Architectural Cases

Revitalizing Automotive Relics into Resonant Instruments

The Genesis of a Rock Machine: Reimagining Discarded Engine Parts

At the core of Plateis Guitars' philosophy is the ingenious concept of repurposing. Instead of ending up as industrial refuse, each engine head, once the powerhouse of a vehicle, is meticulously prepared and adapted. The inherent characteristics of the metal – its rugged form, individual markings, and the sheer weight – are not concealed but rather celebrated, becoming integral to the instrument's unique identity. This transformation allows a part that once propelled cars on roadways to now channel electric energy, producing vibrant musical tones through its strings, pickups, and amplification systems.

Crafting Sonic Individuality: The Meticulous Process Behind Each Guitar

The creation of a Plateis guitar is a testament to slow, deliberate craftsmanship. Vlado Plateis dedicates approximately three months to each instrument, ensuring precision and artistry in every detail. This extensive process involves careful preparation of the engine head, its seamless integration with guitar components, and rigorous testing to guarantee not only aesthetic appeal but also superior playability. Factors such as balance, structural integrity, tuning stability, and overall sound quality are critically evaluated, culminating in an instrument that excels both visually and sonically.

Where Art Meets Engineering: The Distinctive Character of Every Piece

The finished products from Plateis Guitars defy simple categorization, existing as a compelling hybrid of electric guitar, sculptural art, and mechanical relic. No two guitars are ever identical; the inherent variations in each donor engine head – from its shape and historical wear to its unique imperfections – ensure that every completed instrument possesses a singular presence. This project moves beyond mere mass production or decorative embellishment, focusing instead on the profound metamorphosis of a heavy, forgotten mechanical piece into something alive, expressive, and deeply functional. Plateis Guitars eloquently demonstrates how discarded materials can be reborn as conduits for sound, emotion, and masterful craftsmanship, appealing to musicians, collectors, automotive enthusiasts, and anyone captivated by design with a compelling narrative.

The Enduring Legacy: When Motion Ceases, Music Begins

Even after an engine's primary purpose of powering a vehicle has concluded, its potential for creating 'noise' in a new form remains. In the skilled hands of Vlado Plateis, these automotive remnants find a renewed purpose, humming with a different kind of life. The project encapsulates a profound message about sustainability, creativity, and the unexpected harmony that can emerge when diverse fields of design and engineering converge.

At the Raisonné gallery in New York, Emmanuel Boos invites visitors to experience his solo exhibition, 'Noir C’est Noir,' which features an array of ceramic creations. His tables, seating, vessels, and modular brick-like forms demonstrate the inherent discipline of porcelain, yet they also bear the distinctive marks of where control was relinquished. These celebrated 'errors,' such as uneven seams, pools of extra glaze, and subtly sagging surfaces, reflect the material's natural tendencies. Boos emphasizes the delicate balance between his intentions and the material's reactions, acknowledging that porcelain often behaves in ways that cannot be entirely predetermined, a characteristic he has learned to embrace.

Boos's journey into ceramics began during an exchange program in the United States, a period when, as he recalls, the art form held a different cultural status in France. His extensive studies took him through various apprenticeships in China, South Korea, Paris, and Burgundy. His doctoral research at the Royal College of Art specifically delved into the intricacies of glaze, a central element in all his artistic endeavors. For Boos, porcelain is far from a passive medium; he describes it as a challenging material with a will of its own, possessing a 'memory' that allows minor imperfections to resurface even after apparent correction. Rather than concealing these natural occurrences, he integrates them into the final aesthetic of his pieces, transforming what might traditionally be seen as flaws into integral parts of their character.

This acceptance of imperfection stems from years of challenging the modernist ideology, which often promoted the artist's dominance over nature. Boos's work, particularly the pieces displayed at Raisonné, reflects this shift. His porcelain tables, constructed from modular bricks, exhibit a structured, almost architectural quality, yet upon closer inspection, they reveal subtle variations, sags, and warps. These elements hint at an underlying order while simultaneously celebrating the unpredictable nature of the material. For 'Noir C’est Noir,' Boos developed new pieces using black and dark brown Tenmoku glazes, complemented by celadons and kakis. The exhibition features over seventy unique items, including various tables, stools, and vases, all of which are designed with repeated elements such as bricks, squares, and hollow modules, allowing for flexible configurations held together by balance, weight, and occasional wooden dowels. This deliberate disturbance of conventional function, where tables have uneven surfaces or vases lean on each other, invites a more thoughtful engagement between the viewer and the object, transforming utility into a dynamic relationship.

Throughout the exhibition, Boos explores a creative philosophy that is both technically informed and playfully adaptive. His deep understanding of glazes, porcelain behavior, and firing processes is matched by his willingness to allow the material to express itself. He advises emerging artists to view disappointment not as a setback but as an invitation to innovate, transforming unexpected outcomes into new possibilities. It is in this dance between control and spontaneity that his work truly comes alive, offering a profound reflection on embracing the inherent chaos and beauty of the artistic process.