In Lee’s debut animation, we step into the vibrant world of Alessandro Mendini and his whimsical “Enigma” stool.
 Set against a dark monochromatic backdrop, the stool’s bold black and yellow chequered pattern comes to life, resembling the unlocking of a safe. Watch as the stool’s body mechanically disassembles, revealing the imagined interior of the piece, before seamlessly returning to its original form.

For his second animation of the series, Lee has chosen to delve into the distinctive design of Jaime Hayon’s ‘Uakari’ mirror. The mirror, resembling the face of a uakari monkey, intricately captures its features through multiple mirrored sections. Lee’s animation presents the mirror’s various sections gracefully disassembling and coming together again. The flipping mirrored segments are adorned with pink, red, and orange hues, echoing the vibrant colors of the monkey’s red face.

Discover Lee Seunghak’s third and last animation, featuring Pierre Charpin’s “Lunettes” vase collection. In this new video, Lee brings to life the ‘Lunettes’ vases, where polished aluminum rectangles, resembling eyeglasses, elegantly rotate on their black cylinder bases. The animation, a dance of forms, adds a dynamic layer to the minimalist design, and accentuates the playfulness of the object.

In this animation, Basile brings to life Grcic’s “TRANSFORMERS_LF2” floor lamp. The journey begins by exploring the lamp’s interior, akin to navigating a futuristic tunnel of light. It then unveils the lamp’s silhouette from different perspectives, showcasing the multiple angles of its industrial design. Inspired by the lamp’s construction, which incorporates aluminum jigs commonly used in car manufacturing, Basile’s animation highlights how Grcic exposes the raw beauty of these industrial elements. Each black aluminum jig, adorned with tiny LED spotlights, creates a captivating interplay of light, shadow, and geometry.

In this new animation, Basile sheds light on the large ‘LS2’ chandelier. The video showcases the construction of the piece, seamlessly assembling each aluminium element to reveal the piece’s layered horizontal composition. Bright orange hooks at the top of the chandelier enhance its industrial feel and sense of scale.

Introducing the third animation in Basile Fournier’s captivating series around the world of “TRANSFORMERS” — Konstantin Grcic’s collection of aluminum lamps and tables, inspired by the lighting and car-making industries. In this animation, Basile focuses on the smallest object from the series: the “LS3” ceiling light. The “LS3” light, composed of multiple aluminum jigs, creates a dynamic and intriguing composition reminiscent of a celestial symphony in space. Basile’s animation offers multiple perspectives on the object, revealing its delicate balance and Tetris-like layout.

In Jakub Dygdon's first animation, Doshi Levien’s “Kinari“ console becomes an object of wonder. Cubes of color fall and balloon into abstract shapes, before aggregating around the rosewood console’s curvaceous drawer in rectangular sections. The result, highlighting both the console’s sleek design and its beautiful lacquered borders, is a mesmerizing ode to the “Kinari” collection itself, which pays tribute to the borders of the Indian sari, similarly named “kinari“.

Edward Barber and Jay Osgerby’s « Hakone » bench comes to life in a mesmerizing display of wood and movement.
 Inspired by the Japanese tradition and its precise joinery, the « Hakone » bench features a sweeping curved top and monolithic legs that evoke the Hakone Shinto Shrine on Lake Ashi. The bench is made of concave and convex forms, generously proportioned and tactile, inviting you to sit and experience its graceful curves.
 Jakub’s animation begins with confetti falling from the top of the screen in slow motion; these are revealed to be fragments of wood carved from the bench. Angles of the finished piece then appear, showcasing the intricate joinery and dynamic curves of the bench’s design. The result is a mesmerizing visual interplay that celebrates the « Hakone » bench’s exquisite craftsmanship.


In his final animation, Jakub explores the intricate elements of Robert Mathieu’s ‘1654’ floor lamp. The lamp, crafted with finesse and pure lines, features a black metal base and three lacquered lampshades in typical 1950s colors. Starting as separate elements, the object’s stems and shades gradually come together as a cohesive whole, offering a new perspective on Mathieu’s iconic design.

TP Vineeth’s second animation puts François Bauchet’s Azo table in perspective: its immaculate tabletop very simply laid atop its single X-shaped leg. In the Azo collection, François Bauchet explores the possibilities of hybrid materials, and their effect on essential colours. Here, the table, made of concrete, resin and sand, takes on an organic form, which is reflected by the subtle graining across its white surface.

