Interviews with Kazoo Design
Designer profileDesigner of the Day Interview
14 July 2024
For the last 10 years we have collectively and separately had the privilege to work on a diverse range of projects, including building projections, and 3D visuals for various ads, documentaries, tv series, movies and architectural visualization projects. Our tasks involved modelling, rigging, animation, camera layout, texturing, shading, lighting and compositing. We later felt that we could print our 3D designs but didn’t know how to make that into a valuable business. We chose naturally that we like designing objects for homeware since we spent a lot of time on designing and decorating our own home. We have concentrated our 3D knowledge into making design objects for homes.
We chose to become designers because we were tired from the CGI industry we were working for and wanted to work on the creation of our own projects. Up to that point, for the most part we had been involved in the production of CGI content that always came from a specific script/blueprint and had to be made with the director’s vision and a client’s deadline. Also, we felt that so many skills we had acquired from all our previous jobs could be all put together for designing an object. Honestly, we don’t know if getting into design was the “appropriate” decision, since we had no proven proof that it would lead us somewhere. We think it was more an internal drive that told us we may have a future in it.
All the objects we design, have been designed digitally. We mostly use software that have been created with visual effects artists in in mind and not really industrial designers. At the same time though, we feel very confident using them and don’t find the need to refer to dedicated designers' software.
We see the whole design process as going on a journey. You may be mostly interested in actually designing something like you want to visit the place you have selected in the first place, but at the same time everything that happens before and after that is an integral part of the overall experience.
Kostas: I think the fact that for many years I worked as a 3D Generalist really helped me me become a designer. Being a 3d generalist means that you can pretty much undertake a project from start to finish without needing to rely on anyone else. This certainly made me understand the importance of being able to first learn and then know how you can start from an idea and go all the way to the final product using your own strengths. Knowing you can do this gives you the confidence to overcome any obstacles that you are bound to meet along the way. Also, I would say music and photography have shaped my thinking and have paved the way for me to get into designing. The first helped me create structure in my work while the latter strengthened my sense of observation of light and shadow. My design journey has been very pleasant up to now. I have mostly had to deal with many challenges post design and specifically production. They have all been very helpful in the long run, but when I had to deal with them I did regret having to deal with them many times.
Zeynep: I really enjoyed being a 3D Generalist since like Kostas, I believe it helped us a lot in establishing a solid base for designing products. I come also from a Graphic Design background so I feel that I developed a good eye for design and color.
Zeynep: I really enjoyed being a 3D Generalist since like Kostas, I believe it helped us a lot in establishing a solid base for designing products. I come also from a Graphic Design background so I feel that I developed a good eye for design and color.
We’re trying to evolve either by coming up with different design styles, or by experimenting with new materials or even by new painting techniques. Our future plans involve moving to a bigger workshop and collaborating with more people.
We still consider ourselves to be in the beginning of our design career, since we only started designing 5 years ago, so we’re sure we have many things to learn still. If we could offer one piece of advice to anyone interested in becoming a new designer is to load their arsenal with as many skills as possible. For us, modelling, rigging, animation, lighting, staging, camera layout, compositing and photography have been very helpful in designing. Also, although we sometimes borrow elements from our past designs and pass them on to newer ones, we prefer to come up with something fresh each time in order to evolve as designers. Best piece of advice we have received is that inspiration is out there everyday. You just need to learn to see it.
Nowadays, we think there are way too many distractions when it comes to all the digital tools that are out there. Every single one is promising something that the other one can’t do. It’s very easy to get lost into trying to learn them all, but that doesn’t necessarily mean you actually need to. For us sticking to one software most of the time (the one we felt most confident and happy using) and trying to make everything there, was a very liberating move. Also never stop observing everything around you and never give up! Sure, some people are born with natural talent, but for the rest of us, becoming good at any creative profession involves many hours of practice. You’re bound to get better the more you work on your designs.
Our days seldom look the same. Depending on the day we may be designing new objects, designing molds for those objects, setting up prints for protoypes/molds ,post-processing the 3d prints, casting/cleaning up/painting/varnishing copies, communicating with clients, keeping track of orders/stock and preparing deliveries. We believe that being involved in many different tasks doesn’t allow us to get bored of our job.
We don’t keep up with design trends nor do we try to design based on what’s trendy today. We’re sure design trends matter to many people but it’s not something we try to achieve. Knowing that whatever we’re putting out there reflects a piece of our souls and anyone who buys it is on the same page as us, makes us a lot happier. Inspiration sometimes comes from observation and other times it simply comes out of the blue.
Kostas: I’m very lucky to be on the same team with my wife. We will be each other’s harshest judge (OK maybe I’m a bit worse) so if we pass each other’s test we think the design has a good possibility of being “good”. A very good lesson we’ve learnt during our brief experience in the design sector is that while it may be important to have a good design, it’s also important for it to be “producible”. Up to now I think that I would describe a design as being good if it catches my eye and instantly makes me think “wow, that’s a great design”.
Zeynep: I feel that for me a good design usually shows when it doesn’t give the feeling that it’s just a trendy object, but rather displays great complexity and does stand the test of time. I believe some of the best designs actually look very simple but are rather complicated to make.
We do give each other a lot of criticism for our own designed objects and try to produce designs that are innovative and unique. And surely Kostas is the harshest judge out of the both of us.
Zeynep: I feel that for me a good design usually shows when it doesn’t give the feeling that it’s just a trendy object, but rather displays great complexity and does stand the test of time. I believe some of the best designs actually look very simple but are rather complicated to make.
We do give each other a lot of criticism for our own designed objects and try to produce designs that are innovative and unique. And surely Kostas is the harshest judge out of the both of us.
Aside all our designs, we have been lucky enough (initially we thought it was a bad thing) to be involved in the production of most of our objects. This has given us the ability to be able to understand how to make molds and later on produce copies. During the design process we will also troubleshoot the production side of things, so when we know that we have something that can be produced and we’re happy with it’s form and function we’ll call it done. At the same time like with anything in art, there’s always a reason to add/remove something to/from it but we think that we’re at the stage where we’re not fighting with these demons as much.
We’re in an in between phase right now in which we really have mastered making molds for smaller objects but we would like to test ourselves with bigger but lighter objects. One of these objects is the Knot Lamp. We have designed the mold so that it’s 50 cm diameter. It’s currently still in production stage with some other larger pendant lamps we are testing from different materials. It’ll give us great joy once we master working with bigger molds, since even handling the molds is quiet difficult let alone mastering making copies from the mold.
Kostas: I admire Gaetano Pesce's work.
Zeynep: I do like Jonathan Adler's designs. He also started with his passion for ceramics and making every piece himself and later grew quiet a lot. His story is quiet inspiring.
Zeynep: I do like Jonathan Adler's designs. He also started with his passion for ceramics and making every piece himself and later grew quiet a lot. His story is quiet inspiring.
