Products Design
Objects that started on site.
Furniture, lighting and objects developed out of details, materials and offcuts from our architecture and interiors work — not designed separately from it.
Corten Steel Planters
Corten steel planters are specialized steel containers frequently chosen for outdoor landscape designs and modern architecture, as they offer both aesthetic appeal and high durability; over time, they develop a protective layer of rust—known as a patina—on their surface.
When first manufactured, these planters appear in shades of gray, much like standard carbon steel; however, as they are exposed to outdoor elements such as rain, humidity, and sunlight, they gradually take on their characteristic warm orange, reddish, and brown tones over the course of a few months.
Considerations for Design and Implementation
- Rust Runoff (Bleeding)
- During the initial months of the oxidation (maturation) process, Corten steel may release rust-colored water when exposed to rain. As this can stain light-colored marble, stone, or other flooring materials, it is advisable to protect the surrounding surfaces until the maturation process is complete, or to position the planters near drainage channels.
- Insulation
- Since metal is a highly conductive material, it is recommended to line the inner walls of the planters with foam (EPS) or another suitable insulating material to prevent damage to plant roots in climates with extreme heat or cold.
Natural Branch Pergola
A natural branch pergola consists of a structural timber frame supporting closely spaced branches that form a permeable shading canopy. Primary beams and secondary rafters are sized according to the span, canopy weight, and site-specific wind loads, with connections designed to transfer forces to the supporting walls or posts. Selected branches are dried, debarked where required, and pre-drilled before being secured to the rafters with corrosion-resistant fixings to reduce splitting. Branch spacing and orientation are coordinated with solar exposure and the desired shading density, while allowing airflow and rainwater to pass through. Exterior-grade timber protection, moisture-resistant connection detailing, and access for periodic inspection and branch replacement support the durability of the installation.
In this system, the wood used for the load-bearing framework and the natural branches used for shading should be selected separately.
Which tree species can be used?
Material, appropriate use, and points to consider
- Sweet chestnut
- Can be considered for natural-looking, rounded elements. Its heartwood is durable in outdoor environments; however, it should not be assumed that thin branches possess the same level of durability.
- Black locust (Robinia)
- A strong choice for outdoor applications due to its durable heartwood. Its hard structure necessitates pre-drilling holes for connections.
- Preservative-treated pine
- Suitable for use in load-bearing posts, beams, and rafters. The treatment class must be selected according to the specific outdoor conditions, including any potential ground contact.
The natural durability of sweet chestnut and black locust applies primarily to their heartwood. For thin branches—which often have a high proportion of bark and sapwood—the species name alone is not a sufficient indicator of durability.
How should assembly be carried out?
- 1
First, the load-bearing system is dimensioned. The cross-sections of posts, main beams, and rafters are determined based on the span, the weight of the branch covering, and local wind and snow conditions. For systems attached to a wall, the connections must reach the building’s structural framework; for freestanding pergolas, the design should include cross-bracing to limit lateral movement or incorporate engineered rigid joints.
- 2
The branches are prepared prior to assembly. Pieces that are rotten, damaged by insects, or feature deep cracks in areas intended for connections should be discarded. Loose bark is removed; the branches are air-dried and sorted according to their diameter. In terms of project design, an arrangement where branches are installed individually—allowing for later replacement—offers advantages for maintenance.
- 3
Branches should be positioned perpendicular to the rafters, ensuring they span across multiple supports. The spacing and orientation of the branches can be determined by testing a sample section, based on the angle of the sun and the desired density of the shade. The spacing between supports should be selected according to the diameter, curvature, and load-bearing capacity of the branches; there is no single standard measurement applicable to all installations.
- 4
Fastening methods must be designed to prevent cracking and displacement caused by wind. Options include pre-drilling holes for exterior-grade screws or using mechanical clamps specifically designed for thinner branches. The diameter and length of the screws, their distance from the ends, and the total number of fasteners should be determined based on the actual cross-section of each branch. All fastening hardware must be compatible with any wood preservatives used; in coastal environments, the potential for corrosion must also be taken into account.
- 5
Avoid joints that trap water. Details for the tops of beams, end-grain sections, and the contact points between branches and rafters should be designed to allow for proper drying. Whenever possible, wood preservative treatments should be applied prior to assembly. During maintenance, the structure should be inspected for any loosened connections or damaged branches. This covering provides shading.
Bespoke Terracotta Wall
The architectural character of brick is shaped by how individual units are brought together. Project-specific brickwork unites the material’s texture, its bonding pattern, and the precision of its execution within a cohesive design vision. Every course, every mortar joint, and every void contributes to the facade as a whole.
