While Belgian architect and designer Henry van de Velde was amongst the first ones to strive for rational mass production of design, he was also one of the founders of Bauhaus, which philosophy ‘form follows function’ is still of paramount importance. As introduced by Bauhaus, the barriers between arts, design, and crafts disappear more and more. In abandoned factories, creative human-sized laboratories are settled and designers take the stage. Doing so, they propose a new way of producing, in a more small-scale, local, and artisanal way. Good examples are amongst others Chanel Kapitanj who – as a woman – designs and welds her metal creations herself, or Nicolas Erauw and Amandine David who use traditional production methods in a personalized, innovative way. 

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The recent global crisis only strengthens this way of working. Moreover, it stimulates designers to look for more sustainable materials, such as Roxane Lahidji who works with salt, Filip Janssens who uses discarded marble or Geneviève Levivier who integrates eggshells. As Belgian artist René Magritte they play with our perception. The objects might not be what you think they are at first sight. The playful Tamayi stool by Objects with Narratives can be a stool, but also an abstracted Christmas tree, the lamp COFIT-20 by Haute Cuisine is not made from concrete, but from locally sourced stone coal and Pierre-Emmanuel Vandeputte doesn’t design just a table, but always looks beyond regular functions, adding a touch of poetry to his creations. Doing so, these designers intertwine rational and more irrational driven aspects, stimulating an emotional connection to their creations.

As our thinking, feeling, and acting are stimulated by our subconscious, according to the theory of Sigmund Freud who strongly influenced the surrealists, this way of designing might strengthen the relationships we have with objects, and function in the long run as a catalyst for sustainability. Or how dream and reality have to become one in this ‘new reality’.  

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Radiant Imperfection.

This story began at a stone company where Filip discovered a huge pile of redundant scrap stone like marble and travertine, in theory unusable for any natural stone project and destined to be destroyed. Mesmerised by the patterns and imperfections in the marble and travertine pieces, Filip took some of them home and imagined this lamp. The material was beautiful by itself, with all its imperfections. So the specific design of “Lunair” brings those imperfections to light.

At the top of the marble plank, two 45° miter corners form the hood of the lamp housing the cable and the LED-strip. The LED strip embedded in the stone acts like a lamp over a painting. “Lunair” diffuses a soft light like the sun that lights the moon. The natural stone is not treated, so no hazardous substances have to be used. The fabric cable is pinched in a slit that runs down at the back of the lamp. The transformer is cased in a small untreated wooden box. All parts can be separated in a quick and simple way.

€ 1950 ex. VAT

Full dimensions (cm)32x12x14
Weight (kg)7
MaterialCarrara marble


Part of the on-going ‘Wax on/Wax off series’. This series is a collection of experiments of lost-wax casting and wax-dipping processes. The wax dipping is done with a self-made machine called TONK. TONK, a machine based on the old technique of candle dipping, was created to explore shapes and forms through a new medium. When combining TONK with the lost wax casting technique, a unique piece is produced every single time.

€ 2140 ex. VAT

Full dimensions (cm)1613x21x18
Weight (kg)13


We wanted the light bulb to be part of the design so, instead of designing a light fixture that covers the light bulb, we made a pedestal to display it. A brick with two different imprints of a bulb with socket.

Depending on how you place the brick and in which imprint you put the lightbulb you can play with the design and display it in different ways.

The material we used for this limited edition of 100 pieces is a concrete mixture made out of pieces of coal and coal waste that we collected in the area where we grew up.

€ 330 ex. VAT

Full dimensions (cm)10x13x22
Weight (kg)4
MaterialcoalConcrete composite


One thing of the future is certain, that nothing is certain. As it rapidly changes over a relatively short amount of time, homes should be equipped with a tool that adapts to these transformations. An undefined instrument that uses the concept of “Tamayi” which translates to shape things to your own liking.

This contemporary typology of furniture is intended as a process of assembling. It has a beginning, but no end with an unlimited variety of configurations. Why not imagine a range of objects scoping from a functional bedside table or a sculptural hocker to an aesthetic Christmas tree or even a playful spinning top… It becomes a toy, a stimulus for young and old, reaching out to the mental pochés of our childhood. This timeless piece becomes nostalgic, contemporary, and futuristic all in once.

As sustainability is one of our core values, the object is completely from wood. The beech wooden central bar allows the replacement of the disks and these disks are crafted from Moso bamboo which is a fast-growing, renewable, and durable material that requires zero chemicals and pesticides to grow.