Kostas: I find pleasure in the simplest things in life and love coffee. I’ve visited a few cities but the one that stuck with me the most was Bilbao. I rely on music I love to get the rhythm I need during my working hours but I listen to a lot of music when not working also. I believe my culture effects my design process but probably gaining different stimuli from all the countries I’ve lived in effects it more. In life, design can be found everywhere. From the water bottle we drink from every day, to the shoes we wear, to the chair we sit on, the music we listen to, the small cafe we pass by on our way to work and the list goes on. Every single thing had to go through countless revisions as well as versions in order for our lives to become better. I’d say that thanks to being involved in design I appreciate more the work any individual has put in for the creation of a product or project.
Zeynep: I find London to be very inspiring. When I was studying there I felt that there is so much art and design everywhere in the streets and coffee shops, many concerts to attend to and museums to visit. I like listening to music or podcasts while crafting our handmade copies. We are currently working on our big pendant lamps that we would like to release during this year.
Zeynep: I find London to be very inspiring. When I was studying there I felt that there is so much art and design everywhere in the streets and coffee shops, many concerts to attend to and museums to visit. I like listening to music or podcasts while crafting our handmade copies. We are currently working on our big pendant lamps that we would like to release during this year.
We will continue to work on projects that excite us and make us feel very proud to have been a part of. For the most part we (Kostas & Zeynep) work alone but in the very near future we would like to start working with more people who are as passionate as we are.
Design Interview
14 July 2024 · Loop Candleholder
1. An object that can support itself on three legs and is stable
2. Be made to look like it was made with a single stoke.
3 use an array of only one shape (the circle in this case)
2. Be made to look like it was made with a single stoke.
3 use an array of only one shape (the circle in this case)
We wanted to make an object that looked like it was made with one stroke.
We are experimenting with different pigmenting techniques and color variations
The design of this object didn’t take more than a few days. The most time was spent in designing the 5 part mold for it.
The project was an idea that came to mind and turned into a final product.
We are currently producing this item in our workshop.
The main driving force was to make a candleholder different from the majority of candleholders made for tall candles.
The Alessi Juicy Salif Citrus Squezzer designed by Phillipe Starck was most likely a reason to go with a three-legged object
The target customer is people who love unique handmade, modern home decor items.
Probably the fact that we have a candleholder made for a tall candle, that’s short and broad.
The object can be seen a single stroke object resembling a loop. Usually when we think of a loop a circle comes to mind. The only difference here, is that we are talking about 4 interconnected circles instead of just one.
Softimage for designing the object as well as the molds and Zbrush for creating booleans.
Probably the height/width/length ratio of a candleholder designed to house a tall candle.
We worked on this project from start to finish.
The object and its’ mold were designed digitally and were then 3d printed.
No it wasn’t.
The biggest challenge was to design the object’s mold.
We decided to see what an international board of judges would think about this design.
We definitely improved our mold-making skills and since then we’ve felt more confident in using a multi-part mold.
No. Thank you very much for the interview.
Design Interview
14 July 2024 · 428 Candleholder
In sculpture, one of the challenges artists face is to find a way to integrate a base for their structures (when the artwork cannot support itself) that will also blend with their artwork and will not stick out too much. This project was a study to see how something that starts from a basic primitive can transition into a more complex one while retaining a seamless nature.
This object started off as a geometrical study. We wanted to achieve a tall candleholder that was not just a basic cylinder but rather has so much interplay and looks quiet architectural.
We would like to release metal versions of this object. We have had one made for ourselves and we like how it’s looking.
The project took a couple of days to come to life. The majority of the time spent went into revising the mold.
This design idea was not commissioned. We wanted to add a tall candleholder to our collection of objects.
For the time-being we are producing this item in our workshop. If it were to be made out of metal we would most likely commission it to a metal maker.
It came out from the need to design a candlholder that can support a tall candle.
This design is intended for people who like modern homeware items.
Candleholder 428 is pronounced as 'Candleholder four to eight'.
The design starts from a 4 sided shape (square) and ends in an eight sided one (octagon) while passing from a pentagon, hexagon and heptagon. The name refers to a 4 sided shape turning into an 8-sided one
The design starts from a 4 sided shape (square) and ends in an eight sided one (octagon) while passing from a pentagon, hexagon and heptagon. The name refers to a 4 sided shape turning into an 8-sided one
Softimage for designing the object as well as the molds and Zbrush for creating booleans.
We think that the most unique aspect is the interplay of tones between highlights and shadows on the object’s surface.
We worked on this project from start to finish.
The product was designed digitally and its’ prototype was 3d printed so technology had a pretty important contribution to its’ creation.
No it’s not.
The biggest challenge involved making a one part mold in order to avoid dealing with seam clean-up.
We decided to see what an international board of judges would think about this design.
We really enjoyed designing with curves.
No. Thank you very much for the interview.
Design Interview
14 July 2024 · Swirl Lamp Lighting
We wanted to see if we could use a food decorational element as a functional household object and specifically a lamp.
We wanted to make a lamp that would not only produce nice lighting but would also be charming to look at and would put a smile on someone’s face.
We would like to make different versions using different coloring techniques.
The protoype took a few days to be completed. Most of the time spent went into all the different versions of the molds we had to make when we shifted its’ production to acrylic resins from ceramics.
The project was an idea that came to mind and turned into a final product.
We’re in the process of producing different colour variations. In the future, if we decide to go with another material we may consider working with another producer.
We wanted to get into designing lamps and we wanted our first lamp to have a funky, minimal but also edgy character.
None we can think of.
People who like unique pendants.
The swirl is referring to the nature of the object’s rhythm from base to tip.
Softimage for designing the object as well as the molds and Zbrush for creating booleans.
We like how the lamp hat flows into the brass tip.
The first versions we released were made out of ceramics so we worked with some local craftsmen/producers for the molds and the copies. Since we shifted the production to acrylic resins we designed and made the molds for them as well as produced the copies ourselves.
The object and its’ mold were designed digitally and were then 3d printed.
The biggest challenge was figuring out how to make a shelled object using acrylic resins.
We decided to see what an international board of judges would think about this design.
We strengthened our mold making skills and learnt many new methods for creating shelled objects with acrylic resins.
A few months after releasing the swirl lamp, we created its’ complementary partner, this time using convex profile curves instead of the concave ones found in first one.
Design Interview
14 July 2024 · Nose Bookend
Throughout the years, we needed to buy bookends for our books but with very few exceptions we couldn’t find something we really liked. We believed we could make something nice and playful but also fully functional when it came to doing it’s job, supporting books on a shelf.
We aimed to design two complementary objects that not only showcased aesthetically pleasing form, but also served a practical purpose.
Make versions in many different colours and use it as a canvas to create different patterns.
Since coming up with the idea, within a couple a weeks time we had our first copies.
The project was an idea that came to mind that later turned into a final product.
We are producing all the copies in our workshop.
We wanted to create an object deriving from an anatomical feature of a person. We felt like the nose with its’ triangular form was the ideal feature to draw inspiration from and design a bookend.
