TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

TRANSIT VASES

TRANSIT VASES

Design: Dean Brown
Date: September 2016

Inspired by how wine bottles are packaged and transported, the collection of 4 Vases uses the wooden packaging box as an integral part of it’s design and movability. Made in Italy and exhibited for the first time in London, the logistics of delivery from country to country informed the design concept, becoming an explicit and endearing challenge - designing Vases with transport in mind. 

Fashioned in oak, leather, brass and free blown borosilicate glass, the four objects explore the fusion of a box and a vase - enabling new compositions that introduce a clock and a table top as useful travel companions. 

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

A MATTER OF COLOUR

A MATTER OF COLOUR

Client: Sèvres - Cité de la Céramique
Design: Dean Brown
Photography: Gerard Jonca
Date: June 2015

A collection of 14 Vase’s consisting of porcelain, 24 colour pigments, free blown glass and powder coated aluminium.  Starting by selecting classical forms from the extensive Sèvres archive, each of the 14 unglazed Vases are adorned with colour.  As a celebration of “work in progress” the colour pigments, considered as the final step in the finishing of porcelain, are held in and around the uncoated vase, collected in glass containers that form handles, lids and decorative features.  The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour.

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Inside_Sevres_06.jpg
A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

 

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

A TABLE

A TABLE

Client: Atipico
Design: Fabrica Design Team
Photography: Marco Zanin (Fabrica)
Date: January 2015
Link: A Table

Atipico collaborates with Fabrica to design À TABLE, a tableware collection that celebrates all the dining habits of the countries of the world. The result is a fresh, eclectic and diverse collection that represents the elegance of “Made in Italy” enriched by the touch of Fabrica’s international design team.  Eleven countries were considered and analyzed for the collection: China, Egypt, England, Finland, France, Germany, India, Italy, Japan, Morocco and Scotland.

MAKESHIFT TRAY

MAKESHIFT TRAY

Design: Dean Brown (Fabrica) 
Photography: Marco Zanin (Fabrica)
Date: November 2014
Link: L'ArcoBaleno

The distinctiveness of this object is the bringing together of the artisanal and the industrial,  juxtaposing folded sheet aluminum and hand carved wood. Its use-fullness is somewhere between a tray and a box for holding most things and to be comfortably held.

MAKESHIFT TRAY

MAKESHIFT TRAY

Design: Dean Brown (Fabrica) 
Photography: Marco Zanin (Fabrica)
Date: November 2014
Link: L'ArcoBaleno

The distinctiveness of this object is the bringing together of the artisanal and the industrial,  juxtaposing folded sheet aluminum and hand carved wood. Its use-fullness is somewhere between a tray and a box for holding most things and to be comfortably held.

MAKESHIFT TRAY

MAKESHIFT TRAY

Design: Dean Brown (Fabrica) 
Photography: Marco Zanin (Fabrica)
Date: November 2014
Link: L'ArcoBaleno

The distinctiveness of this object is the bringing together of the artisanal and the industrial,  juxtaposing folded sheet aluminum and hand carved wood. Its use-fullness is somewhere between a tray and a box for holding most things and to be comfortably held.

DILEMMA

DILEMMA

Design: Dean Brown (Fabrica) 
Photography: Shek Po Kwan
Date: January 2014

An uncertain table piece that can be used as fruit bowl or a cake plate. It acknowledges a personal dilemma: to eat healthily or to indulge. Without being judgmental, it presents two alternative ways to enjoy food.

HOW TO USE

1. Fruit bowl assembly – mount the ceramic piece (bowl side up) on the wooden stick with the wooden platform at the base. Insert the wooden peg in the hole to hang bananas, grapes etc.

2. Cake plate assembly – mount the ceramic piece (flat side up) on the wooden stick with the wooden platform at the base. Fix the extra wooden platform on top of the stick.

DILEMMA

DILEMMA

Design: Dean Brown (Fabrica) 
Photography: Shek Po Kwan
Date: January 2014

An uncertain table piece that can be used as fruit bowl or a cake plate. It acknowledges a personal dilemma: to eat healthily or to indulge. Without being judgmental, it presents two alternative ways to enjoy food.

