Tower unit 01
A 360° storage system that harnesses the negative spaces formed by its cross-shaped structure, this piece functions as a totemic pedestal for personal belongings. Its towering form evokes a sense of masculinity, imposing a hierarchy of access—shorter users must reach for the highest levels, mirroring the assertive and hierarchical nature of traditional masculinity.
Embedded within the structure, a laser cut acrylic sheet cut insert narrates a personal exploration of gender identity, drawing from video game aesthetics, fantastical lore, and gothic ornamentation. Through the juxtaposition of symbols, the work disrupts fixed meanings, inviting interpretation and ambiguity.
This non-binary perspective amplifies the dissonance between fine art—rooted in personal expression and the gallery space—and product design, which exists within the domestic and functional realm, positioning the piece in a liminal space between the two.
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Structure: 1615x418x418mm
18mm plywood with dark oak oil stain, CNC madeInsert: 380x160mm acrylic laser cut
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Inspired by the cross motif and ornemented furniture found throughout history, creating hiding spots and complex forms while keeping the simple action of storing.
1. Desk, Danny Kamerath
2. Desk, Gio Ponti
3. Chairs, Ugo Marano
4. Domino Bookshelf, Leibal
5. Base Airframe 01, Mieke Meijer6. Cabinet desk, Pre Raphaelite
7. The lovers, Nicola L
8. Solar vision in the order of the persecuted dated 11 March 1948, Frédéric Bruly Bouabré
9. Studio Rolf
10. Traditional Joinery Jack Badger
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Over several months, I used sketching to investigate a range of layouts, patterns, and technical approaches to assembly. Moving between my sketchbook and digital tools such as Illustrator allowed for rapid exploration and a deeper understanding of the piece’s character.
As the general assembly drawing took shape, proportional adjustments became necessary. Referencing familiar objects in my environment helped anchor the design to real-world scale.
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The concept of the insert emerged as I developed the cabinet component of the tower - seeking to expand the user’s agency within the piece by introducing another layer of interaction. Faced with the blank canvas of the door, the idea of embedding a story telling sculptural element became central. I explored various materials - 3D printing, transparent resin, before settling on laser-cut frosted acrylic.
The visual composition was built using a collage of found 3D assets. When searching freely available models, I was struck by the algorithmic bias of online libraries: typing “girl” produced hyper- sexualised anime figures, while “man” yielded muscular soldiers and action-hero archetypes. These extremes formed part of the visual tension, contrasting sharply with more nuanced sources such as 3D scans of Notre Dame bas-reliefs and stylised fantasy architectural elements like the dwarven columns. The backdrop features a reinterpretation of the Four Horsemen of the Apocalypse, rendered in low relief as a looming, fantastical presence. These layered references evoke the mythic and the moral, confronting the viewer with systems of judgement—whether religious, cultural, or personal.
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CNC milling was employed to cut the plywood components with precision, ensuring quick assembly and straight angles. The vertical plank provided structural support for the horizontal pieces, creating a stable framework. Once the plywood was cut, I meticulously filed and sanded each joining edge to guarantee a seamless fit. For the foundation parts that would hold the flatpacked elements, the layers were precisely cut to a precise depth to accommodate varying thicknesses of the plywood.
The acrylic insert was laser-engraved twice - first to refine the design and then to achieve the desired level of frosted opacity. Afterwards, he corners of the acrylic were carefully sanded to match the exact dimensions of the cabinet door.ription
