d'or by roxana davidescu

d'or by roxana davidescu

siragurile d’or au venit pe lume acum 4 ani.

voi spune pe scurt povestea lor

fac o plecaciune catre un muzeu foarte iubit in Bucuresti - Muzeul Taranului Roman – care si-a deschis cu generozitate portile si catre creatia urbana. fiindca printre martisoare, vase pictate si perne decorative pe care incercam sa le lansez la unul dintre targurile organizate la muzeu - mi-a venit ideea sa aduc podoabele pe care mi le facusem singura, dupa cautari esuate prin putinele magazine de resort de la acea vreme.

adusesem toate creatiile si in doua ore nu le mai aveam… asa incat acest succes colosal de piata - cheia oricarei lansari de produs - mi-a dat aripi si m-a facut sa ma gandesc serios sa inventez podoabe cum nu mai vazusem in niciun alt loc.

erau foarte diferite de ceea ce concep acum.

cele cateva sute de incercari le-am gandit pe toate pentru mine - suna egocentric, dar cu timpul am nuantat - accesorii, volum, greutate.

asa am inceput sa insir:

bucati de lume stralucitoare odata, fragmente de timp, pe care daca le privesti cu atentie, le poti data sau descifra, bile pictate, site, fluiere, solnite, sticle de parfum, dopuri de pluta puse nonsalant langa agate, corali, jaduri, perle, pietre de la 2 Mai, butoni desperecheati, nasturi frumosi de sidef, scrumiere, zurgalai, clopotei indieni, chei mari si mici – e o lista interminabila si surprinzatoare la prima vedere. Am enumerat mai sus doar piesele recognoscibile, pe celelalte va invit sa le descoperiti singuri....

din cand e bine sa razi si sa te miri de lucrurile pe care le porti tu insati. Asadar pentru unele dintre ele e nevoie de curaj, de umor si de o anumita atitudine. Daca esti trista te binedispun si daca esti vulnerabila te apara, ca toate podoabele adevarate.

sunt si un fel de Fata Morgana, fiidca te duc cu gandul. iar femeile adora mirajul asta.

cand auzi de sticla de Murano, esti cu mintea la Venetia, daca vezi coralii mari roz, te crezi in Sicilia, margelele rosii te fac sa te gandesti la Frida Kahlo, iar siragurile aurii nu sunt falsuri - sunt lemnisoare vopsite bila cu bila si lacuite pe deasupra. nu isi propun sa para altceva decat sunt de fapt, alaturarile sunt cele care le fac sa vibreze, iar intregul sa devina in cele din urma echilibrat in toata asimetria voita cu tot dinadinsul. acum cativa ani cand am descoperit Villa Giulia, la Roma, aproape ca mi-am vazut fragmente de siraguri in colectia de podoabe etrusce, rafinate, asimetrice, si m-am simtit bine, fiindca nu poti reinventa roata, dar poti face in continuare roti frumoase.

scoicile incastrate si coralii rosii cumparati la Balcik asta-vara au dat nastere unei serii albe si rosii somptuoase purtate odata de Regina Maria. cel putin asa mi-am imaginat eu. am reevaluat perlele cu tonuri rozalii sau fumurii si le-am aruncat printre scoici si lemn ivoriu. sunt zgarzile scumpe si grele fiindca te misti altfel sub "povara" lor, coplesita in cel mai placut sens al cuvantului.

acum un an am vizitat Muzeul Benaki in Atena - o vila clasica de forma unui cub aproape perfect - un fel de Arca lui Noe pe pamant elen - in care au pus toate comorile de salvat - de la arta cretana, minoica pana la Grecia moderna: bijuterii antice facute dintr-un aur-soare-pur, piese de port de o frumusete rara, ceramica pictata, pictura.

calatorii ca acestea devin cele mai subtile si mai rafinate surse de inspiratie - ca o sita prin care cerni de azi inainte - lumea.

siragurile d'or sunt podoabe in podoabe – exista zone transparente si fragile care alterneaza cu zone puternice. si eu cred ca e bine asa – fiindca bijuteriile sau accesoriile sunt accente in vestimentatie, deci seduc prin forta si farmec.

despre felul in care se impun publicului.

nu exista o reteta. Podoabele sunt obiecte care vin foarte aproape de trup – si aici sunt legi afective care le fac sa fie acceptate sau nu. Podoabele nu tin de varsta.

