After her debut at Design Miami/Paris last October, which marked her entry onto the international scene, Lavinia Fuksas—designer and jewelry creator, daughter of the famous Massimiliano and Doriana Fuksas—continues her journey in collectible design by arriving at Nomad Abu Dhabi.
From November 19 to 22, the iconic spaces of the former Terminal 1 of Zayed International Airport became the setting for an unprecedented celebration of contemporary design in the heart of the Middle East, within a place that symbolizes Arab modernism.
The protagonist of this new stage is once again Kalyka, the sculptural coffee table born from the collaboration with designer Pietro Franceschini, in which the material and sculptural sensibility of Fuksas’ jewelry meets Franceschini’s poetic imagination and translates it into a livable form. Four new works are arranged around Kalyka — Laminae, il Paravento, Monolys, and Trìakron totem — which make up a veritable design constellation, suspended between function, light, and sculpture, where each element seems to hold a fragment of time and memory.
Kalyka, made with noble and refined materials, is conceived as a jewel to live with:
eye-catching geometric bases, reflective surfaces that multiply the light, three metal petals that open to reveal a secret compartment. An everyday gesture thus becomes a delicate ritual, in which function is transformed into discovery and intimacy.
With Laminae, geometry becomes poetic language. The faceted surfaces capture and refract light, generating a sculptural energy that seems to move with the gaze. Made entirely of satin-finished steel, the Paravento appears as a body that is both precise and fluid, capable of defining space without breaking it, transforming its presence into a visual and sensory experience. Each plane, each angle, is positioned between architecture and dream, narrating the subtle tension between geometric rigor and poetic lightness.
Monolys reinvents geometry as a sculptural experience: four steel blocks intertwine in a measured balance, giving life to a form that is both solid and suspended. The brushed surfaces gently welcome the light, while integrated lighting reveals its changing planes, transforming the mass into perceptible movement.
The work dialogues with the space like minimal architecture, a meeting place between lightness and gravity, inviting us to contemplate the relationship between matter, light, and presence, between structure and poetry.
Trìakron is the totem that stands as a point of origin and geometric synthesis. Made of satin-finished steel, it develops from a rhomboidal base—an essential shape that marks the beginning of Lavinia Fuksas‘s design journey—to reach proportions of studied perfection. This minimal architecture transforms mass into a rigorous yet dynamic presence. Steel, with its clean surfaces, intercepts light and reflects it back in a continuous dialogue between structure and poetry, inviting us to perceive geometry not as rigor for its own sake, but as memory and archetypal form.
All pieces are created in collaboration with Mondavilli Scagliola, a gallery in the heart of Italy’s design district that promotes constant dialogue between 20th-century masters and contemporary experimentation.
“Kalyka, Laminae, Monolys, and Trìakron: four presences on the border between matter and light, four ways of questioning time and transforming space into experience. They are not simple objects, but visions: design that becomes memory, poetry, and living presence, an invitation to perceive what is not shown, but felt,” says Fuksas.
These works are born from a thought suspended between rigor and enchantment, where metal seems to breathe, stone becomes a silent voice, and geometry opens a dialogue with dreams. In every detail, there is a slow and poetic intuition: an invitation to experience design not as an object, but as a sensory experience and shared memory.
