Editions

Objects and furniture that feel like memories from a future that never happened.

A surreal visual language built around photographed physical pieces.

Unique and limited edition works, made in London.

Martian Relics

Five homeware objects for a life we have not yet lost

Martian Relics is a collection of five domestic objects that asks a particular question: what kind of humans would we become on Mars?

The space race has returned, this time draped in the language of escape. Behind the mythology of “settling” another planet lies a disastrous premise: that Earth is disposable, that a culture of consumption rather than regeneration can simply outrun its own expiry date.

Humans are shaped by their tools and their environments; on Mars, our beliefs, our self-image, our knowledge, our nostalgia, and our access to the most basic resources would all be transformed. The collection; a plate, a mirror, a window, a flower pot and a water filter, interrogates one of these facets of being human.

01

02

05

03

04

Every piece pairs rammed earth with recycled stainless steel, ancient references pushed into the future, in this case those two connect at the beginning and end of a circle.

Humanity’s earliest construction was earth-based, going as far back as the Neolithic, a method based on locality, a principle that globalisation blurred so much that today it sounds refreshing again.
On Mars, a place imagined as the peak of technological futurism, scarcity would push us back to exactly this beginning. Martian clays, sands and gravels would become our building material again, as if starting over. The collection marks the first time rammed earth has been shaped with this level of intricacy: drawing on industrial mould-making expertise, each piece is formed in moulds of up to twelve parts, engineered to accommodate a single-axis continuous press, compacted layer by layer.

The stainless steel components are all salvaged (valves, pressure deposits, stacked panel offcuts) because in such a future, recycling would no longer be a virtue or an aesthetic; it would be the only way forward. These parts carry the memory of rockets and satellites, the debris of previous ambitions, broken down into everyday objects. Together the two materials stage the collection’s central tension: ancient and futuristic, rough and polished, rudimentary and technological.

Martian Relics is not a proposal for how to live on Mars. It is a warning about how we live here. As Phil Ochs said, in ugly times the only true protest is beauty. These objects use beauty to ask what is genuinely meaningful in our lives, and what we would need to protect for life on Earth to remain possible for our children.

  • The flower pot influenced by beliefs. Modelled on a headstone with a double cross, this piece asks how belief would evolve. In a world where nature has become the scarcest thing of all, our current religions might give way to the return of the old goddesses; Gaia, the primordial Earth herself, risen above all previous gods, worshipped out of a desperate need for an environment that could sustain us again. A central rammed-earth stele, its cross formed in negative space, holds four capsules at its sides, up-cycled stainless steel pressurant tanks, each open to receive one of the last four small dried flowers, the only remains of mother nature on earth. An altar for prayer, and for the offering of wishes.

    85x85x190mm

    2kg

  • The plate influenced by mainstream knowledge. A small plate for keys and pocket objects, expressed in two levels. The upper surface is a representation of a gravitational pull, a concept that feels forbiddingly complex today, but which, in a Martian future, would be common knowledge, embedded so deeply in daily life that it shapes the aesthetics of the simplest objects. Beneath it, a mirror-polished sheet doubles the form in reflection: a resonance of the phenomenon above, gesturing toward theories of parallel dimensions. Four up-cycled valves act as pillars with feet.

    170x170x100mm

    3kg

  • The mirror influenced by self-perception. A small table mirror modelled on the great antennas built to receive signals from space, technological forms embedded into ordinary aesthetics. The double-concave mirror cavity is rammed earth; its structure is built from many layers of stainless steel stacked and recycled into a uniform whole. The polished surface returns a slightly blurred image. Today, our sense of beauty is distorted by industries that profit from our insecurity; on Mars, that perfectionism would dissolve. Survival skills and knowledge would become the most attractive features in a person, and the mirror would no longer need to reflect in high definition. Social networks have grounded beauty standards in the broadcast. The Faded Signal looks to receive instead of project with the hope that in the future we will turn to introspection and begin truly seeing ourselves.

    180x90x200mm

    2kg

  • The filter influenced by access to resources. Inspired by satellite architecture, this piece makes visible how difficult the most basic act, drinking, could become when every millilitre must be processed in stages. Water descends from a crystallised ice rhombohedron at the top through its first filtration stage, falling onto a concave plate to sediment. Both stainless steel elements follow the language of an antenna; they sit on four symbolic rammed-earth deposits that give the vessel enough height to pour, through a rudimentary hinge mechanism, into a waiting cup. What we treat as infinite becomes ceremonial, a lesson in how our most abundant and necessary element to life can also run out.

    195x195x220mm

    5kg

  • The window influenced by nostalgia. The only piece whose only reason to exist is to be looked at to evoke feelings. Inspired by the chamfered windows of Jørn Utzon’s Can Lis, it holds a printed opal pane bearing a single view: nature, the Mediterranean sea, the blue sky. The image appears only when light passes through, and even then it is eroded, desaturated, distant. A deep rammed-earth frame funnels the light, making the view narrow, small, unreachable to touch; from the other side, only white. The frame floats on a refined scaffolding bound with recycled cable wire, standing on steps built from stacked metal sheets that quietly distort the sense of scale. It is a monument to the future’s most painful possession: distorted images of what we used to experience, and a lost sense of belonging.

    195x105x200mm

    4kg

The Five Objects

Dust Order

Classical architecture, recomposed from dust.

