Design Miami/ Basel is playing host to the creations of this year’s Swarovski Designers of the Future Award winners. Designers Anjali Srinivasan, Veronika Sedlmair and Brynjar Siguroarson (Studio Brynjar & Veronika) and Yuri Suzuki designed “an ideal proposal for future living,” communicated via a touch-sensitive illuminating wave, an installation of crystal and light, and a sound installation.
Brynjar Siguroarson, Veronika Sedlmair, Yuri Suzuki and Anjali Srinivasan; courtesy Mark Cocksedge
“Unda” installation by Anjali Srinivasan
Srinivasan’s installation, “Unda,” draws its inspiration from the “beauty and impact of the human gesture,” with a rolling wave surface that’s comprised of glass elements developed by Anjali, along with touch-sensitive Swarovski Touch Crystal. Human touch causes the installation to glow, with light traveling along the crystal surface, “following the finger’s trail, and slowly fades when the human interaction is taken away.” Explains the designer, “Crystal is a highly engaging material because it is a solid object that creates visual effects that you cannot touch. I’m looking forward to continuing to explore this crossroads between physical and optical phenomena in my work. I’m also fascinated by the challenge of creating human-centric design, so I’m excited to further explore this relationship between material, data and people.”
Studio Brynjar & Veronika’s “Currents” installation includes crystal blinds, crystal tiles, and a collecton of crystal sticks (shown) that cast color shadows.
In its “Currents” installation, Studio Brynjar & Veronika are debuting everyday blinds made of crystal, with 30 custom prism-shaped slats that have been tailor-made into a “fully functional blind, which creates a rainbow effect when it is hit by light.” The installation also includes crystal tiles and crystal sticks. Share the designers, “We love to dive into new mediums, and crystal is a whole new challenge.”
“Sharevari” installation by Yuri Suzuki
“Sharevari,” Suzuki’s installation, uses crystal as an acoustic material to create a mechanical, interactive crystallophone, where “each individual note is defined by the diameter of the crystal object, and fine-tuned the instrument via a process of systematic and rigorous acid-polishing and frequency testing. The audience can also interact with the installation to create their own harmonies.” Says Suzuki, “My audience can be quite wide-ranging, from very tech-focused people to musicians, but this is a precious opportunity for me to show and exchange ideas as part of a global design platform. I was very excited to investigate how the vibrations in crystals can be interpreted as sound.”
The installations will be on view at the Basel locale until June 19.