The "oforme" practice is built on complete immersion in the object creation process.
We independently manage the development of our pieces: from the initial idea and prototyping to master models, technical drawings, and final realization. For us, the full production cycle is essential, where a form is not simply conceived but is tested through material, craftsmanship, and refinement.
We are not a mass production facility. oforme is a design practice within which we research form. Some objects exist as unique works, while others are produced in limited editions.
Certain items, for example our ceramics, are created entirely in-house. This allows us to control the process at every stage: from form development and glaze testing to the final manual finishing of each piece.
We independently manage the development of our pieces: from the initial idea and prototyping to master models, technical drawings, and final realization. For us, the full production cycle is essential, where a form is not simply conceived but is tested through material, craftsmanship, and refinement.
We are not a mass production facility. oforme is a design practice within which we research form. Some objects exist as unique works, while others are produced in limited editions.
Certain items, for example our ceramics, are created entirely in-house. This allows us to control the process at every stage: from form development and glaze testing to the final manual finishing of each piece.
The "oforme" workshop operates as a product design laboratory.
Here, we test materials, assemble prototypes, create models, print molds, and work with ceramics, light, textures, and structures. It is important to us that an idea is immediately tested in a physical material, rather than remaining solely a digital image or visualization.
We have mastered many processes independently: setting up equipment, studying technologies, experimenting with various materials, and searching for our own technical solutions. This constant quest for the precise connection between an idea, material, and technology is what defines experimental design for us.
Here, we test materials, assemble prototypes, create models, print molds, and work with ceramics, light, textures, and structures. It is important to us that an idea is immediately tested in a physical material, rather than remaining solely a digital image or visualization.
We have mastered many processes independently: setting up equipment, studying technologies, experimenting with various materials, and searching for our own technical solutions. This constant quest for the precise connection between an idea, material, and technology is what defines experimental design for us.
The architectural direction is an important part of the "oforme" practice.
We work on two scales: with space and with the object. For us, they remain parts of a single methodology.
Architecture gives us an understanding of the environment, light, scale, construction, and movement scenarios. Product design allows us to work with the same categories on a closer level—through surface, tactility, material, and human interaction.
This is where we see our advantage. We can think of an object as a part of an interior, and an interior as a system of objects. Therefore, our objects do not exist separately from the space: they shape it, engage in a dialogue with it, and become its active participants.
We work on two scales: with space and with the object. For us, they remain parts of a single methodology.
Architecture gives us an understanding of the environment, light, scale, construction, and movement scenarios. Product design allows us to work with the same categories on a closer level—through surface, tactility, material, and human interaction.
This is where we see our advantage. We can think of an object as a part of an interior, and an interior as a system of objects. Therefore, our objects do not exist separately from the space: they shape it, engage in a dialogue with it, and become its active participants.
The oforme practice is built on complete immersion in the object creation process.
We independently manage the development of our pieces: from the initial idea and prototyping to master models, technical drawings, and final realization. For us, the full production cycle is essential, where a form is not simply conceived but is tested through material, craftsmanship, and refinement.
We independently manage the development of our pieces: from the initial idea and prototyping to master models, technical drawings, and final realization. For us, the full production cycle is essential, where a form is not simply conceived but is tested through material, craftsmanship, and refinement.
The "oforme" workshop operates as a product design laboratory.
Here, we test materials, assemble prototypes, create models, print molds, and work with ceramics, light, textures, and structures. It is important to us that an idea is immediately tested in a physical material, rather than remaining solely a digital image or visualization.
Here, we test materials, assemble prototypes, create models, print molds, and work with ceramics, light, textures, and structures. It is important to us that an idea is immediately tested in a physical material, rather than remaining solely a digital image or visualization.
The architectural direction is an important part of the oforme practice.
We work on two scales: with space and with the object. For us, they remain parts of a single methodology.
Architecture gives us an understanding of the environment, light, scale, construction, and movement scenarios.
Product design allows us to work with -
We work on two scales: with space and with the object. For us, they remain parts of a single methodology.
Architecture gives us an understanding of the environment, light, scale, construction, and movement scenarios.
Product design allows us to work with -
state
-ment
-ment
At the helm of the "oforme" workshop are Alexandra and Nikolay.
We studied at the I. E. Repin Academy of Arts, on the Faculty of Architecture, where we mastered the fundamentals of academic art disciplines: drawing, composition, and the work with proportions and space. This experience shaped us primarily as architects and instilled a meticulous attention to form and the interrelation of details.
