Material:
3d printed plastic parts and pine prototype
Dimension:
330 x 330 x 310mm
Material:
Cast Aluminium, Polished
Dimension:
Ø150 x 45 mm
Ø200 x 60 mm
Ø250 x 75 mm
– Glorified Pitcher and Washcloth
Material:
Glass, Cane wicker, Cotton
Collaboration:
Marie Holst (Hand-weaving)
Anders Raad (Glassblowing)
Thomas Bruun-Olsen (Cane weaving)
Aluminum Shelf Series
Material:
Anodized and mirror-polished aluminum, bolts, nuts
Dimension:
400 x 150 x 140mm
Material:
3D-printed cellulose acetate
Dimensions:
225 × 68 × 115 mm
148 × 80 × 200 mm
Collaboration:
Koshin Planning
Material:
Hinoki (Japanese Cypress)
Recycled cotton, linen made in Switzerland
Dimensions
170 x 80 x 100 mm
Collaboration:
Rigotex AG
TaDa
Material:
glass
Dimension:
95 x 116 mm
Collaboration:
Gert Bullee, Selma Hamstra
Material:
Glazed ceramic
Dimension:
Teapot 170 x 240 x 70 mm
Tea cup 100 x 100 x 75 mm
Tray 150 x 20 x 27 mm
Material:
Brass, glass
Dimension:
185 x 185 x 440 mm
Collaboration:
Mjölk
Material:
Soda-lime glass
Dimensions:
320 x 120 mm
Collaboration:
KORAI
Material:
Pinewood and stainless steel, soap-treated
Dimensions:
Stool 380 x 380 mm
Soap tray 120 x 34 mm
Material:
Ceramic
Dimension:
124 x 124 mm
Material:
Stainless metal sheet, powder-coated and mirror-polished
Dimension:
Organiser
302 x 91 x 180 mm
Clip Mirror
80 x 129 x 32 mm
Material:
Hinoki (Japanese Cypress)
Dimension:
Sauna stool
270 x 350 mm
MAS WK Bath stool
255 x 300 x 290 mm
Material:
Soap, Natural Oil
Dimension:
80 x 63 x 36 mm
Material:
Aluminum sheet, 1mm
Fruit bowl 365x365x90mm
Candleholder 155x155x60mm
Mini vase 45x45x37mm
Porcelain
Imagining an invisible circular grid on the table, we designed a system in which each object naturally takes on its own role and form. Four circles come together to hold fruit, nine support candles, and many more cradle wildflowers.
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Box 140x140x465mm
Box 100x100x145mm
Pine, Elm
A tower of stackable boxes for sharing food. Inspired by the traditional bento box, this project reimagines the food container as a playful, modular system for serving and sharing.
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Bread bin 200x350x150mm
Bread board 180x330x25mm
Anodized aluminium, Yellow pine
Bread is one of the most essential parts of the European dining table. It is very basic, yet indispensable. Sliced loaf offers more than just sustenance. You can dip it in sauce, soak it in soup, and it essentially functions as a plate for various ingredients or dishes.
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Wine cooler 170x170x225mm
Tray 330x330x60mm
Cast resin
Using a rotating, hand-shaped mold, we casted two hollow, unique forms. These forms create a boundary, designed to cradle a wine bottle and wine glasses; each piece distinct, each infused with a crafted individuality that reflects our continued exploration of form and function.
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Cup 75x75x130mm
Saucer 125x125x55mm
Porcelain
Poom is a ceramic cup and saucer set that functions as a pair through mutual support. The cup cannot stand on its own and finds balance only when held by the base.
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Icecream cup 100x100x50mm
Stainless Steel
Based on two distinct shapes that rely on each other— neither part can stand or function properly on its own. Together, they form a stable, sculptural and balanced object. This dual-shape design not only enhances stability but also invites creative uses beyond just serving ice cream.
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Bread and Butter
18-20 June
Copenhagen
Bread and Butter is a design exhibition that explores the idea of the Perfect Pair through everyday dining objects. Featuring 12 designers from Korea, Denmark, and the Netherlands, the show presents dining objects that complete, contrast, and complement each other—both functionally and aesthetically. Some objects work as one unified system, while others define each other’s identity or complete what is otherwise incomplete.
