The “RYA” stool is made out of beechwood and hand-tufted wool. To complement the stool, there is a wall-mounted backrest that moonlights as a wall-hung work of art when the stool has wandered off the help out somewhere else.
“No Mirror” is made of steel and glass that has been stretched and folded multiple times. It is an approach to hot glass that Maria Bang Espersen has continued to explore since 2011. Like the glass itself mimics multiple other materials, “No Mirror” likewise does nothing more than resemble a mirror: One can never find one’s own reflection in it.
The BBQ series treats low-end industrial spruce like an expensive piece of meat. This 45×45 lumber is colored by marinating, rubbing, and massaging each piece in a delicious blend of mining waste and factory floor dust sourced from modern and medieval iron ore and copper mines in Sweden. Pieces are then joined together by a pine resin extracted from paper pulp waste. Spruce is an abundant resource, but is seldom used for furniture making due to its softness. To preserve and seal the surface, the objects have been finished off with glaze upon glaze of boat lacquer.
Seats System is a furniture collection whose repetitive construction, durable material choice, and social focus lay a foundation for frequent usage as well as timeless design. With an ability to orchestrate shadow plays and pieces with no dedicated front or back, Seats System is intended to bring a sense of flow to its surroundings. All pieces in the system are modular and can be integrated with each other, to meet the functional and aesthetic needs of a certain space – which brings the consumer’s creativity to life.
The “DIO” shelf is the result of an exploration of sneaker aesthetics with regard to shapes, materials, and the underlying subcultures that make its foundation. The wild and intrepid aesthetic of sneakers gives rise to thoughts about volume, color. and material which, when applied to an item of furniture, fall into the expressive category that designer Gustav Winsth considers essential if one is to create a stimulating and personal home environment.
The “Frame Shaming” furniture is between unbalanced and balanced, between classic and non-classic. It is something that is familiar but, at the same time, makes us react. The “Frame Shaming” collection is a comment to the patriarchal structure which has given us unattainable goals that are doomed for us to fail. The sturdy legs make the chair steady and it certainly takes its place in every room it enters. The shiny blue fabric gives it elegance, while the wavy backrest gives you comfortable support on a lazy day.
Deriving from the toxic and filthy building site, the “Pink Pearl” Lamp appears as a bust of our civilisations’ building and rebuilding. It is made out of jesmonite, spray foam insulation, spray paint, and UV-repellent lacquer. Letting the materials take a stance in the center of the room, instead of hiding in walls and constructions as merely functional structures, makes us rethink what we find beautiful or ugly.
Designer Jonatan Nilsson’s ambition with the “Shifting Shape” project was to create a flexible mold for glassblowing. He likes the distinct shapes that you can get with mold-blown glass, and wanted to create a method where you don’t have to go through the time consuming and expensive process of making a completely new mold in order to obtain a new shape. Nilsson ended up designing a machine constructed in sheet metal in which you can fasten different shapes of wood.
“Död Mark” is a side table made of slag and copper from the Falun copper mine in Sweden. This table is a diagram of a material’s lifecycle, from extraction to residual material. A material that has shaped welfare such as world wars, environment, and geography. The finished product, in balance with the waste it creates, exposes the material’s origin and history.