As part of our Surface Engineering module, we were challenged to develop a tabletop game using experimental surfaces and recycled materials. My colleague Tina Vonplon and I designed a 'Nine Men’s Morris' game (Mühle) intended to make reclaimed materials feel precious and high-end again.
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We combined a recycled acrylic mirror with oak offcuts from our workshop, creating a contrast between cold, metallic depth and the organic warmth of wood. Inspired by the tradition of aging wine in oak, we inverted the process by staining the wood in a red wine bath. To complement this, we repurposed the necks of wine bottles to create the eighteen glass playing pieces. I am particularly proud of the cohesive aesthetic—the precisely matched radii and the 'Wein-Mühle' branding unify the entire piece.
For the 'Holz 25' trade fair in Basel, we were challenged to create a comprehensive event platform under significant time pressure to showcase the rebranding of HF Zug. A key part of the project involved designing and producing 120 stools and 15 tables for a fair café using upcycling principles—transforming reclaimed solid wood chairs and railings into a modern, functional furniture series.
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I was instrumental in shaping the visual identity of the project; the 'Chip' form, which I conceptualized, became the unifying design element for both the stands and the furniture. Beyond the creative vision, I was deeply involved in the technical development of the outdoor pavilion, solving complex structural challenges through pragmatic yet sophisticated slot connections. My role also encompassed the entire production cycle: from preparing CNC files and milling components to managing logistics, team schedules, and on-site assembly. This experience reinforced my ability to deliver high-quality results under pressure through precise construction and seamless communication.
In 2022, I participated in the VSSM competition for apprentices, themed 'mobili d’oro' (golden furniture). My goal was to push the boundaries of the requirements by creating a sideboard where the 'Golden Ratio' served as the literal and conceptual foundation. Length, width, and depth were meticulously proportioned, with recesses in the visible surfaces accentuating the golden elements against anthracite-lacquered fronts.
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While the piece earned 2nd place for design, the jury noted that internal material savings—such as using white instead of anthracite interiors—detracted from the overall excellence. This was a defining moment for me. It solidified my conviction that in high-end design, no detail can be overlooked and no effort spared to ensure uncompromising quality from the inside out.