Seed takes its name from seed crystals—the microscopic structures that catalyze the formation of larger crystalline systems. I was drawn to this concept as a way to explore nature not through the expected lens of the organic or living, but through the mineral and structural. Seed asks what it means to be a natural form when that form is not soft, fluid, or biological, but geometric, ordered, and crystalline.

Seed reimagines the natural as something structured and mineral—a rejection of the assumption that nature must be soft, flowing, or vegetal. The system’s angular arms and engineered hardware mirror the internal logic of crystalline solids. And yet, within this order, there’s space for surprise: the configurations introduce a playfulness and a rhythm that reflects the randomness inherent in how crystals grow.