A small studio working in cork and concrete.

We work from Almada, on the southern bank of the Tagus, opposite Lisbon. The studio is small. The bench is wooden. The moulds are made in-house, the pours are measured by hand, each piece signed before it leaves.

Almada has been a working place since the Phoenicians fired clay here for trade with the Mediterranean. We are part of that long, quiet line — different materials, the same craft.

Every piece begins as a drawing, then a clay master, then a mould. The corkcrete is mixed in small batches, poured by hand, cured slowly. Cork rises naturally to the surface as the mineral matrix sets — the visible texture is the material organising itself, not an applied finish.

We make in editions — small numbered runs, twenty or thirty pieces. When an edition closes, it closes. Each piece carries its number and its place in the series, signed and dated.

Cork comes from Montijo, across the estuary. Concrete from a local supplier. The recipe is held inside the studio — a mineral binder, two grades of granulate, a small percentage of fibre and latex for tensile strength. The result is heavier than cork, lighter than concrete, and behaves like neither.

Each object is sealed for use with planted herbs, with water, with small flames. The interior is treated; the exterior is left honest.