Rocket Candle
Re-purposed hardwood scraps launching some local beeswax candles into space. Wax-polished wood for the ultimate medieval touch.
Hardwood scraps from studioemile
Beeswax provided by Bert Jacobs
Pictures by Salvador D.
Re-purposed hardwood scraps launching some local beeswax candles into space. Wax-polished wood for the ultimate medieval touch.
Hardwood scraps from studioemile
Beeswax provided by Bert Jacobs
Pictures by Salvador D.
This trio of utilitarian objects is designed for maximum efficiency and minimum sibling rivalry. Reduced to their most rudimentary core, the stools are built from just three segments of repurposed construction lumber, unified by circular wooden dowels. A study in radical material economy the three stools are dimensioned to fit perfectly inside one another, forming a compact, unified volume when stored. Use them as seating, a footrest, side tables, or a stair to reach that pot of candies on top of the shelf.
In collaboration with ODD
Pictures by Salvador D.
Despite its name, this object refuses to illuminate. It is a chandelier only in silhouette, stripped of all electrical utility to function purely as a gravity-based suspension system. Made of scrap metal and powder coated in signature banana yellow it boasts a multitude of possible applications. Hanging from the ceiling, it acts as a floating pantry capable of carrying anything from textiles to dried sausages. Nevertheless have we witnessed people mounting it vertically on a wall and hanging nothing at all on it.
In collaboration with studioemile
Pictures by Salvador D.
A hyperfunctional fake rock on wheels. Part vestiaire, room divider or sketch board. Rocky is as convenient as annoying and has been constructed in situ from a skeleton of wood and metal mesh, clad in black micro-cement. Massive in size he is here to stay and designed to not fit through the door. As a self proclaimed prisoner of architecture he occupies a particular spot in the domestic life of its peers. Much as a typical vestiaire he prefers to hoover around the entrance area, yet has been frequently sighted in the living and kitchen areas. The fake boulder is mounted on heavy-duty wheels, allowing him to drift elegantly through the room. He obstructs and constantly rewrites the spatial circulation of the home depending on where he temporarily settles. One side of the rock has been surgically sliced off and gives access to a cavernous wardrobe for coats and shoes. This surface is finished in matte black chalkboard paint, transforming the geological section into a sketchpad and communication device.
Pictures by Salvador D.
A tiled monolith that promises order in a chaotic cooking environment. Die Gewürzsäule is a high-capacity kitchen pantry for all things spicy. To access the fully removable, pharmacy-style drawers, one must pinch or hook the nostrils of the ceramic nose tiles that act as handles. This 'Monument to a Sneeze' juxtaposes the purity of the grid with the physiological violence of a sniff of pepper, capped by a plant that sits on top like a bad toupee.
In collaboration with odd
Pictures by Salvador D.
A blue kitchen with yellow ceramic handles made out of a powder coated steel structure and stained plywood panels. A circular yellow extractor hood sits in the corner and doubles as a magnetic pin up board. The working surface and wavy backsplash are made of a single folded piece of brushed stainless steel.
Produced by studioemile
handles made by Inga Huld Hakkonardottir
Conceived for the exhibition The Nature of the Game by Francis Alÿs at WIELS, this installation subverts the linear logic of the hopscotch game. By connecting the start and end points, the game becomes an infinite loop. The circular installation is constructed from wooden tiles cut from the exhibition’s own waste materials, turning the art center’s trash into a new piece that suggests it’s own continuous cycle.
In collaboration with studioemile
Pictures by Antoine Espinasseau
Jungle Gym is a revitalization project for a dilapidated signal house along the Belgian railway line 87 that focuses on restoring the site's historical footprint through a sculptural intervention. A steel framework designed as an abstract copy of the building's missing sections, effectively restoring the original contours of the signal house while functioning as a open facade and a playground for animals. Integrated into this framework are geometric nesting boxes made of wood-concrete, which transform the structure into a sanctuary for local wildlife.
In collaboration with Bert Jacobs
Design for the bar / brasserie of Kanal, Centre Pompidou Brussels.
In collaboration with studioemile
Model pictures by Antoine Espinasseau
In this hairdressers salon, the furniture has been reduced to its absolute graphic minimum, appearing less like physical objects and more like a pencil sketch drawn directly into the white void of the room. The project is defined by a series of planes of polished stainless steel that serve as tables, shelving, and seating. Hovering on bent metal sticks these mirrored pools hold the scissors, combs and the occasional falling hair floating momentarily on a liquified image of the ceiling before being swept away.
On the walls, the reflection is deliberately sabotaged. Mirrors are layered over one another and tilted at slight angles, fracturing the client's self-image and the space around them. Circular voids are integrated into some of the metal sticks so they are able to hold flowers and double as a vase. These injections of living matter serve as a temporary alibi, a sort of ticking clock within a space designed to freeze time.
Designed in collaboration with Karel Burssens
Produced by studioemile
Pictures 1-5 by Salvador D.