€ 750 ex. VAT

Full dimensions (cm)36x36x42
Weight (kg)9
MaterialBamboo woodBeech wood

Read the exclusive interview in Adorno Editorial

“The collection started very intuitively from some pieces, which are made out of unconventional materials such as salt, eggshells, stone coal, or discarded marble. I like how these designers turn – at first sight – simple, commonplace materials into high-quality, exclusive products, and how they play with the conventions around value and whether something is fake or real.”

– Elien Haentjens, curator of the Belgian collection, “Ceci N’est Pas…”

Coming soon in 3D


Abacus is a table composed of a powder-coated steel structure and black medium tops. Abacus pushes conventions aside. The table tops glide and move freely along the structure without any constraints, leaving the user free to choose the layout. As the plates disappear, the structure reveals itself and becomes a graphic element that takes shape in space. From a dinner for two, to a family meal, the table is composed and broken down in a playful way. Abacus is a game of translation and composition between the different guests where the placements are random and change according to our needs and desires.

“Abacus” can be customised in different colours, materials, and lengths. Model shown is a black, 6 foot table in oak wood and steel.

€ 3600 ex. VAT

Full dimensions (cm)180x80x75
Weight (kg)40
MaterialBlack powder-coated steel frameOak wood


In ancient times, salt was rare and costly. Yet, since the industrial revolution, it has become so cheap and easily available that we longer recognise its value. With ‘Marbled Salts’, Roxane Lahidji explores new possibilities, reinventing salt as a sustainable design material. She makes use of its unique physical properties as a self-binding composite to create a set of tables and stools. By mixing it with tree resin, she gives it shape and strength. Coal powder and natural colour variations in salt mimic the aesthetics of expensive natural stone such as marble. Herein she draws a contradictory parallel between the flexible versatility of salt and the material language of heavy and solid rock.

€ 3000 ex. VAT

Full dimensions (cm)45x45x50
Weight (kg)20
Materialmarbled Salts

Coming soon in 3D


This furniture stands proudly in the center of a room or against a wall. It offers a storage space and a mirror in a minimalist configuration and simple shape. The dressing table, a product not often revisited, which, nevertheless, deserves all our attention. Made of powder-coated steel in whatever color. Also available in zinc chromated steel, brass, or copper on request, price on request.

Please note that the dressing table comes in 4 separated pieces, the buyer has to assemble every piece together once received. Special edition for Adorno, signed by the designer.

€ 2600 ex. VAT

Full dimensions (cm)140x85x42
Weight (kg)85
MaterialPowder lacquered metal


Photo-luminescent Textile Stained-glass: Day & Night Visions.
Surprise your senses with a poetic and technical artistic textile.

This artistic, 100% handmade textile piece is a technical development. It’s made thanks to the homemade, original, eco-friendly paint binders formulated by the A+ZDesign Studio & Lab, including Geneviève Levivier as designer and Pierre Yves Herzé as researcher in chemistry specialized in eco polymer and pigments. The depth and wide range of original luminescent effects are also made possible thanks to the homemade formulations of specific new luminescent colorations. The inclusion of organic materials (eggshell, natural flowers) brings vivid effects to the vision. It also participates to the long term development in eco-design of the studio.

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This Biomorphica textile can be made on measure for collector or interior decoration, also available without the frame.

Applications :
* Mosquito net : arty and yet very efficient.
* Screen shade in front of windows : excellent UV resistance and manipulation.
* Room divider : calm and poetry in the room , while preserving natural lighting and intimacy.
* Screen as apiece of framed textile art.

Composition : Synthetic tulle, eggshells, natural flowers, eco-friendly home made paint binder and colorations.
Dimension piece : 220cm high x 80 cm large, 5 cm depth
Frame in plain Tulip Wood made on maesure, hand tinted in black .
Steel foot : 80 cmx 20cm , 25kg ( thin foot – optimal stability)

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€ 6700 ex. VAT

Full dimensions (cm)5x80x210
Weight (kg)27
MaterialEco-friendly polymerEggshellsnatural flowerssteel footTextilewood frame


This unique piece was made at the encounter of two techniques: rotary 3D printing and traditional coiling.

“Crossing Parallels” explores the interaction between the basketry technique of hand coiling and 3D-printing. Both techniques build objects through the same construction principle, laying one filament—whether natural fibre or melted plastic—on top of another. By making objects at the crossroads between handicraft and digital craft, Amandine David aims to contribute to a more nuanced definition of craft as collaborative practice.

This piece benefited from the contribution and technical mastery of basket weaver Esmé Hofman and 3D-printing artisan Joris van Tubergen.

€ 800 ex. VAT

Full dimensions (cm)15x20x32
Weight (kg)1.5
Material3D printed PLACotton ropeCotton Thread

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