Wedge Presents Epoch II – Anomalies: Sculptural furniture in recyclable sand

Following its debut at 3daysofdesign in Copenhagen and its recent feature at Material Matters during London Design Festival, Wedge presents Epoch II – Anomalies, the latest chapter in its research into sustainable materials and large-scale additive manufacturing. The collection includes sculptural furniture and architectural elements made through binder-jet printing in sand, extending the studio’s pursuit of a computational craft shaped by algoritmic drift, material ecology, and sustainable responsibility.

Some works begin with digital simulations of chaotic particle systems, translated into volumetric models. Others reinterpret raw LiDAR scans, feeding them into reverse-engineered scripts where irregularities become adjustabel design parameters. Forms appear that were never present in the original data, pushing error into a constructive force. Fractures, erosions, and distortions are absorbed rather than erased, producing results that hover between furniture and sculpture, fragment and artifact, presence and disappearance.

The collection resists easy categorisation. Tables, vessels, and surfaces seem fractured, eroded, or caught in flux. Instability becomes a defining characteristic, much like sand itself, where a mass can bind and occupy space while a single grain is inert. Recursive geometries and adjustable algorithms shape these objects, which are less completed than stages in an unfolding process.

Materially, the works are produced in recyclable sand. Each piece can be crushed, reprinted, and recirculated with minimal waste, embedding circularity directly into form and production. They are not fixed outcomes but propositions for reconfiguration: artifacts open to future transformation, shifting ownership within a continuum of matter.

According to designers Lei Zhang and Peiyan Zou, "instability is not a flaw but a way of thinking about materiality." "We investigate how design can adapt to change through these pieces, which bear the traces of their creation — recursive patterns, digital erosion, and material irregularities."

Wedge advances a vision in which digital processes, ecological systems, and aesthetic experimentation converge with Epoch II – Anomalies, expanding the potential of binder-jet sand printing as both material practice and speculative language.