The use of inlaid metal is a homage to Paris of the 20s and to Art Deco designs of Emile Ruhlmann and Jean Dunand, who were main advocated of this style. Essential forms –minimal and yet so refined, a timeless elegance – a clear reference to the elitarian craftsmanship which gave form to such excellence.
In Marque’, material and forms become essence of memories, referring to traditional techniques: different styles mix together with the search for new languages that can be achieved within the realm of excellence and craftsmanship only found in Italy. The Art Deco design now reborn in a contemporary style makes its way into the Third Millennium.
My collection for MOS Designer Residency comprises a series of storage furniture that includes a small cabinet, a dry bar, a console and a coffee table, where the material used – metal – is read in ebanistic terms through the use of inlays as new element of character and prestige. The linear essentiality of the forms, which is reflected in each element of the collection, is enriched by the presence of precious superficial decors that are juxtaposed through inlays: small metal oxidised plates animate the surface of each storage element with their refined alternation of delicate geometrical motifs. The oxidation process brings a unique mutation of the surface itself, enriched by a whole variety of shades and gradation.
Remetaled / Mirrored
As young designer being part of the Matter Of Stuff Designer Residency 2016 and get influenced by the different cultures, environment, materials, food and wine has given me the space I needed to create my own comfort zone much needed to develop my project.
This full immersion in the Tuscan soil has inspired me and given a fresh look at my own design process, which consists of moments in time and space within the immediate environment that feed me and nourish my creativity.
During the project phase, I was able to experiment widely with metal. My research had a special focus on stratification, which brings depth, surprise and gives metal an innovative materiality. During the prototype phase, I was constantly inspired by the manufacturing possibilities of Toscari, with whom I established an intense collaboration which has had profound effect on my design project.
What happens when we put metal tubes together in a press? Or what if we use leftover pieces to fill a mold? And how can a coating give just that special effect? The cooperation of Toscari on these three questions led to the development of three design collections, which are each in a unique way carrier of the layered concept.
The Echo table pushes the material limits of metal and wood to imagine an intangible reality. In wood, the grain tells its history and by using a technique which exposes the hardwood revealing the winter seasons and embedding metal into the lines of the softwood, which depict the summer seasons. Each growth creates an elusive boundary between the two materials. The objectivity is further enhanced by removing the sense of substantial weight and density of the materials.
Beauty and inspiration are found all around us. The table legs reference the shape generated by the spilling of water. The variation of the tabletop in an organic circle evoking the form of a stone formed by the sea current. It enacts the activity and motion, which would happen around a table. Alluding to the subtle shades of a sunrise, the colours of three tables are created in three metals: aluminium, copper, and brass.
Material: White Carrara Marble
Technique: Waterjet cutting, cnc machining
Marble is immensely rich material loaded with symbolic value.
The challenge is to explore the limitations of structural and poetic qualities of marble.
In this respect, lightness has been a very present motive in Tomas' work whether on sculptural or philosophical level.
The stay in Italy during the MOS Designers Residency was an opportunity to develop a new body of work substantiated by a remote geographic context while being thoroughly embedded in the know-how of the local craftsman.
The intention for my project was to create an object that experiments with the dichotomy between a silk and soft looking surface in a hard material like marble. The inspiration was the illusion of textile folds that envelop ancient; I wanted to bring something three-dimensional into a flat and two-dimensional material by making a pattern and using it foran object.
After visiting and talking to various workshop facilities in Carrara, I decided to work with a technique that allows for different optical effects to be created. The result is a design for a series of different tables covered by a pattern playing with the contrast of black and white marble that creates the illusion of an accidentally thrown tablecloth.
An important aspect was to combine a modern technique (water jet cutting) with a traditional method to make patterns (inlays) by pairing craftsmanship with precise geometrical forms. For a series of trays with similar optical effects, I will use water jet engraving for a very fine pattern and fill it with resin.
Having the opportunity to stay in Carrara exposed me the real beauty and value of marble. Marble is more than a Material. It is unique, filled with history and this fascinating territory in Carrara. It had been an attraction for so many different people and artists for so many years and so long as the mountain exists, this will last.
This one month spent between Carrara and Montalcino felt like one year of experience and emotions compressed together. Working on a project in a foreign country with such a mix of different nationalities pushes respect, willingness to co-operate, your own personality and a lot of curiosity. Maybe we could feel the real Italian spirit: full of good tastes, intense working periods, sticking together, interesting conversations, friendship. It was an incredible month full of crazy, breathless, fascinating, marvelous experience. I felt charmed, fortunate, drunk, melancholic, sunny, maniacal, sensitive, blessed, hungry.
Mass, volume, positive and negative space... Creating an entire form out of one material is a main feature of my recent practice. I am interested in marble because each piece is inherently unique. I like the contrast of between its delicate colours with the solid, heavy weight of the material.
Using two heavy weight pieces can create a stable structure by using complimenting geometry. Basic marble tabletop slabs exist for steel or wood armature. I wanted to create a new function for marble as armature and use the joint as an opportunity to talk about shape in a poetic way.
My process often starts with discovering function through the study of form. I value a hands-on approach, making lots of models and discovering how I can integrate form with a particular function. During the residency, I explored various forms and decided on the final design with considering form with the materiality of the marble.
One of the most valuable experiences from this residency was visiting Carrara to see where the marble is sourced and how it’s processed into an available material. Continuous conversations with both Matter of Stuff and skilled experts of marble in Carrara enhanced my process on designing for marble. I was able to understand other designers’ different approaches, processes and perspectives by our consistent dialogue. I felt grateful and inspired throughout the whole month.
I came back with fertile research and experience from Italy, and I am currently working on expanding the collection.