.<\/span><\/p>\n Participants: <\/i>TheO<\/span><\/i><\/a>, <\/span><\/i>Tivoli<\/span><\/i><\/a>, <\/span><\/i>YaKUSH<\/span><\/i><\/a>, <\/span><\/i>DONNA<\/span><\/i><\/a>, <\/span><\/i>kint<\/span><\/i><\/a>, <\/span><\/i>ReStyle<\/span><\/i><\/a>, <\/span><\/i>Broox<\/span><\/i><\/a>, <\/span><\/i>Barn Code<\/span><\/i><\/a>, <\/span><\/i>NOOM<\/span><\/i><\/a>, <\/span><\/i>WOO<\/span><\/i><\/a>,\u00a0<\/span><\/i>Shishka Project<\/span><\/i><\/a>, <\/span><\/i>GUSHKA<\/span><\/i><\/a>, <\/span><\/i>AMAZE Objects,<\/span><\/i><\/a> K2 HOME<\/span><\/i><\/a><\/p>\n .<\/span><\/p>\n .<\/span><\/p>\n Contemporary design exists across multiple scales of production. On one hand \u2014 industrial factories and technological facilities capable of producing objects in large quantities. On the other \u2014 small workshops operating with limited editions and reviving the culture of craft.<\/p>\n It is precisely between industry and craft, between mass production and the unique object, that the field of contemporary design takes shape. At the heart of this dialogue lies a fundamental question of form-making: what comes first \u2014 the idea or the means of its materialisation? Does technology define the form of an object, or does form dictate the method of production? Can every design object potentially be reproduced? And where is the boundary between a utilitarian item and functional art?<\/p>\n Today, Ukrainian design demonstrates a high level of adaptability \u2014 both in approaches to form-making and in production processes. Manufacturers continuously respond to new challenges, combining manual and automated technologies. Designers work simultaneously with industrial production, small workshops and craft practices, forming a flexible system of object creation.<\/p>\n The Ukrainian collective exposition invites us to consider form as the intersection of idea, material and method of production.<\/p>\n The exposition unfolds across three directions: Industrial Design, Craft and Functional Art. Together, these approaches demonstrate how contemporary Ukrainian designers work between industry, craft and artistic experimentation. In this interaction, form becomes a tool for reflecting on the connection between idea, process and result. \u25aa\ufe0f 10\u201312 June<\/p>\n \u25aa\ufe0f Ukraine House in Denmark, Copenhagen Curators:<\/strong> Anait Danielian, Larysa Tsybina<\/p>\n Organizers:<\/strong> Supported by:<\/strong> SIPPO<\/p>\n <\/p>\n\n\t\t![\"\"](\"https:\/\/uafm.com.ua\/wp-content\/uploads\/2026\/06\/Amaze_10_10_2024_0002-1024x1024.jpg\")
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\n.<\/span><\/p>\n
\n.<\/span><\/p>\n
\nUkraine House in Denmark<\/a>
\nUkrainian Association of Furniture Manufacturers<\/a>
\nEmbassy of Ukraine in the Kingdom of Denmark<\/a><\/p>\n