marcel saavedra - works

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KONSTFACK - 2009-2011Master in Interior Architecture & Furniture Design

MARCEL GRANFELT SAAVEDRA

Mäster danielsgatan 3b

211 58 Malmö

www.marcelsaavedra.com

[email protected]

+46735023083

FREELANCE DESIGNER 2012-

LUND UNIVERSITY, LTH - 2006-2009Bachelor in Industrial design

SCHOOL OF ARCHITECTURE,LTHGuest tacher 2011/09/01 - 2012/02/15

KONSTFACKGuest teacher 2014/05 - 2014/09

LUND UNIVERSITY - 2006-01-2006-03Economic History BUKOWSKIS AUCTIONS

Interior Designer, Appraiser & Photographer2005/03/01-2011/08/31

LINKÖPINGS UNIVERSITY, LITH - 2005-2006Media and Communication

LUND MUNICIPALITYCurator, for the exhebirion. Konst överallt(Art everywhere) 2011/06/01-2011/09/01KATEDRALSKOLAN - 2000-2004

Upper secondary school, Science program

KONSTFACKFurniture & interior to the research project SYN-TESHuman Colour and Light Synthesis2010/06/01-08

SOFTWARE

Daily use:

Photoshop

Illustrator

Indesign

Rhino

Keyshot

Other:

AutoCAD

Alias

Solidworks

Dreamwaver

After Effects

Final Cut Pro

Adobe premiere

LANGUAGE

Swedish: Mother tongue

English: Fluent

Spanish: Fluent

2013 Formex - My Native Strand

2011 Konst överallt - Ales stenar

2011 Konstfack - Spring Exhebition

2010 Berlin Design Mai - Youngsters

2010 Stockholm Grafiska Sällskapets

Galleri-”Artist Book”

2010 Stockholm Furniture Fair-Greenhouse-”60.24N

2009 Västerås -Svartåbänkarna-”In the eyes of the

beholder

2009 Milan Furniture Fair- at That´s design - “Time as

Currency”

2008 Stavanger, A World of Folk, - “what can you bring”

2008 Milan Furniture Fair - “what can you bring to the “

2007 Kapperup Konsthall - “Light and Color”

PAPER

Form - My Mative Strand

DN - You the living

Sydsvenskan . Morgonstund

Konstvärden och Desijn . Bench

Plaza . Morgonstund

WEB

Dezeen - What can you bring

Core 77 - Morgonstund

ELLE INTERIOR - You the living

CV

SKILLS

EDUCATION

EXHEBITIONS

WORK EXPERIENCE

SELECTED PRESS

Å*Ä*Ö21

YOU THE LIVING11

C O N T E N T

MY NATIVE STRAND3

DATED OBJECTS19

STUDY CENTER 15

MORGONSTUND25

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M Y N A T I V E S T R A N D

The paint originated from the copper mine at Falun inDalarna, Sweden and has been used from the16th century.

My aim was to make thiscabinet to be a contemporary version of the iconic house. The house is a log house witch results in a geometric façade. Which I took advantage of.

Made of Pine, Pine veneer and details in brass.

Wiwen an oil lamp cast in brass. Wiwen is namned after Wiwen Nilsson. He became one of the 1900s most renowned silversmiths, both in Sweden and internationally. Working early in a modernistic way he revolutionized the craft in the early 20s. Inspired by his forms this is a tribute to him.

Barbro the milk stool. Made of pine and cork.

G U S TAV F R Ö D I N G / /H O M E C O M I N G .

OSOFIAWIWEN & BARBRO

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‘er the clouds is a glow, o’er the lake is a sheen,There’s sunlight on beach and on ness,Around them the woods are a glorious green,The grass feels the south wind’s caress.

‘Mid summer and beauty and pure-scentedbreezeI hail this my native strand.But there is a void by the ma-ple-treesWhere my father’s home used to stand.

My native strand is a project about Swedish tradition and cultural identity in a contemporary context. Creating modern furniture by glancing at history.Using typical Swedish material such as pine and brass. I wanted to use older types of furniture and objects that may not be used as frequently anymore. Thisresulted in three objects an oil lamp a wardrobe and a milk stool.

Named in a classical manner after humble Swedish names.

The wardrobe Sofias starting point was the interpretation of a classic Swedish house and it’s traditional façade color, Falu red. Whitch is the name of a Swedish deep red paint well-known for its use on wooden cottages and barns.

Y O U T H E L I V I N G

OWhen I get someone to smile or remember a story, or when I manage to inspire someone by affecting them.

I’ve achieved what I want with my design.By constantly questioning everyday objects and situations. I want to create new relations between observer and object. In this project I worked in a naive way, almost to explicitly, to try and create a meeting between observer and object. The Lamp which moves up and down, simulates the respiration of a living thing.

I believe the simplicity is the factor that attracts you to the lamp, everybody understands a breath. The lamp is made for the public domain in an airport, in a hotel lobby, in the subway. Places time tends to stand still. A relaxing object to gaze at.

