UMUT DEMİREL

AFTER COMPLETING HIS STUDIES IN INDUSTRIAL DESIGN AT ACADEMY OF FINE ARTS OF THE UNIVERSITY OF MIMAR SINAN AND IN MEDIA AND JOURNALISM AT THE VOLDA UNIVERSITY COLLEGE, UMUT DEMIREL GAINED EXPERIENCE IN DIFFERENT DESIGN OFFICES. DEMIREL ESTABLISHED THE DESIGN OFFICE CARRYING HIS NAME IN 2012 IN ISTANBUL AND CONTINUED TO DESIGN FOR NATIONAL AND INTERNATIONAL COMPANIES. INTERESTED IN ANALYTICAL SCIENCES SUCH AS PHYSICS, MATHEMATICS AND GEOMETRY, THE DESIGNER EFFECTIVELY REFLECTS THIS INTEREST TO HIS DESIGNS. IN HIS DESIGN STUDIO, UMUT DEMIREL REALIZES DESIGN PROJECTS IN A WIDE SPECTRUM OF AREAS FROM PRODUCT DESIGN TO FURNITURE DESIGN, PACKAGING DESIGN AND DESIGNS FOR PROMOTIONS AND EVENTS.

DEMIREL HAS WON THE ‘RED DOT DESIGN AWARD’ IN 2011 AND 2012. IN 2010, HE WAS SELECTED TO EXHIBIT AT THE ‘TALENTS’ SECTION OF THE AMBIENTE FAIR. IN 2013, HE WAS CHOSEN TO EXHIBIT AT THE WANTED DESIGN ‘DESIGN: ISTANBUL - NEW YORK’, ORGANIZED DURING NEW YORK DESIGN WEEK, AND IN 2014, HE WAS ONE OF THE DESIGNERS WHO WERE SELECTED FOR MAISON & OBJET PARIS ‘TALENT A LA CARTE’.

RINGS

THE EVIL EYE ‘RINGS’ HAS ITS CENTER OF GRAVITY AT THE BOTTOM, WHICH HELPS THE EVIL EYE TO GENTLY ROCK TO THE SIDES. THIS SWAYING MOTION GIVES THE RINGS EVIL EYE A VISUAL ILLUSION.

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DROP

GLASS IS A FLOWING LIQUID. THE ‘DROP’ VASE IS THE REFLECTION OF THE PHYSICAL FORMS THAT ARE FORMED WHEN A DROP OF WATER HITS THE WATER. THIS FORM IN MOTION CONTINUES TO EXIST AND MOVE IN THE DROP VASE.

MADE UP OF TWO SECTIONS, THE UPPER SECTION OF THE DROP VASE CAN BE POSITIONED FOR FLOWERS OF DIFFERENT STEM SIZES. THE DISINTEGRATING PARTS FACILITATE WATER TRANSFER AND THE CLEANING OF THE VASE.

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SEE

THE EVIL EYE ‘SEE’ IS A NEW TAKE ON THE CONVENTIONAL EVIL EYES. THE THREE-DIMENSIONAL FORM CREATES THE PERCEPTION OF DEPTH.

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RATIO

RATIO IS A SIMPLIFIED VERSION OF THE TURKISH GLASS TECHNIQUES OF ‘KESME’ -CUT- AND ‘BEYKOZ’ USING MINIMALIST GEOMETRIC PROPORTIONS.

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MYSTIC

THE MYSTIC ENCOMPASSES A VASE, A BOWL AND A JUG HIGHLIGHTING THE SUBTLE, BACK-LIT SILHUETTE OF THE CESM-I BULBUL TECHNIQUE HIDDEN IN WHITE AND OPAQUE GLASS, TURNED INSIDE OUT AT ITS OPENING LIKE AN ELASTIC PRODUCT, EMPHASIZING THIS SILHUETTE. IN ADDITION TO CREATING ESTHETIC HARMONY, THE FORM AT THE OPENING OF THE PRODUCTS PROVIDES THE ERGONOMIC BENEFIT OF A NEW GRIP EXPERIENCE.

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HIGH

THE ‘HIGH’ SERVING TRAY BRINGS TOGETHER THE ART OF CESM-I BULBUL, A RARE EXAMPLE OF TURKISH GLASS MANUFACTURING AND A LEAN AND MINIMALIST SERVING TRAY IN AN ESTHETICALLY HARMONIOUS DESIGN. WITH TWO LAYERS, HIGH ALLOWS FOR DIFFERENT COMBINATIONS WITH THE MYSTIC FEEL OF CESM-I BULBUL.

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EQUAL

THE EQUAL BOTTLE AND GLASS WERE DESIGNED BASED ON THE PHYSICS PRINCIPLE THAT ALL LIQUIDS TAKE THE SHAPE OF THE CONTAINER THEY ARE PUT IN. THE PATTERNS ON THE DESIGNS, RATHER THAN BEING DECORATIVE, HELP EQUALLY DIVIDE THE LIQUID CONTAINED IN THE JUG TO 4 GLASSES AND ALSO ACT AS A MEASUREMENT METHOD THAT SHOWS THE AMOUNT OF THE LIQUID.

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SQUARE

THE ‘SQUARE’ TEA GLASS MOVES AWAY FROM THE CONVENTIONAL ROUND SHAPE AND ADOPTS A SQUARE FORM. THE SQUARE FORM, ALTOUGH HAVING THE SAME DIMENSIONS, HOLDS MORE TEA COMPARED TO THE ROUND FORM, EXTENDING THE PLEASURE OF TEA-DRINKING. THE SOFTENED EDGES PROVIDE AN ESTHETIC APPEARANCE AS WELL AS EASE OF DRINKING.

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DIAMOND

THE ‘DIAMOND’ TEA GLASS FEATURES SHARP, ANGULAR SURFACES THAT MAKE TEA, AN ESSENTIAL ELEMENT OF THE TURKISH CULTURE, APPEAR JEWEL-LIKE. THE GLITTER OF THE GLASS AND ITS FORM ADD TO THE RITUAL OF POURING, MIXING AND SIPPING TEA.

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OTTO

THE LOWER PART OF THE ‘OTTO’ TEA GLASS IS WIDER THAN THE TOP PART. THIS FORM HELPS KEEP THE TEA WARM, PREVENTS THE GLASS FROM BEING KNOCKED-OVER AND PROVIDES FOR A COMFORTABLE GRIP.

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BELL

THE ‘BELL’ CARAFE CONSISTS OF PARTS TAKEN FROM A GLOBE, WITH WINE GLASSES AND THE TRAY SITTING ON BASES WITH EQUAL DIAMETERS. THIS PHYSICAL FORM HELPS THE WINE GLASSES AND THE CARAFE TO SWAY ON A FLAT SURFACE AND WHEN THEY ARE SET ON THE TRAY, TO REMAIN STABLE.

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