For her High Section series, Linde Freya Tangelder departs from an imagined cross-section of an urban landscape, revealing a variety of structures and interspaces, of architectural styles and periods, textures and materiality. A mental image that is in turn charged by the 19th century industrial sites that have since become emblematic, characterised by their conical chimneys and defined by the traces of brickyards and textile factories. To then and from there, enter into a dialogue with the idiosyncratic idiom of Christian Kerez, a contemporary and renowned architect whose exceptional office buildings exhibit structures in which the contours of the supporting pillars increase with each floor.

The result is an individual cabinet with varying shelves, both in their appearance and in the rhythm of their spacing. A piece of furniture that is as elegant as it is sculptural and was in this case realised in hand-sanded aluminium, providing a contemporary and light response to the earlier version in brass.