Flora Manon Lechner | Designer
- Onur Çoban
- Jun 14
- 5 min read
Turbine Axis, Chandelier (2025)
From Vienna to Eindhoven, Flora Manon Lechner crafts her own visual language by moving between function and fantasy, craft and industry, fragmentation and unity. With an interdisciplinary approach, she turns objects into small stages—spaces charged with potential action and meaning. For Flora, a screw or a seam is never just a structural detail; it’s a conscious aesthetic decision, a part of the story. In this conversation with Mercado, we delve into her world of analogue processes, poetic construction methods, and a fascination with the act of “puzzling”—breaking things down to recompose them anew.
Interview: Onur Çoban
Who is Flora Manon Lechner? Can you briefly tell us about yourself?
I am Flora Manon Lechner, a designer originally from Vienna, Austria, and now living in the Netherlands. My development in the field of design started with my studies at the University of Applied Arts in Vienna that I completed in 2018. I then enrolled for a Master´s degree at the Design Academy Eindhoven, which I completed in 2020. Since establishing my studio in 2021, I have been working on a mix of independent and commissioned projects, each offering the chance to explore new creative territories.
My work often transcends the boundaries between disciplines, merging design with sculptural elements and occasionally delving into moving image. I like to think of my creations as small stages or spaces for potential action, exploring themes such as activation and stillness. For me, design is as much about storytelling and experimentation as it is about materiality. By exploring the boundaries of production methods and aesthetics, I aim to challenge traditional notions of beauty, craft and optimization and open up new perspectives on these concepts.
How would you describe your design philosophy?
My design philosophy focuses on exploring the fluid boundaries between functionality and artistic expression, moving between the poles of artisanal and industrial production. I see design as a medium that questions conventions and opens up new perspectives.
Collaboration with Zan Kobal, Made In Program (2025)
"A recurring theme in my work is the questioning of contrasts - hard and soft, structured and organic, minimalist and ornate. These contrasts often intersect with cultural interpretations of aesthetics as they are associated with ‘feminine’ and ‘masculine’ qualities. By creating objects that defy or merge such categorizations, I aim to provoke thought about how we ascribe meaning to materials, shapes and colors."
This investigation also extends to how objects interact with context. Objects are not static; their meaning changes according to their environment or the narrative in which they are embedded, revealing the transformative power of design to challenge fixed meanings.
A key design element of my work is the use of fragmentation and recomposition - a process in which surfaces are broken down into fragments and reassembled into configurations. This approach draws attention to the relationships between the individual elements and the way in which meaning is created through their composition. It reflects my fascination with how individual elements can come together to form something larger.
Stamen Light (2025)
What factors do you consider when researching materials or choosing materials for your new projects? Can you tell us a little bit about the material choices in your work?
First and foremost, I consider the requirements of the form, its intended purpose, the concept behind the idea, and the quality of the design or the project demands.
Since I often initiate my projects independently, I follow a craftsmanship-based methodology that typically moves from flat materials to volume. My material choices usually include metal (aluminum or steel), textile, or leather, as each offers different properties of malleability and provides ample room for manipulation—whether through surface treatment or compositional techniques. Practical considerations also influence my choices, such as the machinery available for processing and the financial framework of the project.
Overall, I am curious to experiment with new materials and techniques, trying to constantly push myself into new territories to discover diverse approaches to making.
Collaboration with Tim Teven, TF V01/05 Ultra Dust (2023)
Can you tell us a bit about the design and production process in your work? Are you closer to analogue or digital techniques?
My approach is predominantly analog, with digital tools serving more as practical aids and not influencing my design philosophy. Pattern making, whether for sheet metal, textiles or leather, forms a basis for my work. Through this process I explore ways of transforming flat surfaces into dynamic volumes. I usually start with hand drawings, which I develop into scale paper models to test ideas. For more complex projects, I create scale cardboard prototypes to refine proportions and assess structural integrity. Only after these analog steps I transfer my designs into digital 2D drawings for laser cutting.
In my recent projects, I have worked with laser-cut components that I manipulate by hand using techniques such as segment bending, layering and reassembly to create intricate three dimensional compositions. Fragmentation and reassembly are key to my process -I deconstruct surfaces into individual pieces and then reassemble them. This process incorporates joining elements such as screws, rivets, and welds as integral design features, blurring the lines between functionality and ornamentation.
Sitting On Steel Muscle (2022)
"Craftsmanship and labor are integral to my designs. I emphasize the manual effort involved and celebrate the fabrication process itself as an important and visible part of the final piece."
Which of your works has excited you the most in terms of the design process and the final product?
It’s hard to choose—I think differently about each object or project. However, the “Synthia” project, a car sculpture created for the BrightCityscapes exhibition in Timisoara, Romania by Faber, curated by Martina Muzi, stands out as particularly exciting. The sheer scale of the work and my somewhat naïve approach—starting with a 1:10 paper model and 2D drawings for laser cutting, then immediately scaling up to full size—was both stressful and incredibly rewarding.
Synthia (2023)
This project has significantly influenced my current lighting collection, particularly in terms of technique. It also inspired me to evolve my “puzzling” method into a more three-dimensional approach, opening up new creative possibilities.
Can you tell us a little about the sources of inspiration behind your work? Who are the names you follow with curiosity in this field or in different disciplines?
It´s always difficult to pinpoint a single source of inspiration. I draw inspiration from my surroundings - a unique detail in scaffolding on a building site, a captivating exhibition or even an image in a book or on the internet that leaves a lasting impression. Inspiration often comes from immersing myself in a subject, discovering fascinating facts and combining them with visual stimuli that I have encountered. This then gradually develops into an idea for a design or theme. My inspirations come from many areas - art, literature, theater, architecture, fashion and design, to name a few;).
As for the names I follow, it´s hard to narrow them down as different creatives have influenced me at different times. However, I particularly admire the work of Matthew Barney and Mika Rottenberg. Both create immersive worlds that captivate and challenge me - they provoke thought, spark curiosity and offer a sense of wonder. Their works speak to me on many levels, making me want to understand them or simply immerse myself in their beauty.
Are you excited for the future? What are your plans?
I am definitely excited about the future—and I have plenty of plans! I intend to expand my lighting collection while also moving into larger furniture pieces. Right now, I’m experimenting with new techniques and materials, so I’m really curious and excited to see where that leads. Hopefully, you’ll be seeing a lot more of my work soon! ;)
