The Newly Reopened Africa Centre Celebrates the Continent's Culture (and Seriously Chic Room Dividers)

The Africa Centre, a London-based charity established in the early 1960s to champion African culture and its diaspora, has unveiled its new headquarters in Southwark. This facility serves as a physical hub for cultural exchange and idea sharing through events and conferences. The design, spearheaded by Freehaus Design in collaboration with interior designer Tola Ojuolape and brand designer Mam’gobozi Design Factory, involved the refurbishment of a 1960s office block. The approach avoids broad generalizations about African design, instead focusing on shared traditions across Africa and its diaspora. The six-story building encompasses a range of facilities, including the pan-African restaurant Tatale, a bar lounge, and an art gallery. The interior design creates a welcoming atmosphere, featuring charcoal-hued facades that transition into 'warm worlds' characterized by sandy clay plaster walls, red-hued terrazzo flooring, and abundant lush plants. Metallic beaded curtains and repeating wall arches define dining areas and cozy seating nooks. Functional elements like banquette seating are backed by stacked cement air bricks, while the spaces are adorned with woven containers, pendant lighting, cork stools, and carved timber furniture. Jonathan Hagos, co-director of Freehaus, emphasizes the design's focus on expressed thresholds, tactile surfaces, quality of light, and practices of reuse and appropriation. Specific design choices reflect a deep appreciation for African cultural heritage. Hand-applied wall finishes deliberately showcase the 'maker’s mark,' and an indigo staircase wall pays homage to the traditional dye-making practices in Nigeria and Burkina Faso. The presence of wall arches subtly references Islamic architecture prevalent in northern Africa. Notably, all the design pieces and furnishings are sourced from designers and makers within Africa and its diaspora, reinforcing the centre's mission. Hagos describes the design as an 'embassy of optimism,' aiming to shift narratives towards a buoyant and boisterous mood, a vision that emerged from extensive research and diverse perspectives. A significant historical element is the 1987 mural by Mozambican artist Malangatana Ngwenya, which was carefully transported and restored from the Africa Centre's former location in Covent Garden. The original Covent Garden premises, opened in 1964 by Kenneth Kaunda, the first president of Zambia, served as a 'home away from home' for Africans in London and aimed to present an alternative narrative of the continent. Over its history, the centre has hosted prominent figures such as Desmond Tutu, Thabo Mbeki, Maya Angelou, and Wole Soyinka, before its closure in 2013. The new headquarters continues this legacy at 66 Great Suffolk Street, London SE1 0BL. #AfricaCentre #LondonArchitecture #InteriorDesign #AfricanCulture #Southwark #FreehausDesign #TolaOjuolape #MamGoboziDesignFactory #CulturalExchange

Jomo Tariku, an Ethiopian American designer, has dedicated two decades to introducing African designs into the mainstream furniture market. His work merges sleek, modern aesthetics with deep historical and cultural African influences. Tariku draws inspiration from diverse African cultures, including Dogon masks from Mali, Ashanti stools, Maasai jewelry, and Kente cloth from Ghana. Architectural elements also play a significant role in his design philosophy, with influences ranging from the ancient buildings of Timbuktu to Islamic patterns and interiors found in Morocco. Tariku emphasizes that Africa, with its rich and varied cultures and long history, provides an inexhaustible source of inspiration for his designs. He believes in moving beyond conventional stereotypes through extensive reading and research to uncover these unique resources. In many African contexts, furniture traditionally serves a dual purpose, acting as both a functional item and a decorative art piece, a concept that profoundly influences Tariku's continuous creation of new contemporary African furniture. His latest design, 'The Birth Chair II,' is a contemporary interpretation of traditional African birthing chairs, which have been used for childbirth in parts of Sub-Saharan Africa since ancient Egyptian times, as depicted on temple walls in Luxor. Tariku's modern rendition features a single bent piece of wood, clean lines for the seat, and a sliding backrest adorned with artistic carvings. A key innovative aspect of this chair is its modular backrest, which can be detached and hung on a wall as a decorative element, offering flexibility in room styling and personal expression. 'The Birth Chair II' embodies trendsetting concepts that Tariku intends to use as a platform to bring contemporary African designs into homes globally. This piece, along with others from his collection, was showcased at Dubai Design Week – Downtown Design in Dubai, UAE. Tariku's background includes being born in Kenya to Ethiopian parents, growing up in Ethiopia, and earning an industrial design degree from the University of Kansas in the U.S. His portfolio includes several acclaimed contemporary African furniture lines, such as 'The Axum Series,' a living room set inspired by the architectural styles of the Axum stelae in Ethiopia, and 'The Berchuma,' a series of stools that exemplify unique contemporary African design as functional art. These creations highlight his commitment to showcasing the beauty and functionality of African design to a global audience. #AfricanDesign #JomoTariku #FurnitureDesign #DubaiDesignWeek #ContemporaryAfricanFurniture #FunctionalArt #HomeDecor #CulturalHeritage #ProductDesign

