A studio is an argument that keeps being made. This page records who is making it, and the positions the work refuses to trade away.
Athiq leads the physical side of the practice: the casting floor, the timber store, the finishing room. His work begins where the simulation ends, translating computed geometry into objects that must survive gravity, use, and time.
He treats fabrication as a form of argument. If a joint cannot be made cleanly, the geometry is wrong; if a surface will not take its finish, the material was mischosen. The workshop is where the archive earns its claims.
Preethi builds the instruments the studio thinks with: growth simulations, structural solvers, and the small pieces of software that let a form be interrogated before it is made.
Her research interest is the point where a computed system stops being a tool and starts being a collaborator — where the output surprises its author and the surprise survives engineering review. Most of the archive's stranger geometry originates here.
Nothing in the archive is styled. Form is grown from constraint: load paths, material limits, the reach of a hand, the depth of a kiln. What an object looks like is the residue of what it had to solve. Decoration would only obscure the evidence.
We use simulation the way a luthier uses an ear — as an instrument, not an author. Algorithms propose; the studio disposes. A result is kept only when it can be built, seated in, leaned on, and defended in material terms.
Every material arrives with opinions. Charred oak wants shadow. Cast alloy wants continuity and hates sharp corners. The work goes wrong the moment those opinions are overruled for the sake of a drawing. We record what each matter insists on, and design inside it.
The workshop is not downstream of the studio; it is the studio. Prototypes are arguments, failures are data, and several specimens exist only because something went usefully wrong at the bench. We do not finish thinking and then start making.
A chair may be structure, sculpture, and research apparatus at once. We file work as specimens rather than products because the archive cares about what an object demonstrates, not which shelf it sells from. Categories are indexes here, never boundaries.
The positions above are demonstrated, not declared. The specimens are the evidence.
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