SEASON 4, 7 Feb - 20 May 2017
The dual space SEE••DS celebrates it’s first year with a fourth season, which continues to question its role — that of a new reality, to promote and market design in limited editions.
Situated amongst the picturesque Victorian houses of Kensington, SEE••DS treads the path of experimental design. Opting for a hybrid nature between gallery and design store, SEE••DS continues pushing an unconventional language in its surroundings.
In the previous season, Martino Gamper W/Friends came together from the creative hub of East London to form an ad hoc collective of designers, triggering on the walls of SEE••DS a series of reflections and actions surrounding the themes of design, questioning ideas of the limited edition and authorship. This season, SUPPORTS/SURFACES* makes its argument through a design system bringing to the display window, the curated commercial universe of SEE••DS.
French designer François Dumas was entrusted with a controversial and daring task: in the context of a gallery that was created to make space for artist’s designs (which underlies the idea of a certain creative freedom not necessarily linked to function), he has been asked to carry out the functional gesture of creating an exhibition system that will bring the world of SEE••DS to the outside, powerfully, with a display system that is equally sellable.
Accepting the challenge, François plays the role of a humble protagonist, designing an exhibition narrative that mixes the need to exhibiting the work of his colleagues as well as bringing out his own. The space is designed with few materials and non-conventional techniques. 200 meters of extruded profiles in aluminium assume unprecedented curves: impossible to achieve by bending the bars mechanically, the evolutions of his designs are created through subtle and repeated operations of subtracting material, small, delicate cuts that become decorative patterns.
Out of these metal curves arise podiums, supports of various types, tables, lighting systems, consoles, framing supports to create new and bespoke stages for each of the objects.
For Season 4, the Design Store (•DS), part of SEE••DS ventures forwards from the back rooms and approaches the window space, accompanied by the coherent gesture of the display, it is propagated throughout the entire space. The •DS objects are chosen, as always, with curation that does not chase after the novel, but that, more than ever, looks for a quality to be shown again, under a new roof, inside new actions of display, in front of new gazes.
In an international scene that is exploding with events and design fairs, moving so fast that pieces are likely to get lost in the shuffle, SEE••DS engages in thoughtful research to seek out distinguished pieces in recent years, then creating a special platform, a new time and space for them to be discovered and understood.
*Incidentally, the title Support/Surfaces*, very suitable to this exhibition comes from the name of a French art collective that existed for just three glorious years between the 60s and 70s, enough to be remembered only intermittently by critics, having written an important chapter in art history that generated many others.
Season 4 features works by François Dumas, Jochen Holz, Olivier Van Herpt, Daphna Laurens, Studio Furthermore, OS∆OOS, Oeuffice, Giovanni De Francesco, Laetitia de Allegri + Matteo Fogale, David Derksen, Studio Berg, Apparatus, Odd Matter, Marlene Huissoud, Formafantasma, Sabine Marcelis, Duccio Maria Gambi, Guglielmo Poletti, Silo Studio, Kueng Caputo and Dan Yeffet - and is curated by Studio Vedèt.
SEE••DS Season 4 was realised in collaboration with Alpi and Casone.
SEASON 4, 7 Feb - 20 May 2017
In this collection designed for Seeds - Season 4, 200 meters of extruded profiles in aluminium assume unprecedented curves: impossible to achieve by bending the bars mechanically, the evolutions of his designs are created through subtle and repeated operations of subtracting material, small, delicate cuts that become decorative patterns. Then these curves becomes shelves, stools, tables, mirrors, trays, lamps, consoles.
In collaboration with ALPI.
The clear textured pieces are made from sections of borosilicate tubing which are partially heated up and shaped with a variety of tools to create different textures and forms. Burnt wood, perforated metal etc is pressed into the molten glass to imprint the textures and change the shape at the same time. The aim being to create functional, tactile objects - organically conceived carafes and vases. Every piece is unique, individually considered and finished.
3D printing has the potential to bring back the unique and individualized objects that artisans make. But, this time it is a machine which manufactures the final product. Each unique vase in this collection shows us the potential of cutting edge technology while reminding us of the days of yore.
The simple act of combining glass and a sample of anodised aluminium, set the ‘Disko’ vase design process in motion. Combining industrially manufactured and artisanal mouth blown components results in a unique vase. The disk adds a supplementary dimension to the vase, forming a colourful ‘backdrop’ for your flower bouquet.
Inutile is Daphna Laurens latest collection of LED “tube” lighting fixtures. Laurens envisions Inutile to become a lighting collection that, because of its minimalistic appearance and use of an LED light source, inspires both professional interior architects as well as the private consumer to really take the step into the realm of refined energy saving lighting.
Tektites are a collection of ceramic works by Studio Furthermore.