African design is increasingly gaining global recognition for its unique magnetism and rich heritage, shifting from a previously overlooked status on the international stage. This burgeoning movement is championed by a new generation of designers who are skillfully blending traditional African craftsmanship with contemporary aesthetics, bringing a fresh perspective to furniture, textiles, and art. Among these prominent figures is Chrissa Amuah, founder of Amwa Designs, a London-based studio that creates textiles, furniture, and art inspired by Ghanaian sensibilities. Her 'Asanka' table, for instance, incorporates a jesmonite interpretation of a traditional West African grinding bowl under a glass top, with its wooden base drawing from the Ghanaian Adinkra symbol Adinkrahene, representing authority and leadership. Amuah's designs often feature vibrant color combinations and off-center silhouettes, embodying a balance of strength and vulnerability. Another notable presence is Altin Studio, founded by Mehdi Kebaier and Yasmine Sfar in Tunisia. This studio celebrates local design by utilizing native materials like sea rush, clay, and palm wood. They reinterpret age-old techniques through a contemporary lens, evident in pieces like the 'Ganymede' cabinet, which contrasts woven sea-rush panels with earth-red metal, referencing satellite patterns. Their 'Petite Ourse' seat, hand-carved from palm wood, also draws inspiration from celestial themes, alluding to the 'Little Bear' constellation. From Lagos, Nigerian designer Nifemi Marcus-Bello leads Nmbello Studio with an ethos rooted in empathy and respect for people and places. His work, developed over the past decade, has garnered several awards, including the Hublot Design Prize and the Curator’s Choice: Design for Good Award. His 'Oríkì' series, particularly 'Act 1: Friction Ridge', explores materiality and form through bronze sculptural benches, named after the Yoruba practice of praise poetry, and launched with an immersive installation featuring a soundscape of his mother reciting his personalized oríkì. In Johannesburg, Thabisa Mjo, the creative force behind Mash.T Studio, produces furniture, lighting, and homeware that celebrate South Africa's diverse cultural tapestry. Collaborating with artisan communities, she incorporates materials such as colored beadwork and repurposed telecommunication wire, traditionally used by Zulu watchmen, into pieces like her 'Bright Light' pendant and '4Kona Light'. Her recent lighting collections honor Xhosa customs and circular architectural forms found in rural areas, employing vibrant palettes that signify abundance and festivity, thereby promoting local crafts globally. Rich Mnisi, a Johannesburg-born designer, initially made his mark in fashion before venturing into collectible furniture. His work bridges the gap between function and art, drawing inspiration from the women in his life, queerness, and heritage. Pieces like the 'Nwa-Mulamula' chaise, displayed at Southern Guild’s ‘Mother Tongues’ exhibition, reflect the reclining body of his great-grandmother, showcasing a striking fluidity and organic elegance. His new work, ‘Vutlhari (Wisdom)’, a light crafted from bronze and resin, also features sweeping silhouettes. Zimbabwean artist Xanthe Somers draws on her homeland's customs for her hand-built ceramic sculptures, often functional as lighting and vases. Her 'In Bad Taste' collection challenges the political aspects of design, critiquing Western overconsumption and the impact of eco-racist practices on the global South. Her work, displayed in prestigious venues like London’s V&A; Museum, features vivacious colors, exaggerated silhouettes, and thought-provoking narratives. Don Tanani, a contemporary Egyptian brand, aims to redefine Egyptian design and showcase local talent. Collaborating with designers like Lina Alorabi, whose work has been exhibited internationally, the brand focuses on reclaiming Egyptian identity through sophisticated pieces. Alorabi’s 'Moruna' collection features a conversation chair, a curvaceous sun lounger, and coffee tables with tile patterns, reflecting the dynamism of Cairo and collaboration with craft experts. Finally, South African ceramicist Chuma Maweni began his journey crafting vessels using a pit-firing technique intrinsic to the Nguni people, developing a distinctive aesthetic of dark, porous surfaces and hand-formed sculptural outlines. After opening his Cape Town studio in 2016, his work, including the 'Imbizo' dining table and stools, has been exhibited globally and acquired by institutions like the Metropolitan Museum of Art, continually celebrating traditional craft through a fresh, contemporary lens. #AfricanDesign #Craftsmanship #ContemporaryDesign #FurnitureDesign #TextileDesign #CeramicArt #CulturalHeritage #EmergingDesigners #GlobalDesign

