recycling), who produced the Blantyre Jars, a beautifully made cross-disciplinary collaboration of recycled glass bottles with carved lids and recycled paper packaging. Did your architectural experience come in handy to co-ordinate them?

I wouldn’t say that the successful co-ordination between 3 micro-enterprises worked because of my architectural background. The collaboration and co-ordination has been successful because these 3 micro-enterprises (after intensive training) are the most advanced in terms of entrepreneurship.

However what derived from my architectural background and education is how to find a creative solution to an urban problem, which is waste. The design of the Blantyre Jar is a response to clearing up the waste that the city generates and transform it into a desirable product! For the Blantyre Jar we collect discarded wine bottles from hotels and restaurants, paper from offices and schools and cardboard from industries and supermarkets. Then all these come together into the “Blantyre Jar”. It’s just beautiful how the whole city (Blantyre) participates to make one product happen!

It seems 2014 was the year of People of the Sun recognition: you won awards, your products sold out, your artisans must have been thrilled! Has this reputation brought more artisans to you and how do you cope with the numbers?

Of course we have more artisans, we grew from 3 to 100! This is because People of the Sun has rejuvenated a profession that before was obsolete and considered of the lowest status. Now, after witnessing the economical impact and experiencing the personal educational growth through the People of the Sun mentoring and training, the profession is considered hip and cool… In fact I am happy to say that lots of youth are taking up to the challenge.

Although lots of artisans, who hear about People of the Sun, want to join the groups, many don’t understand the hard work and attention to detail that goes into every single product. So all new artisans are tested by current groups on commitment and craftsmanship before they are accepted. People of the Sun need to grow but at the same time, growth needs to be steady, as quality control is of vital importance when it comes to trade, especially when targeting the high-end market.

People of the Sun acquires funds to help training local artisans to everything business related from accounting & book keeping to branding & identity building. Will the artisans in time become totally independent of the People of the Sun?

People of the Sun has been conceptualized to have a strong and immediate impact on the livelihoods of all participant artisans and does not rely on any outside agency or national initiative.

People of the Sun doesn’t acquire funds from donors, like traditional charities. Instead People of the Sun is a social enterprise acquiring funds from commercial sales. But People of the Sun doesn’t just do commerce, we do so much more than that. Commerce is just a way to collect funds. There is intensive training that goes into each artisan group both in terms of business and design, before they can start trading. For example, with my first group of artisans, it took 6 months of intensive training on design, quality control and basic financial literacy before introducing the products on the market. In terms of the groups working independently in the future the answer is very easy… of course! Even though it will require time and it will depend on the national infrastructural growth, because the reality is that it’s very difficult for an artisan in a remote village in Africa to become a global entrepreneur when he/she has no direct access to water or even electricity!    

All that business is essential but as an architect do you find yourself influencing the design direction of People of the Sun? A little tweak here and there maybe?

Not just a tweak here and there! All products marketed through People of the sun are designed either by myself or guest designers. But that has always been the aim. You can’t expect an artisan who has never left his/her village to be able to design for high end shops in Europe… then the role of the designer would rather become obsolete! However every artisan that works with People of the Sun also gets a sketch book and pencils in order to motivate creativity. In fact some have now started to design, inspired by what we have done so far. So hopefully in the future we may spot some very talented designers!

Based on your experience so far, would you say that working in Africa can offer more opportunities than in crisis-ravaged Europe?

Africa is a rising continent and definitely has lots of opportunities at the moment in various sectors, but working in Malawi hasn’t been easy! There is lack of infrastructure, lack of precise export systems and overall lack of reliable services. Having said that people are born entrepreneurs and despite and against all odds always find a way to adjust and reinvent themselves. In fact I think what People of the Sun does best is to give our artisans a real and concrete hope, tangible, through the hard work of their own labour and with the well deserved income they profit from each sale.

Finally, I have to ask you to tell me about the Poodle of the Sun, Lulu who seems to be in every other People of the Sun photo -is she your mascot?

