Collection: Sculptural Furniture

Furniture has a logic to it, and that logic begins with material selection. At Taho, the collection is assembled around a single design position: that a piece of premium furniture should be able to stand in a room without context and still make a complete visual argument.

The forms here are not styled. They are cast, hand-finished, and assembled with the same attention given to architectural objects. The inspirations are structural, temple plinths, stone steps, faceted architectural facades, and brutalist mass. 

The result is a body of furniture that works because of how it is built, not because of surface decoration applied to conceal how it is built.

Each piece in our sculptural furniture range is designed, cast, and finished in-house, which means the design intent at the start of a piece is the same intent present at its completion. Nothing is diluted across a supply chain.

Look at the base before you think about the surface it carries. In every Taho piece, the base is not a support mechanism. It is the primary gesture, the line the eye follows first and returns to last. The decision of how that base sits, how much of the floor it claims, how the mass distributes from its widest point to its narrowest, determines the visual argument the piece makes before anyone sits near it or sets anything on it.

Some pieces like maximalist furniture sit low and monolithic, their forms drawn from temple plinths, stone steps, and the faceted facades of architecture that was built to last rather than to impress. The weight in these pieces is deliberate. They are not heavy because they are large. They are heavy because the form demands it: a base with that silhouette and that material asks for mass, and the casting delivers it. 

Other pieces open beneath the top surface, lifting the stone clear of the base so that light passes through the negative space between them. The form appears to rest rather than stand. This distinction between a piece that plants itself and one that lifts is not a stylistic choice made after the fact. It is the original design decision from which everything else follows.

The stone tops are cut to let their grain lead. Travertine brings its open-pore structure and warm tonal shift from edge to centre. Marble carries mineral variation that moves across a slab in directions no quarry can predict, and no manufacturer can replicate. Each piece of sculptural furniture is individually selected. No two surfaces across the collection read quite the same, because no two slabs from the same quarry are identical, and the selection process at Taho treats that variation as the point rather than a quality control problem.

A table can be a surface, or it can be the reason a room is arranged the way it is. Taho's pieces are drawn as objects first and resolved as furniture second, which is why the formal logic holds whether a piece is placed in a composition with others or standing alone in an empty corner.

Most furniture at this scale is welded from cut sheet and tube, then finished over the joins to conceal them. The joins are still there. They show in the way the weight of the piece distributes unevenly, in the slight flex under pressure at contact points, in the way a sprayed surface begins to separate from the substrate beneath it once heat and humidity work at it over time. Taho casts instead, and the difference runs through everything the object is, not only how it looks.

A cast form is poured as a single body. The metal distributes through it as a continuous mass rather than a set of fabricated parts held together at their edges. The surface that emerges from the mould is not a substrate waiting to be covered. It is the finished surface, carrying the precise geometry of the form it was poured into. There is no seam to disguise, no join that loosens under daily use, no coating substituting for a resolved finish. This is particularly consequential in geometric furniture, where the integrity of a faceted edge or a clean angular transition depends entirely on whether the form was cast as one body or assembled from parts. The edges arrive at their conclusions as the designer drew them, not as a fabricator was able to approximate them.

That process rests on over three decades of brass and metal work, supplying design houses and architectural commissions across regions. The technical knowledge required to cast at this level of precision, to control a mould's behaviour under heat, to finish a surface by hand without losing the geometry beneath it, is not transferred from a brand book. It accumulates across decades of actual making. Taho was built on that foundation. 

This approach carries across the entire collection, from end tables, side tables, console tables, and nesting tables to table centerpieces, flower vases, and decorative objects. Across categories, casting allows proportion, texture, and material character to emerge directly from the form itself, preserving the integrity of the original design.

The result is architectural furniture in the most literal sense: pieces whose formal logic holds under the same scrutiny as the buildings and interiors they are placed within. Design, prototyping, casting, and finishing all happen within the same studio, which is the only arrangement that allows the standard at which a piece was drawn to be the standard at which it leaves.

Taho grew from a studio rather than a catalogue, and that distinction shapes every piece in the luxury furniture collection. The forms here were not developed by a product team and sent to a factory for production. 

They were drawn, prototyped, cast, and finished in-house by a studio with more than thirty years of metal heritage and an established track record supplying design houses, hospitality groups, and architectural practices internationally.

Buying from Taho is buying authorship. The proportions of a side table, the way a brass base is finished at its edges, the specific veining selected in a travertine top, these are decisions made by the people who cast the piece, not inherited from a generic specification. No two pieces leave in identical condition because no two pieces are identical. That is not a quality control variable. That is the point.

We at Taho work mostly in cast brass and natural stone, and choose both for how they behave over the years, not only for how they read on the day of delivery.

Brass is dense and slow to tire. A base that reads crisp and warm at first softens and deepens with use, settling into a quieter tone as it develops contact patina. The studio finishes in patina rather than high polish for exactly this reason. A polished surface has nowhere to go but duller. 

A patinated one absorbs the marks of a room and makes them part of itself. The ageing is the design, not a fault in it. It is worth noting honestly that brass shows a fingerprint in the early months before the patina establishes, and lacquered brass finishes slow but do not eliminate this process entirely.

Stone is selected for variation rather than against it. Travertine brings warmth and its characteristic open grain to a surface; marble carries mineral variation that shifts across a slab. No two tops are the same, which is part of what it means to own one. Natural stone is porous and will take a mark from anything acidic left to sit on it.

A coaster under wine, coffee, or citrus, and a soft cloth rather than an abrasive cleaner, are the only real conditions it asks for. Looked after simply, both materials outlast the room they were bought for, and look better for the years than they did at the start.

Give a sculptural piece room to be read. Furniture placed too tightly against the seating it serves loses the visual gap that allows the form to register fully. Whether selecting sculptural furniture for living room settings or a more intimate arrangement elsewhere in the home, proportion shapes how the piece is experienced.

As a rule of proportion, a coffee table sits best at roughly two-thirds the length of the sofa beside it and close to the height of the seat cushion, so a drink is within reach without anyone leaning for it. Leave enough clearance around the piece for a relaxed path through, and the table will anchor the seating without closing the room.

In larger rooms with architectural volume, luxury art furniture with monolithic silhouettes holds expansive spaces without competing with them. Two smaller pieces will often carry more grace than one heavy slab, which is why several pieces in this collection are designed to be read in pairs. 

Stone side tables and marble surfaces perform particularly well in areas with generous natural light. Travertine and marble reveal different qualities from morning to evening, and that shifting character forms part of their appeal. The same principle applies to sculptural furniture for bedroom interiors, where changing light across the day allows material and texture to reveal themselves gradually.

Surface arrangement asks for restraint. One considered object, a low tray or a single vase from the Taho decorative objects range, says more than a clustered surface and keeps the form of the piece underneath it visible. When the table is the argument, it is better to let it make it.

Taho works closely with architects, interior designers, workplace consultants, and hospitality teams on projects across a range of scales.

Because design development, casting, and finishing remain closely connected to the studio, pieces can often be adapted to suit specific project requirements. Scale, material combinations, and finish selections can be explored in response to the needs of a particular interior.

For reception environments, executive lounges, corporate headquarters, hospitality projects, and design-led commercial spaces, this level of control allows furniture to align more precisely with the architecture around it.

Our Trade Program supports professionals sourcing multiple pieces, specifying materials for larger projects, or developing bespoke solutions for unique environments.