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theobjects.store
t o s
Curating objects & senses.
11am - 7pm | Tue - Sunday.
1st floor, 32 Jln Hang Lekir, KL
[FULLY BOOKED]
𝗧𝗵𝗲 𝗖𝘂𝗿𝗮𝘁𝗲𝗱 𝗙𝗿𝗮𝗺𝗲
A Female-Led Discourse on Visual Direction & The Art of Storytelling
Presented by @palette___studio, 𝗧𝗵𝗲 𝗖𝘂𝗿𝗮𝘁𝗲𝗱 𝗙𝗿𝗮𝗺𝗲 brings together three women shaping the visual industry across cinematic film, food art and digital lifestyle through their work as directors. Moving between still image, short form and long form storytelling, their work informs an intimate dialogue on visual direction and immersive storytelling, where objects, references, taste and design history become the building blocks of narrative and meaning.
Featuring:
Trisha Toh @trishates — Art Director, Food Stylist
Jasmine Wong @jasmineecp — Film & Music Video Director
Megan Tan @megantanhweewen — Film & Music Director, Content Creator
More than a traditional panel, this is envisioned as a thoughtful third space for creative exchange, where ideas are shared openly, younger creatives gain a living roadmap and the future of Malaysian visual culture is shaped with intention and depth.
𝗥𝗠𝟯𝟱 / 𝗽𝗮𝘅
Included with curated refreshments by @a_____longtable
𝗦𝘂𝗻𝗱𝗮𝘆, 𝟮𝟰𝘁𝗵 𝗠𝗮𝘆 𝟮𝟬𝟮𝟲
𝟮:𝟯𝟬𝗽𝗺 - 𝟱:𝟯𝟬𝗽𝗺
Located at @theobjects.store Studio Library
3rd Floor, @rex.klup : 32 Jln Hang Lekir, KL
DM to RSVP
[FULLY BOOKED]
𝗧𝗵𝗲 𝗖𝘂𝗿𝗮𝘁𝗲𝗱 𝗙𝗿𝗮𝗺𝗲
A Female-Led Discourse on Visual Direction & The Art of Storytelling
Presented by @palette___studio, 𝗧𝗵𝗲 𝗖𝘂𝗿𝗮𝘁𝗲𝗱 𝗙𝗿𝗮𝗺𝗲 brings together three women shaping the visual industry across cinematic film, food art and digital lifestyle through their work as directors. Moving between still image, short form and long form storytelling, their work informs an intimate dialogue on visual direction and immersive storytelling, where objects, references, taste and design history become the building blocks of narrative and meaning.
Featuring:
Trisha Toh @trishates — Art Director, Food Stylist
Jasmine Wong @jasmineecp — Film & Music Video Director
Megan Tan @megantanhweewen — Film & Music Director, Content Creator
More than a traditional panel, this is envisioned as a thoughtful third space for creative exchange, where ideas are shared openly, younger creatives gain a living roadmap and the future of Malaysian visual culture is shaped with intention and depth.
𝗥𝗠𝟯𝟱 / 𝗽𝗮𝘅
Included with curated refreshments by @a_____longtable
𝗦𝘂𝗻𝗱𝗮𝘆, 𝟮𝟰𝘁𝗵 𝗠𝗮𝘆 𝟮𝟬𝟮𝟲
𝟮:𝟯𝟬𝗽𝗺 - 𝟱:𝟯𝟬𝗽𝗺
Located at @theobjects.store Studio Library
3rd Floor, @rex.klup : 32 Jln Hang Lekir, KL
DM to RSVP
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
As Garden Life comes to a close, we want to thank everyone who visited the exhibition.
A special thank you to those who joined our intimate tea and talk session with David Reid. These dialogues are incredibly meaningful, allowing us to better understand the artist, the process and the depth behind the work.
Thank you for being part of this chapter. Stay tuned for what’s next.