HOW TO USE

1. Fruit bowl assembly – mount the ceramic piece (bowl side up) on the wooden stick with the wooden platform at the base. Insert the wooden peg in the hole to hang bananas, grapes etc.

2. Cake plate assembly – mount the ceramic piece (flat side up) on the wooden stick with the wooden platform at the base. Fix the extra wooden platform on top of the stick.

DILEMMA

DILEMMA

Design: Dean Brown (Fabrica) 
Photography: Shek Po Kwan
Date: January 2014

An uncertain table piece that can be used as fruit bowl or a cake plate. It acknowledges a personal dilemma: to eat healthily or to indulge. Without being judgmental, it presents two alternative ways to enjoy food.

HOW TO USE

1. Fruit bowl assembly – mount the ceramic piece (bowl side up) on the wooden stick with the wooden platform at the base. Insert the wooden peg in the hole to hang bananas, grapes etc.

2. Cake plate assembly – mount the ceramic piece (flat side up) on the wooden stick with the wooden platform at the base. Fix the extra wooden platform on top of the stick.

MEASUREMENTS

MEASUREMENTS

Design: Dean Brown (Fabrica)
Photography: Marco Zanin
Date: September 2013

The codes and conventions of technical drawing are embedded into the glass itself - represented as annotated dimension lines that convey height and diameter. The statement is ironic, considering the drawings are made 1:1 scale, and the dimension lines are dissociated with their numerical values.

MEASUREMENTS

MEASUREMENTS

Design: Dean Brown (Fabrica)
Photography: Marco Zanin
Date: September 2013

The codes and conventions of technical drawing are embedded into the glass itself - represented as annotated dimension lines that convey height and diameter. The statement is ironic, considering the drawings are made 1:1 scale, and the dimension lines are dissociated with their numerical values.

PERSPECTIVE

PERSPECTIVE

Design: Dean Brown (Fabrica)
Photography: Marco Zanin
Date: September 2013

Adopting the principle of single point perspective drawing, two spherical containers are physically and conceptuality joined. They are "empty" and "full" versions of each other, contrasting in scale and materiality - properties to contain different things.

PERSPECTIVE

PERSPECTIVE

Design: Dean Brown (Fabrica)
Photography: Marco Zanin
Date: September 2013

Adopting the principle of single point perspective drawing, two spherical containers are physically and conceptuality joined. They are "empty" and "full" versions of each other, contrasting in scale and materiality - properties to contain different things.

PLATE LIFE

PLATE LIFE

Client: &Foam
Design: Dean Brown (Fabrica)
Photography: Alberto Ferretto
Date: July 2012

Plate Life - a domestic still life drawing inspiration from the fundamental principles of photography, composed of a frame, a subject and a light source. The piece draws comparison between a photographic umbrella & the humble dish rack, positioning two ceramic bowls and a light-source in a state of interdependency - the larger silvered plate directing the light source back upon itself. Plate Life is part of the Still Lights collection, by Fabrica Design Department for &Faom in Amsterdam.

PLATE LIFE

PLATE LIFE

Client: &Foam
Design: Dean Brown (Fabrica)
Photography: Alberto Ferretto
Date: July 2012

Plate Life - a domestic still life drawing inspiration from the fundamental principles of photography, composed of a frame, a subject and a light source. The piece draws comparison between a photographic umbrella & the humble dish rack, positioning two ceramic bowls and a light-source in a state of interdependency - the larger silvered plate directing the light source back upon itself. Plate Life is part of the Still Lights collection, by Fabrica Design Department for &Faom in Amsterdam.

PLATE LIFE

PLATE LIFE

Client: &Foam
Design: Dean Brown (Fabrica)
Photography: Alberto Ferretto
Date: July 2012

Plate Life - a domestic still life drawing inspiration from the fundamental principles of photography, composed of a frame, a subject and a light source. The piece draws comparison between a photographic umbrella & the humble dish rack, positioning two ceramic bowls and a light-source in a state of interdependency - the larger silvered plate directing the light source back upon itself. Plate Life is part of the Still Lights collection, by Fabrica Design Department for &Faom in Amsterdam.