Lulu is not only a mascot but also a founding and essential member of People of the Sun! When I brought her to Malawi from London I would have never imagined the impact she would have. Everywhere we go, people run from all directions to see what kind of animal she is. Most of the time they think she is a monkey or that she is wearing a uniform! Then they line up to take pictures. But above all having Lulu as a partner is great because she instantly breaks the ice when we go for the first time to a village or to a slum to meet artisans. She also does a few tricks like catching a ball in the air and giving “high ten”, which adds further smiles and laughter. With Lulu everybody immediately connects with us and is very happy to show us around and introduce us to artisans. So if you want to start an enterprise in Africa…get a standard poodle!

The post People of the Sun was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

KLab architecture (Kinetic Lab of architecture), is an architectural firm formed in 2008 by Konstantinos Labrinopoulos, following the success of Klmf architects. Mr Labrinopoulos with a series of experimental projects has cemented his place not only in the pages of Greek architectural history, but also internationally as klab architecture has been featured among the 20 hottest young architectural firms in the world according to Wallpaper* magazine.In the following interview, Konstantinos Labrinopoulos discusses the basic principles of architectural design.

Your projects and texts suggest an interest to novelty and the avant – garde. What do you consider to be the essence of innovation in contemporary architecture and who are its recipients?

I think that every creator ought to search for novelty and the avant-garde. However, they may be found in several facets of the architectural process. For example, differentiation in programme – i.e. how someone experiences space, differentiation in the selection of materials and, naturally, variation in form – are only a few of the countless practices that can confer something new. What is easily written cannot be realised as easily.

Mainly because tradition, in Building, is hard to transcend. People are usually conservative; they want that which is proven to work. But as people desires change, technology continually develops and materials evolve. The architect has to foresee these changes, or should I say, dictate them – without, however, forgetting the reason why such buildings come to be. In our experience, the recipients of alternative and experimental architectural design do not belong to any particular category of education, aesthetics, or even age. Obviously, their familiarity with modern aesthetics helps, but is not an a priori catalyst forsuch an architectural proposal may be accepted.

Distinct geometrical gesture is the basic characteristic of your recent work. Sometimes, in particular, your compositions start off from with a closed rectangle or cube – open box (Horizon House, 2008, Donald Judd summer house, 2009, Terminal House, 2009, habitation unit in Elliniko, 2010, urban cubes, 2011). At other times they move to its deformation (Cubic Distortion House, 2008-09). Would you care to explain your mark on geometry and its influence in your work?

Geometry is the architect’s powerful tool and an endless experimentation laboratory. We are interested in its integrated use in particular concepts and contexts. There are certain sections in our work that we are interested in exploring, but we always take into account the convenience to programme and functionality. Respectful of the building tradition of each place, we use geometry to infiltrate new areas of synthesis without escaping building logic by searching for ad – hoc construction details that will blow costs out of proportion. Our logic is to attempt anything necessary to evade mundane frameworks of geometry, seeking some plasticity or surprise.

Another defining characteristic of your work is the creation of surprises and antitheses through your designs, use of materials and manipulation of daylight – which ultimately evoke emotional reactions from the user (Wunderman offices, 2005, Placebo pharmacy, 2009). Would you tell us more?

The charm of architecture is that you have so many tools to create spaces, but the dominant one is lighting. We work in time based on lighting and its variations. For us, space becomes alive when it evokes and incites different sensations at different hours and seasons.

We are interested in using living materials that have their own aura, texture and odour, and we like to experiment with materials in other roles and uses than what is customary. All our buildings describe a life scenario that is not ordinary and common, but as you say, full of surprises and antitheses. We create from inside out and from outside in. Quality of living in our spaces is of capital importance, and if our architecture evokes feelings that endure over time, this means we will have succeeded. Therefore we believe buildings ought to be designed with multiple reference levels. We are concerned with synthesising concepts; sensations that operate subconsciously in the user.

In the Wide Open Villa (2006 – 09), we read some references to Richard Meier. I would like to use this as an excuse to ask you about your possible internationalist references, in your older projects, and today.

We are all citizens of the world, even more so because of the internet, so the incentives exist, even if subconsciously. However, I believe that finding common intersections with great creators is not flawed but interesting. In art, many have stood on the shoulders of their predecessors, attempting to fathom the greatness of their works.

