We are designers



    • Objects
    • Furniture
    • Packaging
    • Special constructions
    • Exhibition stands
    • Design for all
    • Ergonomics
    • Materials

    • Logotypes
    • Publications
    • Posters / banners
    • Books / catalogues
    • Packaging
    • Wayfinding systems
    • Environmental design
    • Illustration

    • Corporate products
    • Corporate identity
    • Brand strategy
    • Design guidelines
    • Brand makeover and rejuvenation

    • 3D / motion graphics
    • 3D Visualisation (modelling + rendering)
    • Special effects
    • Video editing

    • Set design
    • Video for theatre / events / conferences
    • Projection mapping
    • Art installations
    • Exterior installations

    • Web design
    • Campaign websites
    • Database-driven websites
    • Content Management Systems
    • Interactive application

Regarding antidot

PLEASE NOTE: This website is not being updated any more, since we are involved in long-term contracts that do not allow us for new collaborations (last update: 2015)

Fifteen years ago or so, we published the first concise text that best described our profile. The core idea was a hypothesis that all media were converging, the digital age was coming of age and this would characterize contemporary culture.

In parallel, other areas - apart from the domain of technology - seemed to come together, rendering the boundaries invisible; we were seeing art flirting with design, politics with marketing, et.al.

Those concepts are probably commonplace today - yet, as early observations, they assisted us in following a very unique development route.

From the inception of the studio in 1996, in East London, to the relocation in central Athens in 2002, this development was based on two axes:

Expanded technological and technical expertise in multiple specialisms. An essential component of Product Design is, by definition, the utilization of a wide range of technologies and methods in the quest for solutions to the complex design issues we face. The understanding of three-dimensional space, the relation to human scale and the body, the knowledge of available materials and the complexity of industrial production, formed the basis for our understanding of a comprehensive design methodology. We therefore developed a wide approach, that superseedes the usual over-specialisation. Starting off from 3D design, we quickly moved into the world on new media (video, interactivity and, obviously, web technologies), widening our knowledge field.

Expanded cultural understanding. Contemporary (industrial) civilization is seeped with multi-layered meanings, complex symbolic values and cultural references. The role of the designer expands further than the manipulation of form and material - into the foray of the intangible: added or perceived value and symbolic significance of an object or gesture.

As designers, we are asked to design the physical world and, in effect, to instill meaning into things. By extension, we would dare to observe that we are essentially wandering into the domain of production and manipulation of culture.

From "well-designed art" or "creativity in design", the result of our work is not just the printed or constructed object - it is the meaning itself that the object conveys. [In true essence, this is where the real issues arise: we are dealing with the manipulation of desire, so one needs to be clear in ethical / political terms, but this interesting issue is well beyond the scope of this text].

In few words, we understood early enough that the complex cultural, political and financial environment would require teams that would operate as "hubs" - focusing on the understanding of the big picture, yet being able to employ the appropriate technique or methodology. The world of applied arts is a broad and loose one; we aim at a reasonable and informed management of all those elements that describe the produced work.

The principles of design are common in most areas of application. Nowadays the word design itself is being used in almost every scientific or professional environment, referred to as a method / approach / stance to problem solving. This is our core: a design problem is a complex request, spoken in a shaky and charged environment.

Christopher Brellis MA(RCA)