Body in tension
Each piece investigates metal as body and the cut as language.
What supports does not hide. it reveals itself.
What is absence becomes form.
What is structure becomes ornament.
Metal assumes the role of skin: it curves, tensions, and sustains.
Voids become form. Cuts become gesture.
Exposed material is not finish, but narrative.
Together, the pieces form a single body.
A system in which furniture ceases to be merely functional and begins to act as an organism:
sensitive, tensioned, and precious.
By bringing the universe of accessories into the scale of space, the collection proposes a new reading of the domestic object: furniture as an extension of the body, as a language of expression, and as a structure that communicates.
And, in the silence of metal, the body exists.
Sideboard piercing
Born from the movement of the body,
translates organic curves and the malleability of skin into the structural
rigidity of stainless steel. The piece transforms the flexible gesture of a body
pierced by jewelry into a material that is cold, dense, and permanent, highlighting
the tension between fluidity and resistance.
The rods that cross the structure evoke piercing as a gesture that breaks the surface, tensions the matter, and connects form and meaning. Inspired by the language of bodily adornment and punk aesthetics, the sideboard assumes an assertive and rebellious stance in which ornament becomes identity and visual strength.
Piercing challenges the boundaries between furniture and jewelry, transforming the object into structural ornament and visual metaphor. More than a sideboard, it is the body translated into spatial scale, adornment transformed into architecture
Sidetable piercing
From this continuous surface emerges a structural curve that defines the volume while simultaneously creating a void,
a cutout that is not absence but language.
This void carries meaning. It evokes the idea of an opening as gesture, inspired by the organic forms and expressive voids of SESC Pompeia, designed by Lina Bo Bardi. As in architecture, the void here is not a lack of matter but an active space, a form that breathes.
Passing through this curved metal sheet, polished stainless steel spheres act as both ornament and structure. Like a piercing that moves through the body, this element is not applied, it sustains, connects, and transforms.
Sidetable barbell
It is built from tensions:
hardness and gesture, mass and lightness, opacity and reflection.
The barbell pierces the solid marble base as a jewel pierces a body, transforming the dense volume into an intimate and provocative presence.
Formed by layers of reclaimed Brazilian marbles, the base carries memory, time, and craftsmanship. Stainless steel acts as both ornament and structure, while glass introduces lightness and suspension, intensifying the contrast between weight and delicacy.
It is an object in which the body becomes matter, the jewel becomes structure, and provocation asserts itself as language.
Seat void
Inspired by an expressive attitude and the idea of jewelry as structure, void treats the cut not as loss, but as language. A bench where the void sustains, metal curves like a body, and absence becomes form.
Void emerges as a formal continuation of the piercing coffee table, expanding the investigation of the void as a structural element.
The piece is formed from a single metal surface shaped through curvature. Two tensioned sheets meet in a continuous gesture, creating a central void that shifts from absence to structure.
This negative space — the void — defines support and formal identity. The curvature that receives the cushion is inspired by the movements of the body, translating an organic logic into rigid material. The metal thus assumes an almost anatomical behavior.
The cushion fits perfectly into the structure, reinforcing the Integration between form and use. The textile finish proposes pleated embroidery that references fashion and the skirts associated with punk aesthetics, bringing the language of clothing into furniture — one of the conceptual foundations of the collection.
Seat void 3
Void 3 emerges from the fusion of two investigations within the collection:
the tensioned curves of the piercing console and the structural void of the void coffee table.
Here, these languages converge and expand, creating a piece that is variation,
evolution, and continuity.
If in void the void is a central point, in void triplo it multiplies. Three organic openings structure the bench and establish a continuous rhythm of solids and absences, transforming the cut into both a constructive and visual element.
Curved stainless-steel sheets take the lead. The metal ceases to be planar and begins to behave like tensioned skin, tracing arcs that cross the piece and support the body with unexpected lightness. The rigidity of the material contrasts with the fluidity of the gesture.
A piece where curve, void, and tension cease to be isolated elements and begin to act together, forming a continuous landscape of metal and space.
Table bezel
It's name comes from the term used to define the setting the structure that surrounds and holds a precious stone. Here, what normally serves as support becomes the protagonist.
The base is formed by overlapping metal sheets that create a clean and linear frontal reading, while revealing, from the side, the depth of its layers. One of the sheets receives a golden finish, establishing a dialogue between silver and gold — metals that, in The universe of jewelry, carry value, contrast, and intention.
This layering builds the idea of structure as adornment. The table does not hide how it is made; it transforms its own constructive system into aesthetic language.
The hammered glass top rests on this composition like a set stone. Its texture diffuses the image of the base, creating a subtle distortion that enhances the perception of shine, depth, and preciousness. Transparency does not conceal the structure — it highlights it.
Bezel turns containment into expression and support into ornament. A piece where furniture behaves as structural jewelry.
Table pieces
Pieces emerges from fragmentation as a design gesture.
Its top is composed of multiple metal pieces, precisely laser-cut and recomposed into an organic overlapping structure that forms a single continuous body.
The industrial cutting process becomes part of the language of the piece, transforming fracture into form. The junctions act as metallic sutures, revealing the encounter between fragments and exposing construction as an aesthetic narrative.
The surface ceases to be flat and begins to behave like a topography — an irregular, almost geological landscape that turns the table into terrain.
Inspired by a raw, expressive attitude and the logic of jewelry as structure, pedaços treats the fragment not as rupture, but as method. A piece where the industrial meets the sensitive, and where the cut becomes identity.
Sidetable stem
Stem originates from the enlargement of a stud earring into the scale of furniture. Two metal planes support the circular top while a rod crosses The structure, defining the visual and structural center of the piece.
The piercing element organizes the composition with graphic precision, creating a clean, linear, and direct reading. The detail is not ornament, but a point of balance between form and structure.
The ends of the rod can be customized with spherical or prismatic terminals, expanding formal variation without altering the identity of the piece.
Stem is restraint and minimal gesture.
Dining table piercing
Curved stainless steel sheets form a continuous body, supporting the top as if the structure were in motion.
The metal is not a rigid base, but a fluid presence that moves through the piece.
The hammered glass top is intentionally transparent to reveal this anatomy of curves. It does not conceal the structure — it exposes it. Acting like a lens, it allows the eye to follow the stainless steel beneath the surface, highlighting the tension and continuity of the form.