HYDRO
Hydro [R100] – RØR
- Designed byCecilie Manz
[RØR]
The extruded profile takes center stage in Danish designer Cecilie Manz’s exploration of recycled aluminium. Rør—meaning “tube” in both Norwegian and Danish—transcends its role as a mere technical component to become an object in its own right. At first glance, Rør is just that: two simple cylindrical forms. But a closer look reveals hand-drawn imperfections resulting in something softer, more irregular, and less exact.Rør plays with contrast—the clash of a highly industrial, almost brutal process with the organic quality of a sketched line, reminding us of the myriad of possibilities inherent in the material. A universal shape is then transformed into something unique, giving the archetypal tube an aesthetic quality.
- Hydro [R100] – RØR
- ClientHYDRO
- Designed byCecilie Manz
HYDRO
Hydro [R100] – RØR
- Designed byCecilie Manz
[RØR]
The extruded profile takes center stage in Danish designer Cecilie Manz’s exploration of recycled aluminium. Rør—meaning “tube” in both Norwegian and Danish—transcends its role as a mere technical component to become an object in its own right. At first glance, Rør is just that: two simple cylindrical forms. But a closer look reveals hand-drawn imperfections resulting in something softer, more irregular, and less exact.Rør plays with contrast—the clash of a highly industrial, almost brutal process with the organic quality of a sketched line, reminding us of the myriad of possibilities inherent in the material. A universal shape is then transformed into something unique, giving the archetypal tube an aesthetic quality.
- Hydro [R100] – RØR
- ClientHYDRO
- Designed byCecilie Manz
HYDRO
Hydro [R100] – FIELDS
- Designed byDaniel Rybakken
[FIELDS]
The brainchild of Norwegian designer Daniel Rybakken, Fields is a sculpture made of industrially produced components, with no apparent practical function. Its purpose is purely emotional. Through abstraction, cold, rigid materials take on a poetic warmth, inviting a game of associations. When does a metal cylinder become a tree? When do individual elements form a field? The answer lies in balance—every proportion, contrast, and finish shaping the story Fields tells. This project is an exploration of material and process, pushing extruded aluminum beyond expectation. Free from commercial constraints, it embraces pure experimentation, revealing new possibilities within recycled aluminum. Fields is both a study in reduction and a statement on transformation—an object that is felt as much as it is seen.
- Hydro [R100] – FIELDS
- ClientHYDRO
- Designed byDaniel Rybakken
HYDRO
Hydro [R100] – FIELDS
- Designed byDaniel Rybakken
[FIELDS]
The brainchild of Norwegian designer Daniel Rybakken, Fields is a sculpture made of industrially produced components, with no apparent practical function. Its purpose is purely emotional. Through abstraction, cold, rigid materials take on a poetic warmth, inviting a game of associations. When does a metal cylinder become a tree? When do individual elements form a field? The answer lies in balance—every proportion, contrast, and finish shaping the story Fields tells. This project is an exploration of material and process, pushing extruded aluminum beyond expectation. Free from commercial constraints, it embraces pure experimentation, revealing new possibilities within recycled aluminum. Fields is both a study in reduction and a statement on transformation—an object that is felt as much as it is seen.
- Hydro [R100] – FIELDS
- ClientHYDRO
- Designed byDaniel Rybakken
HYDRO
Hydro [R100] – FIELDS
- Designed byDaniel Rybakken
[FIELDS]
The brainchild of Norwegian designer Daniel Rybakken, Fields is a sculpture made of industrially produced components, with no apparent practical function. Its purpose is purely emotional. Through abstraction, cold, rigid materials take on a poetic warmth, inviting a game of associations. When does a metal cylinder become a tree? When do individual elements form a field? The answer lies in balance—every proportion, contrast, and finish shaping the story Fields tells. This project is an exploration of material and process, pushing extruded aluminum beyond expectation. Free from commercial constraints, it embraces pure experimentation, revealing new possibilities within recycled aluminum. Fields is both a study in reduction and a statement on transformation—an object that is felt as much as it is seen.
