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The debut collection by Copenhagen based Australian designer Nikolai Kotlarczyk presents a series referencing the aesthetic, ritualistic and emotive aspects of the catholic church in central Europe.
The series highlights the apparent contradictions of the church, a conflict of modesty and opulence, masculinity and feminism, modernity and tradition. These contradictions are highlighted through objects that mix robust materials with hazy transparencies, honest reflections with abstract figures, and feminine colourways with tribal motifs. The ritualistic act of the offering, the use of architectural mandalas and the idea of self reflection are all explored within the series.
A large ritualistic function of the Catholic church is that of confession and reflection. Using these rituals to alter ones habits or personas, these spaces are often viewed as a site of renewal or cleansing.
The Barocche series mixes the reference of architectural layouts from catholic churches in Lisbona, Pari, and Turino respectively, with the concept of masking ones identity. These almost alien faces emerge from the columns and domes of their physical environments, questioning ones own reflection within them.
Solid brass sheet with oxidized patterns.
Doko Demo proposes a contemporary design language within a global outlook. By utilising current CAD and CNC milling technology, the design can be downloaded and produced by the user at the point of use. Containing easily accessible and produced components, Doko Demo celebrates the use of local timbers throughout the world, and presents a discussion around the future manufacturing and distribution practices of the global design industry. A global future focused on the local.
Doko Demo is made from the off-cut floor boards of Danish timber company Dinesen, and finished in Linolie.dk natural colours, and was originally produced as part of the Holdbar exhibition Don't Run Out.
Photography: Aamanda Hestehave
Fold was developed as a study into single material production techniques, in this case using aluminium sheet. The design creates a durable outdoor seating design that expresses sculptural qualities, to break away from the tradition of heavily framed, timber clad outdoor scenarios. Through the placement of the faceted panels along with laser-cut designs, the Fold chair reveals varying depth and pattern arrangement when viewed from different angles.
Fold - AUD $1,990 + GST. 4mm aluminium sheet. Available in a range of colours on request.
The use of cork as a bottle stopper can be dated back to the 4th Century BC Italy and had significant uses in ancient Roman and Greek cultures. Cork is still produced in large quantities today in Portugal and the Mediterranean countries. The Porto Lights present this beautiful material with purple dyes once extracted from the Mediterranean Murex rock snail, and reds originally extracted from dried Kermes insects. The use of these dyes was prized by Roman's as the colours of ceremonial robes and as a symbol of the Pontiff and were sourced from areas native to the Quercus Suber (Cork Oak).
The Porto Lights reference the material and history of Portugal to display the faint hint of a Porto wine glass within it's form. Pressed and turned cork producers the beautiful rounded curve of the lights structure, while it's soft texture matches the ambiance of the warm white LED bulb within. The dyed version were soaked using natural fabric dyes and then dried to reach their rich coloured finish.
Prototype design produced by Knastenlos in Denmark.
Ash timber holds a special place in Danish and Nordic history and the immense Ash tree Yggdrasil is referred to as the "tree of life" in Norse Mythology. Yggdrasil sat in the centre of a circular area that was the gathering place of the gods. This gathering place was supported by three large roots that reached far below, to the wells of Uròarbrunnr and Mimisbrunnr, and the spring Hvergelmir. A visual reference to Yggdrasil can be seen through the circular table tops and oversized turned legs of the Grain tables.
The Grain coffee and side tables were designed to show off the natural grain structures found in Scandinavian ash, and are produced in solid ash. Combining large, flat surfaces with chunky, turned legs, this beautiful grain is highlighted through a natural finish, simply white soaped.
Prototype produced by Guld & Løvenholdt in Denmark
The Shapes series of coffee and side tables delves into the structure and layout of modern interiors. Designed to be used in corners, beside beds, couches, lounge chairs and easily moved around the home or combined together when required, Shapes distinct composition is directly influenced by the contours of our homes and offices. Sheet steel is used to highlight and accentuate the line and balance of the series.
Made from zinced sheet steel, the Shapes series can be used indoors or out, with the full range coming in four colour-ways and two sizes
Tall: 350mm x 350mm x 400mm H. 1.2mm zinc mild steel.
Short: 450mm x 450mm x 320mm H. 1.2mm zinc mild steel.
1.000 DKK each + VAT
Beaker set of vases take visual and functional cues from the test tubes and beakers used inside to hold the flowers and water. I wanted to pair these functional inserts with a material that could visually reference varying laboratory motifs, but also soften the texture and aesthetic of the piece. Pressed granulated cork proved a perfect and unusual material for a vase design, and when turned in a lathe, allowed the smooth lines and softening effect I was seeking. The Beaker set of vases is currently a prototype design and was my first collaboration with Copenhagen workshop Knastenlos.