From complementary systems to subtle contrasts, each piece reflects a unique perspective on balance and togetherness. Set in the newly opened Korean restaurant OURI, the exhibition takes place during 3 Days of Design in Copenhagen.
3daysofdesign
Ae Office
Daniel Schofield
EOB
Giseok Kim
Hun Lee
John Tree
Kasper Kyster
Maria Bruun
Rasmus Palmgren
Shizuka Tatsuno
Siin Siin
Large Medium Small
Studio Word
Tom Chung
Ville Kokkonen
Wataru Kumano
I remember having to close my eyes tightly as they rinsed the shampoo out of my hair with a small plastic bucket. I did much the same with my kids.
So I was exploring a simple wooden seat with a plastic scoop with a handle as a sort of spout so that you could have some control when washing soap out of a kids hair.
But as I was developing these separate objects I had the realization that the if stool was also plastic it could be a bucket by simply flipping it.
So what began as a pair objects became one, but with two functions.
A single cut gives rise to its form, generating both edge and function. Recast as a continuous surface, it reads as a complete circle from above; when tilted, a quiet direction of flow emerges.
The object shifts with orientation—bowl, ladle, or resting form—moving between use and presence. Composed in three sizes, each stands alone while forming subtle pairings in relation, defined by what it comes to hold.
The pair belongs to the sometimes quiet, sometimes challenging rituals of bathing my children and washing their hair—gestures of conversation and soothing self-care, repeated daily and weekly over time. My own experience forms a varied repertoire of methods: from failed, tearful attempts carried out in haste and efficiency, to slower, more respectful moments of success.
The pair Glorified Pitcher and Washcloth—crafted in glass, woven cane wicker, and handwoven, naturally dyed cotton by Marie Holst—draws on a lineage of dedicated craftsmanship. In this series, everyday tools and intimate rituals are gently transformed into something reverent.
Made from aluminum, the work combines anodizing with mirror polishing, allowing the surface to reflect light, humidity, and the objects placed on it. The shelf is designed for accessories removed before bathing: rings, necklaces, earrings, bracelets, or glasses.
In public bathhouses, it is common to see people wash while still wearing these items, as if they are too familiar to be taken off. This edition offers a small pause before entering the water.
The 3D-printed transparent resin forms an outline of several cylinders joined side by side, yet it has a fragile instability that recalls liquid or bubbles. During the process, the coordinates of this outline are shifted, causing the extruded material to temporarily lose support and droop under gravity. The same outline is then built up above it, and the form slowly rises back towards its original contour. Rather than using the 3D printer as a tool for precision or reproducibility, the process observes how resin is extruded, layered and cooled into shape.
The headrest is made from lightweight hinoki cypress, a material traditionally associated with Japanese bathing architecture and valued for its subtle fragrance when exposed to moisture and heat. Designed as both neck support and pillow, it minimizes material use while enhancing comfort and rest within the sauna setting.
The linen textile is woven on a jacquard loom, creating a double-layered structure with integrated pockets formed directly through the weave. Its repetitive rectangular pattern combines function with ornamentation. Adaptable in use, the textile can serve as a towel, a lannevaate (wrapped sauna garment), or a laudeliina (seating cloth) for sitting and reclining on the sauna’s wooden platforms.
The cup combines two ways of making. The cup part is blown into a mold, a process often used for repeated and controlled production. The foot is first formed in the mold, then shaped further by hand-blowing.
By using these two processes in one object, the collection shows a simple pairing between each technique. It reflects how a drinking glass can carry both the precision of a mold and the craftsmanship that come from the hand of glass blower.
Bathing is a cross-cultural phenomenon, which is why I identified Mjölk as a natural collaborator. Based in Toronto, Mjölk operates as a retailer, publisher, and gallery, and has helped shape a dialogue between two of the world’s most established bathing cultures: Scandinavia and Japan.
As bathing rituals extend into the evening, light becomes essential. The Oil Lamp is designed to feel at home on a dock, in a sauna, or beside an outdoor tub. It pairs a glass globe with a blackened brass body, suited to stand freely or mount on the wall.
