This narrative reflects my time as the Head of Design at BFD from 2018 to 2021. The identity of the furniture is not easily defined—it is neither just a product nor simply a sculpture. It exists somewhere between being a commercial object that needs to be sold and an artistic expression. Although the brand has given it a name, its true identity remains open to interpretation. This raises a question: Do we appreciate a designed object more through touch or through sight?

Furniture has a distinct form, but when we use it, that form often goes unnoticed—we feel it rather than see it. Strangely, for its beauty to be fully appreciated, it must remain unused. Yet, the purpose of furniture is to be functional; it can only truly be called furniture when it serves a purpose. This contradiction is at the heart of what furniture is. To reflect this idea, I have chosen to give these pieces temporary names, calling them a “collection of the unnamed.”

Without fixed names, people are free to interpret and experience these pieces in their own way. When someone’s gaze lingers, and they engage with an object over time, they naturally assign meaning to it. In this sense, calling it “A” might make more sense than calling it a “bed,” even though it still functions as one.

Think about where this furniture is placed. Who shares that space with you? Are you lying down, sitting, standing, or not even noticing it? Does the connection between a person and an object happen through looking at it from a distance, or does it form through physical interaction? Within this nameless collection, from A to Z, are four years of exploration into the meaning of form.