📍 The Objects Store, REXKL @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
Following several recent acquisitions from the exhibition, a renewed selection of works has now been installed in the gallery. The latest presentation introduces a more gestural and atmospheric suite of paintings, ranging from dense layered compositions to quieter ink works that emphasise rhythm, restraint and movement across surface.
Several of the newly displayed works reflect David’s continuing engagement with abstraction through instinctive mark-making, where line, repetition and interruption become central to the visual language of the exhibition. Together, the works shift between intensity and stillness, offering a more fluid and contemplative rhythm within the space.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Now on view, newly installed and selected works from the exhibition:
1. In Search of Lost Time
2. Top of the Hill at Dusk
3. Along The Wallaby
4. Curated Calligraphy
5. Suzhou Garden
6. Monkey Puzzle Trees
7. Follow Spot Series
8. Small Gestures
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
A brief but meaningful detour to Waasmunster for Abdij Roosenberg.
Designed by monk-architect Hans van der Laan, the space is structured around his proportional system, the Plastic Number — a calibrated framework that shapes scale, mass, and spatial rhythm. All the interiors and furnishings were also designed by Van der Laan, right down to the wall lettering.
With its balanced proportions and careful play of light and shadow, Van der Laan brings together traditional abbey-building principles with 20th-century modern techniques. The result is a strict reduction of elements: muted surfaces, controlled openings, and a quiet sense of order.
We didn’t manage to explore further into the abbey, but even this alone justified the trip.
Book as Space, Book as Time
Edition 2
Studio Library
In this iteration, we explore the book not as a static object of display, but as a three-dimensional environment. A site where archive, draft, and reference converge, activated only through the tactile friction of use.
The installation invites a slower pace. We encourage you to inhabit the space: move the pieces, rearrange the references, and read into the layers of the collection.
The space is composed of furniture pieces that mirror the rituals of a reading room, accompanied by a series of prints curated by @00123pages__.
From Apr 18 to May 1 2026 11:00 - 19:00 (Closed on every Monday, 29th April - 3rd May)
Studio Library (@theloafstudio), 3F at REXKLUP,
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Book as Space, Book as Time
Edition 2
Studio Library
In this iteration, we explore the book not as a static object of display, but as a three-dimensional environment. A site where archive, draft, and reference converge, activated only through the tactile friction of use.
The installation invites a slower pace. We encourage you to inhabit the space: move the pieces, rearrange the references, and read into the layers of the collection.
The space is composed of furniture pieces that mirror the rituals of a reading room, accompanied by a series of prints curated by @00123pages__.
From Apr 18 to May 1 2026 11:00 - 19:00 (Closed on every Monday, 29th April - 3rd May)
Studio Library (@theloafstudio), 3F at REXKLUP,
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Book as Space, Book as Time
Edition 2
Studio Library
In this iteration, we explore the book not as a static object of display, but as a three-dimensional environment. A site where archive, draft, and reference converge, activated only through the tactile friction of use.
The installation invites a slower pace. We encourage you to inhabit the space: move the pieces, rearrange the references, and read into the layers of the collection.
The space is composed of furniture pieces that mirror the rituals of a reading room, accompanied by a series of prints curated by @00123pages__.
From Apr 18 to May 1 2026 11:00 - 19:00 (Closed on every Monday, 29th April - 3rd May)
Studio Library (@theloafstudio), 3F at REXKLUP,
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Book as Space, Book as Time
Edition 2
Studio Library
In this iteration, we explore the book not as a static object of display, but as a three-dimensional environment. A site where archive, draft, and reference converge, activated only through the tactile friction of use.
The installation invites a slower pace. We encourage you to inhabit the space: move the pieces, rearrange the references, and read into the layers of the collection.
The space is composed of furniture pieces that mirror the rituals of a reading room, accompanied by a series of prints curated by @00123pages__.
From Apr 18 to May 1 2026 11:00 - 19:00 (Closed on every Monday, 29th April - 3rd May)
Studio Library (@theloafstudio), 3F at REXKLUP,
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Book as Space, Book as Time
Edition 2
Studio Library
In this iteration, we explore the book not as a static object of display, but as a three-dimensional environment. A site where archive, draft, and reference converge, activated only through the tactile friction of use.