A contemporary interpretation of traditional oil lamps from Harnisch Lamps, founded in Denmark in 1842 and later relocated to Canada in the 70's, the project brings together Mjölk and Harnisch, completing a dialogue between Canada, Denmark, and my own practice.
We explored a pair consisting of an organiser and a mirror for post-bathing skincare rituals. Both objects are made from folded 1.5mm stainless steel sheets. The organiser conceals the visual noise of mismatched containers while creating a clean surface for attaching the clip mirror. The polished mirror can stand freely or clip onto surrounding surfaces, creating a temporary space of care. The two objects function together as part of a skincare routine while remaining independent in use.
The idea for this stool began with the feeling that, just as Finland has the iconic birch sauna stool designed by Antti Nurmesniemi in 1952, Japan should also have its own sauna stool made from hinoki cypress. Hinoki has long been closely connected to Japanese bathing culture through its distinctive fragrance, warmth, and tactile quality.
Compared to cedar, however, hinoki grows very slowly, taking nearly 80 years to reach a diameter of 300 mm. Because of this, it is a precious and expensive material whose applications are often limited. This project started from a desire to use such valuable wood carefully and honestly, while minimizing waste and unnecessary processing.
MAS WK Bath Stool
The stool was designed with a simple and direct structure that allows the natural beauty and character of the hinoki to remain visible. At the same time, I aimed to create a form that feels both iconic and quietly familiar within the context of Japanese sauna culture.
The product paired with this work is the WK Bath stool, which I designed for MAS. By contrasting Japanese bathing and sauna culture through two products with entirely different approaches, I hope to propose a new perspective on contemporary rituals of relaxation and everyday life.
The pair emerges in this relationship between the single tray and the collective system, establishing a duality between openness and containment, object and system. The design invites continuous reconfiguration, allowing the user to adjust organisation and spatial hierarchy according to need.
Bowl 320x320x128mm
Bowl 252x252x101mm
Bowl 195x195x78mm
Bowl 146x146x58mm
Bowl 106x106x42mm
Cast Aluminium
To me, a dinner isn’t complete without good friends to share it with. As a tribute to the act of gathering around a meal, Ripple Bowls is a family of five stackable bowls. When brought together, a concentric pattern appears—like ripples spreading across still water—a visual echo of how human connection grows from a shared moment.
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Carafe 140x140x275mm
Cup 95x95x105mm
Mouth-blown glass
Coaster is a set of mouth-blown glass objects designed for one of the most essential everyday rituals: drinking water. The design centers around a thickened, rounded, and hollow glass bead—an area where the hand naturally meets the material and that also protects the surface below. This detail physically and formally links the carafe and glass, pairing them as two parts of a functional whole.
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Serving tray 400x400x40mm
Serving tray 400x400x40mm
Beech, Mahogany
Void Tray explores the complementary relationship between presence and absence, subject and object. It creates a perfect pair of empty spaces, a background, within the dining setting. These voids are not mere emptiness; they are invitations, waiting to be filled and completed by the offerings that grace them.
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Vase 80x80x150mm
Vase 120x120x300mm
Vase 180x180x600mm
The Darwin Vase explores the relationship between the container and the contained. Each vase is shaped to support and enhance what it holds — structure meeting softness, geometry meeting growth. Made from extruded aluminium, the vase’s clean, industrial lines form a clear contrast to the organic irregularity of flowers.
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Fruit bowl 300x300x150mm
Nut bowl 150x150x100mm
Vase 130x130x180mm
Chipboard, Water-soaked paper
This project explores the concept of pairing through the interplay of contrasting forms within a single volume. Each object—whether a small bowl, large bowl, or vase—features a structured, geometric base that transitions into a freeform, organic upper shape. This juxtaposition creates a dynamic tension while maintaining its balance.
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Stool 190x385x420mm
Oak Bentwood
A single unit acts as a compact stool, while multiple units can be connected to form a bench. Each unit is structurally complete and designed to align seamlessly with others, allowing flexible arrangements based on spatial needs.
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