Our Materials.

Galvanised iron sheet, run through a fibre laser to cut the silhouette to fractions of a millimetre, then welded by hand. The thinness of the cut is what gives the spoiler shelves their crisp profile — anything thicker reads as decoration; the GI gauge we run reads as engineering.

The same stock goes into the larger furniture pieces where structural strength matters more than the silhouette. Either way, the steel sets the bones; the powder coat sets the finish.

Solvent-free, dry-application coating bonded to the steel under heat. The result is a uniform matte that's harder to mark than wet paint, doesn't drip or pool at corners, and ages without fading. Powder coating is why steel pieces from a year ago still look like they shipped yesterday.

Used wherever the brushed-grain finish carries more weight than a coloured surface. The lamps and table-leg structures are CNC-cut from solid stainless, then brushed by hand for grain direction. Corrosion-resistant, low-maintenance, and the closest thing to a forever-finish in the catalogue.

Optically clear cast acrylic, cut and polished into stacks of up to ten layers. Each layer holds a slice of the deconstructed timepiece — the gap between layers is what creates the genuine depth you see when you walk past the piece, rather than the flat printed-on-glass effect that other brands use.

The acrylic is the work. Substitute it with a cheaper grade and the layers cloud, the edges pick up scuffs, and the optical effect is gone within a year. We don't substitute it.

Same base material, different surface. The matte side cuts glare, hides fingerprints, and reads quieter against the layered clarity of the inner stack. Used as a backing or a frame on references where a fully glossy finish would compete with the watch art itself.

Engineered grade of PLA — lighter than the steel pieces, stronger than standard 3D-print plastic, and dimensionally stable across the temperature range you'd encounter in a normal interior. PLA+ lets us produce intricate racing-livery silhouettes that would be uneconomical to laser-cut from steel.

The vinyl skin is what carries the colour; the PLA+ is what carries the shape.

Where a piece needs to be sculpted rather than layered, we move from acrylic to cast resin. Mould-poured, cured, demoulded, and curated. The deconstructed iPhone first-generation reference and the Chrono Resin sculpture both use this process — the resin holds detail at a fraction of a millimetre.

Four to five times stronger than the standard glass on most furniture you've come across. Heat-treated to fail safely — if it ever does break, it crumbles into rounded pieces rather than long shards. The 10mm thickness is the gauge that holds optical clarity without picking up the green cast you get on cheaper glass.

Cast vinyl with a UV-stable, fade-resistant pigment layer — the kind used on motorsport bodywork rather than on bedroom-wall stickers. Every decal is laid by hand, registered to the substrate to fractions of a millimetre, and pressed for full adhesion. Hand-application is the only way to land the registration we want, and it's the reason every ApexGrid piece looks like it came off a livery shop, not a factory line.

Every freestanding piece ships with felt feet pre-fitted to the contact points. They're the smallest detail on the spec sheet and the one that protects the surface the piece sits on for the rest of its life — not an afterthought.