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Soft Ply 🌱☀️ (2025)
As part of the group show « The Boundaries of Sight » at @vanabbehuis during the @dutchdesignweek ! 🌳🐟

📸 @pim_top

Soft Ply 🌱☀️ (2025)
As part of the group show « The Boundaries of Sight » at @vanabbehuis during the @dutchdesignweek ! 🌳🐟

📸 @pim_top

Soft Ply 🌱☀️ (2025)
As part of the group show « The Boundaries of Sight » at @vanabbehuis during the @dutchdesignweek ! 🌳🐟

📸 @pim_top

Elemental patchwork, 2024
Coffee table
Aluminum, bronze, brass, copper, steel, silver

Part of group show ´In search of’ 🏡
Photography by @pim_top 📸

Elemental patchwork, 2024
Coffee table
Aluminum, bronze, brass, copper, steel, silver

Part of group show ´In search of’ 🏡
Photography by @pim_top 📸

Elemental patchwork, 2024
Coffee table
Aluminum, bronze, brass, copper, steel, silver

Part of group show ´In search of’ 🏡
Photography by @pim_top 📸

Synthetic Graft (2024)

close up and line up of metal chairs at @uppercut.space « To each his own » from last May! 🌸

@lippensscott curation
@pim_top photography

Synthetic Graft (2024)

close up and line up of metal chairs at @uppercut.space « To each his own » from last May! 🌸

@lippensscott curation
@pim_top photography

Synthetic Graft (2024)

close up and line up of metal chairs at @uppercut.space « To each his own » from last May! 🌸

@lippensscott curation
@pim_top photography

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Recent work with veneer developped from an interest in how a thin material can operate simultaneously as surface and structure through processes of cutting, patching, and assembly, where defects are not removed but redistributed. Rather than concealing irregularities, the work treats them as a condition of construction, allowing fragments to remain visible and active.

This approach is informed by a visit to one of the last veneer factories near Paris, which supplies the Mobilier National for the restoration of period furniture, using machines that have shifted from steam to gas to electricity and where tools such as saws are still produced; while maintaining a consistent logic of material efficiency and continuity.

Thanks to @ivan.stefkovic for introducing me to this place and making the visit possible !

📸 @leo_kooda

Behind the scene, process of making our new chair from Korea to Netherlands ✈️ 🪑 presented both in @collectiblefair & @alcova.milano

For Alcova Milano 2026, occupying an abandoned military hospital, the installation introduces subtle references to the site’s past, while resisting a literal reading of the space. The exhibition unfolds as a domestic environment. Within this setting, objects are encountered through use, proximity and conversation, offering a form of hospitality that offsets the austerity of the existing architecture.

Participating designers
@teo.rhe
@_sheyang_
@yuxuan_huang__
@mo___tong
@seongilchoii x @farm.form
@studio_seungbinyang
@shoo_ohta
@sidequeeste
@rikfransjansen
@flora_manon for @schoendiener
@audreylrg
@theophileblandet with @design.signals.faber
@junghanjisu
@junhyoungkinn
@leo_kooda
@whereischai
@charlie_jannes

📸 @leo_kooda

For Alcova Milano 2026, occupying an abandoned military hospital, the installation introduces subtle references to the site’s past, while resisting a literal reading of the space. The exhibition unfolds as a domestic environment. Within this setting, objects are encountered through use, proximity and conversation, offering a form of hospitality that offsets the austerity of the existing architecture.

Participating designers
@teo.rhe
@_sheyang_
@yuxuan_huang__
@mo___tong
@seongilchoii x @farm.form
@studio_seungbinyang
@shoo_ohta
@sidequeeste
@rikfransjansen
@flora_manon for @schoendiener
@audreylrg
@theophileblandet with @design.signals.faber
@junghanjisu
@junhyoungkinn
@leo_kooda
@whereischai
@charlie_jannes

📸 @leo_kooda

For Alcova Milano 2026, occupying an abandoned military hospital, the installation introduces subtle references to the site’s past, while resisting a literal reading of the space. The exhibition unfolds as a domestic environment. Within this setting, objects are encountered through use, proximity and conversation, offering a form of hospitality that offsets the austerity of the existing architecture.

