Worb sits at the intersection of collectible design and material research, a lineage that runs through the Dutch design tradition that treat craft objects as vehicles for conceptual and optical inquiry. Where much contemporary glasswork leans on transparency or colour saturation, Studio Sodalime works instead with interference — the physical phenomenon by which dichroic glass splits and reflects light depending on viewing angle. The result aligns Worb more closely with light-and-space artists such as James Turrell or Olafur Eliasson than with traditional glass sculpture; the object is less a fixed form than a perceptual event, changing with the viewer's position and the ambient light in the room.

Produced in an edition of ten + two ap, Worb is built through a laborious hand-layering process — up to twenty passes of dichroic coating — that distinguishes it from the fully industrial, one-shot dipping techniques common in decorative glass. This tension between an automated optical material and painstaking manual construction is characteristic of Sodalime's broader practice, positioning the studio within a generation of art designer-makers who use industrial materials to slow, rather than accelerate, the act of looking. In this context, Worb functions less as furniture-adjacent design and more as a small-scale meditation on how material science can be repurposed as a tool for wonder.