VILLA NECCHI

VILLA NECCHI

Client: FAI
Design: Fabrica Design Team
Date: April 2012

A site specific collection by Fabrica Design Department for Villa Necchi - a 1930’s Villa in the heart of Milan. Using the historical inhabitants and the Portaluppi architecture as a point of inspiration the team created 23 unique objects to feature in every room of the house. These items were supposed as a contemporary counterpart to the vintage interior, interpreting the magnificent villa, and its three inhabitants as an artistic muse.

VILLA NECCHI

VILLA NECCHI

Client: FAI
Design: Fabrica Design Team
Date: April 2012

A site specific collection by Fabrica Design Department for Villa Necchi - a 1930’s Villa in the heart of Milan. Using the historical inhabitants and the Portaluppi architecture as a point of inspiration the team created 23 unique objects to feature in every room of the house. These items were supposed as a contemporary counterpart to the vintage interior, interpreting the magnificent villa, and its three inhabitants as an artistic muse.

VILLA NECCHI

VILLA NECCHI

Client: FAI
Design: Fabrica Design Team
Date: April 2012

A site specific collection by Fabrica Design Department for Villa Necchi - a 1930’s Villa in the heart of Milan. Using the historical inhabitants and the Portaluppi architecture as a point of inspiration the team created 23 unique objects to feature in every room of the house. These items were supposed as a contemporary counterpart to the vintage interior, interpreting the magnificent villa, and its three inhabitants as an artistic muse.

VILLA NECCHI

VILLA NECCHI

Client: FAI
Design: Fabrica Design Team
Date: April 2012

A site specific collection by Fabrica Design Department for Villa Necchi - a 1930’s Villa in the heart of Milan. Using the historical inhabitants and the Portaluppi architecture as a point of inspiration the team created 23 unique objects to feature in every room of the house. These items were supposed as a contemporary counterpart to the vintage interior, interpreting the magnificent villa, and its three inhabitants as an artistic muse.

VILLA NECCHI

VILLA NECCHI

Client: FAI
Design: Fabrica Design Team
Date: April 2012

A site specific collection by Fabrica Design Department for Villa Necchi - a 1930’s Villa in the heart of Milan. Using the historical inhabitants and the Portaluppi architecture as a point of inspiration the team created 23 unique objects to feature in every room of the house. These items were supposed as a contemporary counterpart to the vintage interior, interpreting the magnificent villa, and its three inhabitants as an artistic muse.

VILLA NECCHI

VILLA NECCHI

Client: FAI
Design: Fabrica Design Team
Date: April 2012

A site specific collection by Fabrica Design Department for Villa Necchi - a 1930’s Villa in the heart of Milan. Using the historical inhabitants and the Portaluppi architecture as a point of inspiration the team created 23 unique objects to feature in every room of the house. These items were supposed as a contemporary counterpart to the vintage interior, interpreting the magnificent villa, and its three inhabitants as an artistic muse.

UPLIFTING CARAFES

UPLIFTING CARAFES

Client: Secondome
Design: Dean Brown (Fabrica)
Date: April 2012

The ritual of drinking together is synonymous with lifting the spirits. The contents of the carafes - Chianti, Prosecco, balsamic vinegar and olive oil - are at the centre of the concept elevated in height and status, whilst the transparency of the glass fades into the setting. The impression is of a levitating liquid, raised above the surface of the table, celebrated and for celebrating.

UPLIFTING CARAFES

UPLIFTING CARAFES

Client: Secondome
Design: Dean Brown (Fabrica)
Date: April 2012

The ritual of drinking together is synonymous with lifting the spirits. The contents of the carafes - Chianti, Prosecco, balsamic vinegar and olive oil - are at the centre of the concept elevated in height and status, whilst the transparency of the glass fades into the setting. The impression is of a levitating liquid, raised above the surface of the table, celebrated and for celebrating.

