Dear reader, you hold before you the Materialist, a publication produced to accompany the Slovenian presentation at the 2025 Milan Design Week – Material Bar. While it may be fully embedded in the project as a whole, our aim from the very start was to make the Materialist stand on its own. When starting out with the project - back in September of 2024, we settled on the concept of creating a bar pretty quickly and the idea of making a conventional catalogue never really felt right to us. After all, a bar doesn’t call out for a book, it wants – a newspaper. And that is the format we chose.
Over time, it became almost a project within a project – a vehicle for the stories of all the people presenting their work, experiences and personal histories during this week.
And this is the important bit. Even when we were just starting out, we very consciously chose not to focus on presenting objects. As Rok states in the interview you can find on the following page, "An object can be produced anywhere or by anyone. But practice puts to the forefront the person."
Now, it has been some time since design expanded its focus from products to include processes as well. (We would never claim to be starting a revolution here.) And yet, a practice is not the same as a process. A process can be detached from a person, it can be instrumentalised and automated and considered purely from a materialist point of view. A practice however, can be neither viewed, not properly understood without considering the practitioner –the person.
This of course, brought along a whole slew of questions, challenges and dilemmas. How can we adequately represent the incredible breadth of even this sliver of human experience, in something as constraining as an exhibition. Or a catalogue... The answer is, we can't. And so, we don't represent. Material Bar has no posters, no videos, no descriptions, no signage. It has people, and some infrastructure. It's a bar. Only instead of drinks, it serves materials, experiences and interactions. (OK, there are some drinks as well.)
Similarly, the publication you hold in your hands, does not attempt to encapsulate entire practices into its mediated frame. It only hopes to offer snapshots, keyhole views into the lives and works of the incredible people who were up to hanging out in our bar.
So grab a cup of gin, or a pair of scissors, or a handful of clay … and welcome to the MATERIAL BAR.
Bor Pungerčič Editor-in-Chief
MATERIALIST
Published by Centre for Creativity
Museum of Architecture and Design
Ljubljana, 2025
Represented by Maja Vardjan, Director
Anja Zorko, Head of Centre for Creativity
Editor-in-Chief
Bor Pungerčič
Editorial Board
Katarina Dekleva
Rok Oblak
Bor Pungerčič
Boris Kralj
Graphic Design and Typesetting
Boris Kralj
Translation and Proofreading
Tadej Turnšek
Authors of Articles/Content
Aljaž Celarc
Pia Groleger
Eva Gusel
Miloš Kosec
Ana Malalan
Nina Mršnik
Gaja Pegan Nahtigal
Pia Prezelj
Luka Zagoričnik
Natalija Zanoški
Cover
Pjorkkala, 3D-printed water filter
Photo: Pjorkkala
Printed by
Tiskarsko središče d.o.o.
Print Run
5000 copies
CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana
7.05(497.4)(083.82)
MATERIALIST : a Material Bar publication for Milan Design Week : Alcova Milan, April 2025 / [editor-in-chief Bor Pungerčič ; translation Tadej Turnšek ; authors of articles, content Aljaž Celarc ... et al.]. - Ljubljana : Centre for Creativity, Museum of Architecture and Design, 2025
ISBN 978-961-7247-00-8 COBISS.SI-ID 230398979
MATERIAL BAR
Produced by Centre for Creativity
Museum of Architecture and Design
Ljubljana, 2025
Represented by Maja Vardjan, Director
Anja Zorko, Head of Centre for Creativity
Curatorial team
Katarina Dekleva
Rok Oblak
Bor Pungerčič
Exhibition Layout and Design
Katarina Dekleva
Rok Oblak
Bor Pungerčič
Exhibitors
Anselma
From Gaja
Gin Brin
Gobnjak
Hiša Mandrova
Miha Šajina
Nika Ravnik
Pjorkkala
Prostorož
Salto Dionys
Toasted Furniture
Photoghrapher
Marijo Zupanov
Advisory Board
Anja Delbello
Miloš Kosec
Tina Rugelj
Luka Stepan
Vladimir Vidmar
Organisation
Mojca Zupanič, Project Manager
Nastja Rožej, Public Relations
Danaja Batinič, Organisation
Kristina Dešman, Editorial Support
Maja Albreht, Social Media
Lighting Arcadia Lightwear
Contact info@czk.si www.materialbar.czk.si
AT THE BAR
Miloš Kosec is an architect, lecturer and researcher. He is an assistant professor at the Faculty of Architecture, University of Ljubljana. Until 2023 he was a curator of architecture at the Museum of Architecture and Design (MAO). He completed his Master's degree at the Faculty of Architecture in Ljubljana and his PhD at the Birkbeck College, London. He is also an architectural critic and writer. His research focuses on contemporary architectural agency, politics and monuments, decay and demolition, heritage, the notion of passivity and immaterial interventions in space.
There might be no other space where we are at the same time as intensely together and as intensely alone, as at the bar. Together, because any bar is the site of an ad hoc collective, one that assembles in the evening and falls apart at closing time. Alone, because the bar reassembles itself time and again, disregarding innate family ties or the sediment of long-standing friendships. Friends drink at a table, not at the bar. To sit down at the bar is to express an openness to meet, to talk, to flirt, with people we do not know. Yet sitting lonesomely at the bar, with only a drink in front of oneself, is much more dispiriting than sitting alone in a square or a park. After all, the isolation of the individual in modern society is best exemplified by the solitary figures behind the bar in the paintings of Edward Hopper and Édouard Manet.
The bar is a spatial cut, around which society can rearrange itself again and again. It is a kind of social leveller, an experimental laboratory, an inverted world where you can temporarily choose a role different from the one you play in your everyday life. Buying a drink is a ticket to a stage that allows for a new mixing of ideas, classes, characters and roles. It is at the bar that the best ideas and acquaintances are born, and the worst jokes and nastiest comments can be heard. Going to a bar is an investment, but one that is not aimed at a financial return. It also often lacks any social calculations or long-term strategy. The bar is a place of momentary reflections that rarely have long-term consequences. Should I order another coffee, another beer, another cocktail? Is this woman looking for a chat or solitude? Mistakes are not impossible, but they are seldom fatal: a rejection or a morning hangover are reset by the next evening. There is something distinctly experimental and unprofitable about the bar, something short-term and uncalculating: something that frees us from our assumed roles and can make conversations, jokes and socialising here different from what they might otherwise be.
The bar as an infrastructure for rethinking the process of contemporary design is therefore a particularly apt choice. Contemporary design is actively thinking not only about different products and materials, but also about creating radically different conditions of production, professional solidarity and social responsibility. It shifts the focus from the finished product to a process of critical reflection on design and its entanglement with market and social forces. It is therefore important that the bar can facilitate spatial conditions of creation and communication that are not inherently burdened by a linear and highly instrumentalised vector of designproduction-marketing. The starting decision by the authors
of the Slovenian presentation at Milan Design Week, to move from “exhibiting” products to “exhibiting” individuals and collectives, who are exploring the different role of design in today’s often unenviable environmental, social and economic conditions, was therefore a fundamentally fresh one. But eschewing round tables, workshops and presentations, in favour of a bar, of socialising around a bar - an infrastructure that allows everything without demanding anything in particular - was a bold move that implies a great deal of trust in both the designers and the visitors. It allows the designers to carry out short-term experiments in communication, and the creation of new collectives - both with visitors and each other - without obligation. It is after all, a bar. It forgives all and does not judge.
The bar is thus the pavilion's authors' bet, that a design exhibition is not only about presentation, marketing and promotion, but also about the possibility of creating an extremely wide stage for collective thinking and experimentation. This bar - unlike a conventional one - is open on both sides, and enables equal communication between designers and visitors. And most importantly, it allows for equal participation. It allows for the flow of ideas, materials, experiences, products – as well as drinks. And that is enough. Even if, like in any other bar, the leftovers have to be swept up and the bar cleaned afterwards, even if, after all the excitement of long evenings with company and drinks, there is nothing tangible left. What remains is the critical reflection that comes from the friction between a good experiment and the exchange of fleeting, perhaps at first sight completely useless, ideas. It is only in such interest-free friction that a different ecosystem of reflection on materials and production in an era of climate and social change can begin to take shape. The real cocktails are yet to be mixed – and drunk.
A TRANSITION FROM CONSUMING TO CREATING
What is design today – and what could it be? What do fungi, gin, recycled plastics and textiles from defunct manufacturing workshops of the former Yugoslavia have in common? And what has hanging out in a pub got to do with it all?
The answers to all these questions can be found in the Slovenian space at Milan Design Week, which will take place at the Alcova exhibition platform in Varedo from 7 to 13 April, under the title MATERIAL BAR.
The project makes a bold (and yet unencumbered, almost carefree) move away from a simple presentation of products as results of a design process, choosing instead to focus on design as a holistic activity, subject to work and thought processes, materials, environments and relationships.
The curators - Katarina Dekleva, Rok Oblak and Bor Pungerčič - selected eleven authors: Anselma, From Gaja, Hiša Mandrova, Nika
The curators state they see these creators as part of a community, while understanding themselves as co-creators in the process of establishing an open, progressive, responsible design production and a progressive, responsible society.
You have mentioned how MATERIAL BAR was created as a kind of response to the general state of Slovenian design?
Katarina Dekleva:
Yes, all of us who work in design are facing the decline, the collapse of the traditional kind of manufacturing industry, which in Slovenia today operates on a much smaller scale than it used to. Factories or companies, that would have their own in-house designers, that would develop products, are mostly a thing of the past here. And since that industry no longer exists, it’s time we also start talking about industrial design in a different way.
