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Browse our online catalogue of bespoke design pieces including works from Gallery COLLECTIONAL as well as our curated selection from our exclusive designers and partners.
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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.
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.
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.
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
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.
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.
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.
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.
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.
