CATEGORY
Christopher Boots
Meteors slash through the sky, dazzling all who witness their strangeness. It is this primal, cosmic energy that is captured in METEOR. METEOR implements a delicate hand-picked selection of gradations of natural smoky quartz and natural clear quartz, conveying the dynamism and movement of cosmic matter plummeting to Earth. Warm light emanates through the naturally uncut crystals, providing a dramatic glow through dimmable LED technology.
Apparatus
The TASSEL series condenses the warmth and decadence of a traditional sconce to a concise, modern conclusion. Emanating from a brass dome the light is amplified as it refracts through mold-blown glass cylinders.
Ewe Studio
ALTAR is a project that showcases a unique approach to design and celebrates the beauty of the tools and techniques used in stone craftsmanship. Just like an ALTAR, the collection offers a range of tables that act as places for awe, praise, and treasuring daily objects in the home. It is part of SRO (Sacred Ritual Objects), a collection that departs from sacred rituals and traditions in Mexico. The idea for the ALTAR came from a curiosity for shrines, ALTARs, and pedestals, which are the sacred spaces where rituals are performed and the place where ceremonial objects are placed. We wanted to create our own version of an ALTAR, but we wanted it to be more than just a functional object. We wanted it to be a sculptural piece that celebrates the process of creation.
Ewe Studio
ALTAR is a project that showcases a unique approach to design and celebrates the beauty of the tools and techniques used in stone craftsmanship. Just like an ALTAR, the collection offers a range of tables that act as places for awe, praise, and treasuring daily objects in the home. It is part of SRO (Sacred Ritual Objects), a collection that departs from sacred rituals and traditions in Mexico. The idea for the ALTAR came from a curiosity for shrines, ALTARs, and pedestals, which are the sacred spaces where rituals are performed and the place where ceremonial objects are placed. We wanted to create our own version of an ALTAR, but we wanted it to be more than just a functional object. We wanted it to be a sculptural piece that celebrates the process of creation.
Hector Esrawe
Focusing on the interplay between tradition and innovations, The Gear Collection explores the rich heritage of artisanal craftsmanship in Mexico. The Gear Side Tables find their inspiration in a honeycomb which, after being cut in an irregular shape, reveals on its edges a series of aleatory vertical patterns of sculptural expression.
Hector Esrawe
Focusing on the interplay between tradition and innovations, The Gear Collection explores the rich heritage of artisanal craftsmanship in Mexico. The Gear Side Tables find their inspiration in a honeycomb which, after being cut in an irregular shape, reveals on its edges a series of aleatory vertical patterns of sculptural expression.
Lucas Recchia
In Incas only the two inclined planes bear the stresses due to the weight of the plan, while the vertical ones do not collaborate in the construction system. Incas is now also available in other stone materials and with suitable finishes, today for the first time it finds an unprecedented and sophisticated solution in solid wood, demonstrating how every great idea can be further developed without losing strength and meaning.
Lucas Recchia
The Osso marble stool was meticulously composed of Brazilian quartzite with special color variations. The blend of rigid quartzite and permeable pink glass, acquired from precious metals, creates a captivating contrast. This rarest pink glass hue is a result of a chemical reaction involving gold during the glass-heating process.
Lucas Recchia
Material Distortion refers to the phenomenological relationship the pieces establish with materials and space. Colored glasses are transformed by cutting, stacking, and baking, which results in more thickness and subtly rounded surfaces and small bubbles. The bronze is cast in molds to form frames for the glass, and then undergoes oxidation creating patinas on unique colors and textures. When the light passes through them, the design of the pieces reverberates in the form of colored light contained by the shadows of the metal.
Lucas Recchia
Material Distortion refers to the phenomenological relationship the pieces establish with materials and space. Colored glasses are transformed by cutting, stacking, and baking, which results in more thickness and subtly rounded surfaces and small bubbles. The bronze is cast in molds to form frames for the glass, and then undergoes oxidation creating patinas on unique colors and textures. When the light passes through them, the design of the pieces reverberates in the form of colored light contained by the shadows of the metal.
Manu Bañó
This series explores the reflective property of copper, which, when polished, generates a mirror surface. With the purpose of being sculptural pieces, they occupy the space that would normally be taken by a painting on a wall. It consists of the same object duplicated in symmetry, one concave and the other convex, designed to be displayed together as a single work. Copper, tempered by fire, abandons its two-dimensional form to occupy a three-dimensional space through human manipulation. In its finish, the marks of the material's production process are evident, without patinas or polish.
Manu Bañó
Two identical and symmetrical pieces, polished on both faces, make up the floor mirror. Hammering not only aims to give texture to the piece but also to deform it to create volume and structure, allowing it to stand on its own. It is a monolithic object that occupies the space normally taken by a sculpture. The piece is approached as an honest testimony to its own manufacturing, a formal exercise without intellectual pretensions.
Kuo Duo
A vibrant collection of upcycled plastic furniture, Kerf Plastic explores innovative materiality and construction techniques. Kuo Duo experimented with shaping three-dimensional objects using upcycled plastic boards, akin to plywood but with greater flexibility. They applied 'kerf bending', a woodworking technique traditionally used on wood, to mold the plastic boards into contoured shapes. The process requires no heat, glue, or chemicals, enhancing both visual design and functional comfort, showcasing the potential of upcycled plastic in design, marrying sustainability with creativity. In the Dubai edition created for Urban Fabric Series 001, Kuo Duo introduced a new iteration of the upcycled plastic board in a speckled dark green hue. The color was inspired by the shade of South Korea’s representative tree, the Korean red pine (Pinus densiflora), symbolizing eternity and sustainability in Korean culture.
Kuo Duo
A vibrant collection of upcycled plastic furniture, Kerf Plastic explores innovative materiality and construction techniques. Kuo Duo experimented with shaping three-dimensional objects using upcycled plastic boards, akin to plywood but with greater flexibility. They applied 'kerf bending', a woodworking technique traditionally used on wood, to mold the plastic boards into contoured shapes. The process requires no heat, glue, or chemicals, enhancing both visual design and functional comfort, showcasing the potential of upcycled plastic in design, marrying sustainability with creativity. In the Dubai edition created for Urban Fabric Series 001, Kuo Duo introduced a new iteration of the upcycled plastic board in a speckled dark green hue. The color was inspired by the shade of South Korea’s representative tree, the Korean red pine (Pinus densiflora), symbolizing eternity and sustainability in Korean culture.
Kwangho Lee
Cutting Lines features ten new works, showcasing Lee's boundary-pushing approach to unlocking the potential of 3D printing, reinterpreting the process of knot making, and allowing the concept to evolve and mutate through the interplay of materiality and digital-manual processes.
Mario Tsai
Moved by wind or through human touch, the poised metal chimes sway with elegant fluidity. When they collide with one another, they resonate and produce bursts of light reminiscent of sparks. As these sparks emerge, they gracefully follow the trajectory of the chimes' collisions, their movement oscillating back and forth in synchrony with the crisp, melodic sound emanating from the installation. This artistic creation stands as a minimalist representation of the genesis of essential human senses. Here, the origins of sound and the warm glow of sparks are found in the simple yet profound act of objects colliding with one another. Within this kinetic light installation, the transformative power of collision becomes palpable. It is as if the energy from each collision is harnessed and channelled, manifesting as both visible light and audible sound. Yet, as time passes, this energy gradually dissipates, leaving behind a lingering sense of wonder and contemplation. Edition of 20
