Kristine Five Melvær

Siguiendo su pasión por la cerámica, Ann Van Hoey cambió de carrera después de veinte años.
Inspirada por diferentes culturas y alimentada por técnicas locales, Van Hoey ha creado un lenguaje cerámico propio. Su amor por las formas geométricas nace de ecuaciones matemáticas sobre papel.
Los hemisferios se conectan, se fusionan y se consolidan dando como resultado su obra de arte distintiva.
Sus obras en bronce son formas cerradas que reflejan misteriosamente su entorno.
Van Hoey recibió el título de "Comendador de la Orden de la Corona" del rey Felipe de Bélgica por sus logros como artista cerámica.

Kate Hume lleva más de 20 años a la vanguardia del diseño de interiores internacional. Conocida por combinar un singular sentido del color con hallazgos eclécticos y piezas a medida, nunca olvida que sus clientes de alto poder adquisitivo desean que sus residencias privadas sean hogares serenos, elegantes y cómodos.
Con sede en Ámsterdam, su estudio multilingüe ha diseñado altísimas residencias urbanas, casas familiares en la playa, mansiones rurales y el hotel boutique Tortüe en Hamburgo.

Cada proyecto es único, pero todos son creados y seleccionados con la cercanía y la practicidad de Hume. Hume aporta el talento adquirido en su trayectoria como estilista de moda y cine, así como un respeto innato por la artesanía atemporal de los artesanos, pues ella misma es una reconocida diseñadora de vidrio.

What started as passionately hammering away as a child, grew into a full-blown artistic career as a stone sculptor. Belgian designer Kris Demuelenaere wields a chisel and hammer to reveal the sculpture hidden inside his alabaster stone, limestone or Carrara marble canvas. This intuitive way of creating makes Demuelenaere’s art spontaneous yet calculated, fluid yet solid, emotional yet rational and complex yet effortless. Working with Gardeco since 2022, Kris’ breathtaking pieces of stone art are now available to a larger public as delicate and spectacular limited edition bronze sculptures.

Kristine Five Melvaer(NO)La diseñadora noruega Kristine Five Melvær diseña vajillas, iluminación, muebles, diseño gráfico y objetos textiles.

Es un arquitecto franco-alemán nacido en Venezuela que, tras graduarse, fue contratado por Andrée Putman para colaborar en proyectos en Miami y Tokio. En 2006, se incorporó al estudio de diseño Christian Liaigre en París, donde colaboró ​​durante varios años en proyectos internacionales. Durante un viaje a Indonesia, descubrió una profunda conexión con el país y decidió fundar Studio Jencquel al año siguiente. Varios de sus proyectos han captado la atención de los medios de comunicación en la comunidad del diseño, lo que lo ha impulsado a aceptar encargos en diferentes partes del mundo y, según la revista Departures, lo posiciona a nivel mundial como un "ejemplo de diseño lento".

Es un arquitecto franco-alemán nacido en Venezuela que, tras graduarse, fue contratado por Andrée Putman para colaborar en proyectos en Miami y Tokio. En 2006, se incorporó al estudio de diseño Christian Liaigre en París, donde colaboró ​​durante varios años en proyectos internacionales. Durante un viaje a Indonesia, descubrió una profunda conexión con el país y decidió fundar Studio Jencquel al año siguiente. Varios de sus proyectos han captado la atención de los medios de comunicación en la comunidad del diseño, lo que lo ha impulsado a aceptar encargos en diferentes partes del mundo y, según la revista Departures, lo posiciona a nivel mundial como un "ejemplo de diseño lento".

Born in Brussels in 1981 and raised between three languages and cultures, Nicolas Schuybroek has always been drawn to the spaces between things — the pause in a room, the weight of a material, the quiet that good architecture can hold. That sensibility has shaped everything he does.

After studying at École Saint-Luc in Brussels and McGill University in Montréal, Schuybroek spent five formative years as a project director under Vincent Van Duysen in Antwerp — an experience that sharpened his eye for discipline and restraint. In 2011, he founded his own practice in Brussels with a clear and personal conviction: that architecture should feel like a breath rather than a statement.

Nicolas Schuybroek Architects creates architecture, interiors, and objects defined by an acute sense of detail, tactile materiality, and deep craftsmanship. His approach — sometimes described as living minimalism or minimalism with a soul — resists the seductive pull of spectacle. There is no straining for effect in his work. Instead, there is something rarer: a muted elegance that reveals itself slowly, and stays with you.

The spaces Nicolas designs are serene, yet unmistakably warm. Monastic in their simplicity, but surprisingly sophisticated in their execution. He works with unassuming, raw, and tactile materials — stone, plaster, aged wood — chosen not for luxury, but for honesty. Every project, from the roughest structural decision to the smallest interior detail, reflects a rigorous and deeply contextual vision of how people actually inhabit space.

