Bronze Furniture Design · 2025
Scenic Table
- A' Design Award 2025 Bronze Winner in Furniture Design
- Awarded April 15, 2025
- CLIENT: Tensai Furniture
- Estimated Number of Design Views: 14,514
- Verification code F3FAB6A8D4 · Verify this award
About Scenic Table
The Scenic Table stands out with its adaptable leg design, offering versatile attachment options for various environments, from commercial to domestic. Its plastic tabletop features multiple holes for different leg positions, concealing technical areas while ensuring durability, safety, and ergonomics. Inspired by the Calla lily, the leg can take on two distinct forms, maintaining consistent formal language and produced using the same mold for efficiency. The table includes interchangeable parts, balancing aesthetics and functionality, and combines design innovation with practical versatility
Within the evolving discourse surrounding sustainable domestic furnishing and accessible contemporary design, this dining table ensemble articulates a compelling synthesis of material honesty, structural transparency, and formal restraint that positions it within a rich lineage extending from early modernist rationalism through postwar Scandinavian humanism to present-day ecological consciousness in furniture production. The design demonstrates particular compositional achievement in its resolution of the perennial tension between visual lightness and structural integrity, deploying slender tapering legs and exposed diagonal bracing members that transform engineering necessity into aesthetic virtue, a strategy recalling the skeletal furniture experiments of mid-twentieth-century innovators who sought to dematerialize mass while maintaining functional robustness through intelligent geometry and material optimization. The chromatic decision to render the structural framework in a distinctive sage green tonality represents a notable departure from the naturalized wood-tone totality that characterizes much contemporary timber furniture, introducing an element of assertive color that activates spatial awareness and establishes hierarchical reading between the passive horizontal work surface and the active vertical supporting structure, a strategy that may reference vernacular painted furniture traditions while simultaneously aligning with current trends toward chromatic boldness in domestic interiors. The diagonal bracing configuration beneath the tabletop, rather than concealing structural logic within an opaque apron or pedestal, celebrates the material distribution required for cantilever resistance and lateral stability, creating a dynamic visual subtext of forces in balance that rewards sustained observation and invites contemplation of how furniture stands, supports, and endures. The inclusion of ceramic service vessels atop the table introduces narrative suggestion of daily ritual—the morning coffee moment, the afternoon tea pause—grounding the design within lived experience rather than presentational abstraction, while the partial appearance of a companion chair and entering human hand further animate the scene with implications of social gathering, hospitality, and the fundamental human acts of sitting together and sharing sustenance. The material palette itself carries symbolic weight: the pale blonde timber evokes northern forests, craft traditions rooted in resource stewardship, and the aesthetic of natural materials minimally processed to retain inherent beauty, while the verdant green structural elements suggest vitality, growth, and a design ethos that honors ecological relationships, the combination positioning this work within conversations about responsible material sourcing, longevity-oriented construction, and furniture as enduring participant in domestic life rather than disposable commodity. How might this table, through its visible structural logic and celebration of essential elements, invite users to develop more conscious relationships with the objects that furnish their daily lives, recognizing furniture not as mere backdrop but as thoughtful cultural artifact embodying values, choices, and aspirations about how we wish to inhabit shared space?
Press Kit
- Unique Properties
- The Scenic Table features adaptable leg, central to its originality. Its design offers versatile attachment options for spaces from HoReCa to homes. The plastic tabletop allows multiple leg positions, concealing technical areas. Compatible with various chairs, it balances safety, ergonomics, and durability. Its versatility, combined with a range of colors and configurations, adds aesthetic and functional value to any space, maintains the consistency of its formal language.
- Dimensions & Packaging
- The table leg offers two distinct designs: a masculine, fully closed version with bag support for practicality, and a more open, feminine, delicate, and customizable version. Both are produced using the same mold with inserts, optimizing sustainability and industrial efficiency. This innovation maintains consistent texture, color, and size across both versions. Assembled table 738mm x (450/700/800mm or more), CLASSICA: 720mm x 175mm x 175mm, CURVE: 807mm x 175mm x 175mm.
