Undisciplined Ethnobotany departs from the premise that ethnobotany does not belong exclusively to the domain of science, nor to the authority of institutional knowledge production. To insist on the presence of art and design is therefore not an act of undisciplinarity, but a recognition that these practices, too, participate in the study of how humans relate to the vegetal world, and how these relations shape cultures, economies, cosmologies, and futures. Conceived by Heim+Viladrich, the exhibition unfolds as a testing ground for exhibition making. The scenography was developed within the constraints of a two-day exhibition format: All structures were built entirely from repurposed materials sourced from a discarded light installation and past retail projects. As surface treatment, only a rough brushing was applied to the various aluminium profiles in order to bring visual cohesion to the installation. No coating nor any colouring was applied to any of the materials present within the 150m2 space. Standardised particle boards used for the tables will be repurposed for box making, and tin cast numbers referencing the projects name and descriptions will be molten back to ingots for future experiments. Exhibition organiser : Alexandra Strelcova Anna Tudos, Emilie Razova, Lucie Benoit, Inês Quente, Shuang Xu, Camila Chebez, Ana Tomas Danuka & Barbara Mączka, Pigment Emotion, Julia Mensch, Felipe Castel
Tight Spot is a collection of objects exploring four functions: a table, a seat, an ashtray, and a chest. The collection has been developed in collaboration with Abi, crafted at Marmonil, a third generation Cairo stone company in Egypt. Stone, both heavy and workable, is shaped around the idea of tension. A pinch, concave or convex is applied to the main volume of the objects turning their strict outlines into organic surfaces. In response to the material’s density the pieces embrace the idea of monumentality. Their forms are structured around the duality between their uncompromising mass and the lightness of the pinch, which operates both as a functional gesture and an aesthetic value. Crafted in Sinai Pearl, a sand limestone with a slight shell-textured surface, the typologies of the collection form an homogeneous ensemble revealing the subtle sharpness of the tight spots. Credit photo : Matteo Copiz dslstudio
Originally developed for Family 3.0 in Aix-en-Provence, the REST chair draws on the fixtures designed for the store while referencing the post-war furniture developed by René Malaval throughout the 1950s and 1960s. Malaval’s now-iconic furniture from the South of France was distinguished by its use of leftover steel plates from the ammunition industry, located in part in the Hautes-Pyrénées, where the designer/welder was originating. Defined by a distinctive circular perforation pattern combined with tubular steel frames or curved steel plates, his benches, chairs and tables were widely adopted by both municipalities and private clients. His benches in particular, with their robust yet elegant and remarkably comfortable construction, can still be found in villages throughout Provence, the Camargue and the French Pyrenees. They remain one of the most emblematic examples of Southern French public furniture. The stainless steel easy chair is suitable for out-and-indoor and crafted from 6mm folded stainless steel. It showcases exaggerated armrests and a twenty degrees inclined seating ensuring a comfortable yet active posture. The perforated surfaces promote airflow and improve thermal comfort, while an enlarged opening in the right armrest is designed to accommodate a parasol, providing shade and protecting both the chair and its occupant from intense sunlight.
Extended Seater is part of the On Waiting collection. The solid beech piece reinterprets 1990s public waiting room furniture typologies that incorporated magazine shelves and leaflet displays. The restrained geometry references George Nakashima and Donald Judd, though the connection between these makers – one associated with organic craft traditions, the other with industrial minimalism – creates conceptual tension that the design attempts to bridge through traditional joinery and subtle carving.
The mortise-and-tenon construction emphasizes craft heritage while carved seat and backrest surfaces introduce ergonomic considerations absent from purely geometric furniture. This combination is an attempt at finding a middle ground between Nakashima’s hand-worked organic forms and Judd’s rigorous geometric rationalism. Polished aluminium “add-ons” extend the wooden frame to form an armrest and base support. These elements, almost jewel-like in their refinement, introduce both contrast and an unexpected asymmetry to the piece.
Familiar but never quite the same, waiting rooms are both nostalgic and unsettling. The smell of old carpet, the buzzing sound of the ventilator or the flickering of the neon lights — all contribute to the uncanny atmosphere of these transitional spaces. Chairs, a table, a shelf, few magazines, perhaps a plant in a corner or a painting framed on a wall adjacent to a door, items and furniture meant to provide the minimum amount of comfort, visual and physical, just enough to never be remembered.
This atmosphere is central to Heim+Viladrich’s collection for Collectible NYC. Whether fully carved from a block of aluminum or cut from a standardized sheet of polypropylene, each piece builds on recognizable archetypes. Staying true to their refined, detail-oriented language, the designers bring a subtle emotional layer to this collection of everyday utilitarian forms.
