Siamese Bench explores the idea of absolute continuity through an organic geometry that folds into itself, with no clear point of beginning or end.

The piece originates from the concept of infinity understood not as a graphic symbol, but as a spatial and physical condition — a form perceived in constant flow, where every curve is the consequence of the previous one. The object is not read as a composition of parts, but as a single continuous gesture.

Fabricated in high-polished fiber, the material removes visual hierarchy and reinforces the perception of liquid mass. The surface reflects its surroundings and its users, allowing the piece to merge with its context while remaining a strong sculptural presence.

The name Siamese introduces the idea of inseparable duality. Two volumes appear to coexist within one continuous form, exploring the notion of “the same but different” — two bodies, two directions, two ways of inhabiting, contained within a single spatial structure.

The piece operates simultaneously as sculpture and furniture. It does not impose a single posture or use. It allows sitting, reclining, rotating, or simply engaging with it as a sculptural object.

Siamese Bench proposes an object without hierarchy or frontality. A volume with no beginning and no end. A form existing in continuous state.