6:AM turns the glass stool into a study of colour and repetition

In the unfinished interior of Paris Internationale, the colours of Batch sit close to the floor. Clear, amber, red and darker glass volumes gather beneath the windows, their rippled faces catching the light against exposed concrete. The arrangement gives each object space to be read on its own while allowing the group to register as a family: the same compact outline, altered by colour and the movement held in its surface.

Presented by 6:AM in the fair’s Special Projects programme in October 2026, Batch moves between furniture and installation. Each hand-blown glass element is a cube measuring 43 × 43 × 43 cm, designed to serve as a stool or side table. Its scale is domestic, but the consistency of the module makes it possible to think beyond the individual piece.

A form made through the mould

Founded in 2018 by Edoardo Pandolfo and Francesco Palù, the Milan-based studio draws on the glassmaking traditions of Murano. Batch was originally developed in collaboration with Bottega Veneta for its Summer 2026 show, before a public presentation during Milan Design Week 2026. The collection brings that research into a repeatable object whose material resists perfect uniformity.

The glass is blown using a cast-iron mould engraved with CNC technology. Its geometry recalls the early, rough-hewn stages of marble carving: recesses articulate the sides of the cube, giving definition to the supports beneath its upper surface. The reference to subtraction concerns the shape established by the mould, rather than suggesting that the finished glass is carved like stone.

Against this controlled geometry, blowing leaves a softer record. Edges swell, surfaces undulate and reflections bend across the volume. The cube remains recognisable, yet it never reads as an entirely regular solid. In the closer photographs, the top surface appears almost liquid, while the recessed sides give the light another depth to travel through.

Colour within the volume

The ten colourways extend from clear Cristallo to the opaque presence of Bianco and the dark body of Nero, alongside Terra, Rubino, Verde Chiaro, Verde Antico, Ambra Scuro, Acciaio and Rosso. Seen together, they make the relationship between colour and transparency particularly evident. Some pieces admit the room behind them; others hold the eye at the surface or concentrate reflections along their edges.

The name Batch comes from the glassmaker’s mixture of raw ingredients before it enters the furnace. It identifies the collection with a point of transformation, when separate components become one material. That idea carries into the objects themselves: a defined form gives consistency to the series, while the behaviour of hot glass remains visible in every finished piece.

From a stool to a surface

The studio’s press material describes a larger installation in which 126 modules form a vertical field supported by a steel structure. Transparent elements establish a repeated grid, interrupted by coloured pieces at its centre. At this scale, an object made to support the body becomes part of a surface through which light and surrounding space can be seen.

The Paris photographs record a different arrangement, with individual stools distributed across the floor rather than stacked into that wall. The distinction reveals the range of the project without requiring the object to change: Batch can remain a single useful volume, form a loose gathering, or contribute to an architectural assembly. Repetition gives it structure; the irregularity of the glass keeps that structure visually alive.

Batch was presented at Paris Internationale, 187–189 Quai de Valmy, Paris, from 20 to 24 October 2026, with a preview on 19 October.

Project Credits

Project: Batch
Design: Edoardo Pandolfo and Francesco Palù / 6:AM / @6am_glass
Original collaboration: Bottega Veneta, Summer 2026 show
Material: Hand-blown glass
Dimensions: 43 × 43 × 43 cm per module
Presentation: Paris Internationale 2026, Special Projects
Venue: 187–189 Quai de Valmy, Paris, France
Public dates: 20–24 October 2026
Exhibition photography: Holly Fogg
Still-life photography: Melania Dalle Grave / DSL Studio / @dsl__studio
Press materials: Barbati Bertolissi Studio / @barbatibertolissi