The Areaware HARSKG Roller skater door stopper designed by Harry Allen that sits on our bookcase and supports our books very well was an inspiration for coming up with a non-conventional bookstand.
The target customer is booklovers and art admirers since it will grab attention wherever it's placed.
We think it combines a good balance of form and function.
It’s self-explanatory.
Softimage and Zbrush for designing the object as well as the molds and Zbrush for creating booleans.
The opposing nature of the concave/convex profiles found in the two different noses types create a complementary union.
We worked on this project from start to finish.
The object and its’ mold were designed digitally and were then 3d printed.
No it’s not.
We decided to see what an international board of judges would think about this design.
Both noses have been inspired by two musicians we admire. We have chosen not to mention who they are in order to not make the objects seem like memorabilia for the groups they were part of.
Design Legend Interview
14 July 2024
Kostas: I have no background in design and I could say that I was self-taught, although I have worked in a few jobs where design was a key element. I studied forestry in university and before finishing my degree I got sucked into the world of CGI and specifically 3d modelling/animation. After endless hours of reading and practising 3d I got a job in a studio specializing in architectural visualizations. As my tasks started becoming too repetitive I went on to study 3d animation and visual effects in Vancouver. After that, I worked for a post-production studio in London for 3 years and later on moved to Istanbul where I worked for various visual effects projects.
Zeynep: I come from a Graphic Design background where I studied a lot of Color Theory, Calligraphy and general Design theory at school. During the final years of University, I have started getting interested in 3D generated imagery. The first advertising company I’ve worked at after school, there was only one person who was doing 3D and he had an upper hand compared to more traditional artists, using pen and paper. So, later I decided to do sttend a 3d animation & Visual effects programme in Vancouver Film School, where I studied in depth 3D Animation. I also met my husband and future co-partner there and after years of working for advertising, movies and several television series we are excited to use our 3D expertise to create innovative homeware objects that bring out a unique style.
Zeynep: I come from a Graphic Design background where I studied a lot of Color Theory, Calligraphy and general Design theory at school. During the final years of University, I have started getting interested in 3D generated imagery. The first advertising company I’ve worked at after school, there was only one person who was doing 3D and he had an upper hand compared to more traditional artists, using pen and paper. So, later I decided to do sttend a 3d animation & Visual effects programme in Vancouver Film School, where I studied in depth 3D Animation. I also met my husband and future co-partner there and after years of working for advertising, movies and several television series we are excited to use our 3D expertise to create innovative homeware objects that bring out a unique style.
Kostas: It is a way of expression. Some people do it by writing novels, others by composing music, others by singing, other by cooking. For me designing is the closet form of expressing my inner self.
Zeynep: The idea that our handmade designs could one day find their way into someone's home or coffee shop, becoming an integral part of their daily routine, motivates me to create with the intention and care. I take pride in knowing that every object we craft will soon be treasured by someone who will appreciate its place in their life. Our products are not very common house objects, usually they have some twists, so I believe the customers who purchase also appreciate the uncommon designs.
Zeynep: The idea that our handmade designs could one day find their way into someone's home or coffee shop, becoming an integral part of their daily routine, motivates me to create with the intention and care. I take pride in knowing that every object we craft will soon be treasured by someone who will appreciate its place in their life. Our products are not very common house objects, usually they have some twists, so I believe the customers who purchase also appreciate the uncommon designs.
Kostas: I chose to become a designer, thinking I would have a chance to be good at it.
Zeynep: Initially, I was encouraged by my husband to focus on designing homeware items, which was a departure from what we were used to doing. However, we wanted to expand our impact in the industry and felt that homeware design would provide us with a larger platform.
Zeynep: Initially, I was encouraged by my husband to focus on designing homeware items, which was a departure from what we were used to doing. However, we wanted to expand our impact in the industry and felt that homeware design would provide us with a larger platform.
We design household objects. We would like to design furniture and maybe one day a house to live in.
Certainly not stop designing and try-out new things as much as they can.
A very fine line distinguishes the two and the biggest difference is usually a final push
A good design usually addresses a common, everyday problem, and a small design tweak can lead to a significant time savings and reduced frustrations. And other times it just brings more joy to your day.
The value of good design is unmeasurable. It is a reason to thrive to move forward and evolve for the better.
We would design toys for our children. And maybe some wall tiles.
We would like to one day design a house for our family, based on everyone’s needs.
A passion for what we do is probably a key element. We also always try to develop new skills/styles
Gaetano Pesce, Konstantin Grcic, Ronan & Erwan Bouroullec, Big-Game
Flos Aim by Ronan & Erwan Bouroullec. We like it since it's a very smart and unusual design for a pendant lamp.
Herman Miller Aeron Chairs. We have been sitting on them for the last 10 years, they have not aged or gotten rotten and they are perfect for long term sitting and working.
Herman Miller Aeron Chairs. We have been sitting on them for the last 10 years, they have not aged or gotten rotten and they are perfect for long term sitting and working.
We think our greatest design is one we have finished working on but haven’t released yet.
We designed again and again and again. Not every design that you have sketched out or blocked out will end up turning into a new object but you’re bound to get better with practice and eventually some of them will be realized into something.
We probably would have continued creating CGI.
For us, design is a very creative way for solving problems.
We have been each other’s biggest supporter. If we both weren’t involved in this entire process we wouldn’t have made it up to here.
A passion for what we do.
Second thoughts of whether or not shifting to design was the right move for our career.
They should probably put themselves in the position of the audience they are referring to and see if the way they’re presenting their work would satisfy them, if they were the audience and not the designer.
Many more lamps and objects will be coming out soon. Furniture is also something we are looking into getting into.
To be able to do what we’re doing until the end of our career and inspire the next generation of designers
To continue doing what we’re doing by constantly pushing boundaries.
Good design inspires people to come up with even more well designed things and subsequently creates a better habitat for people to live in.
We are working on some new large pendant lamps, some of which will be made from porcelain while others from acrylic resin.
The less intricate projects made us understand that a good design can come out of a more minimal approach.
Since we are very involved with 3D and digital art, and it looks like with AI growing it’s roots in every industry. While it's possible that AI-powered design tools may enable designers to create with greater ease by simply typing in descriptions, it's essential to remember that the true value of design lies not just in the technical skills, but in the creative vision, emotional intelligence, and human touch that only a designer can bring.
It really depends on the project but usually not very long. Time spent on the design of a project and the release of a prototype varies from a week to a few weeks. However we choose to block out many ideas and come back to them later on in time in order to finalize the ones we like the most.
We usually start by discussing how we can produce it or if we can produce it or if it’s better to collaborate with some other crafts maker. We usually start and finalize the design and the mold in 3D.
Off to the next one!
We would like to think it’s only the former but it’s surely both.
We design digitally and 3d print our prototypes so technology plays a pretty important role in the creation of our objects.
We use software that were originally created for VFX/animation, since we’ve worked with them for many years and have become very confident using them.