The installation invites a slower pace. We encourage you to inhabit the space: move the pieces, rearrange the references, and read into the layers of the collection.
The space is composed of furniture pieces that mirror the rituals of a reading room, accompanied by a series of prints curated by @00123pages__.
From Apr 18 to May 1 2026 11:00 - 19:00 (Closed on every Monday, 29th April - 3rd May)
Studio Library (@theloafstudio), 3F at REXKLUP,
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Book as Space, Book as Time
Edition 2
Studio Library
In this iteration, we explore the book not as a static object of display, but as a three-dimensional environment. A site where archive, draft, and reference converge, activated only through the tactile friction of use.
The installation invites a slower pace. We encourage you to inhabit the space: move the pieces, rearrange the references, and read into the layers of the collection.
The space is composed of furniture pieces that mirror the rituals of a reading room, accompanied by a series of prints curated by @00123pages__.
From Apr 18 to May 1 2026 11:00 - 19:00 (Closed on every Monday, 29th April - 3rd May)
Studio Library (@theloafstudio), 3F at REXKLUP,
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
Our recent interest in Art Deco led us to @museumvanbuuren.
The house was built in 1928 as the private home of David and Alice van Buuren. He was a banker, and together they were patrons of the arts. Over time, they shaped the house through what they chose to collect and live with. Paintings, furniture, objects, all added gradually.
It’s a perspective that resonates with how we collect things during our travels. Small objects drawn to in the moment don’t always match at first, but they start to make sense together over time. A space is ultimately shaped by what you choose to keep.
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
.
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲
A solo exhibition by David Reid at @theobjects.store
𝗚𝗮𝗿𝗱𝗲𝗻 𝗟𝗶𝗳𝗲 draws from cultivated landscapes as a way of thinking, shaped by David’s practice across Shanghai, Taipei and Kuala Lumpur. Working in layers of Chinese ink and acrylic on silk and Xuan paper, his compositions draw from the idea of the “Chinese window”, using framing as a quiet dialogue between Eastern and Western perspectives. Within these frames, boundaries soften, holding a subtle sense of openness.
On view from 𝟮𝟭 𝗔𝗽𝗿𝗶𝗹 𝘁𝗼 𝟭𝟬 𝗠𝗮𝘆
11am - 7pm (Closed on Mondays)
𝗧𝗲𝗮 & 𝗧𝗮𝗹𝗸 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗥𝗲𝗶𝗱
A small, intimate session of conversation, process and shared practice with the artist
𝟭𝟳 - 𝟭𝟴 𝗔𝗽𝗿𝗶𝗹 · 𝟭𝟮𝗽𝗺 - 𝟮𝗽𝗺
RM60/pax (includes tea pairing)
DM to RSVP
Location: The Objects Store, 1F @rex.klup
32 Jalan Hang Lekir, 50000 Kuala Lumpur.
In frame, selected works from the exhibition:
1. Blooming Season
2. Welcome the Night
3. A Rollicking Line
4. Heart and Soul
5. Serve and Volley
6. Wind and Rain
7. East West West East
8. Dragon Lines above the Rice Fields
9. Chinese Windows, Penang
10. Chinese Windows, Distant Voices
11. Spring Blossom
12. Night Train and the Universe
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
Sharing our stay at @zolandlanyu early this year.
Built on the footprint of an old hillside village on Emeishan, the project carries forward what was already there instead of replacing it. The idea of a village remains, just reworked in a more considered, contemporary way.
Instead of a single structure, the resort moves like a cluster of homes. Sloped roofs, stone walls, and layered volumes echo older settlements, while materials stay honest, hand chiseled concrete, local stone, cedar, everything grounded and tactile, all of which feel as though they belong to the mountain itself.
While the mountain is usually shrouded in a dense, meditative mist, we were treated to a rare spectacle: the clouds lifting just enough for the morning sun to spill through. The moment was brief, yet it served as a perfect punctuation mark to our stay.