Participating designers
@teo.rhe
@_sheyang_
@yuxuan_huang__
@mo___tong
@seongilchoii x @farm.form
@studio_seungbinyang
@shoo_ohta
@sidequeeste
@rikfransjansen
@flora_manon for @schoendiener
@audreylrg
@theophileblandet with @design.signals.faber
@junghanjisu
@junhyoungkinn
@leo_kooda
@whereischai
@charlie_jannes

📸 @leo_kooda

For Alcova Milano 2026, occupying an abandoned military hospital, the installation introduces subtle references to the site’s past, while resisting a literal reading of the space. The exhibition unfolds as a domestic environment. Within this setting, objects are encountered through use, proximity and conversation, offering a form of hospitality that offsets the austerity of the existing architecture.

Participating designers
@teo.rhe
@_sheyang_
@yuxuan_huang__
@mo___tong
@seongilchoii x @farm.form
@studio_seungbinyang
@shoo_ohta
@sidequeeste
@rikfransjansen
@flora_manon for @schoendiener
@audreylrg
@theophileblandet with @design.signals.faber
@junghanjisu
@junhyoungkinn
@leo_kooda
@whereischai
@charlie_jannes

📸 @leo_kooda

For Alcova Milano 2026, occupying an abandoned military hospital, the installation introduces subtle references to the site’s past, while resisting a literal reading of the space. The exhibition unfolds as a domestic environment. Within this setting, objects are encountered through use, proximity and conversation, offering a form of hospitality that offsets the austerity of the existing architecture.

Participating designers
@teo.rhe
@_sheyang_
@yuxuan_huang__
@mo___tong
@seongilchoii x @farm.form
@studio_seungbinyang
@shoo_ohta
@sidequeeste
@rikfransjansen
@flora_manon for @schoendiener
@audreylrg
@theophileblandet with @design.signals.faber
@junghanjisu
@junhyoungkinn
@leo_kooda
@whereischai
@charlie_jannes

📸 @leo_kooda

We’re excited to introduce a new aluminum veneer chairs.

After being shown at @collectiblefair, it will be presented again at @alcova.milano at the Baggio Military Hospital from the 20-26th of April during Milan Design Week 2026 !

The castings were produced in Seoul and finished in the Netherlands, the work carries our ongoing dialogue between process, texture, and form.

📸 @pierrecastig

We’re excited to introduce a new aluminum veneer chairs.

After being shown at @collectiblefair, it will be presented again at @alcova.milano at the Baggio Military Hospital from the 20-26th of April during Milan Design Week 2026 !

The castings were produced in Seoul and finished in the Netherlands, the work carries our ongoing dialogue between process, texture, and form.

📸 @pierrecastig

We’re excited to introduce a new aluminum veneer chairs.

After being shown at @collectiblefair, it will be presented again at @alcova.milano at the Baggio Military Hospital from the 20-26th of April during Milan Design Week 2026 !

The castings were produced in Seoul and finished in the Netherlands, the work carries our ongoing dialogue between process, texture, and form.

📸 @pierrecastig

We’re excited to introduce a new aluminum veneer chairs.

After being shown at @collectiblefair, it will be presented again at @alcova.milano at the Baggio Military Hospital from the 20-26th of April during Milan Design Week 2026 !

The castings were produced in Seoul and finished in the Netherlands, the work carries our ongoing dialogue between process, texture, and form.

📸 @pierrecastig

We’re excited to introduce a new aluminum veneer chairs.

After being shown at @collectiblefair, it will be presented again at @alcova.milano at the Baggio Military Hospital from the 20-26th of April during Milan Design Week 2026 !

The castings were produced in Seoul and finished in the Netherlands, the work carries our ongoing dialogue between process, texture, and form.

📸 @pierrecastig

Soft Ply Suspension Light (2026) ☀️🌱🐥
shown @collectiblefair

📸 @pim_top

Soft Ply Suspension Light (2026) ☀️🌱🐥
shown @collectiblefair

📸 @pim_top

Here are some more photos from our booth at @collectiblefair !

MARCH 12-15, 2026
Espace Vanderborght, Brussels

📸 @pim_top

Here are some more photos from our booth at @collectiblefair !

MARCH 12-15, 2026
Espace Vanderborght, Brussels

📸 @pim_top

Here are some more photos from our booth at @collectiblefair !

MARCH 12-15, 2026
Espace Vanderborght, Brussels

📸 @pim_top

Here are some more photos from our booth at @collectiblefair !