- Tags
- Furniture, table, design, contract, plastic furniture, plastic injection, industrial design, modern design
- Production Technology
- Driven by research into company and market needs, the project was a collaboration between multiple departments, establishing guidelines for the designer with process inspired by Gui Bonsiepe. Initial sketches were modeled digitally. Plastic injection molding was chosen for precision and durability, using polypropylene with fiber. The process involved feedback loops, 3D prototypes, and tests to refine the design. The table was finalized with technical adjustments, ready for mass production.
- Design Challenge
- The Scenic Table project addresses technical, corporate, aesthetic, and visionary challenges. It uses interchangeable parts to enhance aesthetics and user experience, with precise connections managed through material shrinkage and injection molding. The project demonstrates design’s role alongside engineering and marketing, despite limited recognition. It balances designer vision and production, promoting bold, risk-taking concepts within corporate, consolidating design's role in the industry.
- Project Duration
- Design development is fully underway in March 16, 2023. News publicly released at Spoga Gafa in Cologne 2024 (June 16, 2024) - Germany. The final demonstration unit will begin operation and be showcased at EquipHotel Paris 2024 – France (November 3, 2024). The first mass production is scheduled for December 2024.
- Operation Flow
- The Scenic Table excels in versatility and application, featuring a range of accessories that inspire creative professional solutions. It can be assembled from individual sets or supplied in bulk for large spaces. Customizable components allow for personalized solutions and easy part replacement, directly contributing to its tosustainability. The table’s design sets it apart from competitors, offering a unique, elegant way to transform spaces, meeting commercial sector needs effectively.
- Research
- Focusing on the leg as its original element, the Scenic Table design is inspired by the Calla lily. With interchangeable parts and plastic injection as its main technology, it incorporates innovation and boldness, key traits of design exploration. The project allows for multiple creative configurations, maintaining its envisioned language and ensuring formal and conceptual alignment. It serves as applied research in organizations and an educational example within European design's strategic role.
- Inspiration
- Expanding the product portfolio and enhance design quality, the Scenic Table project was created as a versatile solution concerning competitive references. Centered on a leg design inspired by the Calla lily, it blends elegance with mechanical efficiency. Using plastic injection molds, the table features interchangeable components, pushing technical boundaries. Developed with client feedback and rigorous testing, it balances corporate goals with innovation, ready for global market presentation.
- Image Credits
- Image #1,#2, #4, #5: Cristiano Ribeiro
Image #3: Designer Marco Balsinha, 2024 - Patents
- Copyright: Tensai, 2024
Colors of Scenic Table
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Design Interview about Scenic Table
Scenic Table is a project developed in response to market needs and aligned with the technological capabilities of Tensai Furniture, particularly its expertise in plastic injection molding. The design was conceived to address specific demands identified by the company within its commercial and industrial strategy.
The project is inspired by versatility, serving as the foundation for a modular and adaptive approach to furniture design. What is presented here is the initial stage of a broader concept, with further developments and expansions planned for the future.
The project is inspired by versatility, serving as the foundation for a modular and adaptive approach to furniture design. What is presented here is the initial stage of a broader concept, with further developments and expansions planned for the future.
The main focus of this project was to introduce and promote a design-driven mindset within an engineering-oriented company. Scenic Table marks an important milestone — it represents the company’s first design award, signalling a shift towards recognising the strategic value of design within its industrial structure.
Beyond the object itself, the project aims to communicate a broader and more dynamic design vision that is closely integrated with the company’s industrial platform. It serves as both a tangible product and a vehicle for cultural transformation, helping to embed design thinking into the company’s processes and future developments.
Beyond the object itself, the project aims to communicate a broader and more dynamic design vision that is closely integrated with the company’s industrial platform. It serves as both a tangible product and a vehicle for cultural transformation, helping to embed design thinking into the company’s processes and future developments.
This project is intended to serve as proof that design holds real value and can be validated by external institutions and professional juries. Winning this award reinforces that belief and provides a platform to continue advocating for design within the company.
Looking ahead, the aim is to use Scenic Table as a testing ground for developing new products that embrace greater creative and technological risk. It will support experimentation both in design expression and in technical precision — paving the way for future collections that are more ambitious and strategically positioned.
Looking ahead, the aim is to use Scenic Table as a testing ground for developing new products that embrace greater creative and technological risk. It will support experimentation both in design expression and in technical precision — paving the way for future collections that are more ambitious and strategically positioned.
