Korean artist Kwangho Lee presents ten new works that combine his interest in knot making with his boundary-pushing exploration in 3D printing. The Cutting Lines series creatively merges the two antithetical processes – one manual, the other digital – and the result is mesmerising in its intricate materiality and sculptural fluidity.

Korean designers Hwachan Lee and Yoomin Maeng, known as Kuo Duo, used upcycled plastic board to create a furniture collection named Kerf Plastic that showcases the untapped potentials of this versatile, eco-friendly material. Identifying a resemblance between the materiality of upcycled plastic boards and plywood, they experimented with a woodworking technique known as 'kerf bending', traditionally used to bend wood, which allows the rigid and thick plastic boards to metamorphose into flexible, contoured shapes enabling the pieces to be assembled without any need for heat, glue or chemicals.

Milan-based, Japanese designer Kensaku Oshiro’s Crystal series of onyx tables embodies a harmonious interaction between geometry and light. His first exploration outside the realm of the industrial environment, the series represents Oshiro’s desire to develop objects that are free of the restraints common in streamlined manufacturing processes, thereby enabling multiple interpretations of one concept within the same volume, a method which the designer believes could serve as an intelligent means to enhancing the value of scarce natural resources such as stone.

Also responsible for the exhibition’s spatial design, Chinese designer Mario Tsai’s kinetic light installations, Sparks, encapsulate his Hangzhou-based studio’s minimalist approach to design and reputation for technological innovation. The limited-edition design, which comes in a floor and a ceiling version, consists of six or twelve brass stalks which, when moved by the wind or through human touch, produce a chime along with sparks of lights as they hypnotically sway.

Japanese architect Azusa Murakami and British artist Alexander Groves, the duo behind art studio A.A.Murakami and experimental design practice Studio Swine, present the neon artwork Neon, Between Two Worlds, a generative work based on their NFT artworks (also on display), consisting of colour-changing stripes that self-organise in line with the golden or silver ratio, the latter a favoured aesthetic proportion in Japan also known as Yamoto-hi. A.A.Murakami’s showcase is part of their pioneering “ephemeral tech,” a kind of technology that is experienced not through standard interfaces like screens, but through tactile and ethereal matter, facilitating fleeting but deeply meaningful in-person experiences.

Korean designer Teo Yang provides a fresh perspective on tradition with his eight-piece furniture collection which draws inspiration from the traditional Korean housing vernacular known as 'hanok' which has all but disappeared from the country’s urban fabric. Using a mix of modern materials such as glass, rubber, marble and veneer, Yang has adapted a series of architectural remnants into functional objects. Examples include the Floating Shelf, repurposed from old hanok ceiling remnants and embellished with chrome and marble accents, and the Mobile Divider, made out of wood veneer, chrome and found hanok panels.

Lastly, Singaporean artist Tiffany Loy presents a pair of textile sculptures whose faceted forms and kaleidoscopic colouration reflect the dynamic cityscape. Crafted on industrial jacquard looms, the wall-mounted Day is stretched onto a zig-zagging frame, offering a variety of viewing angles even from a fixed point, while the larger Night which has been hung from the ceiling, stretches across the space, its curved silhouette brought to life by the weight and tension in the textile.