The design we are presenting is not actually producing one-off pieces, but it is by no means large-scale, as one would understand “industrial” design in the past. We also have to consider the context of our time - a world which, for better or worse, just has too many objects. And given that, design has to carve out its own niche and find its new role anew.
If in the 1950s and 1960s, when the industrial base was being built in Yugoslavia, its aim was to furnish thousands upon thousands of empty apartments and houses as well, as quickly and as cheaply as possible, design today has a very different role, linked to the dissemination of knowledge, networking, use of discarded materials and so on.
Bor Pungerčič:
And because of all this, the way designers work has changed as well. In the past, a client would present them with a task or problem that they would solve with an object. This object would then be made by another person, and sold by yet another. Today, however, designers are faced with having to create their own briefs and find their own customers themselves. This leads to a different attitude towards briefs and customers; the latter are no longer just consumers, they are much more involved in the process, and this is also reflected in many of the design practices selected for the MATERIAL BAR.
Katarina Dekleva: Yes, these are practices have developed slowly, organically, with many small, successful steps.
How does your concept fit into the context of previous exhibitions?
Bor Pungerčič:
Well, with all the previous Slovenian presentations at Milan Design Week, the Centre for Creativity would make an in-house selection of the products they deemed worthy or interesting, and then organise an exhibition in Milan.
This year however, they decided to switch to a public call, where the submitted proposals would be evaluated based on their merit. We saw this as an opportunity to put forward a concept that departs from the status quo, and reexamines, even questions past practice.
It was quite a bold break with the past, which is why we are all the more pleased and grateful to the members of the jury for also recognising the relevance of such an approach.
Katarina Dekleva:
When we were preparing our proposal, we kept asking ourselves: what can we show that is relevant and good, what would we like to see? And what we came up with weren’t products, but practices.
Rok Oblak:
We feel that there is not enough focus on the practices of the individual or the methods of making - both in Slovenia and globally. These are practices that the makers themselves have arrived at and that have better, more reliable and more long-term impacts on the economy, ecology and society.
They are also very much embedded in the local environment of the makers.
Bor Pungerčič:
That's right. What they do is very much a response to specific local issues, to the needs and realities of their own environment. While at the same time, the contexts and challenges are also global.
One thing we saw as vital was that the practices we have chosen work with what is there and that we present them as they are - without pretence, without undue pomp, without the polish and grandstanding that characterises much of contemporary design, especially when it comes to mass production.
Interview by PIA PREZELJ
An interview with the curators - Katarina Dekleva, Rok Oblak, Bor Pungerčič
Photo by Marijo Zupanov
At the same time, these are incredibly optimistic, vibrant, propulsive practices, and it was this energy that we wanted to convey, this activity, vigour, and inventiveness.
Rok Oblak:
Besides, practices – as opposed to products – can speak of so much more. An object could be produced anywhere or by anybody. But practice puts into the forefront the person. One that comes with a background, hard-won knowledge, a specific set of tools and their own community. This can be much more interesting and work on many more levels than just presenting objects.
Bor Pungerčič:
We keep coming back to this, but it bears repeating - we really do have more than enough objects. We have so many, they are no longer interesting. As Rok said, it’s people who are interesting. And it is people who matter.
All this this would fall within the scope of so-called action design. What is this approach about and what role do communities play in it?
Rok Oblak:
We've already mentioned how an action is always a reaction to a particular environment, or a specificity thereof, that you recognise. It is also linked to one’s own skills and knowledge – if you work with clay, you will find clay in that environment, if you work with wood, you will try to find wood. In this respect, the authors are reacting to what they perceive as wrong or insufficient. For example, Eva and Aljaž from Hiša Mandrova are reacting to the fact that our timber industry is being exported day by day. So a few years ago, they took on the challenging task of renovating a traditional wooden farmhouse in Novi Kot, and are now using it to revive and expand the knowledge of traditional woodworking through public workshops. They have recognised the importance of being embedded in the local environment, the importance of local materials, and now, even though they are in a remote part of Slovenia, people come to them to learn these skills.
Katarina Dekleva:
Most of the selected exhibitors consider courses, workshops and other methods of disseminating knowledge to be an important part of their practice. In this way, traditional boundaries are being blurred, practices are becoming more accessible, people can be more directly involved in the process, which means that perceptions of what design is are also changing.
Bor Pungerčič:
This democratises design, and by involving the individual in the practice, in the making, their role changes from a consumer to a co-creator. If before, the position would be one of passivity, where you would simply buy and consume, you are now actively, constructively involved in the creation of the stuff you use in your daily life. We also took this into account when designing the presentation, because equally important as who we present, is also how we present them. The presentation itself is conceived as a public social space, as a bar or a pub with a central bar / work counter, behind which the makers will take turns according to a
weekly programme, not only to showcase their practices, but also to invite the visitors to try them out, to co-create.
Bor Pungerčič:
Exactly. We wanted each of the selected participants to present not something new, that they invented artificially for the occasion, but something they had already developed, something they were already doing. At the same time, we felt it was vital to present their existing practices as comprehensively as possible, in all its vibrancy, which would have been impossible with a traditional installation limited to products, photographs, videos and texts.
Rok Oblak:
So we decided very early on, that the artists had to be physically present on site. We then came up with the idea of a bar/pub with a programme. One where everyone could freely communicate their own practice or share and exchange their skills and knowledge.
Bor Pungerčič:
Like any bar, it is a place of hospitality, interactivity and joy.
Katarina Dekleva:
And just like in a bar, you are free to sit down, participate, talk… Or just sneak a peek behind the counter, take a short break and move on.
Bor Pungerčič:
We wanted the installation to be somewhat unobtrusive, in keeping with the distinctly fluid nature of this exhibition. We designed a programme that could be entered and exited freely, seen from close up or from a distance, participated in or not.
Again, it is about democracy, about casualness, about opening up opportunities for networking and socialising - both among exhibitors and visitors - rather than any kind of serious productivity.
Rok Oblak:
Following the concept of a bar – where people come in, sit down, order a coffee and read a newspaper – instead of an exhibition catalogue and other promotional material, we have designed a newspaper that will feature, among other things, all the selected artists and will be freely available at the exhibition.
Bor Pungerčič: The key point here is that such an exhibition and such practices change our relationships – towards the objects, towards the people who make the objects, but also towards our own work, our own capacity.
Furthermore, in a traditional installation based on a selection of photographs, texts and other materials, the only voice that is really present – is the curator's. What we wanted to do was bring the authors themselves to the forefront, because that makes the whole thing more egalitarian, more autonomous and also much more alive.
EDITORIAL AT THE BAR CURATORS FLOOR PLAN
PROSTOROŽ SALTO DIONYS
ANSELMA
PJORKKALA GOBNJAK FROM GAJA GIN BRIN
HIŠA MANDROVA
NIKA RAVNIK
Anselma is an ethical, sustainable, and ecological collective that creates sustainable clothing from discarded textile pieces.
Gaja Pegan NahtigalFrom Gaja is a holistic designer focusing on the ecological potential of the diversity of urban nature through the practice of urban foraging.
Gobnjak , a small scale startup run by Rok Zalokar and Primož Turnšek, presents the mushroom cultivation process as a contemporary food design activity. The boutique gin producer Gin Brin , Erik Sarkić, distills gin with the aroma of local plants harvested in the park of Villa Bagatti Valsecchi, during a workshop led by From Gaja.
Anselma
Miha Šajina
Salto Dionys
Hiša Mandrova
Nika Ravnik developed a design approach that enables effi cient, practical, and fl exible creation of wearable and useful pieces of clothing.
Interdisciplinary collective Prostorož which explores the shared urban space, creates playful public spaces in dialogue with the usersresidents and the environment. The founders of Toasted Furniture , use a self-made machine for pressing recycled plastic into a unique material, which they use to create small series of furniture.
Pjorkkala , a collective of young designers Žan Girandon, Pia Groleger and Luka Pleskovič, uses modern technologies, like 3D printing, to process claytraditional material.
5 6 7 8
SCHEDULE
Monday, April 7
11 AM–3 PM
PJORKKALA water filtration
PROSTOROŽ discussion
3 PM–7 PM
TOASTED FURNITURE toasting plastics
MIHA ŠAJINA installation soundscape
Tuesday, April 8
OPENING
11 AM–7 PM
PJORKKALA water filtration FROM GAJA plant foraging
SALTO DIONYS clay extruding
TOASTED FURNITURE toasting plastics
GOBNJAK mushroom cultivation
MIHA ŠAJINA installation soundscape
Wednesday, April 9
11 AM–3 PM
HIŠA MANDROVA
traditional woodworking
3 PM–7 PM
ANSELMA sewing workshop
Thursday, April 10
11 AM–3 PM
ANSELMA sewing workshop
3 PM–7 PM
NIKA RAVNIK unconventional clothing design FROM GAJA plant foraging
Friday, April 11
11 AM–3 PM
ANSELMA sewing workshop
3 PM–7 PM
NIKA RAVNIK unconventional clothing design FROM GAJA plant foraging
Saturday, April 12
11 AM–3 PM
NIKA RAVNIK
unconventional clothing design
3 PM–7 PM
FROM GAJA plant foraging
GIN BRIN gin distillation
Sunday, April 13
11 AM–3 PM FROM GAJA plant foraging
GIN BRIN gin distillation
Nika
Ravnik
Pjorkkala
Miha Šajina, producer, sound designer and DJ, designs soundscapes using homemade analogue synthesizers.
