Studio Eidola

Swiss Design Awards 2024 Exhibition Snapshots Thank you very much @swissdesignawards team. And many thanks to Truffer AG for the support to our project Tectonic Dusts.

Ocean Articulated sand-cast pedestal. Sand, salt and plant-based natural binder. Ocean Articulated is a geomorphological investigation into material cycles of salt and sand. It delves into the origins of materials, from the remnants of ancient oceans to glacial deposits, and examines how those materials are used today. With this appreciation a new recyclable material has been developed by Studio Eidola. #oceanarticulated #sandcasting #materialresearch #objectdesign #materialexperiment #collectibledesign

Fluid Residuum | Object 01 Materials: gravel quarry waste from Rabius-Graubünden, recycled tin Process: kiln-fired silt blocks joined with tin clamps Size: H35 L30 D22 cm Fluid residuum emerges as a contemplative exploration of the ephemeral imprints left by rain upon the earth, capturing the subtle narrative of water erosion. This project delves into the transient dialogues between precipitation and the topsoil, where each raindrop’s impact and subsequent journey articulate a unique story of displacement and transformation. Through the act of firing these delicate fragments and joining them with remelted tinware; what was once considered mere residue is reborn. In collaboration with a local gravel quarry in Graubuenden, Switzerland, Studio Eidola explores unconventional uses for industry by-products and reimagines the destiny of gravel quarry waste, which is typically used as a landfill material. Fluid residuum stands as a site-specific material investigation and an ode to overlooked, inviting a deeper reflection on the perception of value and utility. . . . #fluidresiduum #studioeidola #objectdesign #artdesign #collectible #process #quarrysilt #terracotta #kiln #tin #metalclamps #earth #wastedesign #design #erosion #arch #contemporarydesign #collectibledesign #designcollector #industrialwaste #sculpture #ceramics #art

“Is the dam high enough?” will be part of “Positions on Freedom” group exhibition by @the.thing.magazine in @museumangewandtekunst as part of @wdc2026 , with support of @usmmodularfurniture . Curated by @anton_rahlwes and @vsacchetti Thank you for framing a call that prompted us to reflect on the relationship between materials and freedom, which brought a new perspective that felt unexpectedly new to our practice. Location: Museum Angewandte Kunst Schaumainkai 17 60594 Frankfurt am Main Opening May 13, 7pm “Is the dam high enough” was created with the support of @prohelvetia_cairo The project reflects on how the retention of Nile sediment by the Aswan High Dam reshapes material practices in Egypt, and transforms a cyclical river resource into an infrastructural by-product. Sediment that was once annually distributed across the floodplain and available as a shared resource is now largely contained within Lake Nasser.

sā Ladakh Biennale 2026 welcomes Studio Eidola @studioeidola as a participant, founded and represented by artists Denizay Apusoglu and Jonas Kissling, in partnership with the Embassy of Switzerland in India @swissembassyindia and Bhutan under the initiative Sustainability With a Plus and supported by Pro Helvetia New Delhi, the Swiss Arts Council @prohelvetia_newdelhi . Founded in 2020 and based in Zürich, Studio Eidola exhibits research-driven material practice that investigates the relations between mineral materials, human activity, and systems of production. Working with mineral by-products and waste streams, its work traces the movement of matter across processes of extraction, manufacturing, construction, and disposal. Through objects, installations, and material propositions, the practice examines how industrial systems shape resource use, while remaining attentive to material knowledge and its conditions of transformation. Eidola’s work has developed through a sustained engagement with material systems and their broader cultural and industrial contexts, situating the practice within a research-led approach to contemporary material culture. Their engagement in Ladakh will unfold through an in-situ dialogue with the terrain, attentive to its material histories, ecological conditions, and the knowledge systems embedded within place. Developed through close observation and reciprocal engagement, the collaboration reflects a sustained interest in how practice evolves through time, context, and landscape. #sabiennale #signalsfromanotherstar #ladakh #regenerativeart #switzerland #prohelvetia_newdelhi

Thank you very much @lukassaxer for the portraits of us in our studio, and @noemileonhardt for the styling. Photos were taken for the 001 issue of @nonsense_projects Thank you @federico_paviani and @naomiaccardi for inviting us to be part of the issue, and thank you @biancafelicori for the warm chat and your words 🤍🤍

As part of our ongoing effort to collaborate and create synergy with the protagonists of the stories in NONSENSE, we asked Studio Eidola to rethink what our magazine could be if they tore it apart and turned it into something else. Of course, their solution to this request went above and beyond our expectations as they became inspired by the stone pictured on the cover of issue one and created a magazine holder-meet-table inspired by the Zeitungshalter often found in cafés in Zurich. This is what Denizay and Jonas said about the process of making it: “For around three years, ‘the cover page stone’ had been quietly sitting in our studio, waiting for its moment. We collected it from a limestone quarry in Basel as a discarded piece, and since the quarry is no longer operating, it felt only right to give it a modest second life. Once Lukas @lukassaxer turned it into a cover star, we thought it would be fun to let it continue its career as a magazine holder. Inspired by the Zeitungshalter still found in some local cafes, and helped by a pedestal made from offcut wood from a nearby wood manufacturer, the object came together almost by itself: part display, part support, part slightly overqualified stone furniture.”