Joy Williams, an interior designer, recently undertook a hallway makeover for the Adler on the Park showhouse in Chicago, demonstrating that even small spaces can be transformed into engaging and vibrant areas. The original hallway was a mere pass-through with gray walls and light wood flooring, lacking character. Williams aimed to create a space that would encourage residents to pause and interact, rather than simply moving through. The Adler on the Park showhouse is housed within a landmark building, a set of four row homes constructed between 1915 and 1917, designed by David Adler and Henry Dangler. The building underwent a comprehensive renovation and partial restoration, allowing designers creative freedom while respecting its historical integrity. Williams embraced a global theme, intricately weaving together elements from West African and Asian design traditions. Her inspiration for the space was deeply personal, drawing from Chicago's diverse immigrant neighborhoods, the captivating cherry blossom season she experienced in Kyoto, Japan, and her appreciation for West African architectural design and structure. This diverse palette of influences culminated in a unique and inviting entrance hall. Williams' transformation of the hallway was extensive, moving beyond the existing flooring and a black unit door. She introduced bold color to the walls using bright pink and red paints from Sherwin-Williams, complemented by a pink patterned wallpaper by Thibaut. A focal point was established at the end of the hall, where she designed a white and gold credenza. This credenza, adorned with brass urns, palms, a statue, and custom art by a local artist, was inspired by her travels through Morocco. The renovated foyer now functions as an inspiring passage, guiding residents to their respective units. Its welcoming and homey ambiance is intended to enhance the residents' experience, encouraging them to linger and enjoy the entrance hall rather than treating it solely as a transitional space. Williams also shared insights into the project's challenges and budget allocation. She mentioned that varying ceiling heights necessitated a change in lighting fixtures, leading to the substitution of a chandelier with a wall sconce from Hubbardton Forge, a change that ultimately integrated seamlessly into the design. The majority of the budget was allocated to artwork and furniture, including the custom rift-sawn oak credenza painted in Benjamin Moore bright white and gold. Cost-saving measures included purchasing plants from Home Depot, which offered a good selection. Williams' favorite aspects of the completed space are the vibrant color combination and the original artwork. #InteriorDesign #HomeDecor #HallwayMakeover #GlobalDesign #WestAfricanDesign #AsianDesign #ColorPalette #Showhouse #ChicagoDesign

