Efasma, a British furniture brand, just introduced its first collection at 100% Design in London. And, for their debut, the company enlisted architecture studio Bureau de Change to design a range of innovative design products shaped by an ecological approach. The collection is influenced by the Greek heritage of co-founders Katerina Dionysopoulou and Billy Mavropoulos.
“Sourcing materials and production in Greece gives Efasma and the consumer the chance to benefit from the craftsmanship of the country’s highly skilled makers, and also brings business back to the company’s community,” says Dionysopoulou. We spoke to the studio about their new collection.
Our studio is fascinated with technical processes and fabrication methods. The idea was to use traditional making techniques and translate these in a contemporary way, by pushing the aesthetic and functional potential of materials via experimentation and technology. The range is made up of single and communal seating, tables and a room divider and is characterized by three dimensional handwoven surfaces. The essence of the collection is drawn from the brand’s Greek origins, and we were inspired by the basket weaving industry in Greece. Each piece is handwoven by craftspeople whose skills are slowly being made redundant by heavy industry. Single lengths of 100 percent cotton rope are used to create tactile woven surfaces, which also function in a structural capacity—rigidity is brought to solid walnut frames solely through the tension in the weave surface. We have also extended the life of the material through nanotechnology, which repels dirt from the textile.
How does your approach to architecture translate to product design?
For our large scale architectural projects the spatial diagram is normally the starting point. The concept for the Efasma furniture range came from thinking about the products’ relationship with the surrounding space, and the physical relationship between pieces in the collection. For example, the dining tables have been shaped by a slotting system, in which chairs appear pushed into the edge of the table, leaving behind brass clad cut outs. The octagonal table becomes a square when dining chairs are slotted into place. We also think about the user—in this case, seating interlocks in lots of different ways, affecting the way people interact with the person sitting next to them. Experience from working on architectural projects translates very naturally and it’s the change in scale that creates an interesting dynamic. We might borrow a fabrication method from a much larger scale project, often resulting in something unexpected.
Are all the products currently available?
Yes, they were launched at 100% Design during London Design Festival.
Do you do custom orders or are there specific colors and finishes?
There are specific colours and finishes at the moment, but there may be futher developments in the near future.
What is the starting price point?
Prices vary across the range and you can get these by contacting Efasma directly.