Plane Side Table begins with the intersection of a horizontal surface and a pair of vertical supports. Conceived by Form Interval in São Paulo, it gives a familiar piece of furniture a clear and economical outline. The metal is thin enough for its edges to remain prominent, while the arrangement of the planes gives the object a larger presence than its footprint suggests.

The top reaches beyond the support below, making its perimeter easy to read. This small extension introduces a sense of balance without requiring a complicated form. From the side, the surface appears as a fine line. Seen from above, it becomes a place for ordinary objects, connecting the table's abstract geometry to the everyday scale of a book, a cup or a hand.

The base remains open. Space passes between its planes, allowing the floor and the surrounding room to remain visible. This openness prevents the metal from becoming a closed volume. The supports can be understood individually, yet their intersection provides the visual stability that allows the top to feel light. Each element makes the role of the others more apparent.

Surface reflection adds variation to an otherwise restrained construction. One plane receives the light while another falls into shadow, creating differences that belong to the setting as much as the table. The aluminium and stainless steel palette keeps these shifts within a narrow range of tones. Small changes are enough to alter the apparent depth of the object.

Placed beside a chair, the table takes on a supporting role without disappearing. Its scale allows it to sit close to other furniture, where the difference between metal, upholstery and timber can be felt. It offers a useful surface and a clear boundary, leaving the space beneath available to the room rather than filling it with a solid block.

Form Interval uses the table to explore how a few planes can create both an object and a set of spaces around it. The result is straightforward in use and variable in appearance. Plane Side Table holds its form quietly, allowing the light, the floor and the things placed upon it to become part of its composition.

south america

Form Interval

Reference imagery (placeholder)

Photography

Brutalisse editorial (placeholder)

Written by

Furniture

aluminium

From slender frames to folded surfaces, steel gives structure and expression to the work.

stainless steel

Plane Side Table by Form Interval turns intersecting metal sheets into a small domestic landscape, where a thin top and open base hold equal visual weight.

Plane Side Table

Tables

Seam House is imagined around a close encounter with stone. Ground Line Atelier gives the Marrakesh residence an inward quality, placing a textured boundary within reach of the rooms it defines. The architecture uses concrete to establish a clear enclosure, then opens that enclosure through a carefully proportioned strip of glazing. Light enters as a measured presence, giving the stone a particular intensity.

The contrast between the two heavy materials gives the project its first distinction. Concrete carries broad, relatively even planes, while the stone breaks into smaller variations of colour and depth. Their meeting is not concealed. A joint, a shadow or a narrow line of glass marks the point at which one condition gives way to another, allowing the construction to remain readable.

The opening offers a view at the scale of a surface rather than a panorama. This closeness changes the role of the window. It becomes a way of admitting texture and reflected light into the room, making the boundary feel present even when little beyond it is visible. The house gains a sense of depth through attention to what is immediately beside it.

Daylight moves across the irregular face of the stone in small increments. Recesses become dark while raised edges brighten, creating a pattern that can change without any movement in the architecture. Inside, the concrete responds more quietly. Its steadier tone gives the eye a place to rest before returning to the more varied surface beyond the glass.

The rooms are conceived as places where ordinary routines can take on a slower rhythm. A seat near the opening provides a position from which to read these changes. The material palette stays limited so that furniture, textiles and the traces of daily life can add another layer without obscuring the structure. The building establishes continuity while occupation supplies variation.

Ground Line Atelier finds the character of Seam House at its boundaries. The narrow meeting of concrete, glass and stone gives the project both shelter and an awareness of the outside. Its spaces are defined by weight, but made livable through light. A modest opening becomes enough to keep a solid room in conversation with its surroundings.

africa

Ground Line Atelier

Architecture

stone

concrete

glass

Seam House by Ground Line Atelier draws a quiet boundary between concrete and stone, allowing a narrow band of daylight to give depth to an otherwise solid enclosure.