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Hanging lighting fixtures inspired by rough rusty fishing ports lanterns ,boats and deep fishing cages. The Mariner collection lighting fixtures are hand made from a combination of iron, hand blown glass and wood engraving, and this work process provides each collection item with its unique fingerprint, and a nostalgic scent and yearning for traditional fishing ports, that are slowly disappearing from our world. The Mariner collection includes two models- the "Mariner" and the "Ocean Mariner" - each in two sizes-Big/Small.
The Mariner collection items can be ordered in a variety of colors and finishes, most recommended are the Marine rusty finish, or the country white- or natural Black.
About Studio Beam
3 D-esign: How to successfully design high-end in a threesome
The Studio Beam team succeeds to accomplish this impossible task on a daily basis: from Gilbert and George to Dolce & Gabbana- the art world has its rightful share of couples working as an high end art-design team, sharing both the creative process, glory and success. But it is very rare to meet such success come to fruition in a high end threesome.
I met with Studio Beam team to find an answer to this million dollar question: how is design in a threesome actually done?....
Meet Oded Sapir, Oz Ohayon and Maayan Edwy, otherwise known as "The Beam-Team".
So, how did you guy's find each other?
Oz: " I met Oded at school -in the Design Academy , and we became fast friends. After school was over he received a big instillation project , and before losing his head over it- he called me up to join him, and after that we just kept on going, receiving more project offers - and ended up sticking together. Maayan joined us much later in what seems like a fated move- she contacted us interested in design work- and we clicked immediately, and the rest is history."
What qualities do each of you bring to this three some? what are your individual points of view?
Oded: " I think the fundamental base of our threesome are the different viewpoints we bring with us- and pour into our creative process. I can indicate myself as having an ongoing entrepreneur dialogue with materials: matter enchants and seduces me. From a very young age I had an urge to touch everything I passed by- pillars, columns, buildings, every object and every surface needs to be felt, touched, even licked occasionally- to understand it's structure meaning. I experience everything through all my senses, and the dialogue is the understanding what new process can evolve through this material, what new interpretation can be sculpted out of it. I am the alpha point; throwing into the middle of our triangle a new material to deal with."
Oz: “My passion is the purification of the creative design process. Every material comprises a structure problem that needs solution through this process. My instincts befriend materials on their technological level: they whisper to me their potential. Since I am not a man of many words, my objective is to solve the puzzle they present me, in the most purified and clean path. My way to de-clutter the world around me is to place in it new objects that comprise their own purified design structure. You can say that I am always in pursue of objects conserving their inner energy. “Less is more"- in the sense of the production energy itself that is comprised in a successful object.”
Maayan: " For me design is my mother tongue- I have always intuitively spoke it's language: formative, structural and colorfulness that blend together. I have no blind spots, and objects around me are never concealed from my eyes. I have an ongoing dialogue with them, they define my inner world, and I have a-lot to say back to them!..... To express myself through them is successfully achieved in the fluency between geometrical and free hand contours. The dialogue between them produces an essence of purity and balanced perfection for me. "
How do you combine these different reference points into one unified creative process?
Oz: “I think the way we are complementary of each other produces a working process in which material- follows function-follows form. Our ongoing process always begins with Oded throwing a new material in the center of our triangle- with his passion for new possibilities, while we study it's DNA structure function- which leads us to a new dialogue form. We always insist that the path itself be guided by a map of simplicity. "
Oded: “The design path of each new object is over when we achieved the learning experience that is latent in it, and only then we can move on to our next learning experience, our next material adventure."
From the view point of a process bringing change by design: What is the best example of this process achieving it's inner goal in your experience?
Oded: “I think this process achieved it's highest purification level in the design of our "Slims" collection. This collection was born after a long period of designing objects that induce heaviness around them. We had an urge to purify matter and feelings into a minimalist experience: our nostalgic memories of industrial objects designed in centuries past turned into a wire contour bone structure that light passing through it- defines the memory itself. We dismantled the industrial nostalgia in order to reach its DNA structure, and use it to construct a new language for a nostalgic future. Our path achieved a contour of a memory, which touched the heart of many people, and made the "Slims collection" a leading collection adopted by many true design lovers, and an ongoing success. But the core of our true change by design is our ongoing three some creative process , always looking for the next material, next challenge, next adventure. This passionate path itself is the true change achieved by design, and one we are committed to walking for a very long time, way into our future. We hope many true design lovers will follow and join us in our journey."