The Open Field emerged as an idea formed by a collective of Alumni of the Interior Architecture and Furniture Design Department 2018 at the Royal Academy of Art in the Hague. It serves as an introduction platform where each designer, besides their own work, introduces their qualities and fascinations to the public. The collective does not necessarily speak with one voice, nor works as a collective challenging one unifying topic, however it respects and engages with each other’s otherness. Hence the meaning of the open field.
The Open Field is a realm which appears as a construction of independent interpretations, opinions, approaches and methods. In terms of its structure it is free for interpretation, does not have limits or boundaries and allows for long lasting on-going explorations. It is a set of infinite choices and combinations.
Our freedom lies in bringing up various matters that talk about art, architecture, the design world and everyday life. Raising questions beyond the work’s material and spatial appearances, or precisely diving into the realm of materialization and transformation. The Open Field does not exclude, though our mission is to be critical and trigger conversations about future developments. We freeze time, transform sound into space, refer to forgotten rituals, invent new lands, redefine walls, discuss social housing, bring people together, question our society and transform the way we think into spatial realms.
Observing and capturing our environment is where the design processes start. These observations are mostly made in our contemporary city scape and are taken from a certain point of interest or criticism inside this landscape.
With driving inspiration of the observation, we are translating this into an installation to create a certain focus on the subject that we consider important and communicate this to the viewer.
This to create an open conversation between the public about issues that are relevant for nowadays society.
‘The object becomes furniture, becomes objects’ in her project she explores this through a series of three furniture objects aimed at recognizing the right moment to stop, the right moment to capture the tension.
The main quality of her talent as a spatial designer is to spot trends of the modern society and shape those concerns to the
visible piece of art.
My home was always on outskirts of Mink and Moscow, a panel housing, which had become a landmark feature of any post-soviet city. This architecture typology is relatively young, around 60 years, yet been constantly altered under massive economic and social changes.
I gave myself a task to overcome obstacles created by this transformations, working on probably the most sensitive tissue of urban fabric - living environment. This architecture has been left fragmented, shattered and exaggerated by real estate market and given to people to live in.
My main goal was to reconnect fragmented space of housing district into one coherent spacial experience. Creating peace, or at least preventing conflict, between inhabitant and its home.