Hiša Mandrova - Eva Pavlič Seifert and Aljaž Celarc are internationally recognized artists, wood workshop mentors, regenerative growers, and artisans.
Rok Oblak - Salto Dionys - designed his own version of a stand alone clay extrusion device, which he uses to produce limited series of tableware designs.
AN ALTERNATIVE OR THE NEW MAINSTREAM?
This years’ Slovenian presentation at the Milan Design Week also includes Prostorož, a collective that has been researching public space and its importance for local people and society since 2004. The collective aims to address environmental and social challenges, by drawing attention to forgotten places and to tailor them to the needs of urban residents and visitors through participatory practices developed over years of research and experimentation. By intervening at the boundary between the design of space and objects, or the design of space with objects, they are opening up possibilities for spontaneous encounters and inclusive use of space, which as an institution is (too) often based on differentiation – whether by country, class, ethnicity or wealth.
What is the project you are presenting in Milan and how does it relate to the theme or concept of the Slovenian presentation?
The curatorial team invited us because they recognised in our work what in their concept they call action design. Unlike what usually the case with architects, our end product is not just the plans, sections and detail drawings. Each of our projects consists of a number of steps, that are tested and evaluated together with our stakeholders.
We often start projects as a test, a temporary intervention that can manifest itself as street furniture, a traffic management scheme or an event. Objects are almost of secondary importance in our work – our tests focus more on minimal resource consumption, rapid implementation and recycling of existing materials.
So in line with our modus operandi, we will set up a temporary intervention on the terrace of Villa Bagatti Valsecchi – an ensemble of large, soft, intense green balls for resting, playing, socialising and exchanging ideas. We will use the recycled textiles that are currently part of our installation “Murmuring Orchids” at the BIO28 Design Biennial at the Museum of Architecture and Design. And we will be the first
to test the space ourselves: on 7th April, we will invite selected Italian organisations working in the field of public space to informal meetings and discussions to exchange knowledge, discuss current urban issues and look for new opportunities for collaboration. After the exhibition, we will reuse the balls in our future local projects. Perhaps we'll use them to test a street closure, host an outdoor cinema or support a public debate in a park.
In the current social, economic and environmental context, what do you see as the key to quality and sustainable design?
Peace, meeting the commitments of the Paris Agreement and caring for the most vulnerable members of our society. There is no shortage of good designers, but they need time, space, bold problem-solving challenges and investment to make quality sustainable design a reality.
What is the difference between spatial design, which is Prostorož's main focus, and the design of objects and products? What are the similarities? Products are designed for a specific group of users, whereas
Interview by EVA GUSEL
Photo by Marijo Zupanov
Interdisciplinary collective
Prostorož, which explores the shared urban space, creates playful public spaces in dialogue with the users, residents and the environment.
in public space design we can't and don't want to talk about target groups. The biggest challenge is to design a space where all people feel welcome – regardless of their age, disability, nationality or financial situation.
That's why we see the design of public spaces as a research process – our job is to identify the barriers people face in accessing public spaces and address them in a meaningful way to find solutions. It's also why we're keen to explore and apply methodologies developed by product and digital designers, from user experience research and prototyping to design thinking.
How can we use design to foster and connect communities?
We are sceptical about the uncritical use of the term “community” because it is not an inherently positive concept – it is precisely urban living that still allows many people around the world to break away from the ethnic, religious, family and other communities into which they were born. On the other hand, of course, we need each other, and local social capital has proven to be an extremely important factor in times of crisis, for example during the coronavirus epidemic and the floods that hit Slovenia. That is why we prefer to think
of public space as “social infrastructure”, as sociologist Eric Klinenberg calls it.
In addition to shared values, we also need common spaces where we can meet, get to know each other, socialise and help each other when needed.
A major focus of your oeuvre is the revitalisation and renewal of public urban spaces. How is the Milan Design Week venue similar to and different from open, public spaces?
The main difference between the Milan exhibition and traditional public spaces is accessibility – while there is no entrance fee, it is usually attended by a specific profile of people. Nevertheless, the event is a unique meeting place that has to satisfy the many needs of visitors and exhibitors in a short space of time, and after the intense event the whole area is shut down, the people disappear, to be replaced by technical teams and vans, and then by empty spaces.
The issues surrounding the life of exhibition centres and their integration into cities are extremely interesting. We are currently working on them ourselves, as we are planning the spatial development strategy for the Celje International Industry Fair.
Do you see any problematic aspects of institutionalised commercial events such as Milan Design Week?
This is our first time at the Milan Design Week. As we have not yet developed any real products, we are interested to see how visitors react to the processes, raw materials and recycled materials on display in the Slovenian exhibition space.
Design exhibitions are usually aimed at large companies, which makes this year's desire by the Centre for Creativity and the curatorial team to highlight the importance of local knowledge, reuse and natural materials all the more welcome. Not because we and the other participating designers are the alternative, but because we want to be the new mainstream.
"In addition to shared values, we also need common spaces where we can meet, get to know each other, socialise and help each other when needed."
1 - Mobilet-Solkan
Photo by Mateja Pelikan
2 - Map of Wishes
Photo by Prostorož
3 - Urban Academy
Photo by Amadeja Smrekar
4- Covered waiting area
Photo by Jana Jocif
Interview by BOR PUNGERČIČ
ECLECTIC USABILITY
There is something peculiar about the extruded clay works of Rok Oblak. They clearly follow the same theme, are the products of the same process, and yet each feels individual, almost idiosyncratic, with a mood, even a character of their own. At the same time, while their sculptural boldness would make them feel quite at home in an art gallery, or in a favoured spot on one’s home, they seem to call out to the observer to be used. What for? Well, that’s the mystery – or the discovery, for the user to find out.
Your opus of the last ten years has been characterised by extensive use of an extrusion process to create clay objects. Given your extensive and varied career, in which you have used a very wide range of different tools, we are wondering how you came to focus on this particular method? Where did extrusion come from?
I came across clay during my studies when I was visiting Africa with the Finnish University of Design. During that trip I designed a cooker for the local people using local soil as the basic material. As fuel, we used biomass briquettes, which we made using an organic biomass press. Almost 20 years later, when we set up the LEVO collective workshop, I got the idea to use the same kind of press for clay and immediately saw the different possible uses for this material as well.
Of course, you are not the only clay designer using this process. But what sets your work apart from most – and makes it even more interesting – is that you combine extrusion with other, more manual techniques. You could almost say that you are intervening in your own method. What is the story here?
Naturally, I was curious to know if something like this already existed, if there was somebody I could learn from. I came across the work of Anton Alvarez, Floris Wubben and Alessio Tasca, who were active in the 1960s. In a way, the extrusion technique is already very well developed, but so far, it has been used mostly in sculptural work, and very rarely when it comes to applied design, where extruded forms are combined with manual work.
I like to compare extrusion to playing a musical instrument. With (a lot of) practice, you can develop your own identity and visual language, while using the same instrument as everybody else. Here, I would also like to mention how grateful I am to Anja Radović, who first introduced me to different techniques of shaping clay by hand and combining these with each other.
Another fil rouge in your work is the use of natural clay –basically soil that you collect yourself from the landscape, from all the different places you visit on your trips, travels, etc. One would assume this is a more complex and unpredictable approach than working with industrially processed, off-the-shelf clay. But there is also something rather primordial about it, it has a certain foraging quality. Could you tell us more about that? How and where do you collect the material? How do you choose it? What is the
Photo by Marijo Zupanov
Rok Oblak - Salto Dionysdesigned his own version of a stand alone clay-pressing device, which he uses to produce limited series of tableware designs.
process - from digging in the fields and hills, to the finished product? And what is the advantage?
I have always had a passion for waste and natural materials, stuff that is abundant and/or considered useless. Beyond its economic or sustainability value, I am interested in the challenge of figuring out what we could make from such raw materials, where the limits of form might lie, and what functions or human needs can be met in this way.
But my main driver here is just plain old curiosity, which manifests itself on my various travels and in observing the world around us. There is material available wherever we turn! One only has to see them and experiment with them.
An extreme example of this was perhaps the Centre for Creativity’s Design Dining project, where I explored the possibility of using the soil from a maize field to make ceramic plates, which could then be used to serve dishes made from maize. As the clay in such soil is of a lower quality, the whole production process had to be adapted. The material could not be shaped using a pottery wheel, or even by hand, so I used a 3D printer to make moulds for the plates. Then I would press the clay into the moulds to get a reliable result every time. The firing temperature is also crucial; different clays require different firing temperatures to achieve optimum strength. So when using natural clay, a lot of testing is required.
We have noticed that when talking about your own work, you often use the term “visual anthropology”. Can you tell us more about it, what does it mean to you?
When extruding different clays, I've noticed how each one has its own way of passing through the moulds; the smooth, industrial clays are finer and don't tear, whereas the natural and fireclays have very interesting, even bizarre, deformations and textures.
When I get a new piece of clay, I start by using a simple, sharp mould that will best bring out the character of the clay. When clay is worked by hand, e.g. using a potter’s wheel, the surfaces are always smooth and thus closed, whereas when it is extruded, the material opens up and reveals its particularities, composition, viscosity and texture.
Your finished products are interesting, hybrid forms. On the one hand, they are distinctly sculptural, but on the other, they also have purely practical functions. And yet, it's as if these functions are not clearly defined, not focused on a single possible use. Rather than solving a problem for the user – e.g. “what am I going to drink my coffee out of”,
“what am I going to plant my houseplant in” – they activate the user's imagination, encouraging (or even provoking) them to think of possible uses for your objects.