UPLIFTING CARAFES

UPLIFTING CARAFES

Client: Secondome
Design: Dean Brown (Fabrica)
Date: April 2012

The ritual of drinking together is synonymous with lifting the spirits. The contents of the carafes - Chianti, Prosecco, balsamic vinegar and olive oil - are at the centre of the concept elevated in height and status, whilst the transparency of the glass fades into the setting. The impression is of a levitating liquid, raised above the surface of the table, celebrated and for celebrating.

UPLIFTING CARAFES

UPLIFTING CARAFES

Client: Secondome
Design: Dean Brown (Fabrica)
Date: April 2012

The ritual of drinking together is synonymous with lifting the spirits. The contents of the carafes - Chianti, Prosecco, balsamic vinegar and olive oil - are at the centre of the concept elevated in height and status, whilst the transparency of the glass fades into the setting. The impression is of a levitating liquid, raised above the surface of the table, celebrated and for celebrating.

ANALOGUE BOX

ANALOGUE BOX

Client: Granville Gallery
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: October 2011

A box concerned with varying degrees of privacy. Small precious objects are placed inside and covered over by placing building blocks over the entry way. The box is never simply open or closed, instead there is a sense of the analogue in the way it slowly closes over, through incremental intervals of openness and secrecy. Analogue Box was commisioned by the Granville Gallery for the exhibition Les Coffrets Aux Secrets (Secret Box) in Paris.

ANALOGUE BOX

ANALOGUE BOX

Client: Granville Gallery
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: October 2011

A box concerned with varying degrees of privacy. Small precious objects are placed inside and covered over by placing building blocks over the entry way. The box is never simply open or closed, instead there is a sense of the analogue in the way it slowly closes over, through incremental intervals of openness and secrecy. Analogue Box was commisioned by the Granville Gallery for the exhibition Les Coffrets Aux Secrets (Secret Box) in Paris.

ANALOGUE BOX

ANALOGUE BOX

Client: Granville Gallery
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: October 2011

A box concerned with varying degrees of privacy. Small precious objects are placed inside and covered over by placing building blocks over the entry way. The box is never simply open or closed, instead there is a sense of the analogue in the way it slowly closes over, through incremental intervals of openness and secrecy. Analogue Box was commisioned by the Granville Gallery for the exhibition Les Coffrets Aux Secrets (Secret Box) in Paris.

ANALOGUE BOX

ANALOGUE BOX

Client: Granville Gallery
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: October 2011

A box concerned with varying degrees of privacy. Small precious objects are placed inside and covered over by placing building blocks over the entry way. The box is never simply open or closed, instead there is a sense of the analogue in the way it slowly closes over, through incremental intervals of openness and secrecy. Analogue Box was commisioned by the Granville Gallery for the exhibition Les Coffrets Aux Secrets (Secret Box) in Paris.

ANALOGUE BOX

ANALOGUE BOX

Client: Granville Gallery
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: October 2011

A box concerned with varying degrees of privacy. Small precious objects are placed inside and covered over by placing building blocks over the entry way. The box is never simply open or closed, instead there is a sense of the analogue in the way it slowly closes over, through incremental intervals of openness and secrecy. Analogue Box was commisioned by the Granville Gallery for the exhibition Les Coffrets Aux Secrets (Secret Box) in Paris.

COMPLEMENTARIES

COMPLEMENTARIES

Client: Secondome
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: April 2011

For Secondome Gallery, Salone del Mobile 2011 Collection . An arrangement of interdependent oak wood panels and glass pipes. Each element has a particular property, reliant on the other to be complete. Together the parts support each other structurally and aesthetically - adopting a slender, poised position, ready to hold and highlight its contents. The language is derived from irrigation systems, based on the principle of sharing resources underneath the surface. 

SHARED BASE FAMILY

SHARED BASE FAMILY

Client: Secondome
Design: Dean Brown (Fabrica)
Photography: Gustavo Millon
Date: September 2010

A Vase, a Fruit Bowl and a Cake Plate, all with a sense of hierarchy between above and below, special and normal. In this collection I strived for a tension between sameness and individuality, expressed through a common base form and variations of transparent, green and ribbed glass.