Furnishings
16 June 2016
10 March 2016
Borek Sipek , the noted Czech designer who recently passed away, left his mark on the history of contemporary design with his approach of formal exuberance. He designed a large and varied repertoire of unprecedented Bohemian glass furniture and decorative objects for Driade, the first company to produce his pieces. His creations, all featuring lush naturalism, were his way of expressing himself; they showed sensitivity or aggression, and a man who was in love with his life, extinguished all too quickly. All of his projects are strongly tied to natural forms and have an intimate vitality that make them fluid and dynamic.
He wanted to create objects that came alive, ran, jumped and danced… He was a designer, architect, and performer (he often accompanied his collections with dramatic, baroque performances) and there was no differentiating between the three; his projects were the language of gestures, crystallized in forms of intense expression. At times redundant, his excessive formalities were not only stylistic expressions, but emotional ones as well. He left a healthy and original corpus of Bohemian decorative glassware, complete manifestations of his romanticism.
WHERE: VIA PADANA INFERIORE 12, 29012 FOSSADELLO DI CAORSO (PC) ITALIA
Borek Sipek , the noted Czech designer who recently passed away, left his mark on the history of contemporary design with his approach of formal exuberance. He designed a large and varied repertoire of unprecedented Bohemian glass furniture and decorative objects for Driade, the first company to produce his pieces. His creations, all featuring lush naturalism, were his way of expressing himself; they showed sensitivity or aggression, and a man who was in love with his life, extinguished all too quickly. All of his projects are strongly tied to natural forms and have an intimate vitality that make them fluid and dynamic. He wanted to create objects that came alive, ran, jumped and danced… He was a designer, architect, and performer (he often accompanied his collections with dramatic, baroque performances) and there was no differentiating between the three; his projects were the language of gestures, crystallized in forms of intense expression. At times redundant, his excessive formalities were not only stylistic expressions, but emotional ones as well. He left a healthy and original corpus of Bohemian decorative glassware, complete manifestations of his romanticism.
The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.