Leo Aerts, Calda/freddo, Alinea. This object has been designed as a volume, formed by the combination of two moulded sheets that have been welded together. The concave space between the superior and the inferior plate is filled with a special gel. Preheated in the oven or cooled in the freezer, the gel keeps its temperature for a longer period. Photo Lieven Herreman

Leo Aerts, Calda/freddo, Alinea. This object has been designed as a volume, formed by the combination of two moulded sheets that have been welded together. The concave space between the superior and the inferior plate is filled with a special gel. Preheated in the oven or cooled in the freezer, the gel keeps its temperature for a longer period. Photo Lieven Herreman

Damien Gernay, Blanc Cassé. The Blanc Cassé series explores the notion of a white colour that is physically altered to make it functional. White, as the original colour, is a reference to a painter’s canvas or the blank page of the writer, on which the act defines the object. A simple stainless steel disc has been painted and mechanically sanded in order to create a mirror. The object bears the traces of its fabrication, showing soft transitions between the different surface qualities from matt white to the black layer underneath and through to the polished steel. The image appears as an organic opening in the wall. The roughness of the polished metal creates a pointillist picture, imperfect as if painting in real time, where the grain of the metal would be a brushstroke.

Damien Gernay, Blanc Cassé. The Blanc Cassé series explores the notion of a white colour that is physically altered to make it functional. White, as the original colour, is a reference to a painter’s canvas or the blank page of the writer, on which the act defines the object. A simple stainless steel disc has been painted and mechanically sanded in order to create a mirror. The object bears the traces of its fabrication, showing soft transitions between the different surface qualities from matt white to the black layer underneath and through to the polished steel. The image appears as an organic opening in the wall. The roughness of the polished metal creates a pointillist picture, imperfect as if painting in real time, where the grain of the metal would be a brushstroke.

Nedda El-Asmar & Erik Indekeu, Hollow Ware Collection, Eternum. This collection consists of several sizes of coffee and tea pots, milk jugs, a tray and wine cooler with stand. The highly polished surfaces evolve from elliptical to round, reflecting the environment in a striking manner. State-of-the-art production techniques – high-pressure hydro forming (up to 70 bar) – were used to achieve this distinctive body shape.

Nedda El-Asmar & Erik Indekeu, Hollow Ware Collection, Eternum. This collection consists of several sizes of coffee and tea pots, milk jugs, a tray and wine cooler with stand. The highly polished surfaces evolve from elliptical to round, reflecting the environment in a striking manner. State-of-the-art production techniques – high-pressure hydro forming (up to 70 bar) – were used to achieve this distinctive body shape.

Nedda El-Asmar & Erik Indekeu, Hollow Ware Collection, Eternum. This collection consists of several sizes of coffee and tea pots, milk jugs, a tray and wine cooler with stand. The highly polished surfaces evolve from elliptical to round, reflecting the environment in a striking manner. State-of-the-art production techniques – high-pressure hydro forming (up to 70 bar) – were used to achieve this distinctive body shape.

Stefan Schöning, Twin, Fiam Italia. Side table in curved glass of 12 mm for the transparent or extra-light glass version, and 10 mm for the Nero95 model. Available in two different heights and shapes.

Left: Stefan Schöning, Twin, Fiam Italia. Side table in curved glass of 12 mm for the transparent or extra-light glass version, and 10 mm for the Nero95 model. Available in two different heights and shapes. Right: Ann van Hoey, Earthenware Ferrari Series. In this work I combine the old metier with one of the most luxurious status symbols of modern society, the Ferrari. On a Ferrari car, the glossy coating is merely meant to seduce the consumer. Here, however, the unexpected combination of pure craftsmanship with the pinnacle of capitalist consumerism, challenges the spectator to reflect upon the balance between tradition and progress. (Ann Van Hoey).

Ann van Hoey, Earthenware Ferrari Series. In this work I combine the old metier with one of the most luxurious status symbols of modern society, the Ferrari. On a Ferrari car, the glossy coating is merely meant to seduce the consumer. Here, however, the unexpected combination of pure craftsmanship with the pinnacle of capitalist consumerism, challenges the spectator to reflect upon the balance between tradition and progress. (Ann Van Hoey).

Ann van Hoey, Earthenware Ferrari Series. In this work I combine the old metier with one of the most luxurious status symbols of modern society, the Ferrari. On a Ferrari car, the glossy coating is merely meant to seduce the consumer. Here, however, the unexpected combination of pure craftsmanship with the pinnacle of capitalist consumerism, challenges the spectator to reflect upon the balance between tradition and progress. (Ann Van Hoey).