Color and material are fundamental components of design, as they collectively set the tone and mood of an object. While we often design with bold color options, we also consider alternatives to cater to those who prefer a more subtle color palette. Material choices, too, play a crucial role in defining the object's character, whether it's lightweight and airy or heavy and substantial, transparent or opaque.
We're excited to share that our process combines both traditional handcrafting and digital design. By exploring the intersection of manual craftsmanship and digital modeling, we can demystify the often-unknown art of computer-aided design and we would appreciate if people asked whether computer generated design is as hard as the traditional way of designing and crafting. It truly is.
We’d like to meet the designer to understand more about the way he/she thinks.
Our ideal design partner is one another and we do believe in co-design.
We tend to work independently from others, minimizing the number of opinions to avoid confusion. As a result, we actually influence each other quite a bit.
Eliot Goldfinger’s: Human Anatomy for Artists
Kostas: Most design skills I have acquired have come from studying the work of architects for whose projects I worked on, from my background as a modeller/rigger for visual effects project as well as studying and practising photography.
Zeynep: I come from using different mediums to make art. I have made projects using videography, letterpress, physical sculpting, life drawing, digital art, and all these and more have shaped my way of looking/seeing and thinking a lot when we are designing.
Zeynep: I come from using different mediums to make art. I have made projects using videography, letterpress, physical sculpting, life drawing, digital art, and all these and more have shaped my way of looking/seeing and thinking a lot when we are designing.
This is the first competition we ever participated in. We are very happy with the awards and recognition we have received but don’t consider ourselves to be famous.
Kostas:
Favourite colour : Orange
Favourite place: Bilbao
Favourite food: Greek Salad
Favourite thing: Digital Calipers
Zeynep: Favourite colour : Blue
Favourite place: London
Favourite food: Pasta
Favourite thing: Our Letter Phone Stands. I use the Z on my desk.
Favourite colour : Orange
Favourite place: Bilbao
Favourite food: Greek Salad
Favourite thing: Digital Calipers
Zeynep: Favourite colour : Blue
Favourite place: London
Favourite food: Pasta
Favourite thing: Our Letter Phone Stands. I use the Z on my desk.
When we came up with the 428 candleholder we wanted to see if we can produce in metal. Not having any experience in metal making we asked around and finally referred to a metal maker that we had found via someone else. He asked for us to provide him with wax copies of our object in order for him to make the bronze casts.
A few days later we went back to him with the wax copies and asked him to provide us with metal copies that were polished. He said he understood what we wanted so we left and waited for his call to tell us when the copies would be ready in order to go pick them up.
A week or two later we received his call and went by his workshop in order to go get the copies. To our surprise, the copies he gave us looked nothing like the wax copies we had given him since he had sanded out most of the object’s edges. He kept insisting that this was what we had asked him to do. We explained to him that we didn’t want the form of the object to change but only wanted it to be polished. In the end and after an hour of fighting, another metal smith from next door had to drop by in order to explain to him that he had totally messed up and what he wanted to deliver was clearly not acceptable. Luckily enough, we later on found another craftsman to make a metal copy for us but the whole proved to be very overwhelming and kept us away from making metal objects.
A few days later we went back to him with the wax copies and asked him to provide us with metal copies that were polished. He said he understood what we wanted so we left and waited for his call to tell us when the copies would be ready in order to go pick them up.
A week or two later we received his call and went by his workshop in order to go get the copies. To our surprise, the copies he gave us looked nothing like the wax copies we had given him since he had sanded out most of the object’s edges. He kept insisting that this was what we had asked him to do. We explained to him that we didn’t want the form of the object to change but only wanted it to be polished. In the end and after an hour of fighting, another metal smith from next door had to drop by in order to explain to him that he had totally messed up and what he wanted to deliver was clearly not acceptable. Luckily enough, we later on found another craftsman to make a metal copy for us but the whole proved to be very overwhelming and kept us away from making metal objects.
We try to think of something very hard to make and then recall the times when we thought the same for any past project but ended up making it.
Kostas: When I was young I always admired artists involved in different forms of art. Strangely enough it wasn’t what I studied in university but life came about and I got into it.
Zeynep: Not really, I enjoyed drawing and painting when I was a child. Only after putting a lot of practice in it I felt I could finally make a career out of it.
Zeynep: Not really, I enjoyed drawing and painting when I was a child. Only after putting a lot of practice in it I felt I could finally make a career out of it.
We pour our hearts and souls in every item we design and we plan on moving on same way for the rest of our careers.
Designer Interview
14 July 2024
Κostas: My involvement in any form of art probably started in my childhood years while I was studying piano and later on classical/electric guitar. I have always been into music, photography and movies. In regards to music and photography, I really enjoyed experimenting with making them myself from a relatively young age. Design and architecture have always been something that I have admired greatly, but since they weren’t something I studied in university they remained a mere passion. A series of events most likely led me to become a designer. I studied forestry at the Aristotle University in Thessaloniki and at some point participated in some seminars (outside the university) that introduced me to the digital 3D space. My tutor was Christos Vasdekis and is one of the most inspiring tutor/professors I have ever come across in my lifetime. I was amazed by the whole concept of being able to create a three dimensional object and edit it at my will. This urged me to improve my skills by spending endless hours practising it at home. With my colleague Thomas with whom we had attended the seminars together we did our thesis on making a digital 3d guide of our university’s facilities. From there, I went on to work for a company that specialized in making architectural visualizations, later on studied 3d animation and visual effects in Vancouver, worked in a post-production studio in London and eventually moved to Istanbul where I worked on VFX projects and and currently apply my skills as a designer.
Zeynep: I have decided to study something related to Art after graduating high school. I didn’t know which form of art I liked or would be good at so I started my Foundation Art studies in Maryland Institute College of Art in Baltimore, USA. Later I picked up Graphic Design as my major and completed my studies in Middlesex University, UK. While studying Graphic Design at College, I discovered 3D Modeling and Animation. After working for some advertising agencies in İstanbul, Turkey and realizing that I could further develop my technical skills in 3D, I decided to attend 3D computer Animation in Vancouver, at Vancouver Film School where I also met my future partner in life and co partner at work. So, I cannot say that I always wanted to be a homeware designer per se but I always loved Art and Design combined and pushed on my technical skills to later be able to have a vast imagination and be able to create and make the designs without any technical restrictions.
Zeynep: I have decided to study something related to Art after graduating high school. I didn’t know which form of art I liked or would be good at so I started my Foundation Art studies in Maryland Institute College of Art in Baltimore, USA. Later I picked up Graphic Design as my major and completed my studies in Middlesex University, UK. While studying Graphic Design at College, I discovered 3D Modeling and Animation. After working for some advertising agencies in İstanbul, Turkey and realizing that I could further develop my technical skills in 3D, I decided to attend 3D computer Animation in Vancouver, at Vancouver Film School where I also met my future partner in life and co partner at work. So, I cannot say that I always wanted to be a homeware designer per se but I always loved Art and Design combined and pushed on my technical skills to later be able to have a vast imagination and be able to create and make the designs without any technical restrictions.
