Gallery In Display
Browse our gallery to discover more about our latest selection of exclusive design pieces and the inspiration behind them.
Meet the designers and hear their stories to learn more about how they think design is shaping our lives.
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
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
Teo Yang
The collection Remaining Things comprises eight distinct objects, each offering a unique reinterpretation of historical elements. Among the initial four pieces unveiled are: the Mobile Divider, which redefines spatial boundaries through the integration of wood veneer and chrome into found hanok panels, resulting in a multifaceted sculptural room divider; the Mobile Bookstand, a minimalist storage unit that pays homage to the scholarly tradition with its mobility and geometric design; the Floating Shelf, repurposed from old hanok ceiling remnants and embellished with chrome and marble accents; and the Table Centrepiece, an artful composition featuring a glass tabletop balanced on a chrome base and a hanok column.
Teo Yang
The collection Remaining Things comprises eight distinct objects, each offering a unique reinterpretation of historical elements. Among the initial four pieces unveiled are: the Mobile Divider, which redefines spatial boundaries through the integration of wood veneer and chrome into found hanok panels, resulting in a multifaceted sculptural room divider; the Mobile Bookstand, a minimalist storage unit that pays homage to the scholarly tradition with its mobility and geometric design; the Floating Shelf, repurposed from old hanok ceiling remnants and embellished with chrome and marble accents; and the Table Centrepiece, an artful composition featuring a glass tabletop balanced on a chrome base and a hanok column.
Teo Yang
The collection Remaining Things comprises eight distinct objects, each offering a unique reinterpretation of historical elements. Among the initial four pieces unveiled are: the Mobile Divider, which redefines spatial boundaries through the integration of wood veneer and chrome into found hanok panels, resulting in a multifaceted sculptural room divider; the Mobile Bookstand, a minimalist storage unit that pays homage to the scholarly tradition with its mobility and geometric design; the Floating Shelf, repurposed from old hanok ceiling remnants and embellished with chrome and marble accents; and the Table Centrepiece, an artful composition featuring a glass tabletop balanced on a chrome base and a hanok column.
Teo Yang
The collection Remaining Things comprises eight distinct objects, each offering a unique reinterpretation of historical elements. Among the initial four pieces unveiled are: the Mobile Divider, which redefines spatial boundaries through the integration of wood veneer and chrome into found hanok panels, resulting in a multifaceted sculptural room divider; the Mobile Bookstand, a minimalist storage unit that pays homage to the scholarly tradition with its mobility and geometric design; the Floating Shelf, repurposed from old hanok ceiling remnants and embellished with chrome and marble accents; and the Table Centrepiece, an artful composition featuring a glass tabletop balanced on a chrome base and a hanok column.
Kensaku Oshiro
The Crystal collection is a harmonious interaction between geometry and light. Due to the natural translucency of onyx and the mass of the gemstones employed, a shadow is drawn that delicately emphasises and outlines the geometry at play. Oshiro experimented with several variations before settling on an angle of 120 degrees, which yielded the best result in terms of both geometric and shadow contrast. From any viewpoint, the proportions and combination of elements are devised to never be identical from one to another while always maintaining composite harmony.
Kensaku Oshiro
The Crystal collection is a harmonious interaction between geometry and light. Due to the natural translucency of onyx and the mass of the gemstones employed, a shadow is drawn that delicately emphasises and outlines the geometry at play. Oshiro experimented with several variations before settling on an angle of 120 degrees, which yielded the best result in terms of both geometric and shadow contrast. From any viewpoint, the proportions and combination of elements are devised to never be identical from one to another while always maintaining composite harmony.
Kensaku Oshiro
The Crystal collection is a harmonious interaction between geometry and light. Due to the natural translucency of onyx and the mass of the gemstones employed, a shadow is drawn that delicately emphasises and outlines the geometry at play. Oshiro experimented with several variations before settling on an angle of 120 degrees, which yielded the best result in terms of both geometric and shadow contrast. From any viewpoint, the proportions and combination of elements are devised to never be identical from one to another while always maintaining composite harmony.
Tiffany Loy
Day and Night stand as a captivating pair of woven sculptures, each intricately reflecting the dynamic cityscape with its varied materials and hues. Crafted on industrial jacquard looms, these pieces feature an exaggerated weave structure that artfully captures the elusive third dimension of textiles. Their expansive faceted forms seamlessly marry the inherent mathematical beauty of their structure with the urban architectural silhouettes that inspire them. Reminiscent of sunlight dancing on glass skyscrapers, the colour palette harmoniously blends warm amber tones with cool, muted greens, creating a mesmerising interplay of light and shadow across their surfaces.
Tiffany Loy
Day and Night stand as a captivating pair of woven sculptures, each intricately reflecting the dynamic cityscape with its varied materials and hues. Crafted on industrial jacquard looms, these pieces feature an exaggerated weave structure that artfully captures the elusive third dimension of textiles. Their expansive faceted forms seamlessly marry the inherent mathematical beauty of their structure with the urban architectural silhouettes that inspire them. Reminiscent of sunlight dancing on glass skyscrapers, the colour palette harmoniously blends warm amber tones with cool, muted greens, creating a mesmerising interplay of light and shadow across their surfaces.
Faina
Ztista Indoor Chair, designed by Victoria Yakusha, is a plastic silhouette and slightly primitive form of ZTISTA furniture line for the indoor chair in dark blue color. The chair's frame is upcycled steel covered with a blend of materials recycled paper, linen, clay, wood chips. The chair''s design is a cultural inspiration bridging links between a sustainable approach to contemporary living and the spiritual relations of ancestors with nature. ZTISTA is a Ukrainian word for made of dough.
Alexander Lamont
Hand-carved from solid wood into the shape of a clam shell, this deceivingly simple box is covered with many layers of natural black lacquer inside and out and sanded to make a perfect fit. Finishes: Teak, Natural Lacquer
SERAFINI
The Ana Chair, designed by Searfini, is a unique take on a statement chair that brings timeless materials together in a new way. The Chair is made using two marble slabs connected with brass hardware and elegant details to hold the sling seat in place. Gravity pulls the seat to emphasize its natural curve between the marble slabs. The simplicity of the pieces connected by clean lines calls into question the very nature of a chair. The experience inside the chair is to be enveloped in the textures of the stone and the upholstery, at once elevated by them and cocooned.