TP Vineeth’s second animation puts François Bauchet’s Azo table in perspective: its immaculate tabletop very simply laid atop its single X-shaped leg. In the Azo collection, François Bauchet explores the possibilities of hybrid materials, and their effect on essential colours. Here, the table, made of concrete, resin and sand, takes on an organic form, which is reflected by the subtle graining across its white surface.

For her last animation, TP Vineeth looks at Pierre Charpin’s table light no. 28, from his ‘Oggetti Lenti’ (slow objects) series.

‘I have designed a collection of vases, lamps, boxes, centrepieces […] that are less well defined’, Charpin said of this series. Table light no. 28 typifies this statement, as it takes on a hybrid appearance, combining all mentioned typologies into a single object.

With Jens Mennicke’s first animation, looking at Edward Barber and Jay Osgerby’s ‘Signal F2 Monochromatic’ floor light. In this animation, Jens plays with the lamp’s two ashy conical shades, as these move up and down its white, glossy structure. A nebulous fog surrounds the object as if to emphasise its mysterious presence.

In this new animation, Jens sets Konstantin Grcic’s metallic ‘Hieronymus’ in a shimmering black desert - as if echoing the object’s otherworldly nature. Indeed, in his ‘Hieronymus’ collection Grcic asks us to reconsider our relationship to space: what makes a space intimate, pleasant or conducive to study? Here, Jens takes these reflections a step further by bringing Grcic’s hybrid seating-object in a space devoid of indications of space and time; as a result, one must imagine their own context for ‘Hieronymus’.

In Jens Mennicke’s third and final kreo in motion animation, Jasper Morrison’s emblematic stool forms from flowing drops of metallic liquid, into a solid three-legged structure. Morrison’s piece, materialising the archetypal form of the stool, is an exercise in simplicity. With ingenious mirror plays and rhythmic tones, Mennicke’s brings light to its essential design, deconstructing and constructing it in turn.

To start off the series, Kirill has picked Cini Boeri’s beautiful table light from 1968. This retro-futuristic ‘602’ model was designed by Boeri, and produced by Gino Sarfatti’s light company Arteluce. Its main body, made of rigid industrial PVC piping, includes a system that allows the main arm to pivot. Kirill’s animation highlights the lamp’s slowly evolving body, as well as its unctuous finish.

Playfulness is at the centre of Kirill’s second animation, as the motion designer composes a delightful image of Jaime Hayon’s equally playful ‘Game On’ side table, with a lively and rhythmic tune. In this animation, Kirill deconstructs an imaginary slab of marble to reveal Jaime Hayon’s patterned side table, composed of Carrara white marble. The repetition of the circular geometric pattern all along the table creates a striking contrast with the natural veins of the marble.

Up and down go the blue tentacles of Jean-Baptiste Fastrez’s ‘Jellyfish’ chandelier in Kirill’s last animation. Fastrez’s ‘Jellyfish’ light, composed of a white polycarbonate lampshade and blue anodised aluminium pendants, suggests the shape of the eponymous water creature, whose umbrella-shaped bell here has swapped its natural luminescence for an electric light, running down the sides of geometric metallic tentacles. With a dreamy sound to accompany the motions of the marine animal, Kirill proposes a wondrous last animation to close his participation to the kreo in motion series.

In this first animation, Marco Serraca sets Jasper Morrison’s ‘SDOOW4L’ desk against an atmospheric nude background, drawing attention to the piece’s simple construction and polished contours.

Marco Serraca’s second animation interprets Pierre Charpin’s ‘MC Side Table’ — a generously curved Marquinia black marble structure playfully adorned with a Rosso Francia marble ball. In the animation, Marco sees the red ball rolling to its elevated counterpart, resulting in a beautiful two-coloured marble composition.

In his third and last animation, Marco Serraca brings life to Gino Sarfatti’s ‘608’ table lamp from 1971. Playing on the minimal and essential design of the desk lamp — made up of a black base and a large, frosted light bulb — Marco pays tribute to the Italian master’s ingenuity, still an important source of influence for designers of today.

Roy Veldkamp re-imagines Hella Jongerius — Day’ ‘Facet Bottle’ as light-diffused molding blocks slowly falling into place. The blocks create a facetted surface pattern on the object, just like Hella’s paint crosses over different textures of the ceramic vase.

Roy Veldkamp's second animation focusing on Pierre Charpin’s ‘Satellite’ mirror. Forming part of Charpin’s eponymous collection of polygon mirrors, the present piece boasts a triangular reflective surface bordered by three honey-yellow frames. With his cadenced animation of floating satellites orbiting around the centrepiece, Roy enhances the playful and rhythmic dialogue between the mirror and the colourful frames.