The Salto Dionys brand was really born out of my own ongoing market research. I had been noticing how - when looking at utilitarian (i.e. not artistic) pottery, there just weren’t all that many interesting, sculptural pieces that people could use on a daily basis - at home or in restaurants - and that would make them feel special. But if you combine your everyday cups and plates with some extruded pieces, this is exactly what you get – a very unique pottery ensemble, that is dishwasher safe and can be used for many different occasions.
The name Salto Dionys represents an imaginary character from a circus show, who is very skilful, reliable and trustworthy on the one hand, but also surprising, decorative and fun, even decadent, on the other. Our products can be used universally. Most of them are bowls, vases and containers that can be used interchangeably for displaying fruit, potting plants, storing trinkets or all of the above.
Of course, such an approach, making such atypical products, can - commercially speaking - be far riskier than the more established, practical, conventional one. How do you manage Salto Dionys from a business point of view? Has this aspect in any way influenced the way you have built and positioned the brand? What are your experiences or considerations regarding the monetisation of your practice? I would say that we are still exploring market opportunities. Mostly we are selling one-off pieces and limited editions of functional tableware, but we’ve also been getting an increasing number of commissions and designs for specific pieces, from dessert plates to coffee cups and custom bottles for beverages. Of course, there are also gifts – for weddings, birthdays and housewarmings. I am also interested in the bonsai pots market and limited editions of high-end alcoholic beverages. I have also just opened a new online shop, where I mainly offer pieces that are the result of various tests and trials of new production methods. In the context of the MATERIAL BAR, I would also mention our extrusion workshops. We organise them once a month at the LEVO workshop, to which all readers are cordially invited!
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MORE ABOUT SALTO DIONYS
1 - Salto Dionys
Photo by Marvin Unger
2 - Extruder Photo by Rok Oblak
- Vase Photo by Rok Oblak
- Vase Photo by Rok Oblak
- Workshop Photo by Rok Oblak
Text by ANA MALALAN
Anselma was founded in 2010, initially as a provider of tailoring and sewing courses. The range of services quickly expanded and the collective became a meeting place for artists, designers, creators and the general public interested in these fi elds.
Anselma was, and still is, a coworking space that hosts a wide variety of events and has signifi cantly expanded its range of training courses. Among other things, they established Š-fi tness, a “sewing fi tness” equipped with tools and machines for personal projects. In 2018, they launched the in-house clothing brand
“Made in Anselma”, featuring timeless, gender-neutral garments made from reclaimed (discarded and vintage) fabrics sourced mainly from former dressmakers and defunct manufacturing workshops across the former Yugoslavia. As well as from the bottom of grandma’s closet. Since its beginnings 15 years ago, Anselma has been dedicated to preserving and expanding knowledge and educating the general public about the craft of tailoring, and the origins of clothing and textiles in general. It consists of two parts –a workshop and a shop, where visitors can gain a comprehensive insight into the origins and manufacturing of garments. Anselma also plays a key role in connecting and networking people with common interests and concerns. It serves as a small incubator for individual artists and creators and is considered a go-to resource for textile-related projects. It collaborates with various groups, organisations and individuals, primarily in the fi elds of art and culture. The collective currently consists of fi ve individuals from the fi elds of fashion, painting, ceramics and architecture. Throughout its existence, Anselma has remained a completely independent organisation.
ČELIGOJ
Text by PIA GROLEGER
PJORKKALA
Water Filtration: Experimental Approaches in Clay Research
Background
In the project Water – Designing a Biovernacular, which was part of the production platforms of the BIO27 Biennial of Design, the authors focused on the issue of the Slovenian water environment and chose the Lipnik spring in the Triglav National Park as the project's micro-location (Figure 1). The basic premise of the project prompted them to respond to the identified problems through the lens of local traditions and knowledge, which had until recently been neglected. Their research focused on examining local materials and crafts, natural methods of water purification, and the principles of how organisms function in nature. The process also involved modern technology, with the aim of using traditional materials such as clay in a modern context. This was made possible by 3D printing technology, which solved the problem of handling a mixture of clay and sawdust, as this material is less plastic than traditional clay (Figure 2).
The authors wanted to improve the efficiency of water purification using ceramic filtration. The use of a gyroid structure, which forms overlapping compartments in the object, ensures strength and rational use of the material, while allowing a larger filtration surface area, which
significantly accelerated the filtration process compared to traditional filters. As the solution had to be implemented in a remote location without access to electricity, they drew on the knowledge of the past and used an Archimedes screw to allow the water to pass from a lower to a higher level. The project also provided an opportunity to reflect on the problem of water pollution and helped raise awareness of water issues in Slovenia, where clean water is often taken for granted. The results of the research showed that this is not always the case.
Testing the clay mixture and flow
During the experimental phase, tests were carried out with the porous material, focusing on the properties that have an impact on manufacturing and processing. Initially, simple beaker-shaped filters for small volumes of water were made to assess the performance of the porous material (Figure 3). Material experiments of increasing complexity were carried out to determine variables such as wall thickness, base thickness, the proportions of clay, sawdust and water, and the method of preparing the clay mixture.
One of the first experiments carried out was to determine the relationship between the content of organic material in the raw clay mixture and the porosity of the ceramic material after firing. The experiments were carried out with sawdust to clay ratios of 10 : 90, 15 : 85 and 20 : 80. The aim of the experiments was to confirm the consistency of the data with those from a ceramic filtration study carried out at Adama Science and Technology University in Ethiopia (Zereffa, Enyew Amare and Tesfaye Betela Bekalo. 2017. “Clay ceramic filter for water treatment.” Material Science & Applied Chemistry 34, 69–74.), where increasing porosity and hence water flow through the material was reported. The results of the water flow measurements showed that the results shown in the research report could be reproduced with hand-sifted sawdust and white clay at low temperatures. Tests 1 and 2 were made with hard white clay, tests 3 and 4 with anthracite slip, and tests 5 and 6 with white powdered clay. The same grog and sawdust were used in all tests. All samples were fired in a clay kiln at 950 °C (Table 1). In addition to the porosity of the material, the tests were also used to determine the properties of the raw clay mix. The latter is still somewhat comparable to clay up to 10% sawdust content, as it has a very high level of plasticity. However, at 15 % sawdust, which has been found to be the most suitable, the material completely changes its properties. At this composition it loses its plasticity, which in the case of clay determines the appropriate working method. The change in the material's properties has made it virtually impossible to produce shapes more complex than a cylinder. In order to produce more complex shapes, a 3D clay printing technology was tested, which is presented below.
Testing filtration efficiency
An important part of the project development, which took place throughout the experimentation and prototyping process, was the collection and analysis of water samples. The performance and purification efficiency for E. coli needed to be verified. In the studies analysed, the filters were built in sterile laboratory rooms, and it had to be determined whether they could be used effectively in rooms without advanced equipment. A key stakeholder in the analysis process was the Slovenian company Microbium, which manufactures portable E. coli analysers and cooperates with Triglav National Park staff. Their equipment has enabled regular analysis of filter performance and faster progress towards ideal filtration types and proportions. Their technology consists of a reagent to be mixed with a water sample and an analyser consisting of twenty-four chambers. The whole device is sealed and placed in an incubator heated to 37 °C for one day (Figure 5). After one day, the colour change of the sample can be used to determine the presence and quantity of E. coli
The first water samples were collected from the Lipnik
spring and analysed using the device provided (Figure 6). The presence of E. coli in the collected water samples was indicated by the dark green colour of the chambers in the analyser. Unfortunately, it was not possible to analyse the water samples that were purified by the filter, as the bacteria only survive in the water for 24 hours, making the data inaccurate. This was one of the key obstacles to testing the filter designs. It was therefore decided to collect water samples from sources closer to the test area.
The Gradaščica River, which is considered to be one of the most polluted waters in the area, was selected as the best source for obtaining water samples in the vicinity of the test area (Figure 7). To confirm the general opinion about the pollution of Gradaščica, an untreated water sample was analysed with the device. The detected level of E. coli detected exceeded the tolerance of the device as all the compartments turned dark green. A sample that had been purified by the ceramic filtration test was also analysed. The heavily contaminated sample, which had only been purified once, was significantly cleaner than the unpurified sample.
Testing 3D clay printing technology
Exploring the technology through experimentation and hands-on experience, in addition to the basic lessons available online, was the quickest way to learn about the possibilities and limitations of this type of printing. The authors decided to use this technology because the physical properties of the clay mix were not suitable for hand moulding. Initial tests focused mainly on the material and the correlation with nozzle size and print speed. Experiments were carried out to determine which nozzle size would be suitable for production. They were first carried out with the smallest nozzle, i.e. 1.5 mm (Figure 8), which gave the worst results. After a few unsuccessful attempts to print with the smallest nozzle, a 2 mm nozzle was tried (Figure 9). This immediately proved to be better than the smallest nozzle, but at the same time the single layer was too thin for the filter wall. A 3 mm nozzle was chosen (Figure 10). This size gave the best and fastest results. More material meant better material properties, which resulted in more successful bridging, and at the same time greater precision in layering, which was not so prone to off set as to make printing difficult. Printing with the wood-containing compound was also characterised by a slightly less malleable mixture, making it more prone to tearing, even when wet. The use of a larger nozzle, and therefore a thicker layer, was also key to preventing the unacceptable gaps that had previously occurred in the model. The lengthy testing process focused on layer height, volume and speed (Figure 11). At the same time, different printing methods were tested to enable faster application. The advantage of using this technology is that failed trials can easily be returned to the compound and the mix reused, as it does not lose any properties in the process. Moisture only needs to be monitored and added if the model is exposed to the air for a long time after printing.