A sculptural furniture collection that reinterprets the grandeur of Corinthian columns through a contemporary, dreamlike lens. Merging classical architecture with modernist reduction, the series explores how weight, rhythm, and ornament can be reshaped into flowing, minimalist forms. Comprising a chair and a modular desk system, the collection challenges the boundary between utility and art, drawing from a surreal aesthetic that blurs historical reference and digital abstraction.

Each piece is crafted from a hybrid of compacted beech wood dust and 3D-printed composite, forming a dialogue between waste and technology, permanence and impermanence. Shot in a Welsh slate quarry, the highest in the UK, the setting reinforces the collection’s themes of legacy, industrial decay, and poetic resilience. Dust Order reflects on how the physical and virtual overlap in today’s design landscape, offering objects that feel at once grounded and otherworldly.

Featured on designboom, Design Milk, Financial Times, FRAME, DSCENE

Configurations: Stool, Bench, Bench with side tables, Desk, Dining table. Contact for a custom order.
Interior use only

2025

Dust Order Stool

43x43x45cm

23Kg

Dust Order Chair

46x42.5x74.5cm

23Kg

Dust Order Desk

188x67.6x75.5cm

Each column is 48kg, Top glass 32kg

Dystopian Ottomans

Sculptural Stools Blurring the Real and Unreal

This collection began as a vision of portals to another time, a world where little remains, and only grand monuments still stand. These volumes exist to challenge perception, evoke the wonder of another era, and spark curiosity about what is real in today’s world. Their reflections allow them to both blend into and stand out from their surroundings, shifting with every change in light and perspective. Two distinct expressions emerge from the same idea: one a solid, grounded form; the other a lighter, more intricate composition.

Crafted from mirror-polished stainless steel, each stool merges seamlessly with its surroundings while standing out as a statement of contemplation. The minimalist design utilises single sheets of stainless steel, ranging from 1.5 to 3mm thick, folded with precision inspired by Japanese joinery and intricate packaging design. Despite their monolithic appearance, each stool weighs just 8kg.

These pieces occupy a fascinating space where the boundaries between the physical and digital blur. Appearing as though they’ve leapt from a hyper-realistic render into reality, they challenge traditional notions of design in an era dominated by artificial intelligence. This play on perception is a deliberate choice, inviting reflection on the evolving relationship between humans and the objects we create. They invite us to pause, reflect, and admire objects that transcend functionality, becoming artefacts that inspire awe in a world where the line between real and unreal continues to blur.

Featured on designboom

Dystopian Ottoman Arcus

37.8x28.3x50.4cm

8Kg

Dystopian Ottoman Trifacium

37.8x28.3x50.4cm

8Kg

Nesting Lights

A reflection on bridging the natural and the built worlds

Birdhouse-inspired pendant lamps offer a playful yet conceptual take on how humans and birds build their homes. Positioned on a wooden platform across a wetland, the spun metal lamps appear against an AI-printed poster of terracotta-hued, box-like dwellings, an unexpected contrast where physical objects and digital illusion converge.

Crafted with a glossy paint finish and frosted glass diffusers, the pair of pendant lamps differ in orientation yet share a birdhouse-like silhouette, reflecting nature’s simplicity while hinting at humanity’s tendency to formalise and industrialise organic ideas. The installation asks how design might bridge the built world and the wild.

Limited Edition of 8

ø20x12cm and ø12.5x19cm

Contact to order

2024

JetA1 Tank

Fuel for something unnamed

The JetA1 Tank is a stainless steel vessel drawn from vintage fuel tanks and classic hip flasks, hand-finished to a mirror polish. Its form reads as instantly familiar and quietly wrong, an object built to aviation logic and scaled to the hand, leaving its purpose deliberately open.

A series of surreal, digitally crafted photographs elevates the Tank’s presence, placing its reflective surfaces in dreamlike contexts that blend fire, water, and light. This immersive visual narrative bridges physical and virtual realms, reimagining the object’s form and mood to create a bold, emotive experience. In doing so, the JetA1 Tank becomes more than a functional artefact, it becomes an exploration of design, imagination, and personal connection.

Ergonomically shaped with rounded edges, a slim silhouette, and an angled neck, the JetA1 Tank offers a tactile familiarity that fosters a deeper bond with its user. Blurring the boundaries between practicality, art, and concept, it redefines what an everyday object can be, standing as a timeless piece poised between the industrial and the surreal.

Featured on Abduzeedo

Edition of 2

2024

Drift Deck Chair

A Journey into Serenity and Space

Drawing on the quiet kinship between sunbathing and stargazing: both are acts of reclining towards the infinite. The piece invites its sitter into a moment of imagined space travel, as if lying back in a launch seat or borrowing the design language of a lunar rover, recovering that childlike spark where exploration feels within reach. It is less an object of comfort than a gateway to wonder, designed to leave a memory that outlasts its function.

An experimental piece, begun out of love for this parachute.

The chair emerged through design-through-making, its form negotiated daily with the materials rather than drawn in advance. The central component is a decommissioned RAF ejector seat parachute, minimally modified: its cords hold the tri-coloured canopy in tension like a puffer jacket, giving the sitter a sensation of floating. A steel tube frame provides structure, reflective thermal wrap recalls a satellite's skin reflecting the sun avoiding to get too hot to interact with it in the hot summer. The finished piece, imperfections intact, is then staged in a constructed digital scene that blurs real and rendered.

Unique piece

80×85×115cm

Contact to order

2023