Form
begins
with material.

The back and seat read as a single bent plane interrupted by a narrow vertical gap. The rear support is slightly offset, leaving the silhouette open.

A warm ash plane meets a slender steel frame; the contrast reveals the joint instead of concealing it.

Three soft rectangles sit rhythmically on a continuous low base. Small gaps divide the long form without breaking its unity.

The oak base defines the horizontal while textile planes act as separate tactile inserts.

A round seat rests above three planes that do not meet at an obvious centre. A transverse metal line closes the composition.

The oak top and pale aluminium frame deliberately keep the difference between materials visible.

The upper and lower planes do not mirror one another: one projects forward while the other balances the form from the side. An open gap remains between them.

The matte ceramic surface is visually separated from the slender steel base.

The top sits off-centre on the frame with a controlled inset, making the edge part of the structural drawing. The legs are paired.

The ash plane reads as a whole while aluminium joints mark the assembly points.

A glass disc rests on two oak planes, one extending beyond the outline. The top view is built around the meeting of circle and line.

Transparent glass reveals the timber structure beneath and does not conceal where the parts intersect.

The slender horizontal body is interrupted by a clear central insert. The suspension points are offset from the edges, maintaining an asymmetrical rhythm.

The aluminium profile defines a crisp outline while formed glass softens it at the centre.

Two uprights hold the textile plane off-centre, closer to one edge. The base repeats this offset in plan.

The steel frame remains visible around the textile insert and acts as a graphic outline.

The luminous part tilts above the low base and maintains one clear direction. From the side, the form resembles a cut plane.

Matte ceramic creates a dense volume while the aluminium axis separates it from the base.

Three unequal bays create a changing rhythm; shelves do not fill every level and leave several large voids.

The steel grid defines the module while ash planes interrupt it selectively.

Two solid planes are offset around a central glass section. A low base separates the body from the floor with a fine shadow.

The oak body holds a solid mass while fluted glass introduces one translucent vertical fragment.

A narrow profile unites five elements in an uneven rhythm. One longer timber fragment acts as a visual pause.

The aluminium rail provides the base while oak inserts mark points of contact.

A low metal outline forms an elongated plane into which a small circle enters off-centre.

Pale aluminium and matte ceramic distinguish the base and insert through texture.

The frame wraps only two sides of the mirror and continues into a short shelf. The open edge leaves the rectangle incomplete.

Mirror glass remains the primary plane while steel defines an asymmetrical angle and depth.