Magnitude Rituals is an image of praying that no earthquake will happen in Korea. The former Korean peninsula country, which was a farming country, had a ritual to pray for rain in the sky every drought season. In this regard, this work by Dong Hyun Lee expresses a sacrifice to wish an earthquake not to happen. The image consists of two frames. The image on the left represents the progress of the ritual, and the image on the right represents the situation where the value of the graph representing the earthquake converges to zero and the process of the earthquake is reversed.
This project is an experiment on the theme of the survival of the plant in unsuitable environment for plant life. It is a polygon with multiple scenarios where the plants may have to find their own way to the light. Modules simulates real urban conditions, such as the gap between the parapets and concrete structures, paving tiles, ventilation and sewage hatches, in short, all those places, where seemingly nothing can grow.
The Yalta chair by Maxim Scherbakov is an ironic paraphrase for the luxurious resorts of the Soviet Union. Yalta in Soviet times was a symbol of resort life for all Soviet residents. Many dreamed of spending a vacation in Yalta on a trip. Yalta chair was created under the impression of the time when the stay in the sanatorium was in weight of gold. Stylistically, the chair refers to the aesthetics of romantic brutalism and the extraordinary constructions of the Yalta coast.
The table by Simon Johns is an asymmetrical two part piece, with a space that divides it as the river divides the valley. The black ash wood was felled, milled and dried in the area, and the stone is from the river’s banks. The stone and plank that support the two parts form a continuous axis end to end, through the divide. The beauty of the brutalist natural stone, contrasts and converses with the delicate craftsmanship of the wood plateau.
Lambert & Fils is a Montreal-based lighting design studio founded in 2010 by Samuel Lambert. The studio’s original and custom lamps for residential and commercial settings take cues from mid-century Modernism, the Industrial Age, and Lambert’s own minimalist aesthetic. The studio revisits iconic motifs across the range of these influences to create its own distinctive collections.
A chair is dismembered and partitioned into clear plastic boxes. The superimposition of one chair form over another emphasizes both the joinery of its parts and the form as a whole, calling into question the idea/function of a chair versus its physical reality and ideas about material and permanence.