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Opposition is balance.

WHO WE ARE

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„Tranquility is born out of a balance of restlessness.”

- Domokos Szilágyi: Bartók in America

The two of us founded IO in 2017. IO is a line and a circle, a binary numeral system, a letter i and an o, a man and a woman, a boundary and a space that it encloses. These are the two basic units for us, the building blocks, that characterize us.

We work with the relationship between people and their environment. We believe that while creating the spaces around us, we must strive for coherence that applies to every detail and element. To achieve this, we provide product design, furniture design, interior design, and knowledge as well as tools for the implementation. We like to work with other designers, thanks to which, we have already acquired a taste of architecture and landscape design, when the opportunity presented itself, and we are also happy to help our fellow designers with our technical expertise and experience. We cherish the present and future of design in Hungary, so we gladly work with students and graduates as well, whether it is dissertation consultation or long-term talent management.

For us, design is about the story of both user and object, about asking questions, solving problems, and not about the self-serving expression of the creator’s identity. We try to approach each task with sensitivity, and personal involvement is essential for us, as it makes our work credible.

Our philosophy

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Our design approach is based on the mutually reinforcing coexistence of opposites, the starting point of which is the relationship between us two.

A graduate’s virtuosity joining the experienced designer’s matured knowledge, the creative, pushing-the-limits attitude uniting with the technical-type, pragmatic thinking, methodological and communication schemes learned within and outside the academic framework, analog and digital design tools, constructive and reflective design attitude, and the presence of masculinity and femininity.

These contradictions are united by common, practical and ideological goals, as well as the same set of values about design.

IO does not represent a well-defined style, but a design attitude that consistently builds on the context of the subject matter of the design. Its trademark is not to be found in its visual tools, but in the most comprehensive ideological substantiation and high-quality professional processing of the tasks.

We believe that design is an adaptive process that fits into the correlation system of the given task (be it architectural, technical, functional, structural, economic, sociological, or psychological context). At the same time, creation is an attitude, that cannot be completely neutral from the personality of the creator. At the forefront of our values is human, that is, humanity, so we always strive to make responsible decisions about our cultural values, as well as sustainability.

ANNABELLA HEVESI

HEAD OF DESIGN

As a child, I was mesmerized by the way my mom was drawing. Almost unnoticeably, her hand was always occupied, drawing something with delicate gestures when she was having a phone call or she was deep in thought. The phone book, the checkered recipe booklet, and reminder notes here and there were flooded with beautiful female eyes and lips. At the time, I impressed the adults with spider drawings on the corners of napkins.
I inherited my mom’s dream, so I was certain that I would become some sort of artist. This determination was not diverted by my alleged mathematical skills praised by my parents, although they really wanted me to study architecture. In architecture, however, I was unable to see the possibility of self-expression, which excited me more than anything as a teenager. So I started studying graphic design.
For a long time, the omnipresent cult of talent had had me paralyzed - the widely accepted idea that only the ‘chosen ones’ are able to achieve real results in most fields, and perhaps especially in arts. And even though I was considered talented, it was a huge burden for me, often overcoming me severely. Driven by a sudden notion, I moved to Budapest before finishing high school, to study animation for a year and a half

Eventually, I became a product designer.

I do not consider myself an artist, although this word appears in the name of my university (Moholy-Nagy University of Art and Design) and in my diploma as well. I think the ability to design is more a matter of mastering a way of thinking, rather than some intangible, innate talent.
I love constraints, endless systems of criteria, limitations, and, with more or less success, I refrain from self-expression. I am much more interested in who I am designing for, and that what I create is consistent, coherent, and authentic.

Working together with Gábor makes this possible for me. His comprehensive and practical knowledge complements everything I have brought with me.

GABOR BELLA

HEAD OF PRODUCTION

I was around 8 years old when I found some old “Ezermester” (Handyman) magazines in my father’s tool shed. The tool shed was the private universe of my father. Split firewood towering next to the wall, a vise bench on the opposite side, with an iron vise that was at least 15 kilograms. Shelves hanging from the rafters on wires, hooks with anything on them, that could be useful. Metal pipes, cables, old skis, garden tools. Mysterious objects in metal and wooden boxes, parts, used nails waiting to be straightened, rusty screws, some of them as big as one would imagine that they once belonged to a locomotive.

The “Ezermester” magazines were from the early 60s, I found them while searching one of the drawers. In the days that followed, instead of reading Leatherstocking Tales, I read about things like “Simple Room Antenna”, “Soldering School”, “Backyard Poultry Cage”, “Mobile Fishing Boat”, “How to make a camp bench?”.