We (husband and wife Kostas and Zeynep Paradeisopoulos) created Kazoo in 2020 as a way out from the visual effects sector that was becoming more and more exhausting with lesser budgets and shorter deadlines. At the same time we were expecting our first child and couldn’t imagine that this was how our life would be with a new baby. The initial thought behind it was that we could do something that we’re skilled at and at the same time dictate the terms for the creation of any object we decide to design/produce. It was definitely a wild move to make but we are happy with how it’s going up to now.
Design is a form of expression and communication that solves problems and enhances peoples’ lives.
We enjoy creating projects that challenge us to think outside the box and employ different design strategies compared to our past design works.
We like all the things we have designed equally. Maybe we have a special connection with our “wall nut” since it’s one of the first things we designed/made. It’s one cotyledon (half a walnut seed), made to hang from a wall. We saw a resemblance between the walnut and the human brain, so we decided to give it a pink hue in order to make the connection even more apparent. It has become one of our pop art design objects that we still relish.
The first thing we designed for our company was the 428 candleholder and the Wall Nut.
We are using Jesmonite in our latest products and we are very happy with it. Definitely the 3D printer is our favourite form of technology since without its’ existence we most likely we would have never gotten into creating a homeware design brand.
We actually like blocking out ideas separately in solitude while listening to music, most likely on the computer. We like the night time better for designing, when the chaos of the day’s tasks are finalized and there is more space and time to be spent creatively without distractions.
Form and texture are our primary focus, but we always keep function in mind.
Kostas: I feel at peace. Feelings of excitement come in when solving challenges that at first glance may have seemed unsolvable.
Zeynep: I feel that designing is mostly fun. I do have many ups and downs since there are many challenges but when the design is finally made, I feel happy.
Zeynep: I feel that designing is mostly fun. I do have many ups and downs since there are many challenges but when the design is finally made, I feel happy.
We feel very lucky to be able to do this as a job.
The goal is to captivate the audience while simultaneously sending the intended message across.
Thought process that went into it in the first place
We know for a fact that we are using resources either by consuming electricity when our computer is on while we’re designing, or when we’re melting filaments while printing prototypes, or when we make molds in order to cast copies and finally we use whatever material we are using for the casts. I think our responsibility is to do our best in order to ensure that the final product is something that people would ideally like to own for a lifetime and not something that will end up getting dumped in a landfill in the very near future.
The design field is evolving very well especially with the use of new technologies like CNCs and 3D printers. The future of design is looking very bright. We just want to believe new designs won’t rely on AI for their creation.
We have not held an exhibition in any gallery. Our objects have been exhibited in the shops we have had been working with throughout the years.
Kostas: By observing the real world but it mostly comes when I least expect it. That’s why I always to to block out an idea when it comes to me in order to not forget it. I also try to feed my creativity by listening to music and watching movies and going for walks around the city we live in.
Zeynep: First I come up with a question like whether an everyday object be designed differently or something that has been done a specific way can be improved with the latest technological availabilities. Later I try to merge concepts and draw some ideas on my ipad and we discuss whether our design ideas can be produced and what path we could follow to make it happen. I get a lot of inspiration from my husband and like sharing my ideas with him since we both use 3D as our base, and therefore we share a common communication language. So I feel privileged in our studio that we can take a simple idea and turn it into a standing object. My main sources of inspiration is nature.
Zeynep: First I come up with a question like whether an everyday object be designed differently or something that has been done a specific way can be improved with the latest technological availabilities. Later I try to merge concepts and draw some ideas on my ipad and we discuss whether our design ideas can be produced and what path we could follow to make it happen. I get a lot of inspiration from my husband and like sharing my ideas with him since we both use 3D as our base, and therefore we share a common communication language. So I feel privileged in our studio that we can take a simple idea and turn it into a standing object. My main sources of inspiration is nature.
We don’t think of designing based on a certain style and we never try to follow trends. We rather like experimenting with as many styles as possible and not restric our designs to styles. Our main objective is to keep evolving as designers.
Kostas: I come from Athens, Greece but for the last decade I have been living in Istanbul, Turkey. I think my cultural heritage has always been a reason to try to excel in what I’m doing since there are many artists who come from my country that I strongly admire.
Zeynep: I was born in Istanbul, Turkey but I try not to restrict my imagination to my cultural background. I believe that İstanbul specifially is a city mixed with many different cultures and this is what I like the most about living here, that I get to experience different flavors of societies and mixture of East and West but also this cultural diversity sometimes brings challenges in navigating communication barriers.
Zeynep: I was born in Istanbul, Turkey but I try not to restrict my imagination to my cultural background. I believe that İstanbul specifially is a city mixed with many different cultures and this is what I like the most about living here, that I get to experience different flavors of societies and mixture of East and West but also this cultural diversity sometimes brings challenges in navigating communication barriers.
We are currently designing for our own brand, but are open to collaborations with other companies in the near future.
We recommend that companies entrust designers with the creative freedom to execute their vision, as this can lead to more innovative and effective designs. Additionally, a shared understanding of the project's goals and incentives can foster collaboration and streamline the design process
Kostas: Throughout the years I’ve had to use many 3D packages for the various jobs I have participated in. As a result I feel very confident using them and rarely grab a pen or pencil in order to sketch out a design.
Zeynep: I do scribbles of ideas on the Procreate on my ipad but later model the design and collaborate closely with my husband on the 3D model to refine the design and make any necessary adjustments before moving forward.
Zeynep: I do scribbles of ideas on the Procreate on my ipad but later model the design and collaborate closely with my husband on the 3D model to refine the design and make any necessary adjustments before moving forward.
1. Around the Clock by Gaetano Pesce
2. Eames LCW by Charles and Ray Eames
3. Uten.Silo Wall Organizer by Dorothee Becker
4. SUM shelves by Peter Marigold
5. HAY CPH30 designed by Ronan & Erwan Bouroullec
2. Eames LCW by Charles and Ray Eames
3. Uten.Silo Wall Organizer by Dorothee Becker
4. SUM shelves by Peter Marigold
5. HAY CPH30 designed by Ronan & Erwan Bouroullec
Throughout the day we will be involved in one or more of the following tasks:
- designing a prototype of a new object
- designing the mold for a new object or revising a mold of an older object
- setting up 3d prints for prototypes/molds
- post-processing prototypes
- casting copies
- cleaning-up casted copies
- painting/varnishing casted copies
- making a plan for what object we will be designing next
- designing a prototype of a new object
- designing the mold for a new object or revising a mold of an older object
- setting up 3d prints for prototypes/molds
- post-processing prototypes
- casting copies
- cleaning-up casted copies
- painting/varnishing casted copies
- making a plan for what object we will be designing next
We would recommend that they design as much as possible.
