Fiberglass Shells and Bronze Skeletal Forms Shape Salina Collection
Designer Federico Stefanovich introduces a sculptural light and furniture collection blending organic morphology with 3D printing and craftsmanship.
Stock photo for illustration only, not from the actual event
- Salina collection designed by Federico Stefanovich
- Crafted using fiberglass and cast bronze
- Combines 3D-printed molds with artisanal techniques
- Inspired by marine morphology and skeletal structures
The material and technical development of the collection centers on fiberglass, which allows for the production of organic volumes and complex surfaces. 3D printing is used to create molds that reproduce the developed forms with a high level of definition, while the subsequent artisanal fiberglass process introduces variations into each piece.
These individual characteristics include visible textures within the resin, small trapped air bubbles, and slight surface irregularities. These traits stem directly from the production process and contribute to a controlled sense of imperfection across the entire collection.
Stock photo for illustration only, not from the actual event
The fiberglass components reference the structure of shells and carapaces, while cast bronze elements draw on the skeletal forms of marine organisms through branching structures, limbs, and supports. The two materials are integrated without visible fastening elements, relying on internal structural components that support both the fiberglass shells and light sources while locking the pieces together from within.
Integrating fiberglass and cast bronze in contemporary furniture design highlights a broader movement toward blurring the lines between functional objects and fine art sculpture. By concealing structural fasteners and emphasizing organic irregularities, designers can evoke natural growth processes rather than industrial manufacturing. This approach reflects a growing interest in tactile materials that tell a visual story of their own making.
In the lighting pieces, a white spherical light source positioned at the center of each volume references the pearl contained within an oyster. This specific element establishes a visual relationship between illumination and the collection's marine references, positioning light as an integral part of the sculptural composition.
Stock photo for illustration only, not from the actual event
Meanwhile, the tables extend the collection's exploration of physical tension, structural calculation, and balance. Asymmetrical tabletops and supports introduce an apparent instability that is countered by carefully calculated frameworks. Through the combination of irregular forms, fiberglass surfaces, and bronze structures, designer Federico Stefanovich develops a design language that connects organic morphology with material experimentation and structural logic.
Source: designboom
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