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

The Black Artists + Designers Guild (BADG), in collaboration with architects Leyden Lewis and Nina Cooke John, and featuring interiors by 25 BADG creatives, has conceptualized the Obsidian Virtual Concept House. This interactive dwelling, set in California's Oakland Hills in 2025, serves as a manifestation of an Afro-centric futurist vision, aiming to embrace possibility and freedom for a Black family through thoughtful design. The project is a central component of the month-long OBSIDIAN EXPERIENCE, an initiative by BADG to elevate the home as a space for Black imaginations and futures to thrive. Malene Barnett, artist, activist, and founder of BADG, emphasizes that 'home' is both a physical space and a feeling of relaxation, non-judgment, and being surrounded by loved ones. This philosophy underpins the entire Obsidian project, which seeks to create layered spaces that perpetually evoke these feelings. The virtual concept house allows visitors to explore various rooms, learn about the designers' inspirations, and even virtually shop for products and fixtures specified within the designs. This interactive element makes the experience engaging and practical for those seeking inspiration. Architects Leyden Lewis and Nina Cooke John led the visualization of the house, grounding their work in the belief that Black futures can be equitable, sustainable, and liberating. They describe the Obsidian Concept House as a supportive environment for the mental, physical, and spiritual well-being of the Black family, fostering expressions of joy and creativity. The architectural design integrates sustainable building practices, including geothermal heating, solar energy, rainwater harvesting, and passive-house systems, highlighting a commitment to environmental responsibility alongside cultural relevance. The interiors of the house are diverse, each informed by the unique family histories and design approaches of the participating BADG members. These spaces are dedicated to spirituality, health, food, art, and nature. Examples include Cheryl Umbles's 'An Abundance of Welcome' entryway, Cheryl R. Riley's softly lit, turquoise meditation room, Everick Brown's transformative recreation room for connection, and Linda Allen's 'I am Good Enough: A Haven for the Black Overachiever,' which functions as an artist studio and garden. Malene Barnett's 'Sankofa-Legacy Wall,' featuring ceramic tiles inscribed with ancestral names, acts as the home's centerpiece, symbolizing Black ingenuity, strength, and perseverance, and serving as a tool for Black liberation and healing. The OBSIDIAN EXPERIENCE is launched during what BADG refers to as 'The American Awakening,' a period identified as an opportunity for a 'reawakening of the Black imagination.' The project aims to demonstrate how domestic spaces can reflect the diverse identities of inhabitants, address environmental injustice, inspire new ways of living, and ultimately pave the way for a more authentic freedom. The initiative is a collaborative effort, supported by media partners such as ELLE Décor, House Beautiful, Town & Country, and VERANDA, with Hearst Magazine's Luxury & Design Collection as the media sponsor. #VirtualHome #BlackDesigners #AfroFuturism #SustainableArchitecture #InteriorDesign #CulturalHeritage #CommunityBuilding #BlackArtistsAndDesignersGuild #DesignInnovation

IKEA has launched its new OVERALLT collection, a collaboration with Design Indaba that merges traditional African design with Scandinavian aesthetics. This limited-edition range was developed through a partnership between IKEA and five local designers from various African countries, facilitated by Design Indaba, a Cape Town-based organization known for its annual design festival and promotion of local creative talent. The collection, now available in Australian stores and online, presents a fresh perspective on IKEA's classic Scandinavian style, which is typically characterized by clean lines, a minimalist material palette, and functional, flat-pack designs. Key pieces in the OVERALLT collection include eucalyptus furniture, such as a dining table and bench designed by Kenya’s Studio Propolis in collaboration with IKEA’s Mikael Axelsson. This furniture is inspired by the African ritual of outdoor entertaining and the importance of always having extra seating for guests. The collection also features vibrant textiles, created by Cape Town-based textile designer Sindiso Khumalo, artist Renee Rossouw, and IKEA designer Johanna Jelinek. These patterned textiles are utilized across bed linen and cushions, adding a burst of color and cultural richness to the range. Beyond furniture and textiles, the OVERALLT collection expands to include a variety of other home decor items. These encompass sculptural glassware, playful rocking chairs, and a selection of ceramics. Additionally, an easy chair is part of the range, designed to offer a relaxing experience. The collection aims to celebrate African heritage and craft while integrating it seamlessly with IKEA's well-known functional and modern design philosophy. Each item reflects a thoughtful blend of cultural narratives and practical design, making it suitable for contemporary living spaces. The collaboration highlights IKEA's commitment to exploring diverse design influences and supporting global creative talent. By partnering with Design Indaba and African designers, IKEA has produced a collection that is not only aesthetically pleasing but also tells a story of cross-cultural exchange and innovation. The OVERALLT collection offers consumers an opportunity to incorporate unique, culturally rich pieces into their homes, moving beyond the conventional Scandi-minimalism to embrace a more eclectic and globally inspired interior design approach. #IKEA #OVERALLTCollection #AfricanDesign #ScandiStyle #DesignIndaba #HomeDecor #FurnitureDesign #TextileDesign #CulturalCollaboration

