HALVES’ distinctive rounded edges showcase precision, while the seamless joints help to construct the asymmetric body. The second level shelving allows the table to transform simply by placing it at various angles. This provides the ability to highlight a complex, yet uncluttered profile.
This collection of objects is a response to the dissolving boundary between our work and private lives. On one hand, the workflow in offices has become more flexible and their design more domestic. On the other hand, the home – because of technology and the rise of freelance work, etc – has become more like the office.
We approached the problem with concern for both functionality and meaning. We designed useful things, like a multifunctional work cart and a reconfigurable shelf, that address some of the needs of the workplace and home, while ensuring that the pieces also spoke a formal vocabulary sympathetic to both contexts. But we also worked to ensure that the pieces spoke a formal vocabulary of both contexts. The forms, materials, and idealism of Mid-century workplace design provided a starting place for this collection.
Flùr uses readily available sheet materials, linoleum and particle board, to form a soft and neutral backdrop for seasonal flower arrangements and ceramic wares. The pliable properties of linseed oil linoleum are manipulated to form an inviting landscape within the existing envelope, while particleboard is applied in a refined manner to express its visual tactility.
The Ancestor lounge chair is based on an ancestor to the Windsor chair from the mid 1600's. The referenced chair predates the formalization of the Windsor into a type and was designed/made with easy of fabrication in mind. It was spare in its use of parts and connections, and was made of simple component parts. We found the chair contemporary-feeling and succinct, and the homage to it that we designed retains all of its major elements and much of its character.
The Ware lamp is a one-piece slipcast light that explores the formal plasticity of stoneware. The interior volume of the reflector component, derived from pottery forms, showcases the material surface with reflected light and gives the piece a sense of dimension.
These three tables are similar in dimension but are rendered in different materials - one in aluminum, one in wood, one in composite sheet. The character of each material drives the design of the table made from it. They comprise an atypical trio in that they're related only broadly through form, but more essentially through a shared attitude toward material.
Shopify's main product is an e-commerce platform that allows producers and retailers to sell their wares online. The design of the office is built on the metaphor of the mechanisms of contemporary commerce: the front office block and reception area are the Market, the rear office is shipping and transport, while the third floor, currently under development, will be production and fabrication.
The Aluminum pendant lights combine simple forms with a tumbled aluminum finish. The surface is pitted and textured - a result of the sand casting process - in a completely undetermined way, which brings an organic aspect to the otherwise shiny metal surface.
The cone shaped Annular pendant began as an exploration of spun metal lights with multiple diffusers (think Poul Henningsen), but with relatively recent LED tech incorporated in order to open up the possibility of forms that wouldn't previously have been achievable. A cone assembly composed of two offset identical spun cone parts was arrived at, the void between them filled by LED strip and a lens. The effect is both familiar and new, combining a classic pendant form with a ring-shaped lightsource.
Half Cab derives its name from the fact that the doors cover half of the area of the cabinet face, providing equal parts concealment and display. The doors are made of painted aluminum and are designed to drape over and slide easily along the scaffolding-like frame.
Common Good evolved from the primitive act of storytelling and the natural landscapes which played host to this ritual. Through materials and spatial arrangements, an architectural expression took form that was organized to promote collaboration and connectivity.
The ladder rack was inspired by a simple structure glimpsed in the 1953 film Tokyo Story, by Yasujiro Ozu. The structure is primary, leaving basically no opening for embellishment. When repurposed for the contemporary living space, it becomes a useful, informal rack and hook system for use in the bathroom, bedroom, or entrance hall.
The eccentric handled form of this tape dispenser is a reference to packing tape guns. The handle permits it to sit in desktop organizer or on the desktop itself. It is both a functional office tool and a sculptural object for display that draws attention to everyday office technologies.
‘Spin Toronto’ took inspiration from nostalgic memories of summer camp. The hyper-stylized interior exploits bold colors and natural materials as an abstract representation of ubiquitous elements – cabins and canteens, lakes and forests.
Made from precisely machined aluminum, the slim Kokeshi table light is designed around the energy efficient parabolic LED lightbulb. A reflector spreads the light beam to provide adjustable, nuanced domestic lighting.
‘Ladder Light’ takes its inspiration from jewelry: conceptualizing light as decorative and expressive, rather than utilitarian. Hung on a wall like a necklace on skin, its natural palette and simple form echo the feminine quality of the fixture's soft light.
In use, chairs are most often seen in multiples from the rear elevation, so special attention was paid to the A-Frame chair from this POV. The intent was to arrive at a finished design that would contribute to an uncluttered order in any interior it might be incorporated into. In addition, this chair explores a stacking functionality in a formally unconventional way: rather than straddling the seat, the legs of the top chair rest on the rails on the chair beneath it.
2FL Event Space took inspiration from the fluid and chaotic experience of traditional markets. Their ad hoc assembly, variegated visual identity, and ritualistic importance inspired the conceptual, graphic, and spatial design of this mixed used event space.
The pleated series was developed as a collaboration with MSDS for Umbra Shift's inaugural line. It's comprised of a tall vase, short dish, and self-watering planter. The surface of each cast ceramic vessel has a smooth bottom portion and a texture on top reminiscent of gears or doric columns.
The fewer than 3 side table has three distinct parts – a wood top, a wood dowel leg, and a bent tubular steel leg. The steel leg bends so that it runs along the ground, making contact at two points. With the steel tube performing double duty in this way, the table, technically, stands securely with fewer than three legs. The result of this arrangement is a light, asymmetrical table the figure of which changes significantly according to view angle.
‘Japanese Pastry Hut’ was a collaboration with Mjolk, a store that sells Scandinavian/Japanese wares and furniture. 500 Japanese shu cream pastries along with the Nakashima exibit were available to enjoy all night.
Superstudio's 1969 Continuous Monument was a critique of “the world rendered uniform by technology, culture, and all the other inevitable forms of imperialism.”
MSDS's installation is homage to this prescient project, still totally relevant almost 50 years later. In MSDS' view, the Continuous Monument anticipated, among other things, teh internetsification (sic) of the cultural landscape.