130 / ONE THIRTY
Form built from lines and the space between them.
130 is a design brand that creates furniture, lighting, objects and spaces through its own continuous frame construction.
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01 Brand Statement
130 is a design brand that creates furniture, lighting, objects and spaces through its own continuous frame construction.
We design not only the object itself, but the light, air, sightlines and human relationships that pass through it.
Molten resin is extruded continuously into space, building three-dimensional structure from line. That single line becomes a chair, a light, or a room-scale installation.
02 Why 130
Rethinking how things are made.
In spatial and brand-experience work, certain constraints tend to go unquestioned. 130 offers a different option.
A brand's own thinking gets substituted with a selection of off-the-shelf products.
A frame is built, then a finish is applied over it. Expression and construction are pulled apart.
Fixtures built for a single exhibition lose their value the moment they are removed.
Weighted toward screens and digital output, leaving no physical impression the body remembers.
The finer intentions of a design fall away the moment drawings are handed to a factory.
130 proposes
Design the method of making itself, then extend the forms it produces — from product to space — in a single language.
03 What Is 130
At 130, design and fabrication are not separate stages. We design the method of forming itself, and implement the shapes it yields as products and spaces.
A visual language of line and void. Furniture, lighting, objects and spatial elements share one logic.
Continuous frame construction. Resin is extruded as a continuous line to build three-dimensional structure.
Production on machines we develop ourselves, connecting design data directly to the making.
Not isolated products, but environments that include light, sightlines and how people move.
130 is operated by MagnaRecta Inc., which practises design and engineering as one discipline — and serves as the place where that technology is tested and implemented in the world.
04 Continuous Frame Construction
Building with line instead of filling with surface.
Conventional 3D printing stacks layers to build surfaces and volume. 130 extrudes molten resin continuously into space, assembling linear frames into three-dimensional structure.
Conventional layer printing
Layers accumulate into surface and volume. The shell doubles as the structure.
Continuous frame construction
A line is drawn through space, raising the framework itself. Void becomes something you design.
Resin is extruded linearly, formed as one continuous trajectory.
The frame is structure, surface and contour at once.
Surfaces are left unfilled; the void is part of the design.
Lattice density varies by area, distributing strength and lightness where each is needed.
Formed directly from digital data, so dimensions and geometry adapt to each project.
What the method makes possible
Light structures composed of line. A translucent presence that lets light and sightlines through. And the ability to extend the same principle from a small lamp to a large spatial element.
05 VOID / FRAME / CONTINUITY
Void is not where material is absent. It is a designed condition for light, air, sightlines and the sense of another person to pass through — presence with volume that never blocks the architecture or the people behind it.
In Link of Existence, a dense blackness rising from the seat dissolves downward into transparency, shifting in depth with the viewing angle.
The frame is structure, but also surface, contour and ornament. Rather than adding a finish on top of a structure, the way a piece is made becomes its expression.
In Malu, Zab and Trapper, the load-bearing grid is exactly what gives each piece its appearance.
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One line, the production process, the material, the product, the space, and what happens after use — held as continuously as possible. Behind this sits the Japanese sense of ma, and a kintsugi-like view in which the trace of repair is itself part of the value.
Designed without adhesives, so pieces can be taken apart back into their constituent lines — for repair, deconstruction and rematerialization.
Ma and kintsugi are used here not as decorative references, but as ways of designing relationships: between object and person, inside and outside, presence and absence.
06 Material and Structure
Varying texture within a single material.
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On performance claims
Structural performance, weather resistance, flame retardancy and environmental performance are presented only with testing and verification appropriate to each project. If your application has defined requirements, please raise them at the planning stage.
07 One System, Multiple Scales
One method, working across scales.
What matters is not the number of products, but that one visual language extends continuously across very different scales.
Because everything is designed and produced through the same method, furniture, lighting, fixtures and spatial elements hold together as one world.
08 Collection
Existing collection pieces can be specified as they are, or adjusted in dimension and colour to suit a project.
Grid Lounge Chair
A grid lounge chair formed from a continuous mono-material frame. Lightweight, and suitable for indoor and outdoor use.
Grid Backless Sofa
A backless sofa with a grid structure that allows many ways of sitting.
Grid Light
A pendant light series exploring transparency and volume through grid structure, casting patterns of light and shadow.
Special / Object
A statement piece built around sheer presence, also developed as a large-scale throne for Meta Threads.
Installation / Object
A sculptural lamp shown as the core of the TOKYO PROTOTYPE installation, surrounded by shell-structure figures.
Dimensions, weight, material, pricing and lead time are provided per enquiry. Please share the intended use and installation conditions.
Also in the collection RectTable, Cirrocumulus (a series of chairs and stools), cross, twist and others. See 130onethirty.com/collection.
09 Selected Project 01
Milano Design Week 2025
Collection of The Grid / Brera Design District, Milano, 2025
10 Selected Project 02
Connecting to another material, another way of thinking
At Milano Design Week 2026, two very different collaborations were realised simultaneously through the same construction method.