We are interested in grasping the qualities of some masterpieces and understanding why they are considered as such. It makes sense that we are influenced by great designers, older and contemporary, but our aim is for our buildings to have their own identity, for any subconsciously occurring reference to be invisible. Our references are conscientious when we borrow elements from our building’s landscape, as when we borrow from our traditional architecture.

Your style is certainly internationalist, while the constitution of your office is international. You are also part of a synergy of offices from several European countries, the European Architects’ Alliance. Do you believe that in 21st century architectural design, it makes sense to discuss the international and the local, something that defined Hellenic architecture throughout the second half of 20th century? And beyond this, is there an identification margin for Hellenic architectural projects in the world scene today?

You are not the only one to call our style internationalist. But we insist on trying, in several projects, especially where the landscape is clearly Hellenic and Mediterranean, to magnify the Hellenic ethnicity of our forms, without obvious correlations but by reinterpreting elements of our architectural tradition for a new era. Personally I am not interested in existing as a Greek architect, but when I build in Greece I ought to be Greek, which is not as hard as being English when building in England. I believe internationalism in Architecture is only appropriate for architects who design regardless of context. That is to say, for the majority and also those few who consider their signature style and mannerism to fit greatly all over. Wherever it may be derived from, this local architectural culture still exists I trust, and I think this is good. Japanese architecture has, for years, been based on national tradition and culture; similarly a new Spanish and especially Portuguese architecture has recently emerged in the footsteps of a great master, Alvaro Siza. I would be interested to see a Hellenic example but consider it difficult, as this country has so many different aspects in its tradition and architecture.

Evidently, half a century after functionalism’s homogenizations, the dogma associating form with function unequivocally has been outgrown. How would you interpret the intense need for stylistic phrasing of a large part of contemporary architecture, in relation to your own (Maiandros House, 2004 – 07, Paper Plane House, 2008 – 09) work? Could we speak of neo – modern formalism?

I cannot say I am influenced by particular movements any more. When I was at university I liked deconstruction, but I nowadays view everything with a deeply critical eye. Novelty is important in architecture also. People are impressed by something new, but in recent years we have become devotees of an unprecedented competition for creating new avant-garde forms, while neglecting other very necessary issues in architecture. We are concerned with covering the basics first, to solve the problems of function, orientation, view and privacy, etc. Along with these, we will never abandon our pursuit to take our own design a step forward. We turn to form and experimentation when we lack external stimulation, or an idea derived from the programme, or expressed by the client. We then try to discover the magic, the surprise, by creating our own framework of relevance. We want our buildings to last for centuries, to assimilate and be reborn in new eras. Consequently, we search for elements that render architecture and a building that is relevant for every era, trying not to follow the currents and trends of our times, no matter how difficult this sounds.

Clearly, international architectural theory discusses less and less the socio – political components of urban planning and architecture which used to define the modernistic forefront, turning instead to issues of environment and energy. What would you consider to be the social legalization of new architecture?

I think this stopped because architects and planners were defeated by free-enterprise and land purchase. For us, the political dimension of architecture is not over yet, but it is rather difficult to implement it via single houses. Public funds, for a long time now, in Greece, through obscure conditions, do not go to the best architects but to those operating inside an obscure network. The planning department is non – existent, while big opportunities like the Olympic village produced uninspired results. The social dimension of architecture also extends to environmental and energy principles through sustainable architecture. Lately, some efforts in engaging architects in charitable non-government projects have taken place, with significant results.

To be honest, I cannot recall architects and planners creating anything of urban importance in times of democracy; on the contrary, in dictatorial and authoritarian regimes, the conditions for imposing important urban interventions did exist. Between the two I prefer democracy, even if we don’t get to radicalize the shaping of cities. Social legalization of architecture can be possible, I think, when we remember its principles and choose an anthropocentric design over that of lifestyle, profit or excessive ambition.

The post KLab architecture was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The architectural practice K – studio was established by Dimitris and Konstantinos Karabatakis in 2002. Since then it has managed through a series of different type of projects, to set new design standards, within the Greek architectural scene. Its continuous experimentational approach has maintained the practice‘s distinguished individuality. We interviewed the two architects, in an attempt to decode some of the unique elements of their design identity.

