Silent Ripple
Silent Ripple
Even horizontal lines with the quiet regularity of ripples on still water. When lit, the shadow spreads outward in soft bands — calm, and slow to leave.
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A thousand years of white porcelain, given a future form.
Vessels printed layer by layer from Dehua porcelain clay, fired and finished by hand in Fujian, China. Each piece is a vase by day and a lamp by night.
01 — Collection
Six forms, one material
Whispering Clay
Whispering Clay
Irregular, handmade in feel — as though the clay itself were speaking. The most organic of the six: fluid, soft, unforced.
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Lattice Glow
Lattice Glow
A three-dimensional, regular lattice. The shadow it throws is the point — closer to light through a paper screen than to a lamp.
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Flow Veil
Flow Veil
A smooth run of water held in porcelain — an ordered form that wears its light like a veil. Soft, and easy to place in a room.
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Golden Drop
Golden Drop
Vertical flow, soft curves, a silhouette that reads from across the room. Lit, it looks like a single drop of light.
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Twilight Flame
Twilight Flame
The most dynamic of the six, with the strongest light contrast. An art piece that holds a surface on its own; lit, flame-shaped shadows appear.
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02 — Material
Dehua, Fujian — a thousand years of white porcelain
The Dehua kilns in Fujian, China have produced white porcelain for more than a thousand years. Exported along the maritime Silk Road from the Song dynasty onward, Dehua ware reached Europe under the name that still defines it: Blanc de Chine — the white of China.
- Translucent, warm-toned whiteness
- Material refined over centuries of firing
- Holds fine detail at high temperature
03 — Technology
Printed in clay, not plastic
Cerapira pieces are made by paste extrusion: real Dehua porcelain clay is pushed through a nozzle and laid down in a continuous coil, layer over layer, following a path generated from a 3D model. Nothing is cast, nothing is glued. What comes off the printer is already the finished form — it then goes through drying, hand trimming, firing and inspection exactly as any other piece of Dehua porcelain would.
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01
Geometry a mould cannot release
Continuous spirals, undercuts, lattices and walls that vary in thickness from top to bottom. Slip casting needs a form that can leave the mould; printing does not.
02
Precision, repeated
The same file produces the same wall, the same rhythm of lines, the same light pattern — across the first piece and the five-hundredth.
03
No tooling, no minimum mould cost
A new shape costs a new file, not a new plaster mould. That is what makes short runs, seasonal variants and one-off commissions economically possible.
04
Still finished by hand
Trimming, firing and inspection remain human work. Clay shrinks, the kiln has its own opinion — no two pieces come out identical, and we do not pretend otherwise.
04 — Bespoke / B2B
Your form, our clay
Because nothing is cast in a mould, a new product costs a new file rather than new tooling. That changes what is worth making: fifty pieces for a hotel lobby, a seasonal variant for a lighting brand, a single commission for an artist — all of it is on the table.
- Lighting & homeware brands (OEM · ODM)
- Hotels, restaurants and interior projects
- Corporate gifts and commemorative editions
- Retailers building a private label