His international portfolio spans continents and typologies: private residences on the Côte d'Azur and in Mexico City, The Robey hotel in Chicago for Grupo Habita, Aesop's flagship store in Lyon, offices and showrooms in Belgium, and ongoing large-scale projects in France, the Netherlands, the UAE, the USA, Taiwan, the UK, South Korea, and Indonesia. In 2016 and 2022, he collaborated with Belgian design brand when objects work to create series of objects and a Signature Kitchen for Obumex, presented at the Milan Furniture Fair and Salone del Mobile.

Recognized multiple times on the AD France AD100 list since 2013, his work has been published in Wallpaper*, AD France, AD Germany, AD Italy, WSJ Magazine, Elle Decor, Abitare, and many more. In November 2021, Hatje Cantz published his first monograph — a wide-ranging portrait of the first decade of practice.

Nicolas Schuybroek's multicultural upbringing and extensive international travel inform a perspective that is both grounded and expansive. He works fluently in English, French, and Dutch. His work is not about trend or style — it is about finding the soul of a space, and letting it breathe.

Studionudo was born from a simple but enduring idea: that raw materials deserve to be honoured, not hidden. The name says it all — Studio, for the discipline of form; Nudo, for the nakedness of material at its most essential.

Founded by Fabiola Laccisaglia — a designer and art director from Como, trained at the Politecnico di Milano and forged in the style departments of Marzotto and Poliform — the studio creates everyday objects that carry the memory of their origins. Shapes and colours drawn from nature evoke open air, freedom, and the quiet of untouched spaces.

Every piece is crafted in collaboration with master artisans across Italy: leather worked by Florentine hands in Tuscany, marble and stone shaped in Veneto, glass blown in a historic Milanese workshop, ceramics fired in the ateliers of Brianza. Skilled and virtuous hands give each object its uniqueness — and its soul.

"Only the objects we truly love will last forever." — Fabiola Laccisaglia

Pia Wüstenberg doesn't make objects. She makes conversations — between materials, between cultures, between the handmade and the contemporary. Finnish-German by heritage and Royal College of Art by training, Pia graduated from the Design Products programme in London in 2011 and founded Utopia & Utility the following year. Since 2017, she splits her time between a studio in Northern Germany and the quiet landscapes of Eastern Finland — and that tension between the industrial and the elemental runs through everything she makes. Her signature is the Stacking Vessel: a modular composition where mouth-blown glass, hand-turned Curly Birch, semi-precious metal, and other handcrafted elements come together into a single, composed object. Each vessel can be taken apart and rearranged. Each piece works alone. But together, they form something that stops a room. To make them, Pia travels across Europe — to Czech glassblowers working techniques passed through generations, to Finnish woodturners sourcing their own timber, to North German workshops where the final assembly happens by hand. She doesn't commission remotely. She goes. She builds relationships that last. In her own words: "This is more than collaboration; it's a shared journey of creativity and passion, resulting in heirlooms designed to be treasured for generations." The pieces in this collection are exactly that. Not decorative in the passive sense — they have presence. They hold a room with quiet confidence. Made for people who collect with intention and live with beauty without making a fuss about it. At Object Origin Collective, we carry Pia's work because it represents exactly what we believe design can be: purposeful, poetic, and made with deep respect for the hands that shaped it.

Meet Örn Þorsteinsson — Icelandic sculptor, dreamer, and storyteller in stone and bronze. Born and based in the dramatic landscapes of Reykjavík, Iceland, Örn is celebrated for his sweeping monumental public sculptures that have become iconic fixtures across Iceland's cities and open spaces.

 

For Gardeco, Örn has channeled that same raw, elemental energy into something you can bring home — the Travel Pieces, an exclusive line of smaller sculptures designed specifically for intimate spaces. Each piece begins its life hand-carved from raw, disposable materials — a deeply intuitive process — before being masterfully translated into refined ceramics and bronze by Gardeco's skilled craftspeople.

 

What makes Örn's work instantly recognizable? Those fluid, biomorphic curves — shapes that feel alive, ancient, and strangely familiar. They echo the volcanic ridges, glacial valleys, and wind-worn shores of Iceland's breathtaking terrain. But look closer, and you'll find something deeper: every sculpture carries the name of a Norse God, a quiet nod to Iceland's rich mythological heritage — Odin, Thor, Freyr, and the countless beings that once shaped how Icelanders made sense of the world.

 

Owning an Örn Þorsteinsson piece is like holding a fragment of Iceland itself — wild, poetic, and timeless.