The bottles were born to be used continuously to contain and transport liquids.

Nowadays they are often used as disposable objects and thrown when they are emptied.

In their simple essence they retain their original, extraordinary beauty.

The intent with this work is to restore a lasting, endless life to these everyday objects, working on their surface, removing the gloss of everyday use and covering them with a timeless patina.

From craftsmanship work emerges a new material of glass, as surfaces of stones just split into quarry. Each object becomes a unique element through the sensitivity of manual work.

Textured surfaces define blurry contours, details of their use are blunted and minimized and objects appear in their uniqueness as design pieces for a single collection.

This title comes from the image that is created of these bottles in a bright environment, in which these compositions of objects become metaphysical paintings in which the colors are whitened and the objects lose their defined contours.

Someone said that these objects belong to the landscapes of Giorgio Morandi of the “still life”.

 Images by  Alberto Strada ( 1 ), Alberto Prise ( 2 ), Tsukasa Goto ( 3,4 )

Stool 60_Carbon black

I chose to buy a 1960′s stool when the University of Urbino, Italy, decided to dismantle many of Alvar Aalto’s furnishings that had been chosen in the original setting by Giancarlo De Carlo.

On the back of the stool I found a love phrase written by a student in an unknown time (“Alessandra ti amo”); I decided to keep the memory of the object together with its memories.

Many special collaborations have been made using sttol 60, but most of them worked using applied graphics.

This time I chose to work directly on the material of the object.

When I thought of working directly on wood, I wanted to essay with the “yakisugi” technique.

I wanted to use the color of the material, so I thought: black.

The black color of coal.

At first I worked with the original plywood seat. The surface layer peeled off and was not acceptable, so I tried a cedar wood surface.

changing seat top cedar wood surface

Observed the physical changes of wood, paper, flower, seeds and outer skin after being mixed into the cement prior to the curing process. By adding a selection of natural materials in the grey universe of cement, the designer aims to eliminate the dull aspects of consturction material such as architectural glass or marble.
There is something poetic about seeing flower petals and plants melt into the cement and waiting for an imaginary sprout to appear. Such fantasy may be what we lack in this modern age. In the end, the designer hopes to introduce a new perception generated by development of innovative material mix.

朽ちるセメント、たまに再生する

セメントを固めるときに木、紙、花、種子、皮などを混ぜ、それが経年によって形状の変化を見せる。セメントのグレーの世界に他の自然素材を混ぜることで、現代の建築に多用されているコンクリートやガラス、大理石のように四角く無機質な建築的概念を取り払う新たなアプローチ。バラの花びらや植物の一部が溶け込むことで、そこから花芽が出てくるのではないかというファンタジーとポエティックな想像をする。そんな現実から外れた想像が今、私たちには必要なのではないだろうか。素材が交じり合うことで生まれる新しい＜見る、感じる＞感覚を変える素材を提案したい。

Client: Experimental Creations #002

Born.

Location, age, environment, time.

In spite of all different,still i met you.

生まれる。

場所、時代、環境、時間。

すべてが違うあなたと私はこうして出会いました。

生きるということ。

生きているということ。
今、生きているということ。

Just to look at beautiful things and to find them beautiful.
People are sometimes blind to those things,
because we are living surrounded by lots of things and informations.
Or even if we are aware of that, we have just forgotten such feelings.
Just like that.

キレイなものをキレイなものと見るだけ。
ただ、多くのものに囲まれて生活する私たちには時に見失いやすいこと。
いや、気付いていてもキレイと感じることを忘れがちになっているだけ。
ただ、それだけのこと。

キレイなものをキレイなものと見るだけ。
ただ、多くのものに囲まれて生活する私たちには時に見失いやすいこと。
いや、気付いていてもキレイと感じることを忘れがちになっているだけ。
ただ、それだけのこと。

Just to look at beautiful things and to find them beautiful.
People are sometimes blind to those things,
because we are living surrounded by lots of things and informations.
Or even if we are aware of that, we have just forgotten such feelings.
Just like that.

それは一度完成された形を変え新たな機能を与えることが目的ではない。

ある種のものには形の中にすでに必然的な機能をもつものが存在するのだ。
機能的で美しいもの。
そこには本来の役割とは異なる何か別の美しさが潜んでいるかもしれない。