Our architectural practice has given us skills in design, visualization, working with graphic editors, modeling, and digital tools, including 3D printing. We have also learned a great deal independently, through our own experience, experimentation, and a constant search for solutions.
This path directly influences our process: we freely combine manual craftsmanship, technological methods, artistic thinking, and an architectural approach.
We studied at the I. E. Repin Academy of Arts, on the Faculty of Architecture, where we mastered the fundamentals of academic art disciplines: drawing, composition, and the work with proportions and space. This experience shaped us primarily as architects and instilled a meticulous attention to form and the interrelation of details.
Our architectural practice has given us skills in design, visualization, working with graphic editors, modeling, and digital tools, including 3D printing. We have also learned a great deal independently, through our own experience, experimentation, and a constant search for solutions.
This path directly influences our process: we freely combine manual craftsmanship, technological methods, artistic thinking, and an architectural approach.
For us, an object is a small spatial form.
We perceive an item not as a separate thing, but as a part of an environment — with its own mass, rhythm, surface, structure, and presence in space. Our architectural experience helps us see the object on the scale of an interior, understanding how it interacts with its surroundings.
We are interested in objects at the intersection of function, sculpture, and tactile experience.
For us, design is not only the final result but also a process of research. An object is born in the movement between an idea, technology, material, and its physical embodiment.
We perceive an item not as a separate thing, but as a part of an environment — with its own mass, rhythm, surface, structure, and presence in space. Our architectural experience helps us see the object on the scale of an interior, understanding how it interacts with its surroundings.
We are interested in objects at the intersection of function, sculpture, and tactile experience.
For us, design is not only the final result but also a process of research. An object is born in the movement between an idea, technology, material, and its physical embodiment.
A separate direction of the project is light objects created using 3D printing.
Our workshop is equipped with 3D printers, which we mastered independently through testing, calibration, trial and error, and experiments with materials.
Working with light requires exceptional precision. Everything is important: the material's thickness, density, transparency, surface relief, and construction, as well as how the object transforms between its 'on' and 'off' states.
Our workshop is equipped with 3D printers, which we mastered independently through testing, calibration, trial and error, and experiments with materials.
Working with light requires exceptional precision. Everything is important: the material's thickness, density, transparency, surface relief, and construction, as well as how the object transforms between its 'on' and 'off' states.
"oforme" grew out of the individual practice of its two founders and is gradually developing into a small workshop.
We are currently building a team, delegating certain processes, and organizing our work so that the project can grow without losing its character. It is important to us that even with the involvement of a team or external specialists, the objects retain their authorial precision and undergo careful quality control.
We are not striving to scale for the sake of quantity. We are more interested in development through new materials, complex objects, local manufacturing, exhibition projects, and collaborations with galleries.
We are currently building a team, delegating certain processes, and organizing our work so that the project can grow without losing its character. It is important to us that even with the involvement of a team or external specialists, the objects retain their authorial precision and undergo careful quality control.
We are not striving to scale for the sake of quantity. We are more interested in development through new materials, complex objects, local manufacturing, exhibition projects, and collaborations with galleries.
We are not a mass production facility. oforme is a design practice within which we research form. Some objects exist as unique works, while others are produced in limited editions.
Certain items, for example our ceramics, are created entirely in-house. This allows us to control the process at every stage: from form development and glaze testing to the final manual finishing of each piece.
Certain items, for example our ceramics, are created entirely in-house. This allows us to control the process at every stage: from form development and glaze testing to the final manual finishing of each piece.
We have mastered many processes independently: setting up equipment, studying technologies, experimenting with various materials, and searching for our own technical solutions.
This constant quest for the precise connection between an idea, material, and technology is what defines experimental design for us.
This constant quest for the precise connection between an idea, material, and technology is what defines experimental design for us.
- the same categories on a closer level—through surface, tactility, material, and human interaction.
This is where we see our advantage. We can think of an object as a part of an interior, and an interior as a system of objects. Therefore, our objects do not exist separately from the space: they shape it, engage in a dialogue with it, and become its active participants
This is where we see our advantage. We can think of an object as a part of an interior, and an interior as a system of objects. Therefore, our objects do not exist separately from the space: they shape it, engage in a dialogue with it, and become its active participants