Design, like any other form of art is food for the soul. We know that it may not be the safest bet in order to pick it as a profession since there is no guarantee for success but that still doesn’t mean we shouldn’t try if we feel attracted by it. On the positive side it inspires us to move forward as a humanity, become better people and solve problems. On the negative side it is a very competitive job like most creative professions and will most likely require way more working hours compared to many other jobs.
Don’t copy. We most likely copy unconsciously the things that have inspired us throughout our lives, so there’s no need to do it consciously also. Dive deep into your soul and let your true self shine through.
An eye for analysing form but also the skills to be able to translate that idea in their head onto a canvas.
Softimage, Zbrush, Affinity Designer and Procreate are what we use most of time to design with. 2 computers , 3 FDM printers and 1 SLA printer are what we use for printing prototypes and molds.
We not only conceptualize the product’s design but also engineer the manufacturing process, investing countless of hours in resolving potential issues at the computer to ensure a seamless pipe-line later on. This proactive approach enables us to streamline the production line and manage our time with efficiency.
It really depends on the project. For simpler forms it might take us around a week. For more intricate ones probably a few weeks.
If we used our own noses as a reference for the bookend noses we designed.
Kostas: I have been lucky to have worked in a few types of jobs in 3 different countries. From every single one I have definitely learnt many important lessons. At the same time I have had the opportunity to work alone as well as part of a broader team. Every job had something to teach me and I don’t know if I can narrow it down to just one thing. If I had to answer I’d say finishing a project is the most important one.
Zeynep: My most important work experience has been at our own studio, where I’ve had to develop strong time management skills and self-motivation to drive my own productivity without any external guidance.
Zeynep: My most important work experience has been at our own studio, where I’ve had to develop strong time management skills and self-motivation to drive my own productivity without any external guidance.
In the past our clients were architectural firms, visual effects and post-production studios, advertising agencies and individuals. Currently, our clients are the people who buy our products.
Kostas: I am lately enjoying design using profile curves. In the past and when working as a modeller I used to do a lot of polygonal modelling. Since we shifted to designing objects, the majority of design workflow is done with curves.
Zeynep: I enjoy our designs that came out from the concept of making everyday objects and elevating them to a bigger scale: like our Thimble Pot or the Wall Nut. We not only got to create some pop art but also brought some color and joy into other people’s homes.
Zeynep: I enjoy our designs that came out from the concept of making everyday objects and elevating them to a bigger scale: like our Thimble Pot or the Wall Nut. We not only got to create some pop art but also brought some color and joy into other people’s homes.
We got into designing furniture for our own home and commissioned those pieces to local craftsmen/woodsmiths. We were very happy with the results and are considering to try our luck in furniture in the future amongst more homeware objects.
We work as a team.
We have a few works in progress. We’ll only say for now that we’re working on large pendant lamps.
Ideally by email.
We got into producing many of our items due to the difficulty in finding other producers that could deliver commissioned work on time and without quality issues. It would be great if there was a portal where designers and manufacturers could connect and collaborate on projects.
Grand Interview
27 October 2025 · Swirl Lamp Lighting
After getting inspired to use the meringue cookie as a form for the lamp hat of a pendant light we went ahead and photographed a meringue cookie we bought from a bakery. With the use of photogrammetrical software we created a 3d model of the cookie. This 3d model was only used to carefully study the meringue’s form. In the end, to achieve a more refined and symmetrical look, we connected a series of different curves, adjusting the proportions of the original cookie to acquire a clean symmetrical look. We modified the height-to-length ratio and altered the "belly" size of the cookie to ensure the desired design that we were looking for. The technical challenge was in balancing the organic aesthetic of the cookie with the precision needed for a lighting fixture, ensuring that it would be both elegant and structurally sound.
We’ve always had a strong appreciation for playful, vibrant hues, and we felt the Swirl Lamp would be a perfect canvas for a variety of color options. Regardless of the lamp’s exterior color, all the lamps’ interior dome is painted white. The white interior helps ensure the light reflected from the bulb remains neutral, preventing any color tinting since this makes for a more hard-to-use light while doing tasks like reading or dining, where natural, untinted light is essential. Beyond the functional aspect, we believe the combination of the bold exterior colors with the white interior adds a dynamic character to the lamp, giving it a versatility that allows it to fit seamlessly into different environments. The addition of two-tone variations, aside from the all-white version, enhances the lamp’s visual appeal, giving each piece a unique personality.
The Swirl Lamp Lighting is made from eco-resin Jesmonite, a versatile material, but it presented a unique challenge when creating shelled objects such as the Swirl Lamp. The primary difficulty with such designs is ensuring the mold can capture both the exterior and interior surfaces, especially when dealing with undercuts—features where one part of the design overhangs another. For objects without any undercuts you can use one mold that wraps around the object and get the desired thickness. However, in the case of the Swirl Lamp, since the design has an undercut, it becomes more complicated.To create the mold, we used a two-part molding technique. The outer mold, made from silicone, forms the external surface and is supported by a 3D-printed shell. The inner mold that’s used to render it’s internal surface and defines it’s thickness, is supported by a removable 3d-printed part, inserts into the lamp’s tip and this insert is designed to be rigid enough to maintain its shape during the casting process, yet is also flexible enough so that it can collapse to be inserted and removed. Finally the inner mold mounts on another 3d-printed part that in turn mounts onto the shell of the outer mold ensuring that the lamp’s thickness is maintained around the whole perimeter.
After carefully analysing the scanned Meringue’s form we designed the curves that defined its’ final form in a way to maintain the organic nature of the object as much as possible. We paid attention to all the peaks and valleys of every single curve in order to apply subtle changes that in the end made a big difference. For it’s practical lighting functionality we made sure to give it an appropriate scale primarily in order for all the lighting accessories (G9 light fixture, threaded cylinder, braided cable) to pass through and fit inside the lamp, but also to make sure we have the desired dome size for the light’s cone.
Our background proved to be helpful in a few different ways for the object’s creation. First of all being proficient with photogrammetrical software allowed us to capture a model of a small meringue cookie and analyse its form. Secondly, our modelling experience allowed us to come up with its’ modified symmetrical design, but most importantly gave us the ability to create the most complicated mold we had made up to that point. Thirdly, experience with 3d printing allowed us to print many different versions of the prototype in order to see how it looks in a given space. Lastly, experience with shading, lighting and rendering allowed us to previsualize it’s color and finish as well as the lamp’s light cone.
We’d like to think that this object will inspire other lighting designers to create lamps with forms deriving from everyday objects.
Since the beginning, we decided to use technology for designing, prototyping and mold-making but not for creating the final copies. We hope our customers understand the passion and hard work involved in creating any object from a cast and not from a direct 3d print. At the same time, we try to make every cast as clean as possible, knowing that this strips away it’s hand-crafted character.
Translucency is something we always really liked in so many different lamp shades. We knew from tests that we had performed in the past, that the material we wanted to use did have a translucent property up to a certain thickness. We made sure to design our molds in a way so that certain areas of the lamp have a thinner thickness allowing the object to be translucent when the bulb is switched on, while others areas had a thicker thickness, thus leaving them opaque.