Knowledge transfer
The transfer of knowledge from the Water – Designing a Biovernacular project first took place in an experimental project on the Mtkari River, where the authors, together with the Floating University, designed a temporary water installation (Figure 12). The filtration device was a vertical system in which water was filtered using ceramic filters, then passed through layers of rocks and sand and activated carbon and finally collected in a drinking fountain. Passers-by could drink the purified water at their own risk. Due to the experimental nature of the project, the water samples were not officially analysed.
The second knowledge transfer was adapted to the local context of the city of Cognac, where the authors participated in a month-long residency at the Fondation d'entreprise
PJORKKALA
Photo by Marijo Zupanov
Pjorkkala, a collective of designers Žan Girandon, Pia Groleger and Luka Pleskovič, uses modern technologies, like 3D printing, to process clay - a traditional material
coli (with filtration)
Coliform Bacteria
Enterococcus faecalis
Aerobic Bacteria (22°C - 68h)
Bacteria (36°C - 44h)
Sulfite-Reducing Spores
Martell research platform, testing their 3D clay printer. The project was named Re-harvested as it focused on the region's local bio-waste – grape marc and stems (Figure 13).
For every litre of fruit spirit, nine kilograms of grape marc were produced. In response to the identified problem, an experimental project was set up, focusing on the combination of grape marc and clay to create a water filter. Ceramic water filters are made by mixing clay with organic material. The traditional organic material of choice is sawdust due to its easy availability. However, experiments were carried out as part of the residency where powdered marc was mixed into the clay. The filtration results were found to be as effective as those obtained with sawdust (Table 2). There were significant improvements in the levels of most of the bacteria analysed in the water. Due to the presence of certain substances in the collected water, it was not possible to obtain data on E. coli and coliforms in the untreated samples. In the purified samples, E. coli and coliforms were below the normal limit.
Water units for Material bar
The water unit responds to the need to provide clean water for visitors to wash their hands. The project focuses on three key activities: circulation of the water source, filtration using natural purification principles, and the hand washing process. The filtration system consists of two types of filtration. The water first passes through different sizes of sand material and then through 3D printed zeolite (or ceramic). The experiments started with the use of discarded ceramic products, which were crushed into stones of different sizes as the first stage of filtration (Figures 16 and 17). The water is then passed through a fine sandy material which removes the finer dirt particles. Although the original plan was to also extract the sand material from the fragmented ceramic products, it proved difficult to achieve the uniformly crushed particles required for sand filtration without special equipment.
The initial filtration is followed by filtration through zeolite, a material used as an ion exchanger to remove organic compounds, heavy metals and radioactive substances. The first experiments involved a mixture of 20% binder and 80% zeolite. During mixing, the zeolite was cool to the touch and more plastic compared to clay. There were no major problems with 3D printing with zeolite, but the filters partially cracked during drying, leaving only one intact. The authors
had no precise information on the heating, temperature maintenance and cooling process of the ceramic kiln, so the process was carried out experimentally. The zeolite filter was fragile compared to the clay filter and broke when filled with water. After consulting the material manufacturer, the authors changed the mix to 50% zeolite and 50% binder and continued with the tests. They also changed the shape of the filter – from a cylinder to a cone – to reduce the pressure of the water on the bottom. The project is currently in the experimental phase and the results and findings are not yet finalised, leaving room for further improvement and optimisation of the results.
As mechanical filters are prone to clogging, it was important to find a hand-washing method that would provide effective cleaning without interfering with the filtration system. Instead of soap, sifted ash is used in the filtration sink, a technique known to our ancestors. Tests have shown that ash is pleasant to use because it is soft and odourless. The process involves dipping the hands in the ash, rubbing and wiping them. They are then rinsed under water, where the ash quickly disappears, leaving no trace. By combining different and less familiar approaches, the filtration washbasin is not only a functional hand-washing facility, but also an opportunity for play, awareness-raising and learning.
Conclusion
The projects presented show the importance of experimentation and testing within the design process itself.
The main added value of the projects is to test the combination of biological and local materials, such as sawdust in the case of the Water – Designing a Biovernacular project and grape marc in the case of the Re-harvested project, and the use of modern technologies that allow for more complex shapes. The project findings show the potential for further adaptation of filtration methods to specific local environmental and social contexts. The projects highlight the need for both innovative technical solutions and knowledge transfer between different geographical and cultural contexts. In doing so, they open the door to new lines of research that combine traditional crafts, natural processes and modern technologies for a more sustainable future.
Interview by EVA GUSEL
MUSHROOMS AS A METAPHOR FOR CONTEMPORARY SUSTAINABLE (DESIGN) PRACTICES
At first glance, the inclusion of a collective whose primary activity is not design, at a Milan Design Week event may seem strange, but we can quickly see that there are myriad reasons for this in the broader understanding of design introduced by the curators. As we will read below, mushrooms or fungi can be a metaphor for the circular process of the flow of matter in the environment, which is exactly what contemporary sustainable (design) practice should aim for.
What is Gobnjak and what are your main goals?
Gobnjak was founded in 2019 by Luka Zalar and Bojana Rudovič Žvanut. I joined the team about two years ago. Initially, our main activities were the cultivation of culinary mushrooms such as pearl oyster mushroom and lion's mane, as well as educational workshops on mushroom cultivation and the sale of mushroom cultivation tools.
The main aim was to familiarise the general public with mushroom cultivation as a home-based activity. Later on, the company also focused on the sale of medicinal mushrooms and their extracts.
So you could say that the company’s activities are quite multidisciplinary. Who else do you work with?
In addition to the activities mentioned above, we also organise workshops for children, we support artists and other creative industries whose projects involve mushrooms in one way or another, and we have also worked on biocomposites and the production of materials from mushrooms.
We are about to launch a new product with a partner company – mushroom supplements for dogs – and we are also working on developing cosmetics with mushroom-based ingredients. How well do we know mushrooms in Slovenia? Slovenians love mushrooms, we know them relatively well, and mushroom picking is a popular activity. But mushrooms are much more than just the most popular species that we pick in the wild. I don't think we are fully aware of the important role they play in natural and social ecosystems – from food, to medicinal ingredients, to environmental remediation and regeneration, to materials production, etc. Many mushroom species that are widespread in Slovenia are still unknown, and we are working hard to increase their popularity, as different species are useful in many different areas. For example, lion’s mane can be used to make very convincing vegan “steaks”.
Which types of mushrooms can be grown?
This depends on the conditions under which certain mushroom species grow best in nature. For example, as secondary decomposers, button mushrooms grow on compost. Compost made from horse or cattle manure is suitable for growing them. The mushrooms we grow are primary decomposers, which means they grow directly on waste material such as scrap wood and sawdust. Then there are the mycorrhizal fungi, which grow in symbiosis with trees, making them impossible to grow artificially on farms.
We recently received a grant that will allow us to grow mushrooms in new mushroom farms in the natural environment of the Kočevje forest. Gobnjak has now also found a partner in this part of Slovenia. By applying mycelium to the trunks, we will be able to cultivate species that do not grow on the farms in a completely sustainable way.
Of course, this brings its own challenges, as the natural environment is uncontrolled and the outcome depends on many external factors, such as weather conditions and the overall balance of the ecosystem.
What is the role of mushroom cultivation in sustainable agriculture and food production?
Mushrooms are very sustainable because they literally grow on waste. The mushrooms we grow are decomposers of wood and wood materials, straw, sawdust, etc. At the end of the process, we are left with compost that can be reused in agriculture.
The mushroom growing process is energy efficient, has a low carbon footprint and does not require a lot of space or the use of plant protection products. An additional important aspect of sustainability is the cultivation of protected and endangered mushroom species, which some people still collect in the wild despite the ban. By cultivating these mushrooms, such as lion’s mane, we want to give people the opportunity to consume protected mushrooms and to contribute to the spread of these mushroom species in the natural environment.
The biggest environmental problem is the single-use plastic bags in which the mushrooms are grown. The plastic is high quality and recyclable, but it is not biodegradable. Unfortunately, we do not have a good alternative on the market at the moment, but I believe there will be some innovation in this area soon.
What is the difference between eating mushrooms and taking mushroom tinctures (extracts)?
First of all, I would like to point out that mushrooms are excellent for our health and have a positive effect on our wellbeing. Different types of mushrooms have different effects on the human body. Naturally, one has to be knowledgeable about mushrooms and their effects, as many mushrooms are poisonous, some are very difficult to digest, etc.
Edible mushrooms are very rich in vitamins and minerals and other bioactive substances such as beta-glucans, which stimulate the immune system, fibre, which is beneficial for the
Photo by Marijo Zupanov
Gobnjak, a small scale startup run by Rok Zalokar and Primož Turnšek, presents the mushroom cultivation process as a contemporary food design activity.
microbiome in the gastrointestinal tract, antioxidants, which have anti-inflammatory effects, etc. When we eat mushrooms, we also introduce all these nutrients into our bodies.
However, as many types of mushroom are difficult to digest due to their chitinous cell wall, the absorption of nutrients is lower than with an extract, where the nutrients are isolated from the mushroom in higher concentrations. Furthermore, mushrooms are not recommended for daily consumption due to their poor digestibility, whereas this restriction does not apply to the consumption of extracts.
