TINOS 2018
The ‘Un[processed]’ pieces are conscious reflections around established norms. They mirror the aggressive intervention of man on nature and the general deterioration due to the effect of uncontrollable industrialisation. The maker- designer is a victim of the tragic circumstances that he inevitably is party to, since it is almost impossible to create, without altering or destroying elements of nature.

The solid and realistic assemblages, were born through a dystopian environment forming a spatial relationship, exhibiting a scene of violence. The inox pipe literally rapes the raw and unprocessed marble. This collision highlights the strong antitheses between man and nature, geometrical and organic forms, mass production and naturally occurring configurations.
The inox symbolizes industry, technology and alienation. It is the material used in the production of weaponry and sophisticated, modern machinery. It indicates brute force and strength, immortality and utter perfection, it cannot be destroyed and it never disappoints. These are the ideals of a modern industrialised society. In contrast to this, the unprocessed mass of rock represents nature and eternity. It expresses archetypal emotion and the strength of nature which formed it. The rock is still ‘alive’ as it continues to change, to transform. It has no finalised form, it breaks and crumbles even as it is being handled and transported. Perishability and loss are both in the nature of the rock, as it is enveloped in a poetic weakness.

The origin of the materials is also contradictory. On the one hand the inox and the LED mechanisms are industrialized products, while on the other, remnants of marble masses were selected from the abandoned mines of Tinos.
At the end of the object’s life all its parts are disassembled easily and can then be reused. The rock can be returned to us or its original site following the coordinates etched on the pipe.

The pieces created are not “eco”, they don’t suggest solutions nor do they solve the issues that they wish to raise awareness about. Their aim is to activate the reevaluation of the established methods of production.



TINOS 2019
Cargo porcelain collection is the result of a symbolic and actual journey that explores the relationship between humans, natural resources, places and processes of creation. The symbolic journey is related on one hand to the natural course of the stone in space and time, that is captured into ceramic forms. Then, to the continuation of this journey, in the contemporary age, where the stone as a natural resource is stacked and transported as forms of goods.
The result of this porcelain utensil is a replica of the physical object. The aim of the project is to create a memory object that

brings this journey to the user without causing distortion and

damage to the natural environment.
The actual journey concerns on one side the trip of the working team to Aghios Dimitrios beach in Tinos, where the molds were made “in situ” from basalt and slate stones. And on the other sid the team’s return trip to Athens with the molds in 01/2019. GPS coordinates of the beach [37°34'04.0"N 25°14'22.9"E].
The materials that were used (plaster, clay, glass, porcelain) throughout the journey of creation from the mold to the production of the ceramics, are creations of natural processes. The ceramics were transferred from Tinos to Athens and from the workshop to the exhibition inside crakters which were also used as interior supports for the inox surfaces. These surfaces will be reused in the next work of the team informed by the same philosophy.@un.processedrealities



Speciesism – like sexism, racism, and other forms of discrimination – is an oppressive belief system in which those with power draw boundaries to justify using or excluding their fellow beings who are less powerful. A human-supremacist line of “reasoning” is used to defend treating other living, feeling beings like research tools, fabric, toys, or even food ingredients – even though they share our capacity for pain, hunger, fear, thirst, love, joy, and loneliness and have as much interest in freedom and staying alive as humans do.’1

Αnimal Kingdom as
Τhis abundance, characterising modern western civilization, has been traditionally founded on the subjection and vassalage of other beings. The exploitation of animals and humans (assuming its cruelest form in slavery), both of which still survive today, serve as illustruous examples.2 As Baudrillard stresses, ‘‘We have made of them [that is, of animals] a racially inferior world, no longer even worthy of our justice, but only of our affection and social charity, no longer worthy of punishment and of death, but only of experimentation and extermination.’3

Given this theoretical framework, the project consists of three chapters regarding animal abuse, visually translated into three objects. The visual representations of these objects and the gesturing in which they invite, formulate an imitation of the processes of human cruelty against animals.

The factory:
The factory incarnates in the clearest way the human abuse over animals. According to the United Nations, 77 billion land animals are slaughtered each year in intensive animal farming as being part of the expendable industrial livestock.4

Animals are turned into machines producing more meat, milk or eggs than they naturally would. In order to achieve that, we even genetically manipulate them. The case of pigs, genetically engineered to grow faster and produce more meat with less feed, is exemplary.5 The full effect of similar genetic modifications in large-scale breeding programs cannot be predicted.6  We have downscaled animals in the category of an object: we produce them in factories, thus rendering impossible their physical reproduction. We call them by numbers (similar to inmates of concentration camps), force them to live under horrible circumstances and consider them as inputs and outputs of an assembly line, where everything must come out as a product.

The effect of the above is detrimental on the mental health of animals. Animals on factory farms have been observed to suffer from severe stress and depression because of the conditions they are forced to live in. They get severe diseases connected to stress and eventually develop self-injurious behavior.7 

Τhe Vault:
The vault refers to the exploitation of animal species bluntly for social status. This often translates into expensive clothing and accessories (exotic skin, fur, feathers), with this trade being illegal and the animals suffering abuse or growing in captivity only to be killed.  

Animals are seen as trophies, on the one hand carrying economic value, on the other serving for social or entertainment purposes. Hunting and collecting wild animals partakes in this kind of exploitation . This cruelty is practiced even (or especially) by people with great social influence. Suffice to mention that Trump’s son habitually hunts endangered species.10

The slaughterhouse:
The slaughterhouse points to the raw violence that we knowingly exert on animals, namely torturing and abusing. Simple or gross neglect, intentional abuse, animal hoarding, organized or sexual assault are manifestations of that violence.11

In the case of experiments including them, animals are legally poisoned, deprived of food, water, or sleep, subjected to psychological distress, deliberately infected with diseases, subjected to brain damage, paralysed, exposed to skin or eye irritants, burned, gassed, force-fed, electrocuted and killed.12
It is also to be mentioned that this kind of violence is used as well in the entertainment industry (angling, bullfighting, circuses, zoos, horse racing, to name a few).

