The Modern design movement that emerged after the Second World War seemed, through its excessive reliance on right angles, to present a 'logical' embodiment of 'common' sense. It was unmistakably a human language of form, proclaiming itself to be founded upon unambiguous, rational schemes and calculations. The purpose of our widespread and willing surrender to presumed universal laws was intended to appear self-evident: technology—or rather, what was actually meant was technocracy—would bring well-being and peace to the entire world. Yet, to many, this obsession with the right angle felt somewhat too simplistic. There was room once again for a playful curve—preferably a form that resisted rational explanation altogether. Thus, the kidney-shaped table became a 'must-have'. This custom-made table is intended for a modestly sized dining room. Because the tabletop reveals no clearly identifiable centre, the table itself does not impose a fixed centre upon the room. The resulting visual dynamics allow the space to remain more open and less spatially consolidated than would be the case with a conventional rectangular table. The once-familiar kidney shape is reinterpreted by allowing two distinct ellipses to slide against and into one another. The resulting contour is, in fact, the direct consequence of simple Euclidean geometry. This is also convenient, as the outline can readily be translated into CNC programming language. The amorphous tabletop creates several natural places of use around the table, while still allowing it to function perfectly as a single whole—for instance, during a dinner with friends. The individual constructed components are assembled by pressing them together without the use of glue. Designing the table legs, together with ensuring the overall stability of the structure, became an ongoing dialogue between rationality and intuition. The radius-leg acquired its ulna. In the end, what has emerged appears to be a unique object—one that may, in every respect, prove to be a prototype.