It is also interesting to note that mushroom guides often include mushroom species that are inedible due to their chewy, hard texture, even though they are beneficial to human health. Traditionally, such mushrooms were consumed in teas and steeped in alcohol, but nowadays the beneficial ingredients can be ingested through extracts.
Do even poisonous mushrooms have beneficial effects in small amounts?
Of course. We do not use them at Gobnjak because their use can be potentially extremely dangerous (or even fatal), as well as unpredictable. One such species is the fly agaric, which has been scientifically proven to have beneficial effects for people with certain medical conditions.
Another is the death cap, which is even more poisonous than the fly agaric and causes many deaths from poisoning. I have however recently come across new studies investigating the potential of its poison for medicinal purposes. Finally, there are the psychedelic mushrooms, which have seen a huge increase in medicinal use, particularly in the treatment of psychiatric disorders.
How does Gobnjak see itself as a part of an exhibition that is primarily focused on design? The exhibition will
showcase your products as well as the process of growing mushrooms and all the other activities.
We have worked a lot with designers and artists in the past. The most obvious intersection between mushrooms and design is definitely the materials produced from mushrooms.
Two years ago in Milan, Rok Oblak and I presented the Krater Capsule and the Krater Cup, a cup made of extruded local clay and its packaging made of a fungal biocomposite. The latter was made from the biomass of invasive plants.
At Krater we have also developed paper made from fungi, and they can also be used to make leather substitutes – traditionally made from hoof fungi in the Balkans. Fungi are also interesting from the point of view of systems design, which focuses on the material cycle and the impact of design and other practices on the environment and society, i.e. from the point of view of the circular economy. We would like to use the Slovenian presentation in Milan to highlight this aspect in particular.
"I don't think we are fully aware of the important role they play in natural and social ecosystems ..."
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5 - Black pearl oyster mushroom Grow kit
6 - Golden Oyster Mushroom Grow kit
1 - Krater workshop Photo by Gobnjak
- Rok Zalokar and Primož Turnšek at Gobnjak Photo by Klemen Ilovar
- Reishi mushroom Photo by Primož Turnšek
- Pink Oyster Mushroom Grow kit Photo by Primož Turnšek
Photo by Primož Turnšek
Photo by Primož Turnšek
forage
verb [ I ]
UK /ˈfɒr.ɪdʒ/ US /ˈfɔːr.ɪdʒ/ to go from place to place searching for things that you can eat or use: “At dusk, the deer emerged from the forest to forage for acorns and tender grass.”
Foraging is not difficult, nor is it too mysterious. It’s part of animal nature, and a constant reminder that I too, am just an animal, co-inhabiting my local natural environment alongside other species. Nature is everywhere, even when she is layered with concrete roads, brick buildings and cement walls. She will find a way between the cracks and coexist with humans, as she always has.
The dandelion is just one of nature’s plants. A resilient weed, a pioneering species, our food and our medicine. Every part of the plant is edible and incredibly healthy, which is why we purposely cultivated it in ancient and medieval Europe. Large fields of serrated leaves and bright yellow flowers. Full of vitamins, minerals and antioxidants, dandelion helps with digestion, regulates blood sugar, lowers blood pressure and acts as a diuretic.
• The stems are hollow and straight. When cut, they produce a white milky sap.
• The leaves are green, with pointed ends and serrated edges.* They are not hairy.
• The root is thick, long and grows in a single main root. It’s brown and gives off a bitter, milky sap when cut.
You may have heard of the “White Man’s Trail”, a group of European plants that spread rapidly along colonial trails and settlements as Europeans moved across the Americas. One of these plants was the dandelion, which was brought along as an important source of medicine and food. Over time, the dandelion became part of the ecosystems it invaded and is now used worldwide as medicine and food. I would like to encourage you to practice foraging in your own environment. You can start with the dandelion, which I have chosen because it is one of the most common plants, familiar to most of us. It’s easy to spot, and even its lookalikes (cat’s ear, sow thistle and hawkweed) aren’t poisonous; they're just not very tasty and rather hard to chew. So in the worst case scenario, you could end up eating a hairy dandelion lookalike instead of a tasty “real” one. To make sure you have identified it correctly, look out for all the following indicators:
• The flower is bright yellow and consists of many small petals. A single flower grows on each stem.
where the plant puts most of its energy - roots from late autumn to early spring;
I encourage you to go outside, find a piece of nature and forage for dandelions. I have written four recipes, one for each part of the plant. The general “rule of harvesting” is to forage seasonally for different parts of the plant in accordance with where the plant puts most of its energy - roots from late autumn to early spring; young leaves and flower buds in spring; flowers in summer; fruits in autumn. But again, this isn’t a real rule, just a recommendation. Experiment with these recipes and see what works for you. You can cook them, ferment them, dry them, infuse them or just nibble on them raw. Dober tek! <3
*The English name “dandelion” was adopted in the Middle Ages from the old French name “Dent de lion”, which translates as “Lion’s Tooth”, describing its serrated, pointed leaves.
A letter from GAJA PEGAN NAHTIGAL
Photo by Marijo Zupanov
Gaja Pegan Nahtigal - From Gaja is a holistic designer focusing on the ecological potential of the diversity of urban nature through the practice of urban foraging.
- dandelion roots
Dandelion capers
- 2 cup dandelion flower buds
- 2/3 cup vinegar
- 1/3 cup water
- 1 tsp salt
In early spring, you will see little balls forming on the base of the Dandelion rosette. These are flower buds. Pick small ones, not the ones high on the stem, as these are already fully developed but closed flowers. Clean them and place them in a sterile jar. Now prepare the brine. I suggested the ratio in the ingredients list, but I encourage you to play around with the proportions and make your preferred flavour. You can also add spices like pepper, garlic etc. Once you boil the brine so all ingredients melt together, you pour it over the flower buds in the jar. Close it tightly and store in the fridge.
Harvest the roots with a shovel or a spoon, twisting the root while pulling it out. Wash them thoroughly and cut them into small pieces (5-10mm). Dry them in the open air or dehydrator. When fully dried, roast them in a cast iron pan, stirring them frequently so they don’t burn. When they are dark brown and aromatic, you can turn off the stove. Store them in a dry and dark container and use until the next season.
Dandelion root has been used as “coffee”, because of its rich roasted flavour and bitterness that stimulated digestion. Simmer 10g of roasted roots in 0.5 l water for 20 min, add milk, cream or butter; they pair well with the flavour.
Enjoy!
Harvest flowers in dry weather. Remove as much green as possible (it’s bitter), to be left with yellow petals only. Put them in a pot with water and lemon, bring to boil and let simmer for 1 minute. Remove from the stove and let rest overnight. Next day, strain the liquid into another pot and squeeze any excess water from flowers to keep as much flavour and pollen as possible. Discard flowers. Now bring liquid to a gentle simmer, add sugar and let summer for 1.5 h. Syrup will thicken and reduce by half, leaving you with golden honey-like texture. Store it in sterile jars, placing them in the dark spot or fridge for a couple of months to a year.
- dressing: apple cider vinegar, pumpkin seed oil, salt
Best leaves for salad grow in early spring, but you can essentially pick them whenever. Clean them thoroughly and cut in smaller pieces if necessary. Add a topping of your choice (or all) while still warm to soften the bitterness and toughness of leaves. Now add the dressing and toss it well. I like to use my hands to really massage it all together. Now you made my favourite salad.
Roasted root tea
Story by PIA PREZELJ
DRAWING FROM A RICH TRADITION OF FORAGING
One can design chairs, cars, or cups, even design light, user interfaces or smells for a perfume, but equally, one can also design flavours. And while often overlooked, the art of carefully shaping the reactions of our taste buds, is in no way inferior to the one aimed at stimulating our retinas. Here, specifically, the art pertains to designing the perfect gin.
The founder of Gin Brin (“brin” being the Slovenian name for “juniper”, one of the main ingredients of gin) - Erik Sarkić, says he started distilling juniper berries more than a decade ago, following in the footsteps of his father and grandmother, and eventually – after more than a hundred experimental blends – created the first Slovenian gin. At MATERIAL BAR, Erik Sarkić is presenting a collaboration with designer Gaja Pegan Nahtigal - a gin made from plants foraged in the park of Villa Bagatti Valsecchi.
The importance of carefully sourced ingredients
The gin we drink today has little in common with the gin of yesteryear; in the 18th century, they used to add ingredients such as turpentine and sulphur, whereas today producers such as Erik hand-distil their gin from locally sourced plant-based ingredients. Erik says he started distilling “...out of a deep respect for family tradition. From a young age, my father and my grandmother began to introduce me to the world of plants, herbs and home distillation. My grandmother always stressed the importance of carefully sourced ingredients and of having patience in the preparation of home-made spirits, while my father taught me to understand the distillation process. These two aspects later came together in my passion for making a gin that reflects where I come from.”
generations, without really understanding its complexity. Those generations used it as a digestive, not as a consumer drink. I am fascinated by it because it is a distillate with a strong identity and a rich aroma, stemming from the handpicked juniper berries. I think it deserves more recognition and respect as a premium product.” By the way: one litre of gin requires 20 grams of juniper berries, while one litre of juniper spirit requires no less than 8 kilograms of berries. After juniper spirit, Sarkić moved on to gin and spent two years developing his recipe as a self-taught producer. The biggest challenge, he says, was achieving a balance between the ingredients, because gin is “a harmonious combination of botanical elements, each of which must have its own role without overpowering the others. I also had to learn to master the distillation process, from the choice of the alcohol base to the correct temperature and timing of the extraction of the aromas.”