The luxury isn’t in the hardware, but in the deliberate slow-down.
ZOLAND岚域, 2025
Studio J. Bridgland
We reached out to @kennibal to build a table for @a_____longtable, something long, communal, where people naturally gather, sit a little closer, stay a little longer.
Practical, intimate yet open.
To meet, to host, to share, to just be.
Built from reclaimed wood, now holding new conversations, new moments, new stories.
Design: @kennibal @wunderwalldesign
Photo: @twjpto
We reached out to @kennibal to build a table for @a_____longtable, something long, communal, where people naturally gather, sit a little closer, stay a little longer.
Practical, intimate yet open.
To meet, to host, to share, to just be.
Built from reclaimed wood, now holding new conversations, new moments, new stories.
Design: @kennibal @wunderwalldesign
Photo: @twjpto
We reached out to @kennibal to build a table for @a_____longtable, something long, communal, where people naturally gather, sit a little closer, stay a little longer.
Practical, intimate yet open.
To meet, to host, to share, to just be.
Built from reclaimed wood, now holding new conversations, new moments, new stories.
Design: @kennibal @wunderwalldesign
Photo: @twjpto
We reached out to @kennibal to build a table for @a_____longtable, something long, communal, where people naturally gather, sit a little closer, stay a little longer.
Practical, intimate yet open.
To meet, to host, to share, to just be.
Built from reclaimed wood, now holding new conversations, new moments, new stories.
Design: @kennibal @wunderwalldesign
Photo: @twjpto
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
Last week marked our first visit to @collectiblefair.
The fair represents collectible design at its finest, a meeting point of functional furniture and artistic expression, defined by their story and craftsmanship, designed to make a statement while serving a functional purpose.
An archive of some of our favorite pieces from the fair.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
We spent a day navigating the quiet intersections and contemporary space in Chengdu. The city’s design landscape is evolving, shifting away from the noise and toward a more considered, intentional way of living.
Here are some highlights from our recent visit.
For over 20 years, David Reid’s practice has traced a path through Shanghai, Taipei and Kuala Lumpur, serving as a dialogue between Eastern materiality and Western abstraction.
By treating traditional silk and “Xuan paper” (宣纸) as a modern playground, he explores the concept of the “Dewy Path” — a study of journey and nature.
His work bridges Australian acrylics and Asian communities, blending Chinese inks with a fascination for “Chinese windows” which the idea that carefully composed space, structure and rhythm can be enough on their own.
David’s work is a reminder that even within a rigid frame, there exists a sense of infinite possibility.
Showcasing in @theobjects.store soon, stay tuned for exhibit details.
For over 20 years, David Reid’s practice has traced a path through Shanghai, Taipei and Kuala Lumpur, serving as a dialogue between Eastern materiality and Western abstraction.
By treating traditional silk and “Xuan paper” (宣纸) as a modern playground, he explores the concept of the “Dewy Path” — a study of journey and nature.
His work bridges Australian acrylics and Asian communities, blending Chinese inks with a fascination for “Chinese windows” which the idea that carefully composed space, structure and rhythm can be enough on their own.
David’s work is a reminder that even within a rigid frame, there exists a sense of infinite possibility.
Showcasing in @theobjects.store soon, stay tuned for exhibit details.
For over 20 years, David Reid’s practice has traced a path through Shanghai, Taipei and Kuala Lumpur, serving as a dialogue between Eastern materiality and Western abstraction.
By treating traditional silk and “Xuan paper” (宣纸) as a modern playground, he explores the concept of the “Dewy Path” — a study of journey and nature.
His work bridges Australian acrylics and Asian communities, blending Chinese inks with a fascination for “Chinese windows” which the idea that carefully composed space, structure and rhythm can be enough on their own.
David’s work is a reminder that even within a rigid frame, there exists a sense of infinite possibility.
Showcasing in @theobjects.store soon, stay tuned for exhibit details.
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