Bronze Furniture Design · 2026
Uni Side Table
by Xubai Li
- A' Design Award 2026 Bronze Winner in Furniture Design
- Awarded April 15, 2026
- CLIENT: Xubai Li
- Estimated Number of Design Views: 6,219
- Verification code EE6F6B8A72 · Verify this award
About Uni Side Table
The Uni integrates inside and outside surfaces to create unconventional forms. Inspired by origami and negative space, Xubai Li designed it by forming a flat aluminum sheet into a three dimensional volume. Scaled from one sixteenth models to full size prototypes, it achieves stability through fold based geometry. Intended for urban environments, the Uni functions as both a table and a freestanding object, providing unobstructed negative space and mobility for modern studio living while maintaining an unobtrusive appearance.
Xubai Li's Side Table engages the enduring modernist project of material economy and geometric purity, positioning itself within design traditions that celebrate structural honesty and formal reduction while demonstrating contemporary fabrication capabilities that expand expressive possibilities within constrained means, the work reflects ongoing discourse surrounding sculptural furniture where functional objects transcend utilitarian purpose to inhabit aesthetic territory traditionally reserved for fine art, a conversation extending from Bauhaus principles through mid-century American studio craft to present-day maker movements that resist distinctions between art, craft, and design. The technical achievement manifests primarily through the sophisticated resolution of a complex three-dimensional form from a single continuous material plane, the designer demonstrates mastery of sheet metal behavior under stress, calculating precise fold lines, curve radii, and material thickness to achieve structural stability without reinforcement while maintaining visual lightness, the seamless transition from flat tabletop through vertical descent into pronounced concave recession followed by convex swell before returning to vertical closure represents significant geometric and engineering problem-solving, each curve and angle calibrated to distribute load while creating dynamic visual rhythm, the monochromatic surface treatment allows form itself to communicate without chromatic distraction, relying instead upon light's interaction with geometry to generate tonal variation and spatial drama. The work explores themes of transformation and metamorphosis, presenting metal traditionally associated with industrial rigidity as surprisingly fluid and organic, the continuous curve suggesting biological growth patterns or captured motion frozen in durable material, this tension between industrial process and natural form creates conceptual richness that rewards sustained contemplation, the interior void functions as sculptural negative space, inviting consideration of absence and presence, container and contained, the relationship between exterior form and interior volume. The piece may reference East Asian aesthetic principles of ma, the meaningful void, and mingei appreciation for everyday objects elevated through design integrity, while simultaneously engaging Western modernist vocabularies of reduction and geometric abstraction, echoing formal concerns explored by artists from Donald Judd to Anish Kapoor who investigate how simple geometric operations generate complex spatial experiences. One might observe how the table's compact footprint and efficient use of material reflect contemporary concerns about sustainability and resource consciousness, achieving maximum aesthetic and functional impact through minimal means, how does this fusion of sculptural ambition and functional necessity invite us to reconsider boundaries between art objects and everyday furnishings, between contemplative sculpture and pragmatic utility?
Press Kit
- Unique Properties
- Uni is a singular, continuous form that transmutes a flat aluminum sheet into a sophisticated, freestanding volume. By blurring the line between interior and exterior, the design achieves a structural duality where the tabletop and base exist as one uninterrupted gesture. Its innovation lies in this seamless geometry, offering a sculptural aesthetic that redefines traditional furniture assembly through minimalist rationale. This piece was designed by Xubai Li and manufactured by Bestcase in New York, United States, in a collaboration program, led by Rhode Island School of Design.
- Dimensions & Packaging
- 533 mm × 508 mm × 457 mm
- Tags
- industrial decor, aluminum furniture, minimalist design, side table, sheet metal, sculptural furniture, origami
- Production Technology
- Uni is made with 5052 Aluminum sheet in .25-inch thickness. The process can be divided into three simple stages: 1. Roller Bending and Brake Press Bending 2. Edge Welding 3. Sand and Standard Waxed Finish to preserve the original aesthetic of the raw material.
- Design Challenge
- The main challenge was finding a form that elegantly embodies the essence of origami while adapting to harsh sheet metal processes. Every additional pressed piece introduced unwanted aesthetic noise. To solve this, we minimized assembly to a singular, continuous form. We also bypassed standard industry powder coating; instead, a simple waxed finish preserved the aluminum's subtle shine, reducing maintenance while celebrating the material's raw, industrial elegance.