Once the alcoholic base and botanicals have been selected, they are macerated and distilled in a copper still, he explains, with the biggest surprise being “how subtle the influences of the individual herbs can be and how small changes in the distillation process can affect the final flavour. For me, the most fascinating moment is when the distillate begins to exude layers of aromas that were previously undetectable.”
"Slovenians have a complex attitude to spirits ..."
Where he comes from is the village of Rodik, situated at the crossroads between the Brkini and Karst regions, two landscapes that are inscribed in Sarkić's work each in their own way. “The Karst and Brkini are two distinct yet complementary landscapes. The Karst provides juniper, which produces very aromatic berries on the rocky, dry terrain of the region, while Brkini offers a wealth of fruits and herbs that give the gin complexity and freshness. Both landscapes are expressed in the gin through a specific flavour profile that reflects the natural characteristics of the region.”
After all, gin is more than an alcoholic beverage – it is also “a vehicle for story and place”, added Sarkić, who strives for Gin Brin to be “the essence of the local environment, from the plants we pick to the distillation method that honours tradition. I believe that every authentic gin should reflect the place it comes from.”
Eight kilos of berries
According to Sarkić, Slovenians have a complex attitude towards spirits. “On the one hand, we are proud of our local distilling tradition, but on the other hand, we often fail to distinguish between quality and quantity.” This is also illustrated by our attitude towards juniper spirit – “brinjevec”, which was Sarkić's first distillate. Juniper spirit has a long tradition in Slovenia, but it is often wrongly perceived as a strong and overwhelming drink that is not for everyone, he says. “Many people only know it as the homemade drink of older
From rosemary to lemon verbena
As part of the Material bar project at Milan Design Week, Sarkić is presenting his work in collaboration with Gaja Pegan Nahtigal, whose foraging practice focuses on the ecological potential of the diversity of urban nature. The two have distilled a gin from plants picked in the park of Villa Bagatti Valsecchi, which are the best indicators of its ecosystem. According to Sarkić, these are bay leaves, rosemary, lavender, lemon verbena and sage, which give the gin its fresh, Mediterranean character, while lesser-known local herbs also play an important role.
It should be emphasised that Slovenia has a rich tradition of foraging, which is often taken for granted, Sarkić adds. “Slovenia’s world of herbs is incredibly diverse and offers a wide range of possibilities for distillation. I think we should invest more in preserving this knowledge and adapting it to modern approaches so that it is not lost.”
MORE ABOUT GIN BRIN
Photo by Marijo Zupanov
Erik Sarkić - GinBrin - is a boutique gin producer, specializing in creating highquality, handcrafted gin using locally sourced botanicals. Valsecchi.
Photo by Manuel Kalman
Diary by ALJAŽ CELARC
A WEEK IN THE LIFE OF ...
MON. 24th February
Morning coffee gets the blood flowing and stimulates the brain to think. For us, this is that precious moment, when the whole world lies still in the shadows of darkness and our minds are already clear. And everything is still simple, because you haven't really started anything that could go wrong. This is the time when the harshest truths are born, and when plans make just themselves, before the chaos of everyday life carries them away. The evenings are another story – soft, clouded with fatigue. When so many things seem unfinished. That's when you know the day is over and you can start again in the morning with the same optimism. This morning, over coffee, we were struck by the realisation that the next thought could become our official motto. And negative sayings are usually the truest truths: “There is only a garden with weeds and a garden that is temporarily weedless.” Because the weeds are always there. You can fool yourself into thinking you've defeated them, but nature has its own plans. So a good plan has to be made.
TUE. 25th February
“I'm just going to go and fix something” – those last words before a day-long project that begins as an innocent task and ends as an existential crisis. Yesterday was just like that – a tiny fix that should have taken ten minutes turned into planning, adjusting, finding tools, a brief pause for reflection, and then into a complete overhaul. And of course, before all that, into making the tools to get the job done. It's one of those truths that could become a proverb: “Never underestimate small repairs, because they hold big surprises.” Always try to plan only one job at a time to avoid getting off track... But even that always sounds easier than it actually is. For example, making a handle for a cutter – a simple task, but one that requires perfect coordination between you, the tool and your manual skills. And in the end, you realise you've spent a whole day instead of a morning.
WED. 26th February
If you have 2 geese, 2 pigs, 3 goats, 20 capons, a few turkeys and 20 chickens, you don't need Netflix. Just sit back, grab a bite (you might have to share it with someone) and enjoy. Because this is no ordinary show, this is a Slovenian film with no intermission, no retakes and endless improvisation. The goats will compete to see who can climb the highest, until one of them reaches the top of the woodshed. The pigs will try to persuade themselves that they are too lazy an animal to engage in any kind of antics, but then they will dig their way through the fence and go on an expedition. The turkey, in his pride, will forget that he can't fly very well, and will fall miserably, and out of a small bucket. And then there are the capons, who have their own conspiracy theories. Life on our farm can be the best sitcom, and sometimes it just gets in the way of our woodworking efforts.
THU. 27th February
"If you have 2 geese, 2 pigs, 3 goats, 20 capons, a few turkeys and 20 chickens, you don't need Netflix."
When you realise you need a tool and it's not there, you go looking for it. And when you finally find it, you realise you've got the wrong size. And then the classic ritual begins – first you leave the tool on the table, muttering under your breath, then you step outside to make sure you really can't go on without the right wrench. But you try to improvise something anyway. Then you decide to go and get it. On the way, you of course stop to think about something else - maybe you see that someone’s left an axe out in the rain. When you remember why you’re there, you go back to the workshop, only to find that you've taken the wrong size again. And then there's that profound dilemma of life... wouldn't it be better to finish this tomorrow?
FRI. 28th February
If some night during mating season, you hear a fox screaming like possessed by a demon, that's perfectly normal. If you've never heard it before, you'd be convinced that someone is skinning the animals. And then you'll run out at night in your pyjamas, even if it's minus 20 degrees outside. It doesn't matter if you're in a warm bed and half asleep – the sound will get your heart rate up faster than your morning coffee. Slipping out of bed in the dark, you quickly pull on the first jacket you find and slip on your boots (sockless). You're already running out the door without a torch, tripping over something that’s never there during the day. But when you get to the chicken coop and see that everything is as it should be... “Ah, it's that time of year again.” And the whole thing ends with frozen toes... Always the same.
SAT 1 st March
Sometimes you say, “I'm just going to save this bit of (whatever) material.” And lo and behold, it always comes in handy and always fits into the magical dimension. ALWAYS. Because that's the way it works – every little piece of wood, every old nail, every rusty screw comes in handy one day. You never know when you'll need that one little piece to shore up something that's wobbling, or just that bit of precious metal to use as a pole. Anyone who has ever repaired anything on a farm knows that “temporary fixes” often become permanent, which means you need to keep a supply of problem-solving miracle bits on hand.
SUN 2nd March
If you say, “This board is only temporary,” it will stay there for the next five years. That's why you DON'T do it! You learn this the hard way – you tell yourself you're just putting the board under there for a few days until you come up with a better solution. But days turn into weeks, weeks turn into months, and before you know it, that “temporary” board has become part of the landscape, part of the vintage everyday. It grows moss, it becomes part of the structure, and eventually you start to wonder whether you should remove it at all, because with it, a part of everyday life will disappear. So now, whenever the thought of “temporariness” comes to mind, ask yourself: “Could this board be here for the next five years?” If the answer is yes, you’d better do it right the first time around.
Photo by Marijo Zupanov
Hiša Mandrova - Eva Pavlič Seifert and Aljaž Celarc are internationally recognized artists, wood workshop mentors, regenerative growers, and artisans.
All photos by Aljaž Celarc
Story by NATALIJA
A MAGICAL GAME OF CHANCE
The captivating and surprising clothing collections of (internationally) award-winning fashion designer Nika Ravnik, also a costume designer and stylist, bring more than just an avant-garde and timeless aesthetic to the forms of covering human bodies – they are embedded with intriguing conceptual considerations and a dedication to in-depth research. Last but not least, they reveal a specific worldview of the designer: to do her work with as little impact as possible on fellow humans, animals, the environment and the planet.
Nika Ravnik's sustainable garment design process, which can also be understood as a sublime call to abandon traditional textile production processes – a suggestion to move towards a commitment of (contemporary) designers to reduce the production of enormous amounts of waste – is perhaps most directly reflected in her collection Traces. The playfully designed outerwear, whose distinctive “individual pieces aim to evoke a sense of floating in the unknown”, is also born out of an eco-conscious ethos of creating “from what is available”, which, according to the designer, narrows the field of seemingly infinite creative possibilities and requires better thought-out solutions within an ongoing sustainable process. In contrast to the conventional approach, where the designer selects and buys ready-made fabrics, Nika Ravnik created her own starting material for the Traces collection in the additional preliminary stage of the process: she used highquality waste materials or scraps (which may be unwearable, even inherited pieces of clothing, e.g. her mother's old jacket, which adds a nostalgic touch) to put together an assemblage of simple geometric shapes or patterns in the form of squares or rectangles of regular or less regular lines. The importance of this (pre)stage or “exploring the structure of the garment”
in her work can best be understood from her statement that the unique material created in this way almost definitively determines the look of the final product or the whole series of garments. This extra step also allows her to eliminate waste in the cutting process. In the textile industry, 25% of waste is generated at this stage – mountains of discarded textiles. The next step in the creation of the Traces series was to cut the prepared fabric according to a pre-selected pattern (influenced by various inspirations), then placing it on a mannequin and embarking on a relaxed creative process of exploring shapes, an unconscious dialogue with the material, a magical game of chance... The draping technique allowed her to create more complex, softer shapes from twisted pieces of fabric. In Nika Ravnik's characteristic way of designing, there are no fixed expectations about the look of the collection (and therefore no sketches prepared in advance). Instead, having decided on a conceptual approach, she embraces the serendipitous results of the creative process – which may take her nowhere or lead her to new ideas. Based on a simple concept, an infinite number of variable multiplications and the stunning uniqueness of each piece of clothing materialise before her (and us) in the final product. The designer has also
used this process for educational purposes: in a workshop for high school students, she introduced potential future generations of fashion designers to a non-classical method of tailoring, the end result of which was meant to be as “out of the box” as possible.
