The piece is conceived as a sculptural exploration of the long oval — a four-metre dining surface held aloft on two carved pedestals, scaled to anchor the centre of a room. The formal idea is a single elongated plane resting on architectural feet, the whole reading as a quiet horizontal monolith. The top is one continuous oval drawn at 400 centimetres in width, 95 centimetres in depth, and 74 centimetres in height. The two pedestals are spaced at roughly sixty per cent of the table length, each formed from three vertical blade segments grouped into a single base. The top edge is held thin in profile so the marble plane reads as a horizon rather than a slab. The material is solid white marble — Calacatta for the premium register, Bianco Carrara for the architectural — selected for the long horizontal play of its grey veining across the oval. The finish is honed matte throughout, hand-sanded so the surface holds a quiet softness. Natural veining and tonal variation are kept inherent to each piece and make every table unique. The defining gesture is the split-blade pedestal — three rounded vertical blades grouped into a single architectural foot, the gaps between them carrying thin negative lines that catch the floor reflection. The two pedestals read as quiet vertical pauses beneath the long horizon of the top, structural and sculptural at once. Suited to private residences, collectors’ interiors, museum dining rooms, and gallery entry sequences where a single long stone table is asked to anchor the centre of a room — equally functional as dining surface, exhibition plinth, and architectural furniture.