The concept originated from a commercial need for a versatile table. The initial design and conceptual development phase lasted approximately four months. This was followed by physical testing and prototyping, leading to the design of injection molds and the start of industrialization.
The full development process is currently ongoing, with the total duration so far reaching one year — marking the transition from concept to industrial implementation.
The full development process is currently ongoing, with the total duration so far reaching one year — marking the transition from concept to industrial implementation.
This project was developed from the outset with a clearly defined brief, yet it allowed for creative freedom in shaping the form, user experience, and functional dynamics. While the freedom was not absolute, that constraint itself posed one of the most stimulating challenges for a designer: not to subvert the system, but to reveal that viable alternatives can emerge through creativity.
More than a response to a brief, the project also served as an opportunity to reflect on and revisit the internal product development processes — a core motivation behind submitting it to this competition.
More than a response to a brief, the project also served as an opportunity to reflect on and revisit the internal product development processes — a core motivation behind submitting it to this competition.
This design was developed in-house and is fully integrated within our own industrial production system. There are no plans to outsource or license production, as it is intended to be manufactured internally under the company’s brand and quality standards.
As an in-house designer at Tensai Indústria, creating, developing, and finding innovative solutions through creativity is a core part of my role as an industrial designer.
While design has always played a part in the company’s operations, it is only in recent years that projects have gained more autonomy and visibility. Scenic Table represents a key milestone in asserting the value of creativity and design within the company’s industrial context.
While design has always played a part in the company’s operations, it is only in recent years that projects have gained more autonomy and visibility. Scenic Table represents a key milestone in asserting the value of creativity and design within the company’s industrial context.
While the project is inherently multidisciplinary, it was not directly shaped by the influence of external designs or designers. However, market and competitor research played a key role — both in identifying commercial opportunities and in ensuring originality by avoiding unintentional replication.
The development process involved close collaboration across internal departments — from design to commercial, logistics, production, and marketing. This multidisciplinary approach was not redundant but rather instrumental in fostering a shared understanding and promoting a culture of integrated design within the company. Despite being developed by a relatively small team, the project benefited from strong information synergies that contributed to a focused and assertive design outcome.
The development process involved close collaboration across internal departments — from design to commercial, logistics, production, and marketing. This multidisciplinary approach was not redundant but rather instrumental in fostering a shared understanding and promoting a culture of integrated design within the company. Despite being developed by a relatively small team, the project benefited from strong information synergies that contributed to a focused and assertive design outcome.
This design is primarily intended for the contract and HoReCa (Hotel, Restaurant, and Catering) sectors, where durability, versatility, and ease of maintenance are key requirements.
The distinctive design of the split leg — which appears to open— evokes both fragility and elegance. It conveys the image of a refined, slender leg that visually lifts and lightens the tabletop, creating a sense of levitation.
This apparent fragility stands in deliberate contrast to the prevailing market tendency to equate robustness with durability. By challenging this assumption, Scenic introduces a unique aesthetic and structural language that redefines how elegance and strength can coexist in contemporary furniture design.
This apparent fragility stands in deliberate contrast to the prevailing market tendency to equate robustness with durability. By challenging this assumption, Scenic introduces a unique aesthetic and structural language that redefines how elegance and strength can coexist in contemporary furniture design.
The name Scenic was inspired by the multiplicity of configurations and scenarios the table can offer, depending on the user's choice. From a standard dining table in various shapes to a high table or even a continuous bench-style arrangement, the design adapts to diverse contexts and functions.
Scenic evokes the idea of staged or envisioned settings — imagined scenes that take form through different combinations of height, structure, and color. It reflects the concept of a modular and versatile product capable of adapting to various spatial narratives.
Scenic evokes the idea of staged or envisioned settings — imagined scenes that take form through different combinations of height, structure, and color. It reflects the concept of a modular and versatile product capable of adapting to various spatial narratives.
The primary tool used in the early conceptual phase was the designer’s most fundamental language: hand drawing. Sketching played a key role as an iterative tool for exploring and refining ideas.
Once the concept was stabilized, the development progressed using specialized 3D modeling software to ensure technical precision and facilitate communication with engineering and production teams.