- Project Duration
- The project started its design process in February 2024 in Providence, Rhode Island, United States, and finished its first edition for manufacturing in May 2025 in New York, United States, and was first exhibited in International Contemporary Furniture Fair 2025 in New York City, United States, and the Convention Center in the same month, in Rhode Island, United States.
- Operation Flow
- Uni isn't just a table; it's functional art. You interact with it by placing items on its surface or simply admiring it. As you walk around the room, its folded metal design visually transforms from a solid block into an airy, open sculpture. It performs better than standard furniture because it serves dual purposes: it provides a handy resting spot for everyday objects while elevating your space as a beautiful, free-floating centerpiece that doesn't need to be hidden away.
- Research
- The research for Uni was a hybrid of theoretical exploration and material investigation. The primary objective was to subvert traditional expectations of furniture by blurring the boundaries between interior and exterior spaces. The study sought to translate the philosophical principles of origami—transforming a flat, meaningless plane into a meaningful 3D volume—into a functional furniture silhouette.
The methodology employed a "form-from-flatness" approach, utilizing comparative analysis of contemporary sheet metal furniture and traditional origami techniques. Data collection included a literature review of origami philosophy and an analysis of Asian aesthetic principles regarding "negative space" as a poetic element. Additionally, market data from furniture e-commerce platforms was analyzed to identify consumer trends in urban high-density housing.
Technical feasibility was established through consultations with manufacturing specialists to define production constraints. Physical experimentation involved a rigorous iterative prototyping process:
Initial Phase: One-sixteenth and one-quarter scale models were used to test folding geometry.
Testing Phase: Full-scale models were constructed from plastic and strength-enhanced corrugated boards (0.25-inch thickness) to simulate final material behavior.
Review Phase: Interviews with design professionals were conducted to evaluate the aesthetic impact and functional utility of the prototypes.
The research revealed a market gap for pieces that balance "visual openness" with sculptural presence. A key insight was that studio and condo dwellers increasingly prioritize furniture that provides "breathing room" through negative space without sacrificing artistic permanence. Uni impacts the design field by offering a dual-purpose solution: a minimalist utility surface and a monumental sculpture. By utilizing blank space as a functional element, the design addresses the need for openness in small architectural footprints. - Inspiration
- Inspired by origami, Uni explores the transformation of a two-dimensional aluminum plane into a self-supporting, multi-dimensional volume. The design utilizes fundamental roller bending techniques to transform a single sheet into a sophisticated, freestanding object. By eliminating traditional joinery in favor of a singular, continuous gesture, Uni achieves structural integrity.
- Image Credits
- Image #1: Photographer Jonah Takagi, Uni, 2025.
Image #2: Creator Xubai Li, Uni, 2025.
Image #3: Creator Xubai Li, Uni, 2025.
Image #4: Creator Xubai Li, Uni, 2025.
Image #5: Creator Xubai Li, Uni, 2025.
Colors of Uni Side Table
Design Interview about Uni Side Table
The main inspiration stems from the concept of origami and the pursuit of unified, looping shapes. Additionally, it was driven by a desire to explore the unification of interior spaces and exterior environments, blending the two through a cohesive form.
My primary focus was to create a "formal being." I wanted to achieve a piece that serves seamlessly as a functional object while presenting itself entirely as a standalone sculpture.
I am actively seeking licensing opportunities and exploring partnerships with collaborators who have specialized manufacturing capabilities. Because the design is highly adaptable, I plan to utilize adaptive coding to explore it in various shapes and scales.
The core design development took about three months. The manufacturing schedule extended to nearly a year, as this project was part of a broader collaborative initiative involving the manufacturer and several other designers.
This concept began as a personal venture that evolved alongside a collaboration with Bestcase, a studio specializing in aluminum furniture manufacturing. After touring their factory and understanding their specific material capabilities and constraints, I was inspired to pursue this exact sculptural form.
Currently, it has been manufactured through my collaboration with Bestcase. For the future, my intent is to lease or sell the production rights and secure licensing agreements rather than producing the work myself.
Touring the manufacturer's factory was the primary catalyst. Understanding the exact mechanical processes, capabilities, and strict limitations of sheet metal fabrication dictated the creation of this specific type of work.
Rather than looking at traditional furniture, I was deeply influenced by sculptors and spatial artists from other disciplines, particularly Rachel Whiteread, Henry Moore, and Es Devlin.