The project takes sediment trapping as both condition and method. Nile silt, in liquid form, is poured on desert sand, contained, and sun-dried without manipulation. The process is governed by material’s response to the gradual loss of moisture. Despite the repetition of the same procedure, resulting fragments show variety in form and curvature. Differences in form arise through uneven evaporation, internal tension, and the composition of the sediment itself. #clay #nilesilt #sundried #desert #process

Is the Dam High Enough? investigates how the retention of Nile sediment by the Aswan High Dam reshapes material practices in Egypt, and transforms a cyclical river resource into an infrastructural by-product. Sediment that was once annually distributed across the floodplain and available as a shared resource is now largely contained within Lake Nasser. In response to this condition, the project works through sediment trapping as a material logic. An ordered array of bent Nile-mud fragments produced through a repeated, minimally controlled process. Liquid sediment is poured, contained, and left to air and sun dry, with no shaping, correction, or stabilization applied once the process begins. Although the same procedure is followed each time, the outcomes diverge. Variations in curvature, length, thickness, and deformation emerge from internal material stresses, uneven water loss, and sediment heterogeneity. The resulting fragments are arranged according to their varying curvature. Situated within a post-craft condition, the work shifts agency away from the maker, treating form as the outcome of initiated processes rather than direct fabrication. The project “Is the Dam High Enough?” was created during Studio Eidola’s residency in Egypt, supported by @prohelvetia_cairo @prohelvetia_design #nilesilt #clay #ceramics #dam #insfrastructure

Is the Dam High Enough? investigates how the retention of Nile sediment by the Aswan High Dam reshapes material practices in Egypt, and transforms a cyclical river resource into an infrastructural by-product. Sediment that was once annually distributed across the floodplain and available as a shared resource is now largely contained within Lake Nasser. In response to this condition, the project works through sediment trapping as a material logic. An ordered array of bent Nile-mud fragments produced through a repeated, minimally controlled process. Liquid sediment is poured, contained, and left to air and sun dry, with no shaping, correction, or stabilization applied once the process begins. Although the same procedure is followed each time, the outcomes diverge. Variations in curvature, length, thickness, and deformation emerge from internal material stresses, uneven water loss, and sediment heterogeneity. The resulting fragments are arranged according to their varying curvature. Situated within a post-craft condition, the work shifts agency away from the maker, treating form as the outcome of initiated processes rather than direct fabrication. The project “Is the Dam High Enough?” was created during Studio Eidola’s residency in Egypt, supported by @prohelvetia_cairo @prohelvetia_design #nilesilt #clay #ceramics #dam #insfrastructure

Is the Dam High Enough? investigates how the retention of Nile sediment by the Aswan High Dam reshapes material practices in Egypt, and transforms a cyclical river resource into an infrastructural by-product. Sediment that was once annually distributed across the floodplain and available as a shared resource is now largely contained within Lake Nasser. In response to this condition, the project works through sediment trapping as a material logic. An ordered array of bent Nile-mud fragments produced through a repeated, minimally controlled process. Liquid sediment is poured, contained, and left to air and sun dry, with no shaping, correction, or stabilization applied once the process begins. Although the same procedure is followed each time, the outcomes diverge. Variations in curvature, length, thickness, and deformation emerge from internal material stresses, uneven water loss, and sediment heterogeneity. The resulting fragments are arranged according to their varying curvature. Situated within a post-craft condition, the work shifts agency away from the maker, treating form as the outcome of initiated processes rather than direct fabrication. The project “Is the Dam High Enough?” was created during Studio Eidola’s residency in Egypt, supported by @prohelvetia_cairo @prohelvetia_design #nilesilt #clay #ceramics #dam #insfrastructure

Farouq Brick Factory is located in the Fayoum region of Egypt and operates as a semi-automated production facility. The raw materials are mixed, extruded, and cut into bricks using machinery, after which the process becomes largely manual. Freshly extruded bricks are transported to open drying fields, where they are left to dry slowly over the course of several weeks, typically around a month, depending on weather conditions. Once dried, the bricks are moved to a Hoffmann kiln, where they are carefully stacked by hand and fired in a continuous cycle until they reach a bisque state. The material composition includes mountain clay (often referred to locally as yellow tafla), desert sand, and a darker clay derived from older deposits of Nile silt, currently extracted in areas such as Dahshur. The type of bricks produced here are among the most widely used building materials in Egypt today, typically combined with reinforced concrete structures. In the industrial area of Helwan, south of Cairo, there are around 600 brick producers operating with similar methods. Project supported by @prohelvetia_cairo @prohelvetia_design Thank you Farouq family for the hospitality, and thank you @fayoumer for the connection and visit. #brick #hoffmankiln #clay #nile