Airport halls, waiting rooms, and laundromats — the 3SB three-seater bench draws its inspiration from these liminal spaces where time feels suspended. In these peculiar places, the furniture is familiar, yet always slightly different. We hardly notice it — it’s part of a setting designed to offer the bare minimum of functionality and comfort, just enough to fade from memory in a transitory space. The 3SB is an ode to this forgettable furniture. It celebrates the absence of physical experience. It offers neither comfort nor discomfort. It is stable, not too light, yet not too heavy either. Functional, but not quite. Carved from solid 40 mm aluminum, it nonetheless provides a visual experience. Its polished surface, unusually narrow proportions, and seemingly unbalanced design are strikingly out of the ordinary. While clearly referencing standardized public benches, it is its differences that reveal the inherent "qualities" of this type of furniture.
ollowing our interest in disregarded object typologies, Document Holder draws inspiration from the ergonomic details - round handles, exaggerated radiuses - often found in traditional plastic office furniture. Made of vibrated and waxed aluminium, Document Holder is above all a sculptural piece, highlighting meticulous work on proportions and surface.
Designed for the tenth anniversary of the Rivesaltes Camp Memorial, the exhibition Objets de Mémoire offers an immersion into a world of objects, images, testimonies, and narratives — traces to be followed in order to enter the history of the concentration camp. The exhibition is the result of a collective and participatory effort. Ten volunteer citizens selected around forty objects from the memorial collections and curated their display. Immersed in the Memorial, guided by its team as well as by exhibition curator Claire Muchir, they jointly created an exhibition where perspectives and stories intertwine.
The 300m2 scenography commissioned by the Memorial showcases these forty fragments of the camp’s history. Integrated into the landscape of the camp, the podiums suggest one of the last standing memory in this landscape, the structure of the old barracks in ruins. Echoing the materiality of the camp and its surroundings, all the podiums are made of 5 mm folded steel, assembled and oxidized. While creating an extremely sturdy finish for the podiums, the self-made rust reflects the passage of time and its ravages.
Through erosion, the whole gesture aims to design through material subtraction rather than addition — restoring a material presence to these forgotten artefacts while giving them a space to exist.
Exhibition curatorship: Claire Muchir
Graphic design: Studio Des Signes
The design of the pop-up for Aeyde was developed to incorporate various details from traditional Haussmannian rooftops: right angles, repeated shapes, riveted assembly, oxidized surfaces, and fragments of limestone. Fourteen podiums, arranged in two curves, create a dynamic composition that invites visitors into this 11 m² space within Le Bon Marché in Paris.
Scenography for the Collectible Design Fair stand at the Matter and Shape fair. The 50 m² space consists of an elevated platform made of 19 mm particle board, connected with galvanized steel brackets and covered with mid-grey needle-pile carpet.
The space design of the boutique Nou arises from a contradiction: the use of durable materials in temporary presentation contexts. The installation takes place in the boutique, located in the center of Montpellier. It embodies a design approach based on the use of locally sourced materials, such as limestone fragments from a marble workshop, oak wood from a local firewood dealer, and recycled aluminum scraps from sme of our previous scenography projects. Numerous interventions punctuate the boutique space. A mirror and two presentation pedestals, as well as functional structures and objects tailored to the environment of a ready-to-wear store, including shelves, tables, stools, and clothing racks. Through a blend of finished pieces, assembly sketches, and purely functional elements, the installation visualizes the materials and ressources that can be found within the direct - less than 15km - surrounding of Montpellier.
For the 2023 edition of Alcova, Heim+Viladrich, Laurids Gallée and Forever Studio are developing together an installation on the theme ‘By The Seaside’. Gathering new and existing works, the three studios deconstruct the various elements of the European seasides and reconfigure them into an imaginary landscape. Lounge chair, cocktail table, sunscreen and beach towels are among the various objects and props composing this atypical scenery.
Vase_Nom is a research project developed as part of the “Create a Vase” Artistic Commission by the Centre National des Arts Plastiques (CNAP). The project is conceived as an exploration of manufacturing processes at the heart of several industrial sectors. It examines how industrial resources and techniques can influence the design of an object — in this case, a vase — and embody a new symbolic identity. In contrast to anonymous craftsmanship serving an artistic or cultural vision, Vase_Nom foregrounds the production process itself, along with the people, techniques, and materials involved in its creation.
Initiated in 2022, the Glissière series draws inspiration from the brutalist and geometric forms of concrete roadside elements. From benches to stools, every glissière is a unique piece crafted in our workshop from locally sourced French oak and Douglas fir.
