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Equora SpacesBeta Barcsay utca 7 · VII. district
Equora Spaces Barcsay utca 7 · VII. district

iii. Studio Space — Crafting

One object, made properly.

Distinctive, sustainable, and built to the use you actually described — the aesthetics and the function arrive together, or neither of them does.

Object Collaborations Impact presenT Brand Production Partnerships
Price your first step →

Single editions welcomed · By appointment

Prototype to partnership.

Steel, materials, and the patience to fail.

A working steel table in the calmest corner of the cellar. Tools at arm's length, light considered, the air still. A surface that doesn't ask the work to be finished before it's begun.

The Studio is small on purpose. Two or three people working at once is the right number — enough collaboration, none of the noise. The table is high, the surface honest. Tests, drafts, false starts and the half-finished pieces between them all live here without apology.

It is not a gallery. There is no audience while you work, no pressure to perform a result before one has emerged. It is also not a fabrication floor — when an idea is ready to scale, it moves next door, into the Fabric Space, where the machines wait for instructions the Studio has already worked out.

What the Studio holds is the middle — the slow, real part between a question and an object. It is where ceramic surface trials become surfaces. Where a memorial keepsake earns its weight before it earns its form. Where a brand's idea of a physical object turns into the first one that actually exists.

Some rooms make things. This one decides what to make.

Every object, the same filter — PEC²: Personal · Environmentally Friendly · Creative · Collaboration.

Three kinds of object — each with its own rhythm.

The Studio holds three connected but distinct kinds of work. Each has its own audience, its own pace, its own measure of success. The steel table is the same. The restraint is the same. What gets made — and for whom — changes everything.

i.
Art

Object Collaborations

Limited editions made with artists and partners we trust — UV-printed ceramics with Cserbik Rita, laser-engraved keepsakes, small-run textile pieces. Each one a conversation between concept and material, and each one bearing both names.

For Galleries, collectors, and curators who care more about the story than the catalogue. Editions of one to thirty.
ii.
Legacy

Impact presenT

Memorial objects, commemorative pieces, considered gifts that hold time — and that someone wants to be holding fifty years from now. From the hand-engraved Insight Token to bespoke legacy work for families, milestones, and quiet anniversaries.

For Families, foundations, and circles of friends marking something that matters. A physical legacy, made present.
iii.
Brand

Brand Production Partnerships

Long-term, considered partnerships for brands whose physical-object portfolio deserves more than a merch table. Designed in the Studio, produced in the Fabric Space, accountable to a single brief and a single relationship — not a marketplace.

For Brands that need objects with quiet authority. Beginning at a single piece. Scaling without losing the line.
Art Legacy Brand   — three audiences, one steel table
The cellar interior — Studio Space materials and surfaces
The slow part Tests, drafts, false starts, the half-finished pieces between them all.

An idea earns its form. Then it earns its run.

The Studio is where the line is found. The Fabric Space — next door — is where the line gets made, by hand and by machine, in single pieces or small series.

This is the relationship that makes the work possible. The Studio is unhurried, conceptual, allowed to fail. The Fabric Space is precise, calibrated, accountable to a brief. Most projects move through both — and the move is what makes the object worth its presence.

The flow
Studio
Concept, material trials, first prototype
Studio & Fabric
Refinement, second iteration, production-ready
Fabric
Edition, small series, partnership-scale runs

It begins with a prototype.

A short, low-commitment first iteration — so the object can be discussed in the hand, not on a slide. Most relationships with the Studio begin this way.

i.
A short note. Tell us what you're trying to make — an artistic object, a legacy piece, a brand object portfolio. A sketch, a reference, a half-formed sentence — all welcome.
ii.
A first conversation, at the steel table. Two hours, inside the price of the prototype. Material, scale, ambition, time — and whether the object is worth making at all.
iii.
A prototype trial. One physical iteration, kept small. You handle it, we adjust, the project either earns its next step or becomes a clean ending. Either is a fair outcome.
iv.
The path forward. A single edition, a small series, or a longer partnership — shaped to what the prototype showed. The price of every step is below, and what you paid for the prototype comes off it.

Price it yourself

Prefer to write? Tell us what you have in mind and we will work it out with you — the calculator is here for when you would rather not ask.

The first step has a price.

Not a proposal, not a meeting first. Choose how far the first step goes, say when you need it in your hand, and add what belongs alongside it — the total moves with you. Whatever you pay here counts towards the edition if the object goes ahead.


Before you commit

What the price includes.

In every package

  • The steel table and the time at it
  • Material for the trials themselves
  • Machine time next door in the Fabric Space
  • An honest reading of what the object needs

Charged separately

  • Material for a production run, at cost plus margin
  • A named artist, if the edition carries two names
  • Packaging, photography, written records
  • Anything the object turns out to need — quoted before it is made

What you pay, and when

  • Half to begin, half at handover
  • A trial or a prototype counts in full towards the edition
  • Six months to use that credit
  • A clean ending is a fair outcome — nothing further is owed

Where it goes next

  • Studio finds the line, Fabric makes the run
  • Production files leave with you either way
  • Editions of one are as welcome as editions of thirty
  • The per-piece cost is shown before the run begins

Would you make it with others?

A piece worth making in company, a method worth showing — propose it. Four questions decide whether it fits.

Bring us one →

Before you commit

Questions people ask first.

Is one object worth your time?
Yes. A single piece for one person is treated with the same seriousness as an edition — the scale we work at is the one where the other side has a name.
What if the prototype turns out wrong?
That is what it is for. A trial proves a material for less than an edition costs when it fails, and what you paid for the trial or the prototype comes off the edition if you order it within six months.
Who owns the design?
You do. Object Collaborations carry the artist’s name alongside ours, and nothing goes out under our name alone unless we made it alone.
How fast can it be?
Three to four weeks is the honest pace. Ten working days and 72 hours are both possible and both priced on the page — the surcharge is what it costs to move other work aside.
Can you make a hundred of them?
Small editions, yes. Beyond that we will tell you where production belongs, and help you take it there — an honest handover is worth more than a job we would do badly.

Still deciding

Or come and see the steel table.

The prices are above, so there is nothing to ask for. If you would rather see the trials and the half-finished pieces first, a visit takes 20–30 minutes.

Send a message

If something is happening today, a message reaches us faster than anything else.

A question before you book is best in writing — [email protected]. If you would rather call: +36 20 580 3000, Tuesday to Saturday, 10:00–22:00.

Price your first step

Every object passes the same filter: PEC². Four words that decide before the price does — work that fails them does not happen here, however well it pays.

P · PersonalE · EnvironmentalC · CreativeC² · Collaboration
Read the filter →