10 TALENTS: Marble Musings & Material Revelations

For Polish creative duo Grzegorz and Tomasz of Hasik Design Studio, marble represents a bridge between past and future. “Marble caught our attention with its timelessness,” they explain. “Its veining structure is beautiful—it has inspired man creatively since time immemorial.

What distinguishes their approach is a focus on marble’s translucency. Rather than treating stone as definitively opaque, Hasik explores its ability to transmit and filter light in objects like their Aurora and Alice light fixtures. “The illuminated stone delights us every time,” they note. “Sometimes it is calm and delicate and other times dramatic.”

Through their use of modern waterjet cutting, Hasik achieves a balance that honors marble’s heritage and plays with standard expectations of stone. Their process embodies a core principle: letting the material speak. ‘We always select the stone for a given object. Sometimes we order slabs of stone that are waiting for the right design,’ they explain—a patient approach that contrasts sharply with industrial mass production.

“We have the opportunity to choose marble from a friendly supplier who imports stone from all over the world. When choosing, the main factor is the emotions that a given piece of marble evokes in us”

Bérénice Curt’s Paris-based practice emerged from extensive experience restoring a 17th-century Tuscan villa. What struck her most profoundly was the paradoxical waste created by the demand for marble perfection. “Visiting the marble quarries around Carrara,” she explains, “we were exposed to the high demand for large ‘pristine’ pieces of marble which left a lot of smaller, less ‘desirable’ offcuts in the shops which artisans had a much harder time to place.”

This observation led to collections like Testa dei Marmi and Tavole dei Marmi, which transform discarded marble fragments into contemporary pieces that mimic yet challenge classical applications. By standardizing small 3×4 cm sections cut from remnants, Curt developed a system that can be adapted to create everything from side tables to dining furniture.

This approach represents a profound reconsideration of value in marble production. Rather than prizing only perfect slabs, Curt reveals how standardization of small elements can create new aesthetic possibilities while addressing sustainability concerns. This global perspective manifests in her “001TDM” collection, which features thirteen marbles from Italy, Brazil, and Portugal—each bringing its own geological narrative into contemporary contexts.

“We believe as much as it is important to value this precious and rarefied natural resource, it is also essential to keep the savoir-faire of this art alive for the generations to come”

For Sergio Prieto, the Spanish artist-designer behind DOVAIN Studio, marble embodies a fascinating duality. “What truly captivated me about marble wasn’t just its timeless beauty,” he explains, “but its inherent duality—how something so seemingly permanent and solid could be transformed into fluid, almost ethereal forms.”

Based in Portugal, DOVAIN Studio exemplifies a commitment to local sourcing. Working directly with Portuguese quarries in regions like Estremoz and Vila Viçosa allows the studio to reduce its ecological footprint while supporting the regional economy. Prieto’s approach marries tradition with technological innovation, creating pieces that feel both contemporary and timeless.

His philosophical reflection on working with marble reveals a deeper connection: “What marble has taught me is patience and respect for the natural process… Working with marble isn’t just about creating furniture; it’s about understanding that true luxury lies in the thoughtful convergence of nature, craftsmanship, and design.” This sentiment echoes across many featured studios—a recognition that marble demands a different relationship to time and process than industrial materials.

“The material first drew me in through its remarkable ability to tell stories through its natural patterns and veining, each piece unique like a fingerprint of the earth itself. But what truly convinced me to work with marble was its versatility in contemporary design – how it can be both a testament to classical luxury and a canvas for modern innovation”

Maika Palazuelos’ Panorammma Atelier approaches marble with both cultural sensitivity and ethical awareness. Having first encountered stone sculpture in Monterrey, Mexico, Palazuelos developed a deep appreciation for geological context: “Monterrey is a wonderful place to practice sculpture—surrounded by mountains, you gain a deep appreciation for the local materials and their geological history.”

Working exclusively with Mexican marble, Panorammma prioritizes materials endemic to the region. However, this commitment comes with ethical challenges: “Unfortunately, we’ve had to stop working with certain quarries—some of which produce stunning stone—due to ethical concerns, as they have fallen under the control of organized crime,” Palazuelos explains.

This concern has led her to explore alternative materials, including industrial slag—a material technically glass but sculptable like marble. “By replacing natural obsidian with its artificial counterpart, we engage with questions of cosmology, material authenticity, and the evolution of mysticism in a synthetic age.” This conceptual depth demonstrates how contemporary designers can engage with marble’s heritage while addressing present-day concerns about sustainability and ethical sourcing.

“Stone is full of surprises—working with it feels almost like an archaeological process, revealing hidden characteristics within each piece. At the same time, sculpting stone requires extreme precision, almost like a medical procedure—you only get one chance to get it right“

For Roman duo Chiara Pellicano and Edoardo Giammarioli of Millim Studio, the pandemic became a catalyst for material discovery. “During the pandemic,” they explain, “the difficulty in sourcing materials led us to discover the unseen value of discarded fragments. While researching local craftsmanship, we uncovered a thriving network of marble workshops in Rome, still sculpting for artistic and ecclesiastical commissions.”

This discovery led to “Miscellaneous,” a collection built entirely from fragments carved away from other sculptures—pieces never intended to be seen or valued. Their approach represents a form of contemporary archeology, finding potential in what others have discarded.

For Millim, there is “no such thing as first or second hand marble.” This democratic approach pushes back against conventional hierarchies in luxury design, suggesting that context and creative vision—rather than pristine condition—determine worth.

Their location in Rome—a city built from and defined by marble—provides both historical weight and contemporary context. “We deeply feel the historical significance of marble,” they note, “yet at the same time, we experience it as part of our daily contemporary reality.”