Her other collections – created from ever-changing conceptual starting points, but always with upcycling in mind – resonate on similar frequencies. All of them reflect the designer's sustainable ethos (in smaller or larger quantities) as she strives to create versatile, zero-waste, one-size-fits-all wearables. Other standout collections in this context include the Fragments collection and the Mila sweater, made from narrow black scrap ribbons. With this collection of “multilayered fashion experiences”, predominantly in black, Nika Ravnik embarked on a dual exploration of “embodying the stories of the past and the promises of new beginnings”: The first part of the collection is made up of crumpled pieces created through a random technique of draping a pattern on a mannequin, and the second part is made up of pieces of clothing where we can see the effect of stuffing made from discarded pieces of fabric (discarded jackets, sweaters, dresses, even her father's old shirts) sandwiched between two transparent layers.
The designer's overall focus on sustainability most likely stems from her personal philosophical beliefs and has been shaped by intriguing conceptual considerations and a commitment to in-depth research, which Nika Ravnik, a graduate of the Faculty of Natural Sciences and Engineering in Ljubljana, began to develop more thoroughly during her studies at the Kolding School of Design in Denmark. There, in contrast to the learning process during her studies in Slovenia, where projects or collections followed one another at a (too) fast pace, she devoted much more time to studying her chosen topic more intensively when preparing the collection, as instructed by her mentor.
This unconventional design process results in predesigned, simple geometric shapes or cuts that are transformed through “unconscious manipulation of details into authentic wearable creations” or sustainably designed garments for generations of conscious consumers who see environmentally responsible creations as a promise of “a counterbalance to the fast pace of the modern world”. As much as we would like to see a complete sustainable overhaul of the global textile industry, which is already estimated to be worth more than USD 1 trillion, any experimental intervention in its existing production processes is probably impossible. But as responsible global citizens, we can still influence our own choices and support the sustainable creations of emerging designers.
ZANOŠKI
Photo by Maša Pirc
Photo by Marijo Zupanov
Nika Ravnik developed a design approach that enables efficient, practical, and flexible creation of wearable and useful pieces of clothing.
Profile by LUKA ZAGORIČNIK
his mischievous adventures. The world of the cartoon requires a highly eclectic approach, with rapid changes in mood, genre nuances and sound effects, and a wide range of sudden evocations of emotion. Noise carries the same expressive power as music in the overall rapid synchronous narrative of cartoons, which also requires a lot of experimentation. But the sonic narrative is not linear, and Šajina's cross-genre work has never been about conventions, but about adapting or exploiting them for his own creativity, whether in electronic dance music, in the multi-genre musical mixes of the bands in which he is active, or in the
electronic music. Meanwhile, Šajina has also established himself as a DJ on the Slovenian club scene and for a short time he was part of the energetic electro-hip-hop trio Ewok, which was one of the best concert attractions of the time, combining his interests in concert stages and club music.
Since 2019, his work has been strongly marked by intensive sound work and research with modular sound synthesizers. As Shekuza, he creates in the field of hard but elastic techno, in which he does not build a meaningful narrative, a “story”, but rather different levels of intensity with which he wants to take us beyond the physical to a moment of displacement on the dancefloor or while listening, elevating the raw syncopated pulse of the dance
with his collaborator Lifecutter, he forms the striking duo Warhorse, characterised by the most saturated intensity of Šajina’s his work. With Warhorse we enter a field of industrial, noisy, distorted techno with an extremely dark atmosphere. But Šajina can also lower the intensity – especially in his DJ sets, which are his testing ground for exploring and adapting to the atmosphere of the room, and in his work for the legendary Chilli Space series, where he goes downtempo and into a more chillout zone.
Sound design is often seen as a key but at the same time a “by-product” in the realm of artistic creation, a necessary element of music or sound that gives the final acoustic image, whether in the studio, on the radio, on the concert stage, in clubs, in audiovisual media, in galleries or in public spaces. But sound is a pervasive entity that evades the general framework, penetrates walls, vibrates, resonates, echoes and evokes emotions, creates atmospheres, affects our bodies and invades the fields of the unfathomable and the extraordinary. Sound is more than an organised set of sounds, tones, rhythms, melodies and harmonies. It is also noise, an interplay of frequencies, information. This interplay between the musician and the sound designer is a fundamental part of the work and activity of musician, DJ, electronic music producer and sound designer Miha Šajina, a veteran of the Slovenian alternative music scene.
CONNECTABLE SOUNDSCAPES
Šajina has provided sound design for numerous broadcasts on Ljubljana's iconic independent radio station Radio Študent, one of the oldest independent radio stations in Europe. This was followed by commercial projects, sound design for records by various artists, remixes, and music and sound design for audiovisual productions ranging from films, documentaries and art videos to animated films. Šajina collaborated with award-winning contemporary visual artist Nika Autor to create the soundscape and music for Koyaa, Kolja Saksida‘s famous cartoon about the eponymous character and
Sound design and creating with modular sound synthesizers seems to be a solitary task in the studio. Especially the latter, with its “endless” possibilities, can completely absorb you, as Miha himself admits. But at the same time, his practice is invariably rooted in different worlds and spaces, and is meant to be a collective, live experience. This is why Miha Šajina is also part of the DIY community of creators with modular sound synthesizers Clockwork Voltage, which functions as a constantly growing, inclusive collective, platform and record label, offering workshops, sharing experiences and creating new technologies, collaborations, new projects, organising and self-organising events and concerts, and joining international networks of numerous related organisations and collectives in Europe and beyond. The modular synthesis through the members of the community sounds extremely eclectic, ranging from techno, club music, ambient, experimental and electroacoustic music, noise, to sound installations and sound art. These are all worlds that are fragmentarily inscribed in the work of Miha Šajina.
painstaking yet playful design, exploration and creation of new sounds through modular synthesis. The latter allows him to penetrate into the matter of sound itself, into sound as an object, and then into its creative transformation from noise into tone, pulse, rhythmic beat, into texture, sequence, melody or unconventional harmony.
Originally a classically trained pianist, Šajina crossed over to jazz-rock as a keyboardist on a Fender Rhodes piano and in 2000 joined two bands, Intimn Frizurn and Moveknowledgement, both of which made a significant impact on the alternative music scene in Slovenia. The shorter lived Intimn Frizurn burst onto the scene with a fresh eclectic fusion of alt-rock, hip-hop, jazz, punk, progressive rock, ska and more. With Šajina's arrival, Moveknowledgement transformed themselves from a jazzy funk hip-hop band into one that has shaped the Slovenian indie music scene for more than a decade with their engaging blend of rap, hip-hop, post-punk, electro and dub. With the departure of the band's first voice, the chopper rapper N'toko, Šajina and guitarist
Wejn became the creative core of the band, which today creates a retro-futuristic blend of rock, psychedelic, krautrock and
drive into a momentary euphoric effect produced at the level of sound, akin to the effect of a pill on the dancefloor. When it comes to melodies and harmonies, he is interested in the spaces between the tones, in the field beyond Western tonal systems, in the permeation into microtonality. At the same time, he is not interested in the linear flow of compositions, the gradual build-up and dissolution of atmospheres and climatic climaxes. His raw rhythm is always fractured, extremely syncopated and changeable, creating a unique funk within the vigorous four-count rhythm that transcends the monolithic expression of techno and flirts with current genre alternations in the ever-changing trends of electronic music. It is characterised by a distinctive virtuosity of modular synthesis, a superb sound design that creates its own soundscape and responds to the one in which it reverberates. All of this can be heard in various clubs in live acts or DJ sessions, on Shekuza’s records released by Kamizdat and Tehnopolis, or in a short but well-received concert audiovisual version of Shekuza with classical and jazz percussionist Marko Jugović and VJ Lina Rica, which was more organic, improvised and open. Together
At Milan Design Week, Šajina will take us on a sonic journey into the multi-layered soundscapes of the bar, using sound to transform the space and its atmosphere. He took inspiration from the legendary former hangout of artists and bohemians – the Šumi bar. The transformation of the space will take place on three levels: an interactive, generative and ever-changing sound installation that will allow guests to co-create the soundscape of the space themselves, the transfer of the ambience of the space into the casualness of an outdoor picnic experience, and the transformation of the space into the club experience of a techno party. All of these are imprints of Miha Šajina's diverse but cohesive soundscapes. You are invited to enter and transform them.
MORE ABOUT MIHA ŠAJINA
MIHA ŠAJINA
Photo by Marijo Zupanov
Toasted Furniture features products made from recycled plastic, designed and crafted in a Ljubljana-based workshop by Nina Mršnik and Nuša Jelenec. Using their custom-built device, they "bake" plastic sheets, which are then transformed into small series of unique pieces. The entire process—from raw material to finished product—is carried out under their supervision, allowing room for experimentation with different techniques, patterns, and shapes while continuously