On this facade, an offset brick arrangement creates a permeable surface within a concrete frame. The openings between the bricks filter the light, while shifting shadows throughout the day lend depth to the surface. The warm tones of the terracotta and the natural variations in its texture reveal the material’s inherent character amidst a structured, geometric order.
The translation of the design into reality relies on the careful attention of the craftsperson. The alignment of the courses, the continuity of the voids, and the consistency of the mortar joints ensure that the rhythm established in the drawings is preserved on-site. The resulting facade embodies a unique architectural expression—one shaped by the synergy between design precision and skilled craftsmanship.
The production of handmade bricks consists of several stages: preparing the clay, molding it by hand, drying, and firing. The pressure applied by the craftsman, the surface of the mold, and the consistency of the clay all influence the texture and shape of each individual brick.
In the initial stage, the clay is cleared of stones and coarse particles; it is then mixed with water and kneaded until it reaches a moldable consistency. Ensuring a homogeneous mixture allows the mold to be filled properly and helps minimize defects that might otherwise occur during the drying process.
The prepared clay is typically placed into wooden molds by hand. Depending on the technique employed, the surface of the mold is either dusted with sand or wetted to ensure the clay can be easily removed. The clay is pressed into the mold to fill the corners, and any excess material on top is scraped away. Once removed from the mold, the unfired (green) brick is placed on a flat surface where it can retain its shape. Sanded molds tend to produce rougher surfaces, while wetted molds result in smoother ones.
The bricks are dried slowly, protected from direct sunlight and strong air currents. Rapid or uneven moisture loss can lead to cracking or warping. The drying duration varies based on the properties of the clay, the thickness of the brick, and environmental conditions. When determining the dimensions of the molds, the shrinkage that occurs during drying and firing is taken into account.
Once dried, the bricks are fired in a kiln under controlled conditions and subsequently cooled. The firing temperature and duration are determined by the composition of the clay used and the desired product specifications. The mineral structure of the clay, the atmosphere within the kiln, and the temperature distribution all influence the final color and strength of the bricks.
The distinctive qualities of handmade bricks include surface markings, softened edges, and natural variations between individual pieces. However, these variations must remain within the dimensional and performance limits specified for the project. Following production, the bricks undergo checks for cracks, deformation, water absorption, and strength, ensuring that both their architectural character and technical adequacy are evaluated.
Notes on memory
An object is not merely something to be used. Over time, a person forms a relationship with the objects they touch, carry, keep, and use repeatedly in their daily life. A chair, table, pen, watch, or cup may initially be nothing more than a functional product. Yet, through use, it becomes scratched, worn, and altered in form, beginning to bear traces of its owner's life. Thus, the object ceases to be a mere physical tool and transforms into a part of lived experience.
This relationship is one of the most significant—yet often overlooked—aspects of product design. A product's value lies not only in its form, ergonomics, or manufacturing quality, but also in the bond it can forge with a person over time. We do not use certain objects for years simply because they are technically superior; rather, those objects have aged alongside us, become part of specific moments, and embedded themselves in our personal histories.
In contrast, an increasing number of products today are designed to be "memory-less." Instead of fostering a long-term relationship with the user, these products are built on rapid consumption, easy replacement, and constant renewal. Their surfaces are flawless—designed to conceal any signs of use—and when they break, they are replaced rather than repaired. A few years later, a new model of the same product hits the market, and the old one rapidly loses its value.
"Memory-less" product design implies more than just the creation of short-lived goods; at a deeper level, it represents a design philosophy that precludes the product from evolving over time or being personalized by the user. Traces left by the user are viewed as flaws; scratches, discoloration, wear, and repairs are all deemed factors that diminish the product's value. Yet, these traces are the very layers that constitute the object's history. Scratches on the surface of an old wooden table, the altered shape of a leather armchair used for years, or the patina that develops on a metal object over time—all make the time the object has lived through visible. As each of these products undergoes physical change, it simultaneously keeps a record of its relationship with the user. In other words, the object carries memory within its very material.
A product devoid of memory, however, seeks to remain as free of a past as possible. It is designed to be independent of the user, perpetually new, and interchangeable. Consequently, the user struggles to form a strong bond with the object. Even if the loss of a broken or worn-out product entails more than just the loss of a functional tool, replacing it with a new one is incredibly easy.
Perhaps one of the key questions for the future of product design is this: Can an object age alongside a human being? Can a designer envision not only the product's appearance on day one but also its state ten years down the line?
Viewed in this light, product design is not merely about shaping an object; it is about designing the relationship that object will forge with time. A product with memory does not attempt to conceal its past. It embraces usage, undergoes transformation, and bears the traces of a person's life. For the true value of certain objects emerges not at the moment of their creation, but over the course of the time they live.