I delved into the simple blueprints, assessed the toolshed’s inventory of materials, identified existing and missing tools. Finally, I got to work, I made a flowerpot from pine board waste that could be hung on walls. It spent years in my mother’s kitchen, hanging on a nail, as a pedestal for a green and white striped plant.

What started in that small godforsaken village, persists to this day. Even today, I study blueprints, choose materials for objects, try to optimize tools and technology, sometimes come up with them for production.

This is one of my halves in IO.

The other half designs spaces and structures. I did not study interior design in school. Over the years, relying on my personal affinity and our clients’ confidence, trying over and over again, experimenting with numerous ideas, reading a lot, constantly thinking and analyzing, to express it with a cliché, I learned everything from the “school of life”. I have designed apartments and houses, a listed villa, a minimalist summer house, shops, offices, hotels, escape rooms.

Working with Annabella, I hope that the knowledge and experience I bring, and her fresh, consistent, and uncompromising creativity, form a fruitful synergy.

GABOR BELLA

HEAD OF PRODUCTION

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I was around 8 years old when I found some old “Ezermester” (Handyman) magazines in my father’s tool shed. The tool shed was the private universe of my father. Split firewood towering next to the wall, a vise bench on the opposite side, with an iron vise that was at least 15 kilograms. Shelves hanging from the rafters on wires, hooks with anything on them, that could be useful. Metal pipes, cables, old skis, garden tools. Mysterious objects in metal and wooden boxes, parts, used nails waiting to be straightened, rusty screws, some of them as big as one would imagine that they once belonged to a locomotive.

The “Ezermester” magazines were from the early 60s, I found them while searching one of the drawers. In the days that followed, instead of reading Leatherstocking Tales, I read about things like “Simple Room Antenna”, “Soldering School”, “Backyard Poultry Cage”, “Mobile Fishing Boat”, “How to make a camp bench?”.

I delved into the simple blueprints, assessed the toolshed’s inventory of materials, identified existing and missing tools. Finally, I got to work, I made a flowerpot from pine board waste that could be hung on walls. It spent years in my mother’s kitchen, hanging on a nail, as a pedestal for a green and white striped plant.

What started in that small godforsaken village, persists to this day. Even today, I study blueprints, choose materials for objects, try to optimize tools and technology, sometimes come up with them for production.

This is one of my halves in IO.

The other half designs spaces and structures. I did not study interior design in school. Over the years, relying on my personal affinity and our clients’ confidence, trying over and over again, experimenting with numerous ideas, reading a lot, constantly thinking and analyzing, to express it with a cliché, I learned everything from the “school of life”. I have designed apartments and houses, a listed villa, a minimalist summer house, shops, offices, hotels, escape rooms.

Working with Annabella, I hope that the knowledge and experience I bring, and her fresh, consistent, and uncompromising creativity, form a fruitful synergy.

+36 30 272 2277

[email protected]

ANNABELLA HEVESI

HEAD OF DESIGN

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As a child, I was mesmerized by the way my mom was drawing. Almost unnoticeably, her hand was always occupied, drawing something with delicate gestures when she was having a phone call or she was deep in thought. The phone book, the checkered recipe booklet, and reminder notes here and there were flooded with beautiful female eyes and lips. At the time, I impressed the adults with spider drawings on the corners of napkins.
I inherited my mom’s dream, so I was certain that I would become some sort of artist. This determination was not diverted by my alleged mathematical skills praised by my parents, although they really wanted me to study architecture. In architecture, however, I was unable to see the possibility of self-expression, which excited me more than anything as a teenager. So I started studying graphic design.
For a long time, the omnipresent cult of talent had had me paralyzed - the widely accepted idea that only the ‘chosen ones’ are able to achieve real results in most fields, and perhaps especially in arts. And even though I was considered talented, it was a huge burden for me, often overcoming me severely. Driven by a sudden notion, I moved to Budapest before finishing high school, to study animation for a year and a half

Eventually, I became a product designer.

I do not consider myself an artist, although this word appears in the name of my university (Moholy-Nagy University of Art and Design) and in my diploma as well. I think the ability to design is more a matter of mastering a way of thinking, rather than some intangible, innate talent.
I love constraints, endless systems of criteria, limitations, and, with more or less success, I refrain from self-expression. I am much more interested in who I am designing for, and that what I create is consistent, coherent, and authentic.

Working together with Gábor makes this possible for me. His comprehensive and practical knowledge complements everything I have brought with me.

+36 30 608 9408

[email protected]

Colleagues

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Gergely Tasnadi

Architect

Fanni Czegle

Junior Designer

Edit Lukacs

Design manager

CONTACT

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