Technical it works in the following way an electric motor with the appropriate transmission transform therotating movement via a pis-ton rod to a vertical oscillatory movement. This makes the piston move like a breath with is more or less like a sinusoid. This affects a Plexi-glas cover which stretches out a silicone sheet.

HOW IT WORKS

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TO WATCH THE VIDEO COPY THIS LINKhttp://vimeo.com/52534572

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S T U D Y C E N T E R

L U N D>FIRST FLOOR SECOND FLOOR THIRD FLOOR FACADE WEST

FACADE SOUTH

FACADE NORTH

In the medieval part of Lund. A little city defined by its big univer-sity. A study center is deperately needed.Located between two 19thcentury buildings. This bright modernistic building brings the city and its students closer.Privacy when wanted is a key element in the building and its furniture. A slow sweeping motion brings you from the square at the entrance to the top level. The interior is warm with its wood, felt and fabric.

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S T U D Y C E N T E R

L U N D>FIRST FLOOR SECOND FLOOR THIRD FLOOR FACADE WEST

FACADE SOUTH

FACADE NORTH

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FURNITURE CONCEPT FOR THE NORD

There is a cradle in my parents' basement, nothing specialspecial about it , a common cradle in pine. A little frayed a bit boring and stodgy, but it’s different in a way. All children in my family have used the 70s.Why would you want to use a worn out 40-year-old cradle? It is a family tradition to carve in a picture, name and date of birth on the cradle for each child. The image can be anything, but related to the child 's early history.

D AT E D O B J E C T SVI hope and believe that thistradition will continue until every surface of the cradle is covered with a name andpicture.

The current ideal of the Swedish fuSwedish furniture producers are to create something "timeless". Which might seem somewhat problematic and perhaps not always wisely. From a historical perspective, there is nothing "timeless"eveeverything has its time. The more we know about the items the more interesting. Who designed, who has produced, what city, what year, what edition, who owned. Etc.

I want to create a collectible in I want to create a collectible in the North's name. Theinspiration has come from the Royal Copenhagen Christmas platters, or Marta Maas Fjetter-ström arts carpet.

To create an item that only sells for one year so itconstantly fells interesting and creates a good market The idea is that each year theselected designers create a selected designers create a stool.The stool should reflect on a specific that year . The stool must be dated with the year. The edition is controlled by demand but each controlled by demand but each stool will be numbered. It must be signed by the designer, company name, city it is produced in, and what event produced in, and what event it is inspired by. The stool is unveiled each year at the Stockholm furniture fair.

I gave myself the veI gave myself the very same task that I created for the Nord. The year was 2010 and the volcano Eyjafjallajökull had just erupted.

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FURNITURE CONCEPT FOR THE NORD

There is a cradle in my parents' basement, nothing specialspecial about it , a common cradle in pine. A little frayed a bit boring and stodgy, but it’s different in a way. All children in my family have used the 70s.Why would you want to use a worn out 40-year-old cradle? It is a family tradition to carve in a picture, name and date of birth on the cradle for each child. The image can be anything, but related to the child 's early history.

D AT E D O B J E C T SVI hope and believe that thistradition will continue until every surface of the cradle is covered with a name andpicture.

The current ideal of the Swedish fuSwedish furniture producers are to create something "timeless". Which might seem somewhat problematic and perhaps not always wisely. From a historical perspective, there is nothing "timeless"eveeverything has its time. The more we know about the items the more interesting. Who designed, who has produced, what city, what year, what edition, who owned. Etc.

I want to create a collectible in I want to create a collectible in the North's name. Theinspiration has come from the Royal Copenhagen Christmas platters, or Marta Maas Fjetter-ström arts carpet.

To create an item that only sells for one year so itconstantly fells interesting and creates a good market The idea is that each year theselected designers create a selected designers create a stool.The stool should reflect on a specific that year . The stool must be dated with the year. The edition is controlled by demand but each controlled by demand but each stool will be numbered. It must be signed by the designer, company name, city it is produced in, and what event produced in, and what event it is inspired by. The stool is unveiled each year at the Stockholm furniture fair.

I gave myself the veI gave myself the very same task that I created for the Nord. The year was 2010 and the volcano Eyjafjallajökull had just erupted.

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M O R G O N S T U N D

60.24N18.27EBRIEF

A journey from memory to forest, from forest to form

Go back to your memories, try to remember a place, a space, a room, which you remember since you experienced some-thing strong there, something important.

The assignment aimed to lift up individual paths from a memo-ry to a space, from space to an object. To find the designers own hopes and wishes, fears and joys.

Morgonstund is the light that hits you on a Midsummer morning on the way home from the party, its clear shadows fall across the awakening landscape.

I wanted to take that light and shadow from the morning hour, and placed it in a cabinet, a cabinet to have by your side to dream away on a cold winter day in February.

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marcel saavedra - works

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