- Hydro [R100] – FIELDS
- ClientHYDRO
- Designed byDaniel Rybakken
HYDRO
Hydro [R100] – PROFIL OUTDOOR CHAIR
- Designed byKeiji Takeuchi
[PROFIL OUTDOOR CHAIR]
Profil, named after the Norwegian word for “profile,” pays tribute to the aluminum frame at the
heart of Japanese designer Keiji Takeuchi’s outdoor seating collection. At Profil’s core lies a
meticulous interplay of structure and subtlety—each extruded piece snapping into place with
near-imperceptible precision, measured down to 0.1 millimeters. While initially envisioned as a
single-profile system, safety and structural needs led to a modular approach in which some
parts share profiles and all parts adapt in scale. This versatility gives rise to an expanding
landscape of benches and stackable chairs—lounge or high-back, with or without armrests.
Balancing precision with engagement was essential to Takeuchi’s approach. As a result, Profil
steers away from the “sterility of an over-engineered metal sculpture,” extending instead an
open invitation to interact with its refined, yet familiar form.
- Hydro [R100] – PROFIL OUTDOOR CHAIR
- ClientHYDRO
- Designed byKeiji Takeuchi
HYDRO
Hydro [R100] – PROFIL OUTDOOR CHAIR
- Designed byKeiji Takeuchi
[PROFIL OUTDOOR CHAIR]
Profil, named after the Norwegian word for “profile,” pays tribute to the aluminum frame at the
heart of Japanese designer Keiji Takeuchi’s outdoor seating collection. At Profil’s core lies a
meticulous interplay of structure and subtlety—each extruded piece snapping into place with
near-imperceptible precision, measured down to 0.1 millimeters. While initially envisioned as a
single-profile system, safety and structural needs led to a modular approach in which some
parts share profiles and all parts adapt in scale. This versatility gives rise to an expanding
landscape of benches and stackable chairs—lounge or high-back, with or without armrests.
Balancing precision with engagement was essential to Takeuchi’s approach. As a result, Profil
steers away from the “sterility of an over-engineered metal sculpture,” extending instead an
open invitation to interact with its refined, yet familiar form.
- Hydro [R100] – PROFIL OUTDOOR CHAIR
- ClientHYDRO
- Designed byKeiji Takeuchi
HYDRO
Hydro [R100] – ORBIT LIGHT
- Designed bySabine Marcelis
[ORBIT LIGHT]
Typically associated with uniformity and efficiency, extrusion is rarely seen as a medium for
expressive form. Dutch artist and designer Sabine Marcelis challenges this notion with Orbit
Light, treating aluminum not just as structure but as a vessel for light. Reminiscent of a celestial
body in motion, Orbit Light gets its name from the way light moves across its curved surface.
Activated by the dimmer, it appears to escape and orbit the form, creating depth and fluidity.
The large-scale extrusion gives it a sculptural presence, transforming it from a functional light
into a spatial statement. Minimal post-processing preserves the purity of its form, with every
detail refined to capture and reveal light in a way that feels both natural and unexpected.
Scalable in length, Orbit Light adapts effortlessly to different spaces, from floor-to-ceiling
installations to dynamic groupings.
- Hydro [R100] – ORBIT LIGHT
- ClientHYDRO
- Designed bySabine Marcelis
HYDRO
Hydro [R100] – ORBIT LIGHT
- Designed bySabine Marcelis
[ORBIT LIGHT]
Typically associated with uniformity and efficiency, extrusion is rarely seen as a medium for
expressive form. Dutch artist and designer Sabine Marcelis challenges this notion with Orbit
Light, treating aluminum not just as structure but as a vessel for light. Reminiscent of a celestial
body in motion, Orbit Light gets its name from the way light moves across its curved surface.
Activated by the dimmer, it appears to escape and orbit the form, creating depth and fluidity.
The large-scale extrusion gives it a sculptural presence, transforming it from a functional light
into a spatial statement. Minimal post-processing preserves the purity of its form, with every
detail refined to capture and reveal light in a way that feels both natural and unexpected.
Scalable in length, Orbit Light adapts effortlessly to different spaces, from floor-to-ceiling
installations to dynamic groupings.
- Hydro [R100] – ORBIT LIGHT
- ClientHYDRO
- Designed bySabine Marcelis
HYDRO
Hydro [R100] – ORBIT LIGHT
- Designed bySabine Marcelis
[ORBIT LIGHT]
Typically associated with uniformity and efficiency, extrusion is rarely seen as a medium for
expressive form. Dutch artist and designer Sabine Marcelis challenges this notion with Orbit
Light, treating aluminum not just as structure but as a vessel for light. Reminiscent of a celestial
body in motion, Orbit Light gets its name from the way light moves across its curved surface.