We will surely be using similar concepts for future lighting projects. We already have a few concepts in the works for releasing more lamps that reference other types of food, but we don’t want to limit ourselves only to this type of lighting. Generally speaking, we prefer not to use traditional forms for the lamps we design and try to come up with something fresh.
After coming up with the swirl lamp idea, designing it and making it a final product we realized that any object’s form can serve a multitude of different purposes. It has made us observe the outside world even more and try to come up with different ideas for all sorts of objects. The biggest take-away from this project though is to not be afraid to design a mold as complicated as it may be, since in the end holding the final hand-crafted copy makes the whole process worth it.
Grand Interview
22 October 2025 · Loop Candleholder
The infinity symbol, represented by a loop of two interconnected circles, served as the foundation for our design. Our approach was to reinterpret this timeless symbol concept as a three-dimensional object that, when viewed from multiple angles, would always reveal the infinity shape. The symbol represents the concept of endlessness and the loops that we used for this object also have no beginning or an end.So for practical purposes, the three loops serve as the legs that hold the fourth loop which holds the tall candle in position. The placement of the leg loops at 120° intervals ensures that, from most perspectives, two loops create the illusion of the infinity symbol, while the third loop remains subtly hidden behind by the candle and, barely noticable.
The biggest engineering challenge in bringing the Loop Candleholder to life was designing its mold. Unlike previous objects we had created, this piece required a completely different approach. Instead of printing a full prototype, we broke the design into components. For the legs—the three large vertical loops—we printed a single prototype segment that, when rotated, repeats two more times to complete the structure.For the candle's insertion cup—the smaller horizontal loop—we used two separate mold parts. These parts were designed to render the area from the top and bottom, fitting seamlessly with each other and integrating perfectly with the other three parts. This modular approach allowed us to maintain the intricate geometry of the design while ensuring the production process was efficient and precise.
Our CGI background certainly proved helpful with all the pre-viz renders we did for different light scenarios, in order to decide on the right balance between the object’s positive and negative space.
The Loop Candleholder’s minimal design features a floating candle insertion ring, which, while visually striking, raised practical concerns about melted wax dripping. To address this, we introduced a tray that serves as a discreet wax collector, ensuring functionality without compromising the candleholder's elegance.We designed the tray with a minimal footprint and incorporated a twisting square profile along its border, mirroring the aesthetic language of the candleholder for seamless integration. Beyond its primary function, the tray is a versatile standalone piece, perfect for storing small items like jewelry, keys, or coins. In our workshop, we’ve found it particularly useful for organizing nuts, bolts, and small airbrush accessories.
The biggest technical challenge in creating the Loop Candleholder's five-piece mold system was determining the appropriate silicone shore hardness and the ideal curing time for the cast. The candleholder's delicate, thin, and intricate design made it especially fragile before fully cured. To ensure flawless results, we conducted several rounds of testing to fine-tune these variables, ensuring both the mold material and curing process would provide the necessary stability during production.The most valuable takeaway from this experience was understanding that a final object often requires multiple prototypes, each contributing to a different part of the mold. In many cases, this approach is the only way to achieve the desired result. This lesson has reshaped our approach to future designs, emphasizing the importance of iterative testing and the ability to adapt our process based on the unique challenges each project presents.
Although at first we were very doubtful on whether or not we should be involved in the production of our objects, we eventually understood that we were very lucky to be involved in it. The take-away from this is that we gained a very good understanding of the level of reproduction difficulty as well as the amount of work involved into making a final quality copy and this is something very important to know when designing any object. The other advantage of being able to turn your own designs into objects means that you don’t need to rely on other producers to tell you if something is doable or how hard it actually is to make it, since you can figure it out yourself.
Knowledge of hard surface modelling, shading, lighting and rendering were definitely the most useful skills we had gained from our past experience and were able to apply to this product. Additionally, our familiarity with photography, particularly the use of a camera tripod, played a subtle yet crucial role in the design. It influenced our decision to create a stable, three-legged structure, allowing for a balance of form and function that ensures both visual appeal and physical stability.
The Loop Candleholder is crafted from Jesmonite, an eco-resin that reflects our studio’s commitment to sustainability. In recent years, we’ve made a conscious effort to transition to more sustainable and recyclable materials across our product range. Jesmonite is considered more environmentally friendly compared to traditional resins, and it aligns with our values of reducing our environmental impact.What’s particularly great about Jesmonite is that it doesn't drastically alter our production process. We still follow the same steps as we did with polyurethane resin—mixing two components and casting in silicone molds. This means we can maintain the quality and craftsmanship of our designs while using a material that leaves a smaller carbon footprint. Essentially, the shift to Jesmonite has allowed us to uphold our design integrity without compromising on sustainability.
Many 3D Renders were done before locking down the design of the candleholder. Priority was always given to the object’s design but the shadows that were casted by the object were also taken into consideration for finalizing the design.
We are incredibly delighted by the recognition the Loop Candleholder received from the A' Design Awards. This accomplishment has been both affirming and inspiring for us, reinforcing our creative vision and approach. It encourages us to continue pushing boundaries in homeware design while remaining true to our philosophy of creating functional, timeless pieces.Looking ahead, this success motivates us to explore new innovations while refining our existing concepts. It has given us confidence to experiment with even bolder ideas and challenge traditional design norms. Since we feel like this accomplishment encourages our way of thinking and helps us continue doing what we love for all future releases.
Grand Interview
22 October 2025 · Nose Bookend
Since the beginning we always wanted to create an object referencing a human anatomical feature. The idea for the Nose Bookends evolved from this concept, leading us to design a pair of complementary bookends, one concave and one convex. The decision to use the nose shape was driven by its distinct, recognizable form and its triangular structure, which made it both visually dynamic and functional enough to hold books from both ends.
We imagined the noses supporting a set of books from either side. We decided to design a pair of noses with a complementary nature in order to emphasize each one’s form. By choosing the human nose as our medium, we wanted to spark a dialogue about beauty standards and the ways in which contrasting elements can come together to form a harmonious whole. The bookends reflect this contrast, where each form serves as a counterpart to the other.
Our background in computer-generated imagery and visual effects played a crucial role in the development of the Nose Bookend. Both noses were digitally modeled in a specialized 3D sculpting program, allowing us to refine every detail. The extensive study of human anatomy from our previous VFX work provided us with a deep understanding of the shapes and structures, which guided our decision to use the human nose as our medium. Our expertise in 3D sculpting proved invaluable, enabling us to precisely model the concave and convex forms in a digital space before translating them into physical prototypes.