A close relative of glass, ceramics are woven into the fabric of our anthropology and will play a certain role in our material future. Delighted by the promise of such versatility Furthermore decided to investigate the use of ceramic foams. The designers decided to replicate ceramic foam production by developing a craft scaled polymer replica process.
In the Arc stools, two common radiuses are the basic element, the interchangeable parts lead to the different designs. An arc is a self supporting element and therefore is inherently stable, the Arc bench and stools make good use of this trait which allows for the simple and slender shapes.
Syz·y·gy [siz-i-jee] In astronomy, a syzygy is a straight line configuration of three celestial bodies in a gravitational system. These lights are inspired by the same principle, the light source is constant, remaining always on. The light is adjusted by a subtle rotation of three light filtering discs placed in front of the light source. The rotational combinations of these three discs mimic the effects of a syzygy.
Tuskan Vase belongs to the Kapital collection based on essential forms, reminiscent of primordial stone capitals and simple geometric assemblages commonly found in classical architecture. The distinct and characteristic profiles, proportions and details found in classical orders inspired these works as a simplified reinterpretation with a contemporary twist.
In collaboration with Casone.
The term BUILDING has two meanings: in the German language it means what has already been produced and what is in the process of being produced. In the BUILDING series the plaster, concrete, wood, glass and resin sculptures play with the object-funnel imitating it's shape but denying its real function, in those new productions every sculpture changes the object function that it represents. B#1 it's a box, B#2 it's a bell, B#3 it's a paperweight.
In collaboration with Casone.
A controlled balance and synergy between lines and volumes, with smooth and shiny surfaces playing with light that vibrantly bounces off or runs comfortably. Dense objects reminiscent of ancient times – compressed, monumental architectures with all parts densified into an illustration that comes to render the metaphysical through a very physical element. The lonely, calm, and reassuring presence in an inhabited space.
In collaboration with Casone.
Sculptural hand-powered pepper crusher. Inspired by the traditional stone mill grinders and the archaic way of grinding spices. Using a combination of sustainable stones and hand-crafted marble stones from Portugal. It’s balancing top just like zen pebbles gives a unique experience: a mix of playfulness and meditative time whilst revealing the smell of the freshly ground pepper.
This finely perforated lamp plays with the perception of the observer. The lighting object does not have a clear source of light but instead just seems to consist of a thin surface and appears to be empty. The surface is almost transparent, making objects behind it visible. The lamp seems to be nothing but a thin shell.
A generously proportioned cast brass bowl seated on a solid crystal platform.
Molten Swedish barium crystal is poured into textured graphite molds, giving the cooled blocks the appearance of ice. The crystal acts as a plinth, both supporting and obscuring the heavy brass to create a sense of harmonious displacement.
A series of rocklike textured shelves, tables and lights with a cork terrazzo finish. Handmade with a new technique developed by Odd Matter Studio that explores the use of cork as an aggregate material and high quality hard plaster as a binder. Combining the soft and light nature of cork with the rigidity and strength of gypsum.
This work is about these little automatic drawings we all do when we are speaking on the phone. Except that Marlène keeps drawing them for hours and hours. Her series of automatic drawings are all done by hand with a simple pen. The aim of the series is to question the randomness and the irregularity of hand drawing. Each drawing represents between 20 hours to 30 hours of drawing.
FILTER is a series of lighting which utilises the material properties of HI- MACS combined with cast resin to filter a light source, highlighting the material’s hidden qualities. Patterns and colours which do not reveal themselves when the light is in its off-state are exposed and celebrated once the lights are lit-up.
The bench is the result of a personal search for the essence of things. It’s the attempt to get to the heart of the matter by deconstructing an image, pushing the material to the limit, and then restoring it with minimum intervention. The main structure of the seating element is made out of several layers of lacquered birch plywood. A stainless steel cable provides the final stability to the whole by containing forces, avoiding any possible movement of the arch when receiving any pressure from above.
The core of the low table is represented by the transparency of it's main elements, the acrylic cylinder and the glass top. This configuration aims to make the structure disappear, allowing the central geometry of the connection to stand out, suspended in the middle. It highlights the construction principle of the piece, in which the joint plays a major role both under a functional and visual point of view.
The retro-reflective material triggers unexpected perceptions of shapes and volumes, and emphasises your own position in space. The reflection is about a personal point of view. As an individual you find your own ONOFF point, that is as personal and complex as your own ability to linger in the gray area between ON and OFF.
Courtesy the artists and Etage Projects, Copenhagen
Lyra is a torchbearer, a flaming metaphor, an anthem to the material. A marble piece cut in the mass which reveals a varying figure, sometimes oblong, massive, rounded, full or hollowed. The scented capsule nests in the heart of it, just as puzzle pieces would come together.
Octans is a series of two photophores : a low and a tall one. Entirely faceted, the low one perfectly wraps scented candle capsules when the tall one emphasizes the facets thanks to a mighty rounded body which turns the whole piece into a sculptural torch.