Sunt ultim retus in fata oglinzii, dupa ultima umbra de fard, dupa ultimul gram de parfum. ne dau puterea sa iesim in lume sau sa ne aratam pur si simplu. ele spun pe muteste tot ce nu putem rosti totdeauna prin viu grai: azi sunt fericita, azi sunt vulnerabila, azi vreau sa ma apere sau azi vreau sa plac cu orice pret.

despre gramatica insiratului

nu am povestit niciodata cum le fac – am inchipuit un cadru alcatuit din "lemnisoare" – bilele vopsite si lacuite bucata cu bucata – care dau volumul fara a ingreuna prea tare siragul in sine. apoi intra in scena – Piesele-dive – inventate, adaptate pentru a fi insirate, care isi pierd functionalitatea initiala, devenind pretioase prin material. si capatand o noua identitate si vecinatati surprinzatoare. le descoperim in imagini: sita de la esspresorul de cafea, scrumiere de poseta, lentilele de ochelari de soare proaspat abandonate…

ce ne inspira

structuri naturale, de arhitectura, peisaje, imagini in aparenta fara legatura cu accesoriul sau cu trimiteri directe la forma si culoare, scenografii de plan secund elaborate sau intamplatore.

despre atelier

o casa stil vagon – construita de strabunicul la inceputul secolului trecut – se preface dupa voia locatarelor. Are rabdare cu noi – si se prinde surazand in jocul-nostru-cu-margele-de-sticla…

Daca va place ce ati vazut, Roxana o sa va ajute, dar trebuie sa o sunati la numarul 0723.674.209

Evenimente la care am participat:

din decembrie 2004 – participari la Targurile Muzeului Taranului Roman;

iulie 2006 - Expozitie de grup, accesoriu si design vestimentar, intitulata “Amor do Rio" - City Mall;

5 decembrie 2006 – 15 ianuarie 2007 Expozitie EXTINS – Bijuterie si Accesoriu Contemporan – anaid art gallery;

1 februarie - 31 martie 2007 - Expozitie de moda Designeri Romani la Muzeul Modei din Anvers, Belgia;

4 iulie 2008 - Conferinta Bijuterie vs. Accesoriu – Material, forma, design, Muzeul National de Arta al Romaniei in cadrul expoziţiei de bijuterii „Tribut magnificenţei. Ilias Lalaounis”, alaturi de designer-ul de bijuterii Carla Szabo

16 – 20 februarie 2009 - Expozitie de bijuterii, Banca Procredit Bucuresti.

28 februarie – 20 martie – CE MAI IMPLETESC FETELE. la Galleria “ARTE” , expozitie de grup alaturi de ANA WAGNER, CARECUTARE, CARLA SZABO,YBO VASS, MONOTYP, PATRICIA TEODORESCU.

Magazinele din Bucuresti unde puteti gasi creatiile Roxanei

Magazinele DADA

Diades (in Curtea Sticlarilor),

Wagner

Gold Art Gallery - Hotel Hilton Bucuresti

text oana davidescu

"Termopan" manace...

Fenomenul teribilei rame din PVC (ubicuul termopan) a devenit indeajuns de grav incat International Herald Tribune sa-i dedice un articol in sectiunea "Design".  Asadar, articolul: 

The pluses and minuses of ubiquitous plastic

By Alice Rawsthorn

Sunday, February 15, 2009

LONDON: What are the architectural icons of our time? Which buildings - or bits of buildings - will be the contemporary equivalents of Gothic cathedrals with flying buttresses, Palladian porticos or the flashy facades of Art Deco cinemas?

Will it be the surreal shapes of digitally designed structures like Herzog & de Meuron's Olympic Stadium and Rem Koolhaas's China Central Television headquarters in Beijing? Or a visionary eco-home? Almost certainly is the answer to the first question, and let's hope so to the second. But if we were to assess the candidates in terms of quantity, rather than design quality, a strong contender would be what is probably the commonest architectural feature of the early 21st century - the plastic window frame.

That's right, those ugly plastic (or, to be precise, unplasticized polyvinyl chloride, alias PVC-u) frames that come in bilious shades of white with clumsily shaped handles. They're not very nice to look at, or to touch. Ask architects what they think of them and they'll either sneer, or say something unprintable. Yet millions of windows now have plastic frames. You'd be hard pressed to walk along a street in any European city or town, without spotting a few of them, probably more. You'll find them in most newly built homes (except for very, very expensive ones) as well as office buildings, warehouses, factories and the recently renovated tower blocks on British council estates and in France's grungier banlieues.

They even appear on architectural landmarks. Take the Bakhmetevsky Bus Garage in Moscow, which was designed in 1926 by the great Soviet architect, Konstantin Melnikhov. After being neglected for decades, the building was restored before reopening last year to house the Garage Center for Contemporary Culture, a nonprofit art gallery run by the Russian socialite Dasha Zhukova and her oligarch boyfriend, Roman Abramovich.

Cladirea restaurata cu ferestre din PVC a garajului de autobuze Bakhmetevsky

 As the original windows were broken, new ones were installed in the same geometric style as Melnikhov's originals, but in a different material - plastic.

Jarring as it is to see plastic windows in a Constructivist gem like the Bakhmetevsky Bus Garage, most of the time we barely notice them. They are the architectural equivalent of cheap monobloc plastic chairs, which are so ubiquitous that they've become invisible. We deal with plastic windows and chairs in the same way as with other unappealing elements of daily life: by editing them out, usually without realizing it.

Is that right? Or is it silly and snobbish of us to ignore something that's (literally) such a large part of our lives? There are, after all, sensible reasons why plastic windows have become so popular. They were introduced in the 1980s and sold so well that, by the end of the 1990s, more than half of all replacement domestic window frames in Europe were made of PCV-u. One reason is that they cost less than the old-fashioned softwood windows used in housing, and the metal ones in public buildings. Another is that plastic frames last longer, and are easier to maintain. Unlike softwood, plastic doesn't rot, nor does it need to be painted as protection against the elements.

