DESIGN

design

Warlamis had turned to design since the 80s. He was interested in communicating with the general public without exceptions or exclusions, and the design of utilitarian objects served this purpose. In this way, he wanted art to enter every home.

 

He has designed a large series of products, carpets, furniture, small objects made of wood, glass or porcelain, fabrics and an impressive series of objects (furniture, icons and toys) for children and children’s rooms.

His design philosophy is based on the timeless values ​​of Greek culture, but also on the tradition of the “Vienna School” which is characterized by the simplest and most gentle forms in the period of transformation from historical art to modern, an art that is gentle with a universality that was able to touch many cultures and be accepted by them.

he himself writes…

In a concise rendering, Warlamis advocated: Design for the "New Age" is cosmic and natural. It contains random structures. Its images do not need artificial forms limited by style. The reading of its elements has a universal character. Its images are emotional, they open the space of feelings, they activate the senses. Each image represents ordinary (common) knowledge. Design in the "New Age" includes designs that have anthropological characteristics, such as, for example, hot-cold, light-dark, soft-hard. It does justice to the human species and has a common value. It advances without the well-known heroisms of the avant-garde. Each of its images accepts the mood. Its poetry is a clear case. In other words: We no longer need the objects of professional designers with an aesthetic and style of modernity. What we need are inventions, inventions that accompany and enrich the development of our personality, with a witty culture. A good sense of humor is more interesting than a kind of frivolous, stylized and aggressive modernism.
E. Warlamis
… My proposal, to choose a simple language, which will not divide people into educated and uneducated, into initiated and uninitiated, into puritans and radicals, found consensus and enthusiasm everywhere. This proposal helps us to hold on a little, to take a breather from the endless hasty hunt for new ideas, for new forms, for new trends. Every culture can participate in this dialogue of our time, for the formation of a global language of the image.
E. WarlamisIn his introductory speech in 1991 at the Frankfurt International Trade Fair
And in 1993 at the New York trade show, he spoke about "Healthy Design" that is, about products that are characterized by the active action of the users and their design is not intellectual, but intuitive and physical. These products do not emphasize only the visual level, but also aim to awaken and activate other deeper human senses of the body and skin such as the sense of touch. …in Greece I believe that what is most important is to identify those source points, or the source bases that will allow us to create works and objects in all sectors that will no longer be forced to be imported into other cultures or into other parameters, that is, they will no longer be comparable to Germany, France, or England in the sense that they will have this authentic and indigenous expression that is absolutely necessary for ideas and objects to appear today in the market and in commerce and society that will give another stimulus, a stimulus or a relationship that will be directed towards the design of the 21st century.
E. Warlamis In 1995, in a speech to the Association of Industrialists of Northern Greece
In a concise rendering, Warlamis advocated: Design for the "New Age" is cosmic and natural. It contains random structures. Its images do not need artificial forms limited by style. The reading of its elements has a universal character. Its images are emotional, they open the space of feelings, they activate the senses. Each image represents ordinary (common) knowledge. Design in the "New Age" includes designs that have anthropological characteristics, such as, for example, hot-cold, light-dark, soft-hard. It does justice to the human species and has a common value. It advances without the well-known heroisms of the avant-garde. Each of its images accepts the mood. Its poetry is a clear case. In other words: We no longer need the objects of professional designers with an aesthetic and style of modernity. What we need are inventions, inventions that accompany and enrich the development of our personality, with a witty culture. A good sense of humor is more interesting than a kind of frivolous, stylized and aggressive modernism.
E. Warlamis
… My proposal, to choose a simple language, which will not divide people into educated and uneducated, into initiated and uninitiated, into puritans and radicals, found consensus and enthusiasm everywhere. This proposal helps us to hold on a little, to take a breather from the endless hasty hunt for new ideas, for new forms, for new trends. Every culture can participate in this dialogue of our time, for the formation of a global language of the image.
E. WarlamisIn his introductory speech in 1991 at the Frankfurt International Trade Fair
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what they said…

"…Warlamis uses all his work, architecture, painting, graphic design to facilitate, deepen, warm and enrich human communication. As an architect he leans towards the “Espace Total”, the composition of a complete space where all art contributes or collaborates in a sensual harmony... His sense of color is created by the sense of touch of the surface. The light in the compositions of his carpets creates a feeling that appeals to both the eye and the touch. Happy colors are a prerequisite for his compositions. The colors, worked through chromatic gradation, have been greatly enriched. An enrichment that conveys subtlety and intensity…”
Eurydiki Trichon-Miltzaniassociate of the Centre G. Pompidou (Paris) on Warlamis’ carpet collection
"The architecture and designs for furniture, textiles and carpets of Makis Warlamis have a charm that no one can escape. They reflect a childish surprise and even a playground for the variety and multiplicity of the World: its animals and flowers, its houses and squares, its colors and forms, are presented to us as a discovery full of joy and delight. At the same time - and this multiplies the charm - this design language is by no means simplistic but elaborates on Art and Movements from the past and present, from Viennese Jugendstil and Pop art to the postmoderns."
Prof.Dr. Volker FischerD.A.M. German Museum of Architecture in Frankfurt for Warlamis' exhibition "Art & Design" in Munich
"…Warlamis uses all his work, architecture, painting, graphic design to facilitate, deepen, warm and enrich human communication. As an architect he leans towards the “Espace Total”, the composition of a complete space where all art contributes or collaborates in a sensual harmony... His sense of color is created by the sense of touch of the surface. The light in the compositions of his carpets creates a feeling that appeals to both the eye and the touch. Happy colors are a prerequisite for his compositions. The colors, worked through chromatic gradation, have been greatly enriched. An enrichment that conveys subtlety and intensity…”
Eurydiki Trichon-Miltzaniassociate of the Centre G. Pompidou (Paris) on Warlamis’ carpet collection
"The architecture and designs for furniture, textiles and carpets of Makis Warlamis have a charm that no one can escape. They reflect a childish surprise and even a playground for the variety and multiplicity of the World: its animals and flowers, its houses and squares, its colors and forms, are presented to us as a discovery full of joy and delight. At the same time - and this multiplies the charm - this design language is by no means simplistic but elaborates on Art and Movements from the past and present, from Viennese Jugendstil and Pop art to the postmoderns."
Prof.Dr. Volker FischerD.A.M. German Museum of Architecture in Frankfurt for Warlamis' exhibition "Art & Design" in Munich
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Carpets

The carpets of Varlamis

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Varlamis furnitures & objects

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Varlamis design publications