Hungry consumers with voracious appetites have created a design industry beleaguered by seemingly useless byproducts, but the concept of “waste” is a matter of framing. Imagine candlelight flickering against the raw milling marks of an aluminum holder or the visual delight of tabletop topography created by natural wood blocks – materials that, in a typical production cycle, might end up discarded. Instead, those elements are reimagined as heirlooms, proof that waste can be viewed as a source of beauty. Fyrn – known for their proprietary parts, precision engineering, and industrialized take on American craft – advances their sustainability approach and low-waste philosophy even further with Studio Series. This inaugural collection, which features the sculptural Extruded Candle Holders and mixed-wood Charcuterie Board Sets, transforms production offcuts into handcrafted objects of intention.
Fyrn has always prioritized how things are made, not just what the products become. So when offcuts from last year’s Keyhole Collection began piling up in their Sparks, Nevada workshop, co-founder David Charne saw an opportunity to make the scraps themselves a starting point for design.
“We knew there was value in the material,” Charne explains. “We just had to reframe that wood as a starting point for design instead of waste, and that reframing ultimately kicked off the idea for a broader collection utilizing other offcut materials too.”
In an industry where sustainability is often abstract, Fyrn’s Studio Series offers a new approach transforming leftover production materials into functional, collectible art. The result is a limited-edition capsule of personal effects for the home that balances raw materiality with refined craft. More importantly, it presents collectible design as another cornerstone for circular economies, inviting consumers into alternative narratives for modern sustainability stories through limited, meaningful objects born from the uglier side of manufacturing.
Fyrn’s Charcuterie Board Sets celebrate what Charne calls a “surprise and delight” model. Each group – comprising a larger board, a smaller accompanying wood plate, and a sculptural cube pedestal – is crafted from premium black walnut and white oak offcuts, arriving in a unique mix of grains and finishes for a dynamic tablescape. No two are identical, turning every delivery into a small act of discovery.
The original idea for the charcuterie board sets was sparked by a simple moment, an upcoming party at Fyrn’s workshop, where longtime collaborator and current production manager Derek McCall dreamed up an artful spread of layered boards and pedestals carved from leftover wood. In fact, the whole team weighed in on ideas. Jane Hargrave, Head of Customer Experience, had walked by a large aluminum doorstop for years and conceptualized how it could become a stepped candleholder.
The sculptural Extruded Candle Holders are machined from leftover Stemn hardware extrusions. Geometric, stepped forms – available in tall or short – let the milling marks stay visible like topographic lines mapping the candlelight. They’re heavy in the hand, unmistakably industrial, and surprisingly intimate.
If Fyrn’s furniture collections embody precision and repeatability, Studio Series is the opposite: collaborative, improvisational, and proudly irregular. “Unlike our furniture designs, we wanted a looser, more fun project that allowed for things to exist even if they were one of a kind. And by opening the design process, these pieces have the fingerprints of our whole team on them, which is why every object feels familiar yet distinct.”
“Turning remnants into sellable, high-quality objects meant shifting our mindset. We had to step outside the rules of large-scale production and let imperfections become part of the beauty,” Charne adds. “Hopefully, our Studio Series gets more people excited to plan gatherings. Perhaps the pieces can inspire cool conversations about natural resources, waste, and more.”
There’s an inherent scarcity here, too. Each small batch depends on Fyrn’s production rhythm – meaning availability ebbs and flows with what’s left over in the workshop. That constraint, Charne points out, transforms each piece into a time capsule.
“Customers aren’t just buying an object, they’re buying something that reflects a moment in our shop and the people who shaped it. That’s a kind of collector-level attachment that mass production can’t replicate.”
To learn more about Fyrn and shop the Studio Series collection, visit fyrn.com.
Photography by Elizabeth Carababas.