The target customer includes buyers looking for sophisticated, minimalistic interior design items, as well as architects or interior designers outfitting large common spaces that require a minimalist centerpiece.
What sets this design apart is its origin: it does not begin with a strict furniture silhouette. While there are many sheet metal and aluminum furniture pieces on the market, they typically rely on rigid assembly processes and lean heavily into industrial aesthetics. My design prioritizes a seamless, sculptural concept first.
I named the design "Uni." The name refers directly to the concept of unification—the idea of a single, looping shape, as well as the broader theme of unifying interior and exterior environments.
The most unique aspect of the design is its striking "seamlessness," combined with the deliberate hollowing of the structure to create an intriguing spatial presence.
The project required rigorous digital modeling and the creation of highly precise laser-cutting blueprints. Physical tools utilized during production included industrial laser-cutting machines for large, thick metal sheets, as well as dies and metal rollers.
Technology played a critical role in execution and precision. Advanced digital modeling and laser-cutting technology were essential to achieve the exact geometry. Looking forward, adaptive coding and parametric modeling will allow the design to easily scale and morph into new iterations.
The primary research conducted was an intensive analysis of manufacturing capabilities. I did a deep dive into factory processes, studying the exact tolerances and limitations of sheet metal fabrication to ensure the theoretical design could become a physical reality.
Interestingly, the initial design concept barely changed from start to finish. The primary challenge was the meticulous tweaking and correcting required for the digital models and laser-cutting blueprints. Because the shape is so minimal, there is absolutely no wiggle room for mistakes, and sheet metal does not allow for many corrective processes after the initial cut.
I have recognized and respected this international competition for some time and felt that the finalized piece—and the rigor of the design process behind it—strongly aligned with the caliber of work celebrated here.
The most significant area of professional growth was learning how to effectively communicate and collaborate with industrial manufacturers, successfully bridging the gap between an abstract sculptural concept and a mechanical reality.
A vital aspect of "Uni" is its scalability. It is not size-specific. Through adaptive modeling, the core concept can be applied to any scale and adapted into countless shapes, making it incredibly versatile for both private homes and monumental public spaces.
Grand Interview about Uni Side Table
The conversation around interdisciplinary creation hasn't been explored enough. Even though the design award shines a light on highly executed, professional pieces within the furniture discipline, the discussion could be expanded to include the dialogue between furniture in domestic spaces and public installations.
In highly compact spaces, people desire pieces that serve as both functional furniture and aesthetic enhancements to the overall interior staging. The Uni Side Table not only adds nuance to the interplay of positive and negative space, but it also adapts to an interior freely, working interchangeably as a side table, a coffee table, or a bedside table.
In the flux of fast furniture and highly advanced industrial processes, it is rare to find pieces made from raw materials, as they require a certain level of maintenance and possess very specific characteristics. Still, in a sea of color-coated aluminum, there is room for easily maintainable furniture—much like a hardwood cutting board that you can care for at home. Furthermore, the raw material speaks to the wabi-sabi aesthetic; it holds a quiet presence in a room full of other raw materials, perfectly aligning with Uni's intended structure as a seemingly circular, continuous being.
The answer lies not in bridging cultures, but rather in the universality of materials across them. There is a global tradition of using raw materials accompanied by lightly hand-applied polishes. Additionally, the visual structure of a continuous flow is universal, appearing in both Eastern Taoist aesthetics and Western motifs like the three hares symbol.
Translating the thickness was the most critical step, and modeling with quarter-inch corrugated plastic boards helped tremendously.
The inspiration came from the Möbius strip and the way it seamlessly glides into different dimensions. I wondered if the usual distinction between a tabletop and its supports could share that same continuous, smooth transition.
During that same time period, I designed a nesting set called the Fractal System; as the name suggests, its forms were translated from fractal drawings.
As touched upon in previous answers, it opens a dialogue about how "functional" a piece of furniture needs to be. Does it always have to rely on the same silhouette? Must it always serve a singular purpose?
I wasn't deliberately trying to create the appearance of a dense block. From the beginning, the metal was treated as a sheet material, much like paper, making it very natural to carry that spirit through the folds.
The main takeaway is that there is no need to dissect an object into compartments before designing it; a design can stem directly from a conceptual idea or an intuitive, creative shape. Once that general form is born, the function can naturally follow.