SEEYOU

Phenomena and elements of nature are invited to be involved in cretating an interaction. The look of the object changes in season and time. The water in it reflects the outer world, the mossing gives a beautiful appearance even if nobody cares.

The tomb is not only a connection between the departed and the bereaved, but help families in togetherness.
Designed to be completed by you and nature.

Az első ránézésre csupán egy gyönyörű tárgy megjelenése úgy válik teljessé, ahogyan a természet birtokba veszi. Amikor a tetejébe mélyített meder megtelik esővízzel, hóval, földdel vagy őszi falevelekkel, egy kereszt lesz látható. Ez az interakció a természet körforgását élteti, így utal a temetkezés ősi szokásának értelmére is. A keresztmotívum egy mélyedést formál. Megteleik vízzel, levelekkel, homokkal, hóval, majd leapad, s a körforgás újrakezdődik. A tárgy visszatükrözi a külvilágot és reflektál a környezetére. Változó egyedi megjelenését a természettel való erős kapcsolata és a családtagok gondviselése alakítja.

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The world is like a well.. the world is like that


ABOUT THE PROJECT

„ No matter how and where we choose or happen to be laid to rest, however, good design could benefit us all ‐ dead or alive “

21th century taboo
It’s not very distant past, death was a taboo subject even among developed societies. By insulating
themselves from death the living deprive of opportunities to be better prepared to face their own mortality.
architecture, design for life AND death
Death is one those subjects people tend not to like talking about, however it still comes to us all in the end. Tombstones haven’t changed much over the last few centuries, that is until now with some moves to shake up the architecture and design of death. Death used to be a nice line of work for architects. It generated the tombs and pyramids of Egypt, the Taj Mahal and countless other magnificent structures. The great achievements of modern architecture and design have brought stunning forms to our built environment ‐ yet these qualities often seem to have kept away from the objects and spaces and for burial.
The living want new houses, new spaces, new furniture, new objects of desire, they don’t want to bother much with the dead..
the world is like a well.. the world is like that
When I look into the surface of the water, I can see the sky. I see the clouds running, and I see the wind that blows through the trees, I see the bird, the sun, the moon, the stars. When I look into the surface of the water I can see you in it standing there facing me.. and I wonder. When I look into the surface of the water I can see then you’re not there..
When I look into the surface of the water I can see the world. I see this world maybe, but different, I see it maybe the same way, it’s just another world. When lean closer to see it better.. I catch sight of myself.
reflections and personal remembrance
Forming a circle around the grave, looking at the tombstone it is the ancestor that connects the family. Father can recognize his forefathers looking at the son. Descendants can see tha ancestors in themselves. When you stoop closer to look into the surface of the water you can catch a sight of yourself.
The cross shaped hollow becomes saturated with water, leaves, sand, snow, and then decreases, and so on. The objects is always reflecting on the outer world and environment. It is exposed to nature and to the concern of family members.
the cross form
Cross forms were used as symbols, religious or otherwise, millennia before the Christian Era as marks
of identification or were significant for belief and worship. We wanted to create a universal object reflects on the european milieu and rich culture we live in. The cross is thus both a sign of Christ himself and a universal emblem of faith. Cross is interpreted also as a human form. This well‐known element have been suited for helping the object’s deaper messages to be understood. Seeking a contemporary interpretation of traditional meanings and timeless values we created our new representation of the cross.
material: concrete
To create an object, a building, a structure means to create space. Space must be pleasant to the man and well integrated in its environvent because earth participates in everything. Indeed, lots of importance is to be adressed to the materials and their use. Through its firm structure, heavy weight and durability concrete transports the idea of a passive strength by its resistance of external forces as a perfect complement of the active force, life energy of every living being. Dual beings are forming one organism coming together for one purpose resulting in a harmonious outcome.
Concrete not only has an ancient history as a durable, lasting material, but its versatile character makes it the perfect medium of creative expression as well, a vanguard raw material as much for its appearance as for its flexibility of use. Unlike its primary carcass and formwork function, this material suddenly takes on fluidity, stylishness and panache.
technology: a shot of fluid in motion
Concrete’s robustness is accompanied with an active force within that expresses the material’s contradictory states of fluidity and cast solidity. Concrete construction projects are antistatic, can be defined as a shot of fluid in motion. Concrete’s plastic characteristics ‐ from fluid to solid, allowing for the production of complex forms. Unlike solid slab materials that may prove difficult to tool into more complex shapes, concrete has sculptural features. Pouring the mix into a mould -negative form of the gravestone- it can take its shape without producing any waste material.
traditions and history form ‘cradle’ to grave
Planting the deceased for later renewal is the earliest known human ritual. Between 20,000 and 75,000 years ago, Neanderthals began to bury their dead. Evidence of many of our contemporary customs appears at Neanderthal sites. Both rituals and monuments for the dead played an important part in everyday living.

“Creating SEEYOU we went back until the cradle of traditions to follow.”

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SEEYOU DETAILS – ENGRAVING, COLOR, TEXTURE

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