(jiří macek) The glass and porcelain landscape presented within the Křehký project from the Czech Republic created an exceptionally attractive and highly admired spot in the central hall of the 100% Design in Tokyo. It was also nominated for the 100% Design Award. The main event of the whole installation was the premiere of Bořek Šípek’s wall light.
The landscape was transported to Tokyo in twelve different boxes. When the boxes finally revealed the landscape created by Maxim Velčovský, and when the shining cloud by Olgoj Chorchoj was blown up, it was clear that the collection would be very exciting. Tokyo was its third stop after the collection’s premiere at last year’s Designblok and its subsequent shows in Milan and New York. Everyone was full of expectations. As at the previous exhibitions, the Křehký project by Designblok Prague underwent a product selection. The new pieces in the collection were represented by a newly created Křehký limited edition that tried to shift the boarders of cooperation between designers and manufacturers. Designers design things without the commercial pressure for its utility. Manufacturers do not have to be afraid of realizing projects that are at the edge of technological feasibility. As a result, the whole world can see the capability of Czech designers and manufacturers. This is also completely true of the porcelain wall light by Bořek Šípek. The light, which was inspired by the skeletons and trophies from hoofed game, allows you – thanks to its original construction – to modify the intensity of the light and atmosphere in the room by moving its porcelain lamellas that are connected to the main porcelain body through a series of joints. The body of the light serves as a ceramic filter. The technologically difficult development of the light took about half a year and was finally and successfully completed by the Novito Studio.
In addition, several other products also met with success. It was very interesting to observe how people reacted to different objects and what pieces attracted the attention of business people and the media. Many products were not new to the visitors, especially Maxim Velčovský’s realization from the Qubus design production. People knew these products thanks to the media or thanks to the fact that they could buy some of them in Tokyo. It was also interesting to see that many people recognized new objects that were not exhibited in New York or Milan. The presentation was also advertised in the prestigious Japanese magazine Casa Brutus; therefore, many people knew what to look for at the exhibition.
And which objects attracted the most people? Among the pieces that drew the most attention were: Glass Music by Alfredo Haberli; The Vase of Vases, Abstract Collection, and Little Joseph by Maxim Velčovský; the drinking set by Mr. Egg by Olgoj Chorchoj; Rony Plesl’s Uovo; and the Cactus and Cobalt collection by Jiří Pelcl.
The most frequently asked questions were: “How do you manufacture it? Who manufactures it? Is it really all from the Czech Republic? Can we buy it in Tokyo? Is the blue-print décor a traditional Czech décor? Yes? It is traditional for us as well. Is there a lot of snow in your country? Who made the skier? (Does anybody know who made him?) Is Prague Praha?”
Unlike in New York, where the Křehký project received the ICFF Editors Award, it did not win the 100% Design Award in Tokyo. The award was given to a studio of Dutch designers. Nevertheless, you should have heard the applause when the Křehký collection received its nomination!
The Light, Křehký limited edition, design: Bořek Šípek