Saro is a cutlery collection comprising over twenty pieces that includes a Table Knife and Fork, as well as Chopsticks, Renge and a Rice Paddle. The variety also extends to the materials themselves, which were chosen for specific ways of eating, and range from stainless steel to enamel, Urushi lacquer, Cherry and Hinoki. It's this sense of diversity that truly enriches the collection, creating a family of products each with its own purpose and personality.
«…There are several reasons why utensils were not made of metal [in Japan]. First, the flavors of Japanese foods are very light and subtle, and implements that give off metal ions are avoided where possible. Second, wood is well suited to serving and eating hot food. Third, wooden scoops and spoons do not damage wooden vessels or scratch metal cookpots and kettles. Fourth, the Japanese simply like things made of wood. There is little likelihood that wood, naked and unadorned, will ever cease to be used for spoons, ladles, scoops, and paddles in Japan.» From Yoshio Akioka in Japanese Spoons and Ladles, 1979. 

The boards are carefully selected according to their respective function: structure or surface. Each individual element – bar, board, wedge – fulfills an indispensable function: supporting, clamping, stiffening. 
The planks with staggered grooves – clamped between four battens – are tensioned with the help of wedges. Thereby the forces are transferred to the interwoven feet and the whole construction is stiffened.

In collaboration with cabinetmaker Serge Borgmann.

Meander is a room divider consisting of modular panels. Each panel is composed of two spruce planks bent in the elastic range: the modular elements can be freely assembled into organic, undulating and meandering compositions – theoretically extending into infinity.

The path to the pavilion leads from the main house through the garden – walking through a narrow corridor, the elevated main room is entered by stepping onto a round stone. An orthogonal spruce structure – becoming denser towards the roof – constructed entirely with wooden joints (Japanese and European style), is covered with a deeply overhanging roof. The simple floor plan, consisting of a square main room and an (attached) narrow functional room (with kitchen and cupboard), has a modularity that allows (exterior) walls to be moved into the interior (or to be stored into a cupboard). Various arrangements can be realised – according to the seasons – opening up the space to the entire garden or concentrating the view on a special detail – such as a red (Japanese) maple in autumn.
The pavilion stands in direct dialogue with its surroundings and invites to immerse oneself in another, distant world and, as in the Japanese tea ceremony, to leave everyday life behind.

Sedia is a cantilever chair made from steam-bent beech wood: built according to the principle of modular (system) furniture, all individual elements can be repaired and replaced at any time. The two S-shaped bent pieces are connected to two wooden frames – in the seat and backrest areas – and to a crossbar by screws. The lightly upholstered seat is covered with vegetable tanned leather, which is tightly laced to the underside of the seat.

«…There are several reasons why utensils were not made of metal (in Japan). First, the flavors of Japanese foods are very light and subtle, and implements that give off metal ions are avoided where possible. Second, wood is well suited to serving and eating hot food. Third, wooden scoops and spoons do not damage wooden vessels or scratch metal cookpots and kettles. Fourth, the Japanese simply like things made of wood. There is little likelihood that wood, naked and unadorned, will ever cease to be used for spoons, ladles, scoops, and paddles in Japan.» From Yoshio Akioka in Japanese Spoons and Ladles, 1979. 

Long lengths of paper are interwoven with individual H-shaped wooden frames, thereby forming both a surface and a hinge – the result is a light, translucent room divider foldable in all directions. Every single element has a specific, indispensable function – structure, surface, hinge. Without the one, the other would be useless.
The wooden frames, or rather their long side slats, are manufactured in a curved shape in order to stretch the paper evenly using the elasticity of the wood. The handmade paper made from fibres of the paper mulberry tree comes from the Taki family in Fukui, Japan.

In collaboration with cabinetmaker Serge Borgmann.

Structura is a living construction – originally a tree – a living organism that grows under the influence of time and seasons. The processed board is no dead matter – it is alive, with a clear memory: in winter – when humidity is low – the board shrinks, in summer – when humidity is high – the board expands. The board grows and shrinks – it changes with the seasons.
The construction method – with wedge and dovetail batten – allows the wood to live, to move and enables the maintenance of the construction from time to time.

An architectonic kitchen consisting of three solid columns and two thick slabs of Swedish Black Granite resting on top: realised for a gallery in Switzerland. The large sink is carved directly from the stone. The space between the three columns is partially furnished with stainless steel cabinets. The room contains freely arrangeable trolleys made of spruce.

In collaboration with stonemason Annika Staudt.

Tea ware made in collaboration with Riso Porcelain in Arita, Japan. The various utensils – tea pot, water container or tea caddy – are formally composed of cylinders and spheres: the most primitive and archaic ceramic typologies.

Charrin is a serving trolley for chef Andreas Caminada and his restaurant Schloss Schauenstein. The trolley has two different positions: a compact shelf-like for storing, transporting and an open table-like to present the cheese course. The cheese selection is arranged in the office on 24 white, washable boards. The trolley is driven to the guest and transformed with one movement from a shelf to a table: fixed with a key.
The additional trolley with an ash cabinet is conceived for transporting cutlery, dishes, bread, dried meat and chutneys: the trolley is placed with the back board towards the guest, staging a calm background.

Cauma is a stackable armchair with a solid hardwood frame and a plywood seat shell. The structure is based on a simple sawbuck construction – with the side view resembling an A: allowing to build a simple, robust armchair with few parts and economical material usage. An additional cushion is completing the open structure, proposing a comfortable round chair.

Maisa is an extendable dining table made from solid wood. The table is based on historical Chinese typologies: two leg elements (leg and cross brace) are connected to two longitudinal braces. The two linear, longitudinal braces function as slide rails for the main table top and as a storage space for the extension. The main table top is displaced asymmetrically to avoid a split board. The extendable table offers four additional seats with a single extension.
The table reflects a logical simplicity through a defined, calm appearance that is functional, simple and reduced. Leg and braces form a soft, closed entity: both braces merge fluidly with the leg.

A 2.4 m long drinking fountain made of Petit Granit for the agricultural school Plantahof in Landquart, Switzerland. 
The water flows directly from the stone, as if from a spring. Four recessed spouts splash the drinking water upwards: defining a meeting place, like an old fountain in the centre of a village.

In collaboration with stonemason Annika Staudt.