The way you present your projects on your webpage brings to mind forms of manifesto, using short captivating phrases. Even graphically the way you use bold capital text on your images, recalls to Russian constructivist posters. Would you like to comment on this?

We study the brief of each project thoroughly and we try to reinterpret it. We always try to question the typology of each project by analysing its programmatic needs. The texts we present on our webpage are always quotes of the reinvented briefs. The statements for each type of project are parts of the ideas that formed the starting point of our design.

You like to use and mix elements from different architectural styles and periods. For example the housing complex Woodwing Villa(ge) you designed in Ekali, brings to mind, American post – war modernism. The summer house in Skiathos, through its horizontality and large spans reminds us of the summer house in Anavissos designed by Valsamakis, whereas the restaurant “Alemagou“ in Mykonos seems to aspire to traditional Cycladic architecture. What is your relation to architectural styles and how is this applied on your work?

We currently going through a contemporary – postmodern period, where architectural styles are substituted by programmatic designs. The aesthetics of a building, results from its programmatic needs. specific materials, building te-chniques and methods help to articulate the design of each project.

The use of light appears to be of vital importance in your designs, emphasizing the clean geometry of spaces, placed at the edge of walls or used as cuts in the ceiling. It strongly affects the schenography of each space, adding a theatrical dimension to each project. Is this a clear intention on your side?

We treat light as a material; either to emphasize a geometrical form or to define a specific area. Its ephemeral nature and ability to variate can transform a space, creating multiple atmospheres. When we design a shading canopy, we treat it as a filter. In the restaurants “Alemagou“ in Mykonos and “Bardouni“ in Costa Navarino, the canopies are designed to filter natural light rather than block it, creating a playful oscillation between light and shade.

The element of surprise is often found in your designs. You usually achieve this, through the use of folding or pulling elements (house in Kastri, Boxed – residence in Filothei). This stresses once again the theatrical aspect added on your spaces. One can say that you treat a living space as a stage set, awaiting for action to take place. Is theatricality a critical aspect of your design uniqueness?

We like to think that each space can be used in multiple ways, according to changing circumstances. Conse-quently, spatial flexibility has always been an aspect of our design approach. We like to question, and redefine boundaries. For example the way a set of spaces is connected or separated has always been a design challenge for us. Sometimes this is translated to a door opening while in other cases to the sliding of a whole wall.

The particular way you use materials is also another strong design feature of yours. For example, the way that wooden flooring can fold onto walls and ceiling in Filothei residence, or the ornamental way you pierced the metal screen in the Kastri apartment. This technique can also be found in the exhibition pavilion of Hellexpo and at Hama restaurant. In all these cases, the choice of material seems to be your starting point of design. Is that the case?

Materials and construction methods used define the character and atmosphere of each project and derive from the programmatic requirements. We always try to reevaluate the way we see certain materials and stress aspects of their nature. At the Capanna restaurant in Kolonaki, we reclaimed neoclassical style shutters to clad walls and ceiling, to lend the space a courtyard atmosphere.

Throughout your designs the narrative dimension of architecture is evident. One can say that your spaces have “a story to tell“. Do you believe that now-adays architecture is in need to go beyond a vessel of life, or should it just try to present itself as an attractive design product?

Architecture has the ability to frame and sustain life as well as to inspire and portray our aspirations. Architecture is a vessel of life with character! As Paul Shepheard said in his book “What is Archite-cture? Architecture is stones with character“.

The post K-Studio was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Eleftherios Ambatzis and Irini – Aimilia Ioannidou

On June 2012 the first swapping bookshelf in Greece was installed, in the area of Kifissia. It was an initiative of the architects Eleftherios Ambatzis and Irini-Aimilia Ioannidou, who designed and managed to bring the project into life. The reception from the citizens to the idea so far has been more than overwhelmed! We met the two architects at the Onassis Cultural Centre of Athens where recently, they installed their second swapping bookshelf and they talked to ek-mag about their project and their future plans.

How was the idea of the swapping bookshelf born?

Irini: The idea was born spontaneously last Christmas while having a coffee in Kifissia, discussing about similar initiatives we had encountered during our travels in central Europe. Thus we decided to bring the concept of the swapping bookshelf to Greece, adjusting it to the local environment and public space.

