Váza váz

The idea for this hybrid prod­uct is con­nect­ed with Maxim Velčovský’s pen­chant for pressed glass. The design involves sev­er­al exist­ing glass­es and vas­es arranged in a cir­cle, with the emp­ty cen­tre giv­ing rise to a new prod­uct. The selec­tion includes the icon­ic Filigree porce­lain vase by Dan Piršč, a leg­endary beer mug with lens­es by Jiři Brabec, an “ice” glass by Tapio Wirkkala, as well as anony­mous pieces.

Maxim Velčovský uses the glass­es like a build­ing kit. He places them on top of one anoth­er, at oth­er times arranges them bot­toms up.

In anoth­er plan, it is a con­tri­bu­tion to the top­i­cal dis­cus­sion on the sub­jects of inspi­ra­tion, cita­tion, theft. It is an open con­fes­sion to con­ti­nu­ity and artis­tic inter­de­pen­dence, as the vase could not have been cre­at­ed with­out the exis­tence of the artist’s pre­de­ces­sors. At the same time, the design involves terms such as com­pi­la­tion, post­mod­ern quot­ing and remix. 

Optical qual­i­ties of the vase are based on the fact that it looks dif­fer­ent from each side, as well as on the mate­ri­al­iza­tion of the neg­a­tive shape that one can only per­ceive when it is trans­ferred into a sol­id form. The com­po­si­tion prin­ci­ple and mul­ti­ple sources are also reflect­ed in the non-retouched traces of a saw.

The whole is rem­i­nis­cent of an ancient ruin, a desk-design ver­sion of the Piranesi-esque ide­al and a direct cast of var­i­ous his­tor­i­cal ayers.

Created for Křehký in two ver­sion of dif­fer­ent formats.