Philia
Magazine

Simone Fanciullacci is an Italian designer whose work spans collectible furniture, lighting, and product design. Based in Milan, he combines a strong industrial design background with a sculptural sensibility, creating objects distinguished by refined geometries, material experimentation, and understated elegance.

After founding the design studio 4P1B, Fanciullacci established his independent practice in 2017 while continuing to teach at the Politecnico di Milano School of Design. His work has received international recognition, including the iF Design Award, the Good Design Award, and an Honourable Mention at the Compasso d’Oro, reflecting his commitment to innovation, craftsmanship, and timeless design.

Sundo Yoon is a South Korean designer and artist based in Seoul, whose practice explores the intersection of furniture, sculpture, and abstraction. Inspired by the irregular forms found in both nature and digital environments, he creates collectible works that blur the boundary between functional objects and sculptural compositions, balancing expressive form with architectural restraint.

Working primarily with aluminum, Yoon combines metal fabrication techniques with an intuitive, process-driven approach that begins with freehand sketches and experimental compositions. Characterized by layered textures, bold silhouettes, and recurring geometric forms, his work transforms industrial materials into tactile objects distinguished by their sculptural presence and quiet material expression.

Isabel Moncada is a Mexican designer and artist whose practice centers on sculptural lighting and collectible objects. Based in Guadalajara, she has spent more than three decades exploring traditional craft techniques, developing her own methods, mechanisms, and processes to transform materials into works that unite functionality with artistic expression.

Originally active in the art world during the 1990s, Moncada’s practice evolved from sculpture into a multidisciplinary approach that combines design, engineering, and craftsmanship. Inspired by organic forms, asymmetry, and material experimentation, she works with techniques including lost-wax casting, blown glass, porcelain modeling, and metal forging. Her creations blur the boundaries between utility and art, resulting in pieces distinguished by their sculptural presence, technical complexity, and expressive character.

Thomas Van Noten is a Belgian artist and founder of TOGIGI, whose practice explores the relationship between architecture, nature, and ceramic sculpture. After leading large-scale construction projects, he established his atelier in 2024 to pursue a material-driven practice rooted in experimentation and craftsmanship. Working primarily with ceramics, he creates sculptural objects distinguished by their expressive textures, architectural presence, and organic forms.

Guided by a fascination with innovation and making, Van Noten continuously develops new techniques that expand the possibilities of ceramic craftsmanship. Drawing inspiration from both the built and natural environments, his work weaves together structure, light, and materiality, creating pieces that invite a sensory dialogue between human experience, nature, and architecture.

Marta Dervin is a Polish-born ceramic artist based in the Ardèche mountains of southern France, where she creates sculptural vessels and collectible objects shaped by archaeology, geology, and the surrounding natural landscape. Trained in Mediterranean archaeology, she founded her ceramics studio in 2018 after years studying ancient ceramic traditions, transforming her fascination with excavated artefacts into a contemporary sculptural practice. Working primarily with stoneware, porcelain, and glazes developed from wild rocks and natural minerals, Dervin creates works that bridge history, nature, and material experimentation.

Guided by a deep connection to the earth, Dervin’s practice explores the passage of time, the fragility of civilization, and the enduring force of nature. Through tactile textures, restrained forms, and a minimalist aesthetic rooted in craftsmanship, her ceramic pieces evoke weathered artefacts reclaimed by the landscape, creating a quiet dialogue between past and present, architecture and geology.