Pictures 6-11 by Jeroen Verrecht
Designed for a record label owner and a graphic designer, Home Office treats the domestic interior not as a shelter, but as a production stage. Located within the shell of a typical Belgian row house, the project executes a radical clearance of the ground floor: all load-bearing walls were removed and replaced by a single steel cross resting on one central column. This column doubles as the hinge for a revolving cupboard capable of holding approximately 10,000 vinyl records. By rotating this wall of sound, the inhabitants can instantly reconfigure the space from an open studio to an intimate listening room. Drawing on the pop-surrealism of Etienne Elias, the floor is treated as a continuous, colorful liquid that ignores the boundaries of the facade and spills out into the front and back gardens. The exterior serves as the final act of this domestic theater, featuring a podium and fireplace constructed from the site's own demolition waste.
In collaboration with Steven Bosmans
Etageeere is a minimalist modular bookshelf. An attempt to reduce the structure to a bare minimum the shelf consists of pre-drilled aluminium profiles as a vertical structure and plywood boards as horizontal slabs. The slabs can be inserted at different levels and the vertical columns can be extended indefinitely creating a grid that does not just store objects but measures the space itself.
Designed in collaboration with odd
Mixed Media Installation
OK Zentrum für Gegenwartskunst, Linz, Austria
In a direct dialogue with Ilya Kabakov’s seminal concept of the "total installation"—specifically his narrative of a lonely dreamer catapulting himself into the cosmos to escape the reality of communal living—this project proposes a more grounded, yet equally absurd, form of departure. Rather than fleeing the domestic sphere, a surgical extraction of it is performed, adhering to a rigorous logic of arbitrary precision.
The installation is an experiment in domestic surgery and stages the result of an almost bureaucratic procedure: exactly fifty percent of the artist's Brussels apartment has been excised and transported into the institutional void of the museum. This act of "sectioning" transforms the private interior from a habitat into a specimen, freezing the messy accumulation of daily life into a static tableau. Channeling a Cortázarian fascination with the "rational irrational," the work suggests that to truly inhabit a space, one must eventually dismantle it. The resulting environment operates as a forensic scene of displacement, where the logic of the home is preserved only by being broken in half.
Wax / Heated Steel / Thermodynamic Performance
Part Time Truth is a site-specific investigation into the instability of matter. Blurring the boundaries between static sculpture and ephemeral performance, the installation stages a choreography of disappearance.
The proposal consists of an ensemble of 15 pairs of wax feet, a direct typological response to Bruce Nauman’s Fifteen Pairs of Hands (1996). Unlike Nauman’s suspended gestures, these figures are arranged on a rigorous grid of 12 heated steel plates.
The steel base functions not as a pedestal, but as a thermodynamic machine. Over the course of the exhibition, the plates heat up, forcing the sculptures into a constant state of decay. The relationships between the individual couples slowly cease as the wax surrenders to the heat.
A garden intervention composed of two architectural primitives:
A concrete monolith with an integrated fireplace and a spiral pyramid serving as an observation deck for sheep. It transforms a typical backyard into a surrealist landscape where domestic warmth meets agricultural surveillance.
A bridge like structure that’s something between a cupboard and a bench. ‘Brücke’ is a piece of domesticated infrastructure made of welded untreated steel plates that rejects the finish of traditional furniture in favor of raw structural honesty.
In collaboration with Steven Bosmans
wax, copper wire, plywood, welding machines
‘A Short Term Eternity’ stages the disappearance of the human body over the course of a single night. The figures consist of a hollow, translucent shell of wax encasing a copper-wire skeleton. As the heating element is activated, the internal armature liquefies its own skin. The fragility of these seemingly solid bodies undergoes a terminal entropy, transitioning from sculpture to memory until they disappear entirely.
Pictures by Benjamin Deboosere
Michael Langeder creates scenographies for daily life. Operating at the intersection of architecture, design, and performance, his practice treats the domestic interior not as a shelter, but as a stage for behavioral experiments.
Trained in architecture in Austria, Spain, and Venezuela, he began his career at OFFICE Kersten Geers David Van Severen, where he worked for more than five years on a wide array of built and theoretical projects.
Cultivating a language of ‘functional ambiguity and poetic utility’, his methodology utilizes a distinct framework wherein objects are approached as instrumental props, environments as stages, and human interaction as a theatrical play.
Based in Brussels, his multidisciplinary practice ranges from large-scale scenographic installations to intimate domestic interventions. His work has been exhibited internationally at institutions including Wiels, S.M.A.K., OK Center for Contemporary Art, and Mutek Festival. He frequently collaborates with musicians, performers, and artists to produce ‘architecture in disguise’ that rewrites the rituals of everyday life.
Ultimately, his work functions as a proposition: pushing occupants out of their comfort zone for a brief moment, only to welcome them back with a distinct, empathetic intimacy.