


A geometric shelving composition between art and nordic design

What they design is not merely to please the eye but to evoke an emotion

In this context, his approach is straightforward: from the street, for the street, proposing a new image of circularity. His objects – chairs, tables, disposable components, as well as more complex pieces – aim to become part of an evolving urban landscape, where life is constantly on the move and we begin to carry our own furniture. This vision is particularly relevant as we rethink our living systems, in the spaces and futures we are already inhabiting – a future that is, in fact, our present.
If we are to reimagine our homes and domestic environments, we must let go of the idea of their permanence. The concept of the domestic, already challenged in the MoMA’s 1972 Italy: The New Domestic Landscape exhibition, has evolved from a static ideal into something far more fluid – shaped by moods, by habits, and increasingly, by movement.
No longer anchored to a single place, our lives now migrate for work, for housing, and, more urgently, for climate. Within this shifting frame, Guillamot’s work finds deeper meaning: a mobile, replicable response rooted in the self-design principles of figures like Enzo Mari, offering tangible solutions to the challenges ahead. His furniture becomes part of the baggage we carry toward a different future.
But beyond the physicality of objects, what’s striking is the way his practice invites us to observe, question, and participate. There’s a democratic impulse at play – not just in how materials are reclaimed, but in how knowledge is shared, how skills are reactivated, and how design becomes accessible, even teachable.
His work suggests a design that doesn’t impose, but interacts – not a final form, but a process in motion. It encourages us to see differently, to engage actively, to treat the city not as a finished product but as a living, open-ended platform.
In that sense, the pieces emerging from Design Den aren’t just recycled, they’re recharged. They’re fragments of a society in transition, meant to be carried, reassembled, inhabited. Elements that quite literally dress our lives, not as decoration, but as companions in a shared and shifting space.
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