We're living with the legacy of design decisions made over a century ago.
The clean lines of our furniture, the glass facades of downtown buildings, even the way we think of “good design” as sleek and efficient all trace back to a radical shift in the early 20th century.
Modernism arrived as a revolt against the opulence of the Victorian era. In other words, out went ornamentation. In came glass, steel, and stripped-down efficiency. Figures like Le Corbusier, Walter Gropius, and the “form follows function” ethos reshaped our cities, homes, and collective sense of beauty.
Modernism wasn’t just an aesthetic. It was a cultural response to upheaval.
With monarchies falling and industrialization surging, it gave architecture and design a new order: one defined by progress and machines.
The Designer’s Manifesto
Today, we find ourselves in a different kind of rebellion.
After years of living in drywall boxes, adapting to the Internet, and inhabiting spaces shaped more by algorithms than by humans, it's become evident that many folks are craving something personal.
There's a renewed interest in analog living.
Biophilic design. Plant-dyed clothing. Artisanal ceramics. Raw wood and handmade objects filling our spaces. These are small acts of survival, ways of reconnecting to nature, to our communities, and to our wilder selves.
Softer, Slower, More Human
Just as Modernism gave us efficiency, today’s movement offers presence. It favors tactility over frictionless perfection. Earthen textures over sterile minimalism. Warmth and imperfection over mass-produced sameness.
This philosophy doesn’t reject Modernism entirely, but builds on it. It's about the embrace of modern tools and materials, while wielding them to create designs that are tangible, human, and alive.
Our Design Approach
Physical resonance is at center of our work.
Our lamps don’t just light a room; they soften it. The shades bend naturally, forming self-supporting structures that bounce light gently. Wood bases show their grain, each one a quiet reminder of the living material beneath.
Every curve and join is a conversation with the material itself. In this way, our designs become part of a larger design revolution: objects that reconnect us to nature, now.
Looking Ahead
Modernism defined the last century— so what's next? We think it's something slower, softer, and rooted in the natural world.
What do you think?
