Brass anklets, known locally as Ogba or Adala, were symbols of immense prestige for Igbo women. Yet, this status demanded a choreographed grace; the weight of the anklets required a wide, deliberate gait to prevent the plates from clashing, turning every step into a performance of balance.

The traditional anklet form is manipulated to capture that same sense of precarious dynamism. The silhouette is pushed to the threshold of tipping to mimic the careful regulation of weight once mastered by the wearer. No longer just an adornment, Adala is reimagined as a vessel for plants, as well as a cradle for items such as jewellery.

While the original anklets were cold-beaten from a T-shaped piece of brass by the blacksmiths of Awka, the vase is born of sand casting techniques. This process creates a visceral and deeply intimate dialogue between Adala and the earth that yields its final form.

The poetics of stability and connection to the earth deepens when one considers the phonetics of Adala within the Igbo language. The word vibrates between two meanings: A-da-ala (it fell to the ground) and Ada-ala (first daughter of the Land). We embrace the latter which aptly frames this piece as our Ada.

Adala is the result of a unified production system where digital and physical craft operate in tandem. The workflow utilizes 3D printing for the production of patterns and mould components, enabling rapid geometric iterations and high-fidelity precision. These forms are then translated through the sand casting process — a production method chosen for its cost efficiency while being able to yield complex tactile forms. The piece is subsequently sand blasted to refine its tactile quality. The product's functional innovation lies in how it mechanically responds to the moments caused by long-stemmed arrangement, allowing the vessel to carry flowers up to four times its height. While the material's inherent density provides a stable foundation, the internal geometry is engineered to shift the center of gravity toward the base while counterbalancing said moments. This is achieved through a sloped internal floor and a series of integrated steps allowing for the precise manipulation of the resting angle of the flowers for balance and aesthetic floral arrangement.

Adala is built on circularity, centered on a hyper-local production loop. The primary material is reclaimed industrial brass sourced from "afterlife" machinery within a few hundred meters of the foundry. By utilizing urban mining to salvage high-quality scrap, the project eliminates the carbon costs of traditional logistics and prevents industrial waste from entering landfills. This reliance on local scrap (while born of necessity) serves as a robust economic strategy, shielding production from volatile global markets and reducing dependence on imported virgin materials. The sand-casting process further enhances this framework, as the moulding medium is reclaimed and reused. This commitment to low-impact materials extends to the packaging, constructed solely from layered, laser-cut cardboard. Arranged like a topographic model, the paper-based layers create a custom negative space for the vase to nestle into, providing structural protection without plastic or foam. Adala is designed as a permanent heirloom; however, both the brass and the packaging remain 100% recyclable, ensuring a fully closed-loop lifecycle.