The stool was conceived as an architectural element, allowing for the creation of a variety of installations. Circles, columns, and lines are among the possible configurations. The benches take on more sculptural forms and can be custom-made in lengths of up to three meters.
The Glissière collection follows a straightforward approach: optimizing production, using locally sourced wood, and working within the industrial standards of the timber industry. In contrast to their sculptural form, the series is made from construction-grade oak beams 150×300, 150×200, and 200x200 mm.
Initiated in 2022, the Glissière series draws inspiration from the brutalist and geometric forms of concrete roadside elements. From benches to stools, every glissière is a unique piece crafted in our workshop from locally sourced French oak and Douglas fir.
The stool was conceived as an architectural element, allowing for the creation of a variety of installations. Circles, columns, and lines are among the possible configurations. The benches take on more sculptural forms and can be custom-made in lengths of up to three meters.
The Glissière collection follows a straightforward approach: optimizing production, using locally sourced wood, and working within the industrial standards of the timber industry. In contrast to their sculptural form, the series is made from construction-grade oak beams 150×300, 150×200, and 200x200 mm.
Initiated in 2022, the Glissière series draws inspiration from the brutalist and geometric forms of concrete roadside elements. From benches to stools, every glissière is a unique piece crafted in our workshop from locally sourced French oak and Douglas fir.
The stool was conceived as an architectural element, allowing for the creation of a variety of installations. Circles, columns, and lines are among the possible configurations. The benches take on more sculptural forms and can be custom-made in lengths of up to three meters.
The Glissière collection follows a straightforward approach: optimizing production, using locally sourced wood, and working within the industrial standards of the timber industry. In contrast to their sculptural form, the series is made from construction-grade oak beams 150×300, 150×200, and 200x200 mm.
Pictures 1,2,3 : Marco Gambarè
Two folded sheets are symmetrically placed beneath a top plate to form a balanced structure. Each piece is hand-polished — a meticulous process that creates a vibrant, delicate surface, unmatched by industrial metal polishing. The result is a piece of furniture akin to a piece of silversmithing, subtly reflecting its surroundings.
The Off Cuts stools are made from stacked fragments of oak, sourced locally in Aubrac from trees felled during road construction. Their shapes follow the natural form of the offcuts, making each piece unique. Defined by the raw texture of the material, the stools retain a characteristic roughness.
Scenography for the Curated Section of Collectible Fair, What's Your Story, 2023 in Brussels. The project was created using 32 aluminium sheets measuring 2000x1000mm - an aluminium standard. In order to optimise the repurposing of the sheets for future projects, we ensured that temporary connectors were placed at the edges of the sheets thus preventing material loss. The aluminium was left uncoated and was pre-brushed to accommodate scratch. The connectors were sourced from a nearby metal scrapyard, and the podiums were constructed using leftover materials from past productions.
By the Poolside is a collection presented during the 2023 edition of Collectible Design Fair in Bruxelles. Bringing together various typologies of objects and accessories relating to the swimming pool, Heim+Viladrich has collaborated with Laurids Gallée to create a unique set of works.
Private commission for a dining table.
By The Seaside is a collection inspired by the European seasides. Lounge chair, cocktail table, sunscreen and beach towels are among the various objects and props composing this atypical scenery.
Taking its inspiration from outdoor foldable terrace tables, Bar Table is an exploration of the industrially crafted patterns. The circular motif is here realized with an aleatory motion extending over the entire surface. This manually executed gesture ensures the uniqueness of each piece in the series.
By the Poolside is a collection presented during the 2023 edition of Collectible Design Fair in Bruxelles. Bringing together various typologies of objects and accessories relating to the swimming pool, Heim+Viladrich has collaborated with Laurids Gallée to create a unique set of works.
Locker 23 explores the theme of public furniture through the reconfiguration of a changing room element into a wall-mounted mirror piece. The integrated shelf subtly reuses standard fittings, while details such as the number 23 and key lock evoke the quiet banality of public swimming pool lockers.
Maxi Tray is a social ashtray designed to highlight the conviviality of a shared moment around a cigarette. The cylinder is composed of numerous edges, each numbered to remember the placement of our cigarette. Maxi Tray is a piece crafted from a cylindrical profile of 32 cm brushed, waxed and punched aluminum.
Open Dressing combines a mirror and a bench into a single sculptural piece. Two solid aluminum elements are linked by a third—a platform that extends the lines of both bench and mirror, creating a unified space for the two functions. The front face of the aluminum profile is polished to a mirror finish, giving the piece a striking presence that defines a distinctive zone within any interior.