MARCH 12-15, 2026
Espace Vanderborght, Brussels

📸 @pim_top

Bureau parso invites group of designers to @collectiblefair 2026.
We’ll be happy to see you!

@bureau.parso
@teo.rhe
@_sheyang_
@whereischai
@junhyoungkinn
@mark_malecki
@mo___tong
@seongilchoii
@farm.form
@shoo_ohta
@sidequeeste
@verhelstvictor
@leesisan
@wgsammarro
@waltermingledorff
@yuxuan_huang__
@yuanyumo_

We’re also so happy to have those amazing designers with us, see you at the fair!

📸 @pim_top

Super happy to share moments from our last exhibition, Days Like This in @vanabbehuis 🏠

Days Like This invites works that respond to these experiential states: diaristic pieces, atmospheric studies, and intuitive gestures. The theme welcomes interpretations that explore how design emerges from the lived texture of specific moments. Rather than presenting design as detached from daily life, this exhibition embraces its entanglement with ordinary time, with drift, interruption, repetition, and the quiet intensities that make one day feel different from another. Participants are encouraged to approach the theme personally or conceptually, using the ordinary as a site of reflection and creative potential.

📸 @pim_top

Super happy to share moments from our last exhibition, Days Like This in @vanabbehuis 🏠

Days Like This invites works that respond to these experiential states: diaristic pieces, atmospheric studies, and intuitive gestures. The theme welcomes interpretations that explore how design emerges from the lived texture of specific moments. Rather than presenting design as detached from daily life, this exhibition embraces its entanglement with ordinary time, with drift, interruption, repetition, and the quiet intensities that make one day feel different from another. Participants are encouraged to approach the theme personally or conceptually, using the ordinary as a site of reflection and creative potential.

📸 @pim_top

Super happy to share moments from our last exhibition, Days Like This in @vanabbehuis 🏠

Days Like This invites works that respond to these experiential states: diaristic pieces, atmospheric studies, and intuitive gestures. The theme welcomes interpretations that explore how design emerges from the lived texture of specific moments. Rather than presenting design as detached from daily life, this exhibition embraces its entanglement with ordinary time, with drift, interruption, repetition, and the quiet intensities that make one day feel different from another. Participants are encouraged to approach the theme personally or conceptually, using the ordinary as a site of reflection and creative potential.

📸 @pim_top

Super happy to share moments from our last exhibition, Days Like This in @vanabbehuis 🏠

Days Like This invites works that respond to these experiential states: diaristic pieces, atmospheric studies, and intuitive gestures. The theme welcomes interpretations that explore how design emerges from the lived texture of specific moments. Rather than presenting design as detached from daily life, this exhibition embraces its entanglement with ordinary time, with drift, interruption, repetition, and the quiet intensities that make one day feel different from another. Participants are encouraged to approach the theme personally or conceptually, using the ordinary as a site of reflection and creative potential.

📸 @pim_top

Super happy to share moments from our last exhibition, Days Like This in @vanabbehuis 🏠

Days Like This invites works that respond to these experiential states: diaristic pieces, atmospheric studies, and intuitive gestures. The theme welcomes interpretations that explore how design emerges from the lived texture of specific moments. Rather than presenting design as detached from daily life, this exhibition embraces its entanglement with ordinary time, with drift, interruption, repetition, and the quiet intensities that make one day feel different from another. Participants are encouraged to approach the theme personally or conceptually, using the ordinary as a site of reflection and creative potential.

📸 @pim_top

Super happy to share moments from our last exhibition, Days Like This in @vanabbehuis 🏠

Days Like This invites works that respond to these experiential states: diaristic pieces, atmospheric studies, and intuitive gestures. The theme welcomes interpretations that explore how design emerges from the lived texture of specific moments. Rather than presenting design as detached from daily life, this exhibition embraces its entanglement with ordinary time, with drift, interruption, repetition, and the quiet intensities that make one day feel different from another. Participants are encouraged to approach the theme personally or conceptually, using the ordinary as a site of reflection and creative potential.

📸 @pim_top

Soft Ply Table Lamp (2025) 🍃
Birch, Poplar, White Willow and Koto

Soft Ply Table Lamp (2025) 🍃
Birch, Poplar, White Willow and Koto

Soft Ply Table Lamp (2025) 🍃
Birch, Poplar, White Willow and Koto

Soft Ply Table Lamp (2025) 🍃
Birch, Poplar, White Willow and Koto