Jordi López Aguiló’s industrial design objects reveal the mechanics of their making

Architect and designer Jordi López Aguiló creates objects that balance structural rigour with structural restraint, as symbols of material resilience and formal elegance. Through his Valencia-based Kutarq Studio, established in 2012, Aguiló has developed a research-oriented practice spanning furniture, product and lighting designs, with presentations at several design events and festivals such as Milan Design Week, 3daysofdesign, Maison&Objet, ICFF New York and Design Miami. His latest collection, comprising a floor lamp, a music stand, a coffee table and three stools, continues his pragmatic creative approach and exploration through objects that uniquely fuse industrial precision with sculptural design language.

The TOTEM DE LUZ floor lamp is a complex mechanical assemblage of slender steel components composed around a circular onyx plate that partially encloses the light source. Centred on a double-pulley system, the kinetic sculpture allows the cylindrical light element to be adjusted along a vertical axis. When the light is at the summit, it engages with the onyx diffuser to cast a soft, warm glow towards the ceiling. Lowered, the light aligns with a circular aperture on the side, producing a more focused beam. Through this shifting mechanism, the design encourages more conscious interaction among the user, the object and the surrounding space.

With a contemporary design, the CORNELIA MUSIC STAND spotlights an object that is often on stage but never the main act. Designed for Aguiló’s friend and cellist Cornelia Babbitt, the piece exists somewhere between artistic expression and structural engineering. The industrial design combines 10mm laser-cut aluminium frames with circular perforations that facilitate height adjustments and locking, allowing the stand to adapt to both seated and standing performances. In contrast, its hemispherical base, made of solid Nero Marquina marble, introduces deep obsidian tones and delicate white veining against the precision of the metal form. This lends the object an unpredictable spatial presence, compelling the user to examine it more closely.

The 4D coffee table adopts a minimal design language centred around circular forms. Made from a single sheet of metal, the table design is constructed by cutting three perforations that are bent to form its legs, eliminating the need for welding or additional elements. This introduces a subtle sense of movement into the otherwise static object, while also proffering it an unexpected visual lightness. The form is reminiscent of the Spanish designer’s earlier design AWA (2019), which functions both as a flower vase and candle holder. While 4D and AWA both use a circular disc and perforations for their forms, AWA introduces cylindrical elements for enhanced structural stability and functionality.

The three 4D stool designs are similarly produced through a hand-bending technique, using distinct sizes of circular perforations to manipulate a 5mm thick steel sheet. The process begins by introducing a circular cut-out in the centre of a rectangular sheet to form the seat, while the sides are bent and secured with another steel member to give structural stability.

Conceived with strong conceptual and visual cohesiveness, Kutarq Studio’s latest designs refuse to be static. With every bend, suspension and counterbalance, the elements transcend as components of a formal structure and become the form itself. Essentially, the construction is the object. There is a certain rawness in the engineered forms despite their polished surfaces. Since the acts of its production and operation are visible, the objects invite a more conscious and tactile engagement from the user.