“We embrace what is mistakenly labeled as “waste” because it creates opportunities for discovery and surprise. Often, we come across rare and unique marbles, adding value not only to the final piece but to the entire project itself: an exploration of process, narrative, and transformation“

Karim Molina, founder of Studio Ayres in Mexico City, brings a background in textile design to her work with marble—an unexpected that results in pieces balancing robustness with textile-inspired patterns and feminine sensibilities.

Her first encounter with marble workshops left a profound impression: “It was truly astonishing to discover a natural material whose essential characteristics had not been altered by human intervention,” she recalls. Working primarily with marble from Mexico and Guatemala, Ayres embraces the unpredictability of natural materials. Limited editions often result from restricted stone availability, turning material constraints into design opportunities.

As a female designer in a field historically dominated by men, Molina brings a distinctive perspective: “I always strive to achieve a balance between creating pieces with character and robustness while incorporating a touch of femininity through softness in the texture and lightness in the form of my designs.” This integration of seemingly opposing qualities—softness and hardness, lightness and weight—creates productive tension in her work.

“For me, visiting a quarry will always feel like opening a door to endless creative possibilities. Stones have always drawn my attention—not only for their beauty but also for the powerful energy they carry. That first experience was decisive: at that moment, I knew I wanted to work with stone“

Founded by Emanuela Terraneo and Alessandro Pozzi, Italian brand Lebanto embodies the heritage of Cantù, a historic district near Milan renowned for its wood and furniture craftsmanship. Their approach to marble is deeply rooted in Italian traditions of artisanal excellence.

“We love visiting the quarries of Carrara and the Alps to personally select our marble,” they explain. “There’s something special about seeing the stone in its natural birthplace.” This direct engagement creates an intimate understanding that informs their design process from the earliest stages. For Lebanto, marble represents “the soul of the space” rather than just a functional or decorative element. This philosophical approach positions stone as the conceptual core around which their designs evolve.

Most distinctive is their commitment to handcraft over industrial processes. “We don’t believe high-quality marble should be shaped only by machines or robots; the human touch leaves a spirit you can feel,” they explain. In an age of digital fabrication, this insistence on human intervention becomes not merely traditional but radical in its resistance to complete automation.

“Marble has travelled through history, from ancient masterpieces to modern creations, adapting to every era’s vision. In our work, we embrace this legacy by giving marble a contemporary voice, preferring simple geometries, pure lines, and the warmth of an artisanal, handmade touch.“

Founded by Hale Yesilyurt, Kiwano Concept brings Turkish roots together with Dutch design sensibilities, creating objects that balance geometric precision with natural warmth. Yesilyurt’s childhood fascination with marble shaped her creative trajectory: “When I was a kid, my parents owned two marble bookstands. I remember staring at them from our sofa and wondering over the fact that something that felt cold could look so warm and alive.”

This perception of marble’s paradoxical qualities—cold to touch yet warm in appearance—informs Kiwano’s approach. “We feel like the uniqueness of its color patterns and veins already give each design a strong visual appearance,” Yesilyurt notes. “Therefore we try to balance that by not over designing the overall form of our objects.”

This restraint reflects a sophisticated material dialogue—allowing marble’s inherent qualities to speak rather than overwhelming them with elaborate forms. Their “signature geometric style is inspired by architectural forms, hinting at the monumental character of marble, but without any additional ornaments.”

“Having marble in your house is like bringing nature into your house. Just like plants, marble needs to be taken care of and in return it gives your house a timeless aesthetic and the tranquility of being outdoors.”

Founded by Namit Khanna, Nama Home aims to place Indian furniture design on the global map through pieces that combine minimalism with playful details. Their Oom coffee table, designed by Santiago Luna exemplifies their approach to marble as both functional and aesthetic element.

“We were drawn to marble for its unique veining and natural elegance,” they explain. “The material’s ability to blend seamlessly with different styles and its durability made it the perfect choice for the table’s top.” This focus on versatility and longevity represents a pragmatic approach to luxury materials.

Nama’s work demonstrates how marble can be integrated into contemporary design languages without becoming a dominant feature. “The marble top, rich in historical significance, adds a touch of luxury and heritage, while the sleek, minimalist base brings a contemporary feel,” they note. This integration suggests how stone can become part of everyday contemporary objects rather than being reserved solely for statement pieces or architectural applications.

“Each piece, like our Oom coffee table, is carefully crafted to showcase marble’s natural beauty while aligning with contemporary aesthetics. We continually seek ways to innovate, ensuring that marble remains a central, yet evolving element in our creative process”

Belgian designer Oskar de Roover’s approach to marble began with an act of rescue—salvaging broken pieces that a building company planned to discard after transport damage. This moment encapsulates his philosophy: finding value in what others reject.

“The fact that this beautiful material was discarded as waste after being broken baffled me,” he recalls. “I started thinking about ways to create new objects with them that would also serve as a critique of how they were previously treated—superficially and without much actual respect for the material.”

Working exclusively with salvaged stone—much of it from former window sills and architectural elements—de Roover creates pieces that embrace imperfection. “Broken pieces turned into standing wall objects, proudly showing their imperfections,” he explains. This approach represents a form of narrative salvage, where each piece carries forward its previous life while being recontextualized.

By focusing on mechanical, reversible connections that alter the marble as little as possible, de Roover finds the precise point where design adds value without erasing material character—perhaps the most sophisticated approach to contemporary marble work.

“Intrigued by the stones’ innate beauty, I found that heavily editing a piece of stone seldom made it more appealing to me. This led to the question: how can I keep the stone as intact and simple as possible while creating new narratives with them?”