Giles Nartey, a British-Ghanian architect and designer, integrates his academic pursuits with his design practice, focusing on translating African rituals into contemporary design objects. His work, showcased as part of Wallpaper*'s Future Icons series, aims to celebrate Black identity and traditions, moving between art, film, and architecture. Nartey was born in South London but spent his early life in Accra, Ghana, where the informal architecture and everyday practices of places like Labadi profoundly influenced his design philosophy. He cites observations like handwashing rituals before meals and the use of the Asanka (a traditional grinding bowl) as continuous inspirations for his London-based practice. Nartey's academic background includes studies at Politecnico di Milano and the Bartlett School of Architecture. He currently lectures at University College London and co-runs a diploma unit at the Architectural Association. This combination of teaching, research, and practice allows him to push boundaries in his work, using academia as a testing ground for his design concepts. His doctoral research into African ontologies directly informs pieces like 'Interplay,' a communal bench first exhibited at POoR’s Powershift exhibition at the London Design Festival in 2023. 'Interplay' is a striking piece of furniture that rethinks seating as a shared surface, featuring engraved and overlapped narratives. It draws inspiration from traditional West African Senufo carved bed-benches, which are typically made from a single piece of timber. The bench also incorporates the Ghanaian game 'Oware,' encouraging performative interaction. Nartey explains that historically, African objects have often been miscategorized as inanimate artifacts, despite many being integral to spiritual or domestic rituals and practices, both in their creation and use. He believes his work helps correct this misperception by highlighting the embedded meaning and function within these objects. One of Nartey's significant career moments was exhibiting 'Interplay' at the Victoria and Albert Museum for the Friday Late: Radical Imaginaries. This was particularly meaningful for him as the V&A held personal significance, having been a place his mother took him and his sisters during their childhood. The exhibition allowed him to present a piece deeply connected to his heritage and shared family memories within a prestigious institution. Following 'Interplay,' Nartey created 'Serwaa,' a sleek six-legged aluminum stool. This piece is a contemporary interpretation of the West African Lobi chair, a sculptural object that resonates with spirituality in regions spanning present-day Burkina Faso, Cote D'Ivoire, and Ghana. Nartey's future endeavors include architectural interventions in Accra, where he plans to reimagine food kiosks, market spaces, and street-level produce selling methods. His overarching goal is to present African design not as a historical relic but as a dynamic, contemporary language deeply rooted in the practices that fostered its creation. By grounding his designs in traditional West African culture and utilizing academia as a foundation, Giles Nartey is contributing to a broader understanding and appreciation of African design within the global design canon. #GilesNartey #AfricanDesign #ContemporaryDesign #CulturalHeritage #DesignResearch #ArchitecturalInterventions #FutureIcons #GhanaianCulture #VictoriaAndAlbertMuseum

Dana Arbib, the designer behind the brand A Peace Treaty, has established a New York headquarters that serves as a physical embodiment of her globally-inspired aesthetic. After completing a two-year residency in the CFDA Incubator, which provided office space in Midtown Manhattan, Arbib sought a more distinctive environment for her brand. Her search led her to a pre-war building on cobblestoned Lispenard Street in Tribeca. The studio space was chosen for its blend of modern and rustic elements, a departure from the corporate office settings Arbib wished to avoid, thus preserving her creative freedom. A significant draw of the Tribeca studio was its existing floor-to-ceiling shelving and a functional rolling library ladder. These features proved ideal for displaying the myriad of objects Arbib collects during her extensive travels. Her journeys take her to diverse locations, from Pakistan to Peru and Turkey, where she sources textiles, learns traditional production techniques, and acquires unique baubles. The displayed artifacts include handwoven bags and accessories procured from an artisan market in Cuba, a custom-designed leather trunk from India, and a train case from London, now repurposed for transporting jewelry. The studio's decor also incorporates family heirlooms, such as a collection of masks from South Africa and Namibia dating back to the late 1970s, a piece of art by Israeli artist Michael Argov, and an Egyptian tomb statue. The design of the studio was not merely an accumulation of these global finds but was directly influenced