This speculative furniture design project imagines how we might inhabit a world just "nine meals from collapse," suspended between oversharing, geopolitical instability, and ecological emergency.
The work takes its name from a survivalist axiom: in the event of global catastrophe, human society would have the equivalent of nine meals before descending into irreversible collapse. The series translates this measure of time –nine frames, nine thresholds– into a collection of furniture pieces that function as emergency infrastructure, each one a unit of domestic resistance against a present defined by ecological instability, forced mobility, and systemic fragility.
Nine Frames From Collapse interrogates the aesthetic complacency of contemporary interior design, proposing a deliberate turn away from its excesses, away from premium materials, refined finishes, and the visual inflation of objects as status symbols.
This is design that refuses to perform luxury: the refusal is political.
Recycled aluminum profiles, industrial, scalable, and endlessly reconfigurable, form the skeletal logic of each piece, joined by raw secondary materials such as plastic packaging, plexiglass offcuts, and elements drawn from supply chains rather than showrooms.
The resulting objects do not disguise their making. Fragility and strength coexist visibly, held together by exposure rather than concealment.
The work ultimately suggests that what our collective imagination of resilience lacks is not innovation, but recognition: the infrastructures most capable of sustaining life in crisis already surround us, invisible, taken for granted. The aluminum profile, the packaging material, the anonymous component of global logistics: these are the true load-bearing elements of a design for survival. Furnishing a space with them is not an act of resignation, but of lucid awareness, an acknowledgment that the systems we overlook may be the ones that hold.
OVERVIEW
The lamp emerges from a radical reinterpre- tation of the idea of emergency. It does not simply respond to a functional need, but turns necessity into a design language, showing how even the most essential elements can gener- ate an unexpected, poetic and almost sculptural presence.
The structure, composed of an extruded alu- minium frame, defines a sharp, rigorous, industrial gesture.
Around it, an inflated protective plastic film takes shape as a luminous diffuser: a lightweight envelope, unstable only in appearance, filtering the light and trans- forming it into a soft, vibrant presence, suspended between transience and aesthetic intention.
Common materials and components originally designed for other uses are removed from their initial function and recomposed into a new balance.
Waste becomes volume and atmosphere, while discarded plastic becomes both structure and dif- fuser, turning a marginal material into a fragile luminous signal within dark, uncertain, shifting spaces.
The table presents itself as an essential rein- terpretation of a piece of furniture, reimagined as a pres- ence capable of challenging the canons of rigidity and aesthetic fullness.
It does not simply occupy space with a practical function, but transforms constructive simplicity into a design language.
The structure, composed of aluminium profiles supporting a plexiglass panel, defines a sharp and lightweight gesture.
Over this formal clarity, a series of diagonal cuts runs through the supporting structure, introducing a visual tension that breaks the overall static quality and gives the object a sense of balance that is never entirely resolved. Essential materials and industrial compo- nents are thus taken beyond their original function and recomposed into a presence that is at once furniture and formal statement.
The structure itself becomes language: a technical element, designed to organise temporary spaces shaped by instability, where form does not seek absolute solidity but rather a possibility for adaptation. Not only a functional object, but a subtle presence that translates technique into a visual gesture.
A vertical stand that presents itself as an essential totem, capable of defining a point of reference within space. It does not simply respond to a practical func- tion, but transforms constructive logic into a design language, becoming a subtle and symbolic presence.
The structure, composed of modular aluminium profiles assembled through quick-fit joints, clearly expresses its technical and constructive nature.
Its linear and sequential development highlights the principle of mod- ularity, translating the repetition of elements into a precise aesthetic statement.
A minimal element, stripped of all excess, designed to support everyday needs through an under- stated symbolism, where technique reveals itself in its clear- est and most expressive form. Not only a functional object, but a vertical presence that translates modularity into sign and necessity into visual identity.