Eleftherios: So, in this way we designed a public furniture, where anyone could offer and swap his book anytime he wanted without control, for free.

This is the first time that a public swapping bookshelf is designed by architects. What makes your project different compared to the ones abroad?

Irini: The use of this public furniture as well as a set of its design elements where clear from the beginning. 
Bearing these in mind we revisited the entire design from an architectural point of view, in terms of materials, sustainability, but also reducing the need for maintenance to the minimum.

Εleftherios: Because of its position – placed in the very centre of Kifissia- the design of the bookshelf had to adapt to the surrounding environment while at the same time attempt to reform aesthetically and functionally that particular public space. An important difference between our bookshelf to the ones we have seen abroad, is a placement of a solar panel on its top which collects solar energy during the day and releases it as light – LED placed inside the shelves – glowing at night hours.

Do you believe that the concept of the swapping bookshelf found fertile ground into the current condition of economic crisis we are going through?

Εlefterrios: Our initiative did it fact stepped on fertile ground due to the current economic and social conditions in Greece. The idea of swapping though does not only hold onto our times but is timeless. We want to believe that initiatives concerning any type of promotion of culture can flourish anywhere and anytime.

Irini: Books are to be swapped and to be read by many. Maybe this is the reason why our idea of a public furniture becoming “the house of the book” was widely received by the public.

Do you believe that swapping bookshelves help to reevaluate the relationship between citizen and public space?

Eleftherios: Definitely the swapping bookshelf attempts to reform the relationship between citizens and their surrounding public space. Adding an extra activity concerning culture which attenuates the connection between the reader, the book and a public furniture.

Irini: It is interesting to examine the way a public furniture is perceived and the ways it can stimulate action and participation around it, due to its function and use. Thus, intriguing citizens to relate and re-approach public space in a different way than they were used to.

There is big interest in spreading the idea of the swapping bookshelf project. Are you planning to expand it?

Irini: It is true that there is great interest in spreading the idea of the swapping bookshelf project. We envision a network of swapping bookshelves so that books not only change hands but regions or even cities. It could be ideal to swap a book from the Kifissia bookshelf and exchange it in your in another bookshelf placed in the center of Athens or Thessaloniki. Social interaction can be achieved through books in a large scale.

Eleftherios: Following the success of the bookself placed in Kifissia last June, the first swapping bookshelf of Athens was placed at the entrance of the Onassis Cultural Centre just a few days ago. Also another bookshelf will be placed at the courtyard of IME due to TedxAthens conference taking place on the 24th of November. This bookshelf later on and following an action of “Atenistas” about the free book swapping will be placed at Agias Eirinis Square in the center of Athens. Finally, we are under negotiations for expanding our bookshelves network even more inside and outside of Athens.

How did your cooperation with Onassis Cultural Centre occur and how important do you consider it to be?

Eleftherios: Totally random. We received a phone call from the Onassis Cultural Centre approximately one month after the placement of our first bookshelf in Kifissia. Everything happened really quickly and with great pleasure we invite you to visit it and swap your books free without control anytime you want, also at at the entrance of the Onassis Cultural Centre in Suggrou Avenue.

Irini: It is very important to be supported from an institution such as the Onassis Cultural Centre in this endeavor. On the one hand, because of their confidence in our design and on the other, because of their support in our overall idea and initiative. It’s really great for us that the swapping bookshelf network is now expanded from Kifissia to Athens.

In a period of economic crisis such as the current one do you believe that Greek design can evolve and expand abroad?

Irini: Creation is a need. Each designer with this need will find a way to create and produce any time and under any condition. The current condition -crisis- requires a redefinition of what ‘Greek design’ is about and how it can respond to stimuli the demands of the times.

Eleftherios: The crisis provides fertile ground for change and space for additional activity in a wider context of social and economic structures. It is difficult for a designer to create in such a negative environment and therefore special maneuvers and rapprochement are required. It is essential to maintain our appetite for creativity and effort!

Which famous designers have influenced your work?

Eleftherios: In terms of design and surprise, studio job, the Campana brothers and Arik Levy.

Irini: In terms of function and innovation Charles and Ray Eames.

The post The swapping bookshelf project was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.