UDX Mexico
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.
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
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.
Ewe Studio
The COPAL table is part of the Syncretism Collection, which explores the convergence of contrasting ideas within the same space and time. Syncretism is the amalgamation of different religions, cultures, and thoughts. This collection celebrates traditional hand-carved techniques and embodies the rich heritage of skilled stonemasons, metalworkers, and woodworkers collaborating with EWE. Just like the idea of syncretism, the objects within this collection are simultaneously functional and sculptural. The inspiration behind the COPAL table comes from the ritual elements found in Mexico, which have facilitated syncretic ideas across different cultures. Specifically, the table draws upon the concept of “COPALeras,” which are objects resembling censers or open cauldrons used to burn COPAL.
Ewe Studio
The PARTERA chair and stool are part of the Syncretism Collection. They were born out of a process of research and observation into vernacular objects in Mexico, particularly its main inspiration departs from the shape of the birthing chairs. The PARTERA chair represents EWE’s unique interpretation and abstraction of this ancient furniture piece. A birthing chair, also referred to as a birth chair, is a device designed to assist women in maintaining an upright posture during childbirth. Its purpose is to provide balance and support. Birthing chairs have been utilized worldwide for thousands of years and are not limited to any specific region. A version of these chairs arrived in Mexico during the colonial period, likely brought from Spain and France. These specific objects were subsequently introduced and adopted in traditional birthing and midwife practices in Mesoamerica.
Ewe Studio
Estela is a lighting sculpture inspired by Mexican stelae, large single-stone monoliths used for the recording of history. Standing solemnly, the lamp emits a soft light that reveals the raw surfaces of its metallic interior. This elegant standing lamp, with simple forms, is crafted using the lost-wax technique and then cast in bronze by expert hands in Mexico City.
Ewe Studio
Inspired by flat-topped blocks used for religious rituals and ceremonies, especially for sacrifices or offerings to the deities. Our tables have been hand carved and are related to objects that, through their expression, have become symbolic pieces in the spaces which they are placed, called Altares.
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.
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.
Manu Bañó
Obj-03 is born from a sheet of paper, a gesture, a cut, and a fold. The cut, once folded, allows the sheet to stand on its own, without falling, and in turn serves as a screen to receive the light. The led stripe is hidden on the back and contained in a solid steel bar. The weight of this part is essential to give stability to the lamp. Thus, all the parts fulfill an indispensable function for the object. The idea was to design a lamp with the minimum possible elements and a single material, steel. The lamp is composed of a square of 18 gauge sheet metal and on its back, a solid machined steel bar that contains the led lighting. I decided to oxidize the entire lamp to make it matte so that the light reflection would be soft and diffused.
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. 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.
Ewe Studio
The Táas desk is constructed out of patinated brass, with its curvatures offering a blend of the enigmatic and functional. Inspired by architectural steppes and collumns from Mesoamerican constructions, the piece’s geometry is made up of folded metal surfaces. In a direct allusion to the act of piercing or cutting, the metal sheets have been transformed into a sculptural entity that links traditional metallurgy practices to a contemporary design expression.
Ewe Studio
The Táas cabinet draws inspiration from traditional metalwork in Mesoamerica. The piece is made up of openings and stepped geometries which reveal and conceal both form and content, offering a balance between the pristine and raw. Comprised of sculptural forms, the cabinet is shaped with curves of patinated brass. The piece embodies the transition between the solid and void, open and closed, light and shadow, concrete and imaginary.
