07 May 2015

Dossiers
Israeli Design.
Noam Dover and Michal Cederbaum

Text: Jessica Sicking

In form 259 we explore the design in a country that is mainly present in the media because of its political conflicts: Israel. At the same time it has to offer a vibrant and multifaceted design scene, at whose protagonists we took a closer look. You can find more portraits of Israeli designers and studios both in form 259 and form Dossiers.

 

 

Noam Dover and Michal Cederbaum are interested in what is happening around them: politically, environmentally and culturally. Additionally, they believe that design has the power to point out what is relevant. With their creative platform they aim for authentic and pure products that are also able to reveal the story of their production process. 



 

Studio: Noam Dover and Michal Cederbaum. Design & Craft

Website: noamandmichal.com

Year of foundation: 2009

Employees: 2

Fields of work: limited editions and one-of vessels, furniture, light objects, scenography, street art, teaching design

Clients: galleries and private clients, theatre and dance productions

 

 

In your opinion, what is special about design in Israel?

 

The design scene here is pretty alive and vibrant. It feels like a lot is going on even when there are hardly any galleries or other platforms to exhibit or sell. There is a general experimental approach, which – perhaps – originates from that same lack of institutions. Marc Peridis, our gallerist in London, claims that there is a lot of passion here in regard to designing and making – which we think, is a precise observation.



 

What characterises your work respectively your design and style?

 

We care a lot for what is happening around us – politically, environmentally, culturally. We see our design practice as a platform for discussion and expression of ideas that respond to actual reality: the here and now. For us, design has the potential to point out what is relevant, to set in front of our eyes substantial issues. We seek locality not so much in terms of style, but rather as a point of view. We ask ourselves how the visual surrounding affects us and penetrates our design consciousness. For example, we would always prefer to stick to the colours of the materials we use and not coat them with colours. Maybe this attitude has to do with a kind of raw, unfinished, worn out scenery that you experience when walking in the streets here.

In a more practical aspect, our work is about fusing techniques and materials, addressing the cultural origin and inherent charge of materials, and creating objects that reveal the story of their production process.



 

With your work you are aiming at an interdisciplinary approach. What are the tools you use to facilitate this?

 

The border between art and design is manifested mainly by the definition of art and design as two separate markets. When it comes to motivation and tools of expression, what seems to be a clear border is actually a broad area when you experience it from within. Over the years, as our work became more independent, our due-journey in the design world became concept based.

As designers and makers, we have a very strong passion for dialogue and for making. Along with our solo and due processes, we hope to sustain a creative platform, which is open and flexible. The interdisciplinary approach is made possible by collaborating with artists from different fields. We are very lucky to experience amazing on-going collaborations, which broaden our perceptions and practice constantly.

 

 

Do you see craft as part of the design process respectively the production process? Do you also perceive yourself as craftsmen or do you work together with professional craftsmen during your projects?

 

Lately, we are focused on expanding our new digital craft toolbox to the extreme.

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Nº 284
Region of Design

form Design Magazine


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