SPECIFIC
mud. is a playground we’re taking seriously. a space for self knowledge and expression, a space for free manifestation, an opportunity to interact with the world. we want it to be uncensored and personal. we’d like to push the limit of effervescence and be a bit surreal.
ROMANIAN DESIGN WEEK APPEARANCES
2017 // SERIES OF CUPS
The series of cups reminds users of the fascinating structures that make up the human organism. And humans are far more than a sum of physyological miracles. Remind yourself more often that you're a natural wonder.
soul, mind and bone are the first 3 of 5 cups that challenge the line between design and arts.
2016 // Colour Structure Cup
The collection summarizes a study regarding the relation between the physical parameters of an object. At first, the colour is set on the surface, augmenting the tactile sensation of interacting with the cup. Second, the colour submerges into the structure and it’s vibration becomes fluid. The colour becomes a feature of the structure and are together modified by the human gestures of using a cup: holding it, pressing the lips against it or maybe a nervous movement of the hand around the surface. From an abstract point of view, using the cup may lead to the erosion of the surface until reaching porcelain’s translucent limit.
mud. is a playground we’re taking seriously. a space for self knowledge and expression, a space for free manifestation, an opportunity to interact with the world. we want it to be uncensored and personal. we’d like to push the limit of effervescence and be a bit surreal.
ROMANIAN DESIGN WEEK APPEARANCES
2017 // SERIES OF CUPS
The series of cups reminds users of the fascinating structures that make up the human organism. And humans are far more than a sum of physyological miracles. Remind yourself more often that you're a natural wonder.
soul, mind and bone are the first 3 of 5 cups that challenge the line between design and arts.
2016 // Colour Structure Cup
The collection summarizes a study regarding the relation between the physical parameters of an object. At first, the colour is set on the surface, augmenting the tactile sensation of interacting with the cup. Second, the colour submerges into the structure and it’s vibration becomes fluid. The colour becomes a feature of the structure and are together modified by the human gestures of using a cup: holding it, pressing the lips against it or maybe a nervous movement of the hand around the surface. From an abstract point of view, using the cup may lead to the erosion of the surface until reaching porcelain’s translucent limit.
