UN P R 18T (Un.Processed Realities) were founded in Tinos during the summer of 2018. Their motivation derives from common questions about the operation of the established system of production and exploitation of matter, around the culture of design, the consumer habits, the perception of reality, creation and destruction. collaboration of Niki Danai Xania | Dimitris Tampakis | Giannis Delatolas

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.

First presentation @thessalonikidesignweek
Designed and constructed by #volaxcollective




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.

peciesism – 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.10The 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