The product was digitally sculpted, then a prototype was printed and finally a mold was made out it, in order for the copies to be casted. The only difference between traditional craftsmanship and our pipeline is that in the case of the former the prototype is physically sculpted while in the latter its’ digitally sculpted. However every other step remains identical. When it comes to the objects, when done digitally, it is possible to achieve your end goal much faster and you also have the luxury of making quick edits or any undos which is a great time saver.Additionally, using 3D printing allows us to achieve our prototypes faster but we didn't want to get restricted by using PLA to achieve the final copy result. Instead, we can use our preferred casting material which in this case was Jesmonite.
Since the beginning, we’ve always tried to design intriguing-looking objects that also function successfully. We always keep in mind that form follows function and not the other way round, since if an object looks “cool” but doesn’t serve the purpose it was designed for initially, it will just end up collecting dust in some corner of a room or basement.
We carefully considered the dimensions of the Nose Bookend based around the typical size of books found in an average household, particularly novels, historical, sociological, and philosophical books. The proportions were designed to ensure the bookends would be functional for a wide range of books.The convex bookend, with its larger volume and weight, is specifically designed to support taller and heavier art books, ensuring stability and balance. The final size of both bookends was chosen to be large enough to make a strong sculptural presence on a shelf or in a bookcase, while still being perfectly practical and not too heavy to change places.
For the nose bookends we have chosen the casted material to be a sustainable eco-resin, Jesmonite. It’s a very versatile material that renders any level of detail because of it’s fine grain. At the same time, as a material it’s considered to be a lot more environmentally friendly compared to other types of resin and leaves a smaller carbon footprint. Additionally, Jesmonite provides a substantial, stable finish that complements the weight and presence of our Nose designs, and the fact that the final casts can be painted to our desired variety of colors is an extra bonus.
The main source of inspiration for this object was Harry Allen’s Roller Skate. Harry Allen designed it as something that can be used either as a door stopper or as a bookend. Since this is a product we have in our home and have observed it for years, for sure we were influenced to come up with another non-conventional design for this particular use.
Nearly all of the products in our catalog are available in a variety of color options, and the Nose Bookend is no exception. We strongly believe that offering multiple color choices allows each buyer to find the one that best suits their individual style and interior needs. This flexibility makes it easier for customers to integrate our designs into different environments, ensuring that the object complements a wide range of home décor styles. By providing this level of customization, we create an opportunity for personal expression. From our experience, we've noticed that neutral colors like white or gray tend to fit in easily, but we’ve always had a deep appreciation for the impact that color can have in an interior space.
We’re hopeful that the Nose Bookend’s recognition at the A’ Design awards will push us to continue thinking in non-conventional ways for future products. And will give us the courage to keep on being bold and colorful with our future design ideas.
Grand Interview
22 October 2025 · 428 Candleholder
Starting from a basic primitive, in this case a square, we wanted to progress to a more complicated one, while passing from all the in-between equilateral n-sided primitives without making the transitions obvious. All the shape transitions were solved in the 3D programme before any prototype was printed. To connect each shape with their neighbouring shape we have evaluated several curve progressions and decided on the most aesthetical results. While the transformations wouldn’t look as pleasing if the curves transitions were very linear, so we have later added some more twists in the direction of the curves midway throughout the progression.
The design’s concept evolving from a geometrical progression is giving it the architectural look. The Candleholder stands like a tall maquette of an architectural form. Initially, the design process started as a study. As the study evolved thoughout time, it made sense to assign this design to a candleholder for a tall candle, firstly because of it’s vertical form and secondly because it’s cubistic nature contrasts the candle’s soft and round form nicely.
Initially, the object was made out of polyurethane resin without a brass cup. Although we were making our customers aware (by using stickers with warning messages on the product) to not let the candles burn all the way till the very end, we had a few examples where this did happen and the tip of the candle holder ended up darkening from the candle’s flame. In order to prevent this from happening in the future, when we switched to Jesmonite as our choice of material, we decided to also incorporate a brass cup in order to prevent any damage from occurring to the candleholder’s tip finish. When switching to the second version with the brass tip we designed a mold that allowed us to insert the brass cup into it before the casting process.
Our experience with hard-surface modeling, particularly using lofted curves, was crucial in bringing the 428 Candleholder to life. This technique allowed us to make continuous refinements throughout the design process while receiving immediate feedback on how each change affected the form. CGI provided the flexibility to explore multiple variations of the design, giving us the ability to compare different iterations and select the one that best captured our vision. This iterative approach, coupled with the precision of digital tools, enabled us to fine-tune the design in ways that would have been much more challenging with traditional methods.
We chose this name because it’s playful. Although for anyone who is aware of the design logic behind it, it may seem obvious, anyone not aware of it might think it’s just a random number, since it’s not clear if it’s pronounced four to eight, four twenty eight or fourhundred and twenty eight. For the ones who fall under the second category we would like to think they will be very pleasantly surprised when realizing it later on. Also, we wanted to include in it’s naming the fact that this object is a study of a progression.
Initially, the digital design provided a precise and flexible foundation, allowing us to explore complex forms and geometric transitions. Once we decided on the final digital model and moved onto 3D printing, we gained the ability to quickly translate the digital concept into the physical model.After the 3D-printed prototype we moved onto making the mold out of silicone and 3D prints and later do castings. The combination of digital design and handcrafting—through both 3D printing and final casting—allowed us to retain the precision of the initial concept and with this production method we are able to translate our concepts into final castings.
We are very happy with the recognition we earned from A’ Design Awards and we are looking forward to pushing the boundaries even more, experimenting with more shapes and transitions. The award made us want to explore more into the concept and release more products under this collection.
In the transition between n-sided primitives, we took great care to avoid a direct, sharp connection between the corners of one shape and the corners of its neighbor. Instead, we allowed for a more fluid, organic progression. Rather than all edges originating from the corners, we deliberately designed most edges to fade out from one shape and gradually fade in from a different location as they lead into the next shape in the sequence. This subtle shift creates a smoother, more harmonious transition, where some corners may align, but the majority of the edges evolve in a way that feels natural, almost as if the forms are gently flowing into one another. The result is a delicate balance between continuity and change, where the progression is felt rather than immediately seen, creating a sense of movement and transformation within the design.
The 428 candleholder being one of the first objects in our catalogue was a very good starting point in order to go through all the necessary steps from design to final product and encouraged us to delve deeper into our next products that required more complicated molds.
The 428 Candleholder was a key starting point in establishing our approach to responsible manufacturing, and it has influenced the entire production pipeline for the objects that followed. We prioritize keeping the manufacturing process local, ensuring that each stage—from design to final product—occurs in close proximity. Specifically, for the 428 Candleholder, the digital tools used for design, the 3D printers that produced the prototype and mold shells, and the workshop where the silicone molds were made are all located just meters apart. The casting, finishing, and packaging processes follow the same local approach, minimizing transportation and reducing our overall carbon footprint. This proximity not only supports a more sustainable and efficient workflow but also strengthens the connection between design and craftsmanship, allowing for a high degree of quality control at every step. This model reflects our vision for responsible manufacturing—one that combines technology with local expertise to create products with a lower environmental impact.