So far, so good, but plastic windows also have their drawbacks. One is aesthetic. They don't look as good as wooden or metal frames, in fact they often look cheap and tacky. Another is environmental. Like most plastic products, PVC-u frames can't be repaired if they break. Moreover, the PVC-u production process releases what the ecological pressure group, Greenpeace, describes as "some of today's most damaging industrial pollutants," as does its disposal, regardless of whether it is incinerated or dumped on landfill sites. Greenpeace has called for PVC-u windows to be banned, and replaced by less damaging alternatives, such as sustainable wooden frames.

In other words, PVC-u window frames score highly on practicality, but poorly on environmental responsibility. They belong to the new category of objects that are both modernist dreams and post-modernist nightmares, because they have many of the qualities required of "good design" in the last century, but few of the sustainable virtues demanded in this one.

Again, there is a parallel with plastic monobloc chairs, which are inexpensive, light, stackable and easy to clean, but impossible to repair and doomed to swamp landfill sites for decades to come. Another example is the Nano, the "people's car" that Tata Motors hopes to sell to millions of Indians. If all goes well, it will be the sort of cheap (if not quite as cheap as Tata's original target price of 100,000 rupees, or about $2,000) compact family car, which would once have been hailed as a democratic design coup. But that won't happen unless Tata can also squash fears that the Nano will belch out pollution and clog up India's roads.

Tata's plans for an electric Nano may crack the first problem, though not the second. It is harder to see how the cheap plastic chair can redeem itself, but there is hope for plastic windows. On the environmental front, the simplest solution is for frame manufacturers to ditch PVC-u for less damaging types of plastic. Greenpeace favors the use of polyolefin-based plastics, such as polyethylene and polypropylene, on the grounds that they are cleaner to produce and easier to recycle. Some companies have already made the change.

There is even hope for plastic windows in terms of aesthetics. Problematic though it is in other respects, plastic has fantastic sculptural possibilities. It is equally versatile when it comes to color. That's why postwar designers, such as Verner Panton, loved it, and why it still appeals to their successors, like Konstantin Grcic, whose MYTO plastic chair has been hailed as the contemporary equivalent of Panton's famous 1959 S-shaped chair. There is no reason why plastic window frames should not be equally adventurous, if - and it's a big "if" - architects and designers felt inclined to invest their time and energy in making the most of them.

Casa invizibila

Biroul de arhitecura R&Sie Architects propune (cred ca asta e cuvantul) un experiment care pune intre paranteze esenta actului de arhitectura. O casa perfect invizibila pentru ca este complet acoperita de vegetatie. Ascunsa de ochii celor trecatorilor, in schimb foarte prezenta pentru proprietari (efectiv, casa trebuie ingrijita ca si un organism). 

Locuinta este acoperita cu vegetatie care este hranita printr-un sistem complex. Substantele hranitoare sunt pastrate chiar pe suprafata exterioara a cladirii in niste "clondire" lucrate manual. 

Ce mi se pare interesant la acesta cladire este demersul teoretic implicit. Pentru cine a fost creata? Numai pentru cei care o locuiesc? Trecatorii nu au nici un rol in acest caz? Practic cladirea este invizibila. Si, in acest caz, mai este o simpla cladire? Materia inerta primeste o "injectie" de viata. Iar rezultatul este un concept deschis, care poate primi o multime de raspunsuri. 

 

Ziduri vii

 Musée du quai Branly, un muzeu etnografic pe care mi-as dori sa-l vad la Paris. Zidurile "vii" (create de Gilles Clément si Patrick Blanc) cred ca sunt principala atractie (din punct de vedere arhitecural) a cladirii proiectate de Jean Nouvel.

photo credit: Adina (multumiri!)

O baie mai verde nu se poate

 Imi displace profund plasticul. Dar sunt nevoit sa traiesc cu el. Incerc pe cat pot sa scap de el: una din bai am placat-o cu calcar iar covorasul (care aproape de fiecare data e facut din pastic) de iesit din dus e din lemn. Dar iata ca cineva s-a gandit ca lemnul si piatra nu sunt de ajuns: o carpeta din muschi. Senzatia in talpi trebuie fie fenomenala...

Despre o lampa si un scaun

Design de obiect semnat de arhitectii din echipa Serban si Doina Sturdza. Mai sus: lampa Verona (alama si forma lor au au aer de industrializare de secol XIX), iar restul infatiseaza ipostaze ale genialului scaun "Saddam". Saddam mi se pare un obiect construit din detalii (fara aceste detalii ar semana mai mult cu o lucrare de arta contemporana): sceheletul de tevi, pernele care nu au nimic placut la vedere si tetiera din metal... Pur si simplu imi inspira un scaun de de sef de trib local dar totul asezonat cu un "praf de ascetism": pe scurt, un scaun de aratat si nu de sezut pe el...

Mesaje

via: http://www.ciudat.blogspot.com/