RADIC´S FIBERGLASS PAVILION MEETS KILZI´S MUSH LAMP COLLECTION

With his recent Pritzker Prize, Smiljan Radic joins a select group of architects who have defined the architectural language of our continent: Luis Barragán (Mexico, 1980), Oscar Niemeyer (Brazil, 1988), Paulo Mendes da Rocha (Brazil, 2006), and his compatriot Alejandro Aravena (Chile, 2016). For us at Holder, Radic's induction into this lineage is a celebration of a specific Latin American identity, one manifested through radical material experimentation and the sophistication of the raw.



Radic's architecture is not defined by traditional solidity, but by a technical speculation that challenges the boundaries of construction. From the use of cyclopean rocks supporting ethereal structures to the deployment of rugged concrete, textiles, and inflatables, his work is a catalog of textures that question gravity itself. However, it is in his Serpentine Gallery Pavilion (2014) where this search reaches a luminous synthesis. Constructed from glass reinforced plastic (GRP), Radic achieved a structure of apparent fragility and unexpected rigidity. Through minimal thickness, the pavilion ceased to be a building and became an inhabitable lamp, an architectural object where light constructs form through the translucent skin of the composite fiberglass.



This dialogue between architectural scale and object design finds a perfect echo in the Mush Lamp Collection by Jorge Kilzi (Venezuelan-born, Spanish-Syrian heritage). Through a meticulous artisanal process, the Mush Lamp Collection replicates the same exercise in material honesty seen at the Serpentine, utilizing fiberglass as its primary soul. The material is manipulated in layers so thin that the object seems suspended in a state of permanent vulnerability. Much like Radic's work, the uncommon thickness here generates a translucency that reveals the internal weave, transforming an industrial resource into a piece of organic and tactile expression. Both works, though distant in scale, are bound by the same will toward lightness and the use of the same material foundation. They share a production ethos that rescues the human gesture, a fragile construction that finds strength in its geometry, and an aesthetic that celebrates imperfection. At Holder, we believe this is the true vanguard of our region: a design language that avoids the sterile neatness of the machine, opting instead for contemporary materials to narrate the complexity, touch, and light of our own territory.



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The Mush Collection is 100% handcrafted, blending soft and strong materials in perfect tension.

Layered fiberglass and organic fibers, with deliberate gaps in the casting, create empty spaces that naturally separate the layers, revealing the piece's organic inspiration and perfect imperfection. Every Mush Lamp reflects the designer's commitment to manual processes, local craftsmanship, and community opportunity.