SUSTAINABLE APPROACH
As designers, we always seek new ideas, where we can unify function and beauty with the use of natural and unused materials. First of all, we want to provide a premium product for our clients, but at the same time, we wish to make a change in the industry.
In the pursuit of finding quality items during our interior design practice, we have experienced how much waste can a luxurious design create. By searching and partnering up with stone and marble workers we've started to have ideas about how we could repurpose materials and channel them back into the design circle.
We have created a design brand that aims to use these waste materials and leftover pieces to create a new, sustainable design product by finely processing these materials.
TIMELESS DESIGN
We believe luxury and beauty can be sustainable if combined with long lasting, high quality materials. In contrast to the marble's noble and natural ambiance, we have complemented it with a subtle but necessary metal element that gives a contemporary and clean aspect to the item.
„The resistant stone mantle was shaped by time, while the internal steel plate was shaped by man, and the contrast between the two materials simultaneously facilitates the creation of the object and generates a pleasant tension,”
Our objects combine the clean and cut edge functionality and a contemporary timeless look, with the classical decadence of the marble, creating a unique, timeless piece of interior furniture for modern and classical spaces.
OUR STORY
One of the key moments was the idea itself - fulfilling our long-standing desire of creating products using marble and stone slabs left over as by-products. It was through our business partner, Johanna Bakcsy, to finally meet the right stonemason and began thinking and experimenting with the usability of these pieces of slabs. We learned a great deal about the material's possibilities and limitations throughout this phase.
The first alpha (interim) collection followed the form that we envisioned but as we became more and more acquainted with its constraints (in terms of material usage and human workload), it marked a significant milestone. The original concept and design couldn't have been achieved with the desired quality and aesthetics without numerous compromises that contradicted the simplicity of the concept and our sustainable approach too.
At that point, we even considered abandoning the entire initiative but ultimately decided to totally redesign and rethink the concept, form, and technical solutions based on the experiences gained from previous processes. This led to its current, final form, which stems from a very simple, ancient block shape, just like the raw material itself and like fundamental building elements used in ancient times. The core of the concept is that rather than being a completely solid, closed element, it reveals its internal structure, presenting one side as a continuous block-like face while showcasing its inner, light, and airy form on the other side. This duality manifests in various interpretations in life, such as the juxtaposition of a harsh, hard outside and a gentle inside, or the relationship between the external, block-like form of a building and the revealed spaces within.
We wanted to pair it with a material that complements and contrasts it, possessing its own distinctive but opposing qualities. We chose steel for its design and technological properties, as it is a material created by humans, thus para taxing it in a prosaic contrast with raw marble or other natural stones used. Just as time helped shape and form the stone mantle, humans shaped the internal steel plate, which, in turn, becomes its enemy over time due to corrosion. This contradiction, where in one case it promotes the formation of the material while in another it tends to erase it, creates a noble connection between them.
Besides the material choice, the form was also an important aspect. We experimented with several versions but ultimately opted for a relatively clean and honest form that primarily emerged from technical requirements. To preserve the marble's internal, veined surface, we wanted to conceal it, thus the inner metal plate insert was introduced. For usability and stability purposes, support on the fourth corner was necessary. We tried out numerous alternative options, attempting to hide this fourth leg within the form, but ultimately chose honesty and created it with a cross-cutting metal plate, openly embracing the necessity and aesthetics without any concealment. This general shape also gains a unique character, becoming its identity and receiving a memorable gesture. (Not to mention that the R in Reble is also suggested within it.)
Through these elements, a refined yet memorable form emerges, creating significant contrasts and complementing each other in terms of material pairing and form, where one wouldn't work without the other, similar to how in the case of an old, antique object or building, valuable parts and shells are reconstructed and maintained with modern, new interior materials.
