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Pipe Dynasty


Pipe Dynasty is a provocation to conventions, a criticism to class class-strata and a sarcasm  at absolute, and senseless, conservatism through furniture design. The collection also takes a ironic snub at its traditional mastery. By giving a new interpretation to a common piece of furniture that is universally found in most Asians’ households; the bamboo chair, Pipe Dynasty revamps the common with the uncommon. Recreating its look with run-of-the mill water and PVC pipes and old pieces of perforated metal sheet gives a new outlook and encourage a new outtake on its ‘classic’ precursor.


Posing a question to a concept of ‘eternal goodness or absolute truth’ passing along from generation to generation is the aim in designing this collection. The collection is inspired by the philosophy, works and the relentless devotion to deconstruct society and politics through art by Ai Wei Wei, a prominent Chinese artist.


Pipe Dynasty wants to erase the romantic notion normally associated with natural and historical elements i.e. bamboo, hand weaving/assembling and general craftsmanship. These factors connote a certain system and ideology while mixing in the perception of beauty and belief of traditional craftsmanship that have been faithfully passed on without any question.

People duly accept the thought and belief that their ancestors instilled in them with hardly an objection. This occurs not only in China but universally takes root in many Asian cultures in their own distinctive forms such as States, religions, spiritual leaders and various institutions.


On the contrary, this collection accentuates the importance of ordinary and valueless materials, and goes so far as to use even junks, such as old perforated metal sheets and PVC tubes. By simply piercing and interlocking them together, the resulting creations can be re-assembled and are very portable. Pipe dynasty provokes questioning and encourages new take on cultural legacies on thought, philosophy, belief and style. The collection wholeheartedly supports self-criticism and upholds the love of trash that is omnipresent and cliche’, yet may inhabit curious reflections of our very own existence given deeper contemplation.

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