Activated by the dimmer, it appears to escape and orbit the form, creating depth and fluidity.
The large-scale extrusion gives it a sculptural presence, transforming it from a functional light
into a spatial statement. Minimal post-processing preserves the purity of its form, with every
detail refined to capture and reveal light in a way that feels both natural and unexpected.
Scalable in length, Orbit Light adapts effortlessly to different spaces, from floor-to-ceiling
installations to dynamic groupings.
- Hydro [R100] – ORBIT LIGHT
- ClientHYDRO
- Designed bySabine Marcelis
HYDRO
Hydro [R100] – ORBIT LIGHT
- Designed bySabine Marcelis
[ORBIT LIGHT]
Typically associated with uniformity and efficiency, extrusion is rarely seen as a medium for
expressive form. Dutch artist and designer Sabine Marcelis challenges this notion with Orbit
Light, treating aluminum not just as structure but as a vessel for light. Reminiscent of a celestial
body in motion, Orbit Light gets its name from the way light moves across its curved surface.
Activated by the dimmer, it appears to escape and orbit the form, creating depth and fluidity.
The large-scale extrusion gives it a sculptural presence, transforming it from a functional light
into a spatial statement. Minimal post-processing preserves the purity of its form, with every
detail refined to capture and reveal light in a way that feels both natural and unexpected.
Scalable in length, Orbit Light adapts effortlessly to different spaces, from floor-to-ceiling
installations to dynamic groupings.
- Hydro [R100] – ORBIT LIGHT
- ClientHYDRO
- Designed bySabine Marcelis
HYDRO
Hydro [R100] – BOSS RECYCLING BIN
- Designed byStefan Diez
[BOSS RECYCLING BIN]
BOSS by German designer Stefan Diez embodies a thoughtful approach to waste management. Made from a minimum of recycled aluminum extrusion profiles, it transforms recycling into an intentional, visible act. More than a bin, BOSS is a statement in design and sustainability— redefining the waste bin as an object meant to be seen rather than hidden. Precision engineering gives BOSS its unique functionality. Its clever design enables efficient production:
the square bins are crafted from a single aluminum profile, which also serves as the lid for the smaller, round bins. The feet, bag holders, and pivoting axis of the lids are all formed from the same steel wire, reinforcing a consistent and resource-efficient design approach. The name itself plays on dual meanings—in some regions of Norway, “boss” means trash. BOSS is a nod to both Norwegian heritage and the product’s strong, assertive presence.
- Hydro [R100] – BOSS RECYCLING BIN
- ClientHYDRO
- Designed byStefan Diez
HYDRO
Hydro [R100] – BOSS RECYCLING BIN
- Designed byStefan Diez
[BOSS RECYCLING BIN]
BOSS by German designer Stefan Diez embodies a thoughtful approach to waste management. Made from a minimum of recycled aluminum extrusion profiles, it transforms recycling into an intentional, visible act. More than a bin, BOSS is a statement in design and sustainability— redefining the waste bin as an object meant to be seen rather than hidden. Precision engineering gives BOSS its unique functionality. Its clever design enables efficient production:
the square bins are crafted from a single aluminum profile, which also serves as the lid for the smaller, round bins. The feet, bag holders, and pivoting axis of the lids are all formed from the same steel wire, reinforcing a consistent and resource-efficient design approach. The name itself plays on dual meanings—in some regions of Norway, “boss” means trash. BOSS is a nod to both Norwegian heritage and the product’s strong, assertive presence.
- Hydro [R100] – BOSS RECYCLING BIN
- ClientHYDRO
- Designed byStefan Diez
- HYDRO [R100] – Cecilie Mantz
- ClientHYDRO
- Designed byCecilie Mantz
- HYDRO [R100] – Daniel Rybakken
- ClientHYDRO
- Designed byDaniel Rybakken
- HYDRO [R100] – Keiji Takeuchi
- ClientHYDRO
- Designed byKeiji Takeuchi
- HYDRO [R100] – Keiji Takeuchi
- ClientHYDRO
- Designed byKeiji Takeuchi
- HYDRO [R100] – Sabine Marcelis
- ClientHYDRO
- Designed bySabine Marcelis