Research and writing by Un.Processed Realities
Text editing by John Sklavounos

*All the furs were donated especially for this project / Non toxic substances or glues were used for the construction / All the materials will be re-used in next project

1.  “End Speciesism” project, Peta.org.uk
2.  “Contemporary forms of slavery”,European Parliament's Subcommittee on Human Rights, December 2018
3.   Jean Baudrillard, “Simulacra and Simulation”, 1981
4.  Alex Thornton, “This is how many animals we eat each year”, World Economic Forum, 08 Feb 2019
5.  F. Foraboscoa, M.Löhmusb, L.Rydhmer LF.Sundström, “Genetically modified farm animals and fish in agriculture: A review”,  Livestock Science Volume 153, Issues 1–3, May 2013
6.  “Invited review: Breeding and ethical perspectives on genetically modified and genome edited cattle”, American Dairy Science Association, 2018
7.   Kathleen N. Morgana,, Chris T. Tromborg, “Sources of stress in captivity”, Applied Animal Behaviour Science, July 2006
8.  Lesley A. Peterson, “Detailed Discussion of Fur Animals and Fur Production”, Michigan State University College of Law, 2010
9.  Michael Paterniti, “Trophy Hunting: Should We Kill Animals to Save Them?”, National Geographic magazine, issue October 2017
10.Tommy Beer,  “Donald Trump Jr.’s Hunting Trip To Kill Endangered Sheep In Mongolia Cost Taxpayers More Than $75,000”, Forbes,  Jun 10 2020
11. Mogbo, Oduah, Okeke, J. Ufele, A.Nwankwo “Animal Cruelty: A Review”, Journal of Natural Sciences Research, Vol.3, No.8, 2013
12. “Animals Are Not Ours to Experiment On”, https://www.peta.org.uk



Social history begins at the end of man’s identification with nature and his exaltation as a separate entity. Approximately 500 years ago, western culture appointed man the centre of the universe. Values like individualism, productivity, success, time, and profit began to carry significant importance.

According to the Christian lineage, ‘God created man in his own image‘ (Gen. 1.27)

, which means that man was created in the image of a divine entity. The dogma of Reformation  taught man to use everything -himself included- in a utilitarian manner, as a means to the achievement of a personal or non-personal goal. These are two of the main factors that laid the early psychological foundations for the establishment of the forthcoming sociopolitical system.

Consequently,In this context, humans placed themselves at the highest rank in the pyramid of living beings (giving rise to what has been termed as “speciesism”). Based on this premise, man became the sole legislator in the universe both ontologically and ethically. A dualism of subject / object was formed: building upon our perception of man as ‘subject’ by virtue of his ability for rational thinking, everything else was ostracized in the sphere of ‘objects’. The values of individualism, productivity, expansion and progress, became the guiding principles of our relation and interaction with nature.

In our view, the diagram of the International Geosphere-Biosphere Programme reveals that western post-1950 exponential acceleration of human activity represents the most ego-driven era in the history of humankind. Similarly, we notice that our current condition is underlined by an assemblage of humans, technology and fossil fuels, organized by capitalist relations. Human-centric thinking has rebranded nature and the planet as an ecosystem of services with economic values and causes. As a result, we experience distortions in biological and geological substratum and an ongoing climate crisis. Despite the above, we insist on living in a state of mechanical euphoria, imagining capital as a divine force and ultimate driver.

Humans are the protagonists in this complex system that ironically, goes beyond human constructs, creating intricate and inter-related changes, both visible and invisible (digital, hyperobjects, political abstract processes etc) that we cannot understand or control anymore. We design on the macro-level of nature, manipulating the planet, the geology, the weather. This is equally evident at the micro-scale of our bodies: we even managed to design our DNA (CRISPR).

The impact of our designing practices will be excessive on the world of tomorrow. It will be left in glaciers, rocks, oceans and sediment, and remnants of it will be buried, forming part of the rocks of the future.

To some scientists, the end of the world has already taken place, global warming is already upon us and we are facing the end of earth’s capacity to sustain human life. Before humans had a chance to define themselves within the context of the fourth industrial revolution, they were found in the post-human phase.

So, what does it mean to exist in an epoch dominated by humans?

‘Ruins of an extreme present’ is a group-exhibition featuring 7 artists/designers and 6 studios whose works interpret, question and react to established political, social, ethical and ecological phenomena.

Using contextual and speculative design as a cultural power, the exhibition imagines dystopian futures and visualizes this strange, liquid present which carries its past and future traumas.

The experience of these great transformations alone causes diverse emotional responses. Further psychological burden is added due to the fact that these global problems become depoliticized and charged on the individuals, leaving them helpless. This gives rise to feelings such as loneliness, loss, grief, doubt, nostalgia, violence, anger, pain and anxiety, the impact of which becomes even more severe in an environment of change and uncertainty.

If we cannot imagine a possible future, how can we invest in it?

We need to use design as a tool for distancing ourselves from our human present and look at its ruins from the future. Once we have achieved that, we need to come back and reinvent the Anthropocene by imagining the new Anthropos. A new de-centred being with a radically different consciousness of coexistence that will take part in a profound re-distribution of power and knowledge.

The imagination of this new being does not implicate a resolution by means of yet another kind of Utopia. The hope rather rests on the trial to write better histories.