rukh

rukh, draws its origin from the ancient persian chess piece. rooted in this legacy, the design embodies a quiet sense of power.

rather than existing solely as a functional bathroom basin, rukh is conceived as a spatial object—an intervention that occupies its environment with clarity and purpose.

its form is not arbitrary; it is guided by the idea that freedom is not the absence of constraint, but the result of choosing a direction. each line, edge, and surface reflects a disciplined gesture, where movement is controlled and decisions are made visible through geometry.

the piece expresses a balance between solidity and openness, echoing the rook’s dual nature as both a defensive stronghold and an active force on the chessboard. in this way, rukh becomes a translation of strategy into form—an object that suggests both stillness and potential motion, anchoring the space while subtly guiding how it is experienced.

blue apple

an illusion that is not ashamed to be real

duality plays in this monochromatic spectacle, between illusion and reality, between plane and volume,the object sits as a fracture of perception; what we know is questioned by what we see

why not be blue?

why not be impossible?

an act of rebellion against the usual order, a monochromatic treatment, a delicious paradox, something simple that seems to become absurd, but through use this absurdity becomes necessary. the object is form, experience, it invites you to accept the fragility of reality, to laugh at conventions because sometimes reality is too serious.

biting blue apples is a choice, an exercise in freedom, a gesture against rigidity, because after all, some drink coffee as a drug, others as joy,

that's life, that's art; I'm like you and you're like me,

the world has enough red and green apples,

i’m obsessed with people

everything starts with a step, at that moment, the space changes,

the door is an architectural object that lives only because you live, it follows your movements, seeks your presence, and through contact you understand that "dancing about architecture" is an ongoing scenario,

for people there is no obsession without the geometry that they write through movement, in this sense, architecture is already dance; and dance begins from the need to say "I am here, next to you". each gesture triggers a response, where the shapes intertwine with each other, like dancers who touch for a second and then separate, between movements there are no walls to keep the world standing, there are only connections between people,

stability? an illusion, this is not found in the walls, but in the way in which people create together an invisible architecture of belonging, and the door becomes a landmark, an elastic symbol of home and cultural identity, and as the design expands in space, belonging is amplified.

the door becomes a dance partner, your gestures awaken it, and every movement creates living architecture,

the obsession with people becomes space, and this becomes architecture.