All Signal, No Smoke: Ashtrays Are Back

The Pillow Tray is cast in fine concrete, shaped to resemble a soft, sunken cushion. The form suggests give and comfort, yet the material holds firm, creating a clear tension between what you see and what you feel.

Ashtrays carved from solid wood or volcanic stone, each with a fitted wooden lid that sits flush within a clean, minimal profile. The forms stay simple and tactile, drawing out the warmth of the wood and the raw texture of the stone.

The Can Ashtray is formed from aluminum 6061, shaped to resemble a crushed can. A controlled distortion creates a resting point where a cigarette sits securely within the form. Light in weight with a clean metallic finish, it holds both a functional role and a clear visual presence.

Obscure Objects presents the Flight Mode aluminum object as a versatile burning tray, equally suited for displaying small or personal items. A brushed outer surface creates a matte, tactile contrast against the hand-polished interior, which echoes the curved reflectivity of a spoon’s bowl and gently distorts its surroundings through shifting light.

Magdalena Hart creates this ashtray from durable borosilicate glass as part of the ongoing series “rain and rivers,” which looks at the fluidity of water through fire-based processes. Worn like a ring, the ashtray sits close to the body, turning a simple object into something more personal and immediate.

Designed and produced in Ecuador by NAVE this ashtray studies the relationship between function and form through a composition of orthogonal planes. Stainless steel sheets intersect to define three clear zones: a tray for ash, a slot for cigarettes, and a rest for the one in use. Constructed from 3 mm thick 304 stainless steel, the piece offers durability, clean form, and a sharp, contemporary finish.

Regolith by BUREAU OF ENTROPY consists of six cast aluminum elements, assembled by hand in a fixed sequence. Each part locks into place through its geometry, without screws, welds, or adhesives. A fitted lid acts as a wind guard, allowing use both indoors and out. It functions as an ashtray or incense holder, shifting between roles with ease. The piece carries a restrained, futuristic tone, poised between object and artifact.

PRACTICE brings precision and industrial clarity to this ashtray. The studio machines solid aluminum blocks, cuts each component to exact specifications, and assembles them with exposed bolts and nuts. A built-in holder gives a clear place to rest a cigarette, integrating function directly into the form. The piece feels deliberate and durable, with a clean, pared-back presence that reflects a commitment to radically simple design.

The Totem tray sits between function and sculpture. It reworks the checkerboard motif in natural stone, with each square cut and assembled by hand from white onyx and nero marquina marble. The grid creates a steady visual rhythm, while the weight of the material anchors the piece. Use it to hold small objects, jewelry, or incense, or leave it on its own as a composed surface.

Sugoi Studio, the ceramic artist behind Sugoi Studio, works with hyper-realistic forms in white stoneware. She focuses on the traces of a night out, ashtrays, half-finished plates, oyster shells, and treats them as objects worth preserving. What might be overlooked or discarded becomes deliberate, polished, and heightened.

From the Myths and Legends collection, this glass ashtray draws on a sense of history and the unseen. The maker shapes each piece through traditional blown glass techniques, giving it a distinct form and presence. Each ashtray comes together by hand, one at a time. Subtle variations in shape and surface mark the process, so no two pieces match exactly.

Ashen by Boo Design Studio is carved from marble, shaped by soft curves that recall the shifting lines of desert dunes. The form carries a steady, grounded presence, guided by natural contours rather than rigid geometry. The design allows for modular use. A single piece stands on its own as a composed object, while multiple units can be arranged to create a continuous, undulating surface.

The Brasa 04 Tray by Soledre is molded in technical plaster, then hand-finished and painted. Subtle variations in painted details mark each piece, with custom colors available on request. The surface carries a soft, matte presence that shifts slightly with light. The tray sits within the Midtopia collection, which imagines a near-future that resists clear extremes. Not utopian, not dystopian, but suspended somewhere in between. The objects read as artifacts from a system running on its own, shaped by time, use, and quiet drift.

Hania Jneid shapes this ashtray in pure white porcelain, fixing a fleeting habit into a lasting form. Porcelain cigarettes sit within the surface, left mid-use, turning the object into both function and statement. The piece plays with fragility and permanence, holding a moment that would otherwise pass. Its restrained surface and precise detailing give it a clear, sculptural presence on the table.

This ashtray pairs a wavy stainless steel tray with a sculptural concrete shell. The steel surface catches light with subtle movement, set against the weight and texture of the concrete. Each piece takes on its own shape and structure, shaped by the natural variation within the material.