Arena is a modular stage project commissioned by the HuidenClub. The project first contributes to the opening of the art center, a new cultural and artistic workspace in Rotterdam, bringing together artists, designers, and researchers to form an inclusive creative ecosystem alongside an active public program. The stage is modular and removable; the modules can be dispersed in accordance with Covid-19 regulations and are easily transportable to different locations and in various compositions. Alongside the stage furniture, the cultural center has commissioned the creation of integrated offices within the communal workspaces.
Stools in aluminium
Aire A75 is a collection of pieces exhibited during the Collectible Design Fair in Bruxelles. Inspired by the highway stops of the south of France, Aire 75 acts as a default version of a stop where the materials and dimensions of the various typologies encountered in these places have been swapped, stretched and transformed. Picnic table, icebox, trashbin and bus stop seating are the props composing this dull environment.
The steamy environment, the feeling of water on your skin, your hazy reflection getting clearer and clearer. Polished by hand and defined by material subtraction, Steam Mirror embodies a specific moment: the act of wiping away the condensation that gathers on a bathroom mirror with the palm of your hand. Repeating the same motion, the polishing of Steam Mirror was entirely done by hand. Each stage of sanding - from grit 40 to grit 5000 - revealed distinctive irregularities and textures inherent to the industrial nature of the material.
Over several days, the rough surface was brought to an almost perfect reflection. At its center, the mirror clearly captures its surroundings - toward its edges, the untouched areas preserve the rawness of the original plate. Contrasting this delicate gesture, the Steam Mirror follows a principle of industrial standardisation. Crafted from a single 2000x1000mm hot-rolled 340L stainless steel plate, 8 mm thick and weighing approximately 120 kg, it is only this hand motion, repeated thousands of times and slowly subtracting thiner and thiner layers of matter, that create a reflective surface.
Steam Mirror is a work of frugality - it captures the trace of the hand and the memory of the material itself, standing between control and imperfection, between the industrial and the intimate.
Aire A75 is a collection of pieces exhibited during the Collectible Design Fair in Bruxelles. Inspired by the highway stops of the south of France, Aire 75 acts as a default version of a stop where the materials and dimensions of the various typologies encountered in these places have been swapped, stretched and transformed.
The glacière reimagines the traditional polypropylene icebox, carved from a solid block of limestone.
Aire A75 is a collection of pieces exhibited during the Collectible Design Fair in Bruxelles. Inspired by the highway stops of the south of France, Aire 75 acts as a default version of a stop where the materials and dimensions of the various typologies encountered in these places have been swapped, stretched and transformed.
The picnic Table made powder-coated aluminium, evokes the countless lunch breaks once spent at the heavy wooden tables found in these areas.
Aire A75 is a collection of pieces exhibited during the Collectible Design Fair in Bruxelles. Inspired by the highway stops of the south of France, Aire 75 acts as a default version of a stop where the materials and dimensions of the various typologies encountered in these places have been swapped, stretched and transformed.
The Aire A75 Ash Tray is a freestanding ashtray inspired by those found in public spaces. It is made from a 120x20 aluminum profile consisting of a grid and an inner receptacle. The piece is anodized to ensure usability both indoors and outdoors.
Aire A75 is a collection of pieces exhibited during the Collectible Design Fair in Bruxelles. Inspired by the highway stops of the south of France, Aire 75 acts as a default version of a stop where the materia
Trashbin is a wastepaper basket made from aluminum profiles, riveted, brushed, and hand-waxed with microcrystalline wax. A handle has been integrated into one side of the bin to make it easier to move.
Undisciplined Ethnobotany departs from the premise that ethnobotany does not belong exclusively to the domain of science, nor to the authority of institutional knowledge production. To insist on the presence of art and design is therefore not an act of undisciplinarity, but a recognition that these practices, too, participate in the study of how humans relate to the vegetal world, and how these relations shape cultures, economies, cosmologies, and futures. Conceived by Heim+Viladrich, the exhibition unfolds as a testing ground for exhibition making. The scenography was developed within the constraints of a two-day exhibition format: All structures were built entirely from repurposed materials sourced from a discarded light installation and past retail projects. As surface treatment, only a rough brushing was applied to the various aluminium profiles in order to bring visual cohesion to the installation. No coating nor any colouring was applied to any of the materials present within the 150m2 space. Standardised particle boards used for the tables will be repurposed for box making, and tin cast numbers referencing the projects name and descriptions will be molten back to ingots for future experiments.
Exhibition organiser : Alexandra Strelcova (Haenke Haenke)
Client : Society for ethnobotany