Link of Moments × Link of Existence
Milano Design Week 2026
Other collaborations THE TOKYO EDITION (with art director Yuni Yoshida), WIRED, Sony, Meta, New Balance, PLEATS PLEASE ISSEY MIYAKE, A-POC ABLE ISSEY MIYAKE, Panasonic FUTURE LIFE FACTORY, Ikenobo, KLOKA and others.
11 Selected Project 03
From objects to the space around them
130 composes not only individual products, but the space visitors walk into and experience.
As spatial elements and fixtures
Created with art director Yuni Yoshida. A festive tree on the theme of 'Another Hotel Within the Hotel'.
Designed and produced tables and chairs for a podcast studio and art gallery.
Structural design and production of store fixtures. Concept: Tokyu Agency / Art direction: KLOKA.
Produced storefront displays and in-store fixtures, used in select Japanese stores and some international locations.
Structural design, fabrication and the circular concept for the Christmas tree. Design and planning: KLOKA.
An entrance artwork built around a large obsidian core. Collaboration with TANT inc.
12 Applications
Reading it against your own project
The same construction method takes on different roles depending on the objective.
Create the form at the centre of a venue, and unify the whole show in one language.
Give a brand's thinking a physical presence — something photographed, and touched.
Light enough to install and strike easily, while remaining legible from across a hall.
Fixtures and displays designed as a brand-specific form that never competes with the product.
Rooms, lobbies and seasonal installations — light elements that coexist with the architecture.
Entrance art and shared-space furniture that state a company's position spatially.
Furniture that transmits light and sightlines, enclosing a place without closing it off.
Light-transmitting structure integrated with lighting design as a stage element.
A form made only for that room, for that occasion.
Translating an artist's or creative team's concept into a structure that actually stands.
Stopping people mid-route and leaving an experience they carry with them.
Not the vehicle itself, but the lounge, meeting space, stage and display fixtures that speak about the future of movement — composed in one visual language.
Furniture designed and produced around the venue, dimensions, colour and story.
Trophies, commemorative pieces and gifts — high-variety, low-volume production.
13 For Agencies and Creative Teams
Realising the idea without weakening it.
130 can lead a project outright, or join the team of an agency, design office or production company and take responsibility for one part of the implementation.
We are flexible on NDAs, credit lines and joint proposals with other partners, according to how the team is set up.
14 Collaboration Models
Existing pieces
Purchase, installation, exhibition or rental of existing collection pieces.
The pieces, delivery, installation support
Adapted specification
Changes to dimension, colour, finish or specification of existing pieces.
Adapted pieces, specification sheet
Made for the project
Furniture, lighting, fixtures and objects designed and produced for a specific project.
Drawings, prototypes, finished pieces, installation
Joint development
Joint development with brands, material manufacturers, designers and artists.
Co-developed pieces, research outcomes, exhibition
Whole space
Exhibitions, lounges and installations integrating multiple products and spatial elements.
Spatial plan, full set of pieces, installation
15 Process
We can join from the stage of venue conditions or a rough outline. Each phase has a defined output.
Framing the conditions
Clarify purpose, venue, budget, schedule and conditions of use.
Requirement summary / key questions
Setting the direction
Design the direction for spatial experience, form, material and method.
Concept / sketches and CG / estimate
Testing
Verify through mock-ups, partial prototypes and full-scale tests.
Mock-up / full-scale sample / test results
Engineering for reality
Design structure, segmentation, joints, transport and installation method.
Drawings / segmentation and joint plan / install plan
Production
Form on our own machines, then finish and inspect.
Finished pieces / quality check / packing specification
On site
Pack, deliver, install and adjust on site.
Installation / on-site adjustment / handover
After the run
Consider repair, relocation, storage, reuse and rematerialization.
Relocation and storage / repair / rematerialization study
16 Production and Delivery
The equipment is our own design as well.
130's pieces are formed on machines we develop ourselves. Because design software and production equipment are developed under one roof, we can answer a formal requirement from the machine side.
Equipment (reference)
Our equipment is periodically updated. Maximum forming size, machine count and achievable dimensions are confirmed per project.
17 Team and Company
130 is operated by MagnaRecta Inc., which practises design and engineering as a single discipline. Being able to run from concept through to the development of the production machine is what underwrites the work.
Each project is staffed with a named lead for delivery and a named lead for engineering.
See alsoMagnaRecta — CredentialsThe wider credentials of MagnaRecta, the company behind 130 — covering robotics, AI and IoT, experiential installations, special fabrication and other work beyond the 130 brand.magnarecta.com/credential ↗18 Contact
Begin with a space, a material, or an idea that has no form yet.
From specifying existing pieces to commissioned furniture, joint research, exhibition spaces and forms made for large-scale events — we can join from the planning stage. Venue conditions or a rough outline are enough to start.