Once the concept was stabilized, the development progressed using specialized 3D modeling software to ensure technical precision and facilitate communication with engineering and production teams.
The most unique aspect of this design is its visual sense of fragility — which is, in fact, only apparent. This refined aesthetic is achieved using a single material: polypropylene (PP).
By manipulating form and proportion, the design creates an elegant, lightweight look while maintaining structural integrity and strength, demonstrating how thoughtful design can elevate a common industrial material.
By manipulating form and proportion, the design creates an elegant, lightweight look while maintaining structural integrity and strength, demonstrating how thoughtful design can elevate a common industrial material.
Yes. The project was developed in collaboration with several departments, each contributing their own specialized expertise. From commercial strategy and logistics to production and mold engineering, the design process was enriched by inputs from across the organization.
This cross-disciplinary approach ensured that the final product was not only aesthetically and functionally refined, but also aligned with industrial feasibility and market expectations.
This cross-disciplinary approach ensured that the final product was not only aesthetically and functionally refined, but also aligned with industrial feasibility and market expectations.
The technology used for production was not a choice but rather a key constraint — it defined the limits within which the design had to operate. This imposed a set of technical boundaries, particularly due to the specificities of plastic injection molding.
However, one of the most stimulating aspects of the project was precisely the challenge of leveraging existing technology through design. The goal was to use design not just as a response to technical limitations, but as a driver for new approaches and enhanced product potential within those limits.
However, one of the most stimulating aspects of the project was precisely the challenge of leveraging existing technology through design. The goal was to use design not just as a response to technical limitations, but as a driver for new approaches and enhanced product potential within those limits.
The design process was initiated by identifying commercial needs to complement the existing product range. Initial competitor research, led by the marketing department, quickly evolved into a more detailed analysis — including technology, user experience, and adaptability — which was further explored through an iterative design process.
While the project did not rely on formal statistical research, quantitative data was used for benchmarking, especially in comparing pricing and component weight across similar products. Beyond this analytical layer, the creative development was inspired by broader disciplines and guided by Tensai’s own product portfolio and manufacturing capabilities.
While the project did not rely on formal statistical research, quantitative data was used for benchmarking, especially in comparing pricing and component weight across similar products. Beyond this analytical layer, the creative development was inspired by broader disciplines and guided by Tensai’s own product portfolio and manufacturing capabilities.
One of the main challenges was reconciling the iterative nature of the design process with the company’s traditionally engineering-driven culture. Design, by nature, requires time for exploration, testing, and refinement — a pace that often contrasted with established expectations and workflows.
Technological constraints were also a factor, as was the occasional resistance to embracing unfamiliar or higher-risk approaches. Much of the effort was devoted to negotiating a shared understanding between design and business strategy, fostering openness to new perspectives and the long-term value of innovation.
Technological constraints were also a factor, as was the occasional resistance to embracing unfamiliar or higher-risk approaches. Much of the effort was devoted to negotiating a shared understanding between design and business strategy, fostering openness to new perspectives and the long-term value of innovation.
Submitting the Scenic Table to an international design competition is part of a broader plan to consolidate design as a core value within the company’s culture. Recognition by external institutions — in this case, the A’ Design Award — serves as both validation and motivation, reinforcing the strategic role of design in the company’s future direction.
Taking on creative risk brings responsibility — a responsibility that must be shared across disciplines. Throughout the project, internal negotiations centered around design rather than engineering or marketing, leading to new insights into how innovation can emerge from within an organization.
This experience deepened my understanding of the strategic potential of design and its role as a catalyst for change. Following the production of the first rotational mold series, new opportunities for both technical and conceptual improvement have been identified. These insights will inform and enrich future projects currently underway.
This experience deepened my understanding of the strategic potential of design and its role as a catalyst for change. Following the production of the first rotational mold series, new opportunities for both technical and conceptual improvement have been identified. These insights will inform and enrich future projects currently underway.
As a PhD student in Design, while simultaneously working as an in-house designer, I see great value in using external institutions to validate ideas and concepts that carry a high level of innovation. This project represents not only a strategic commercial initiative, but also a relevant academic case study — bridging design research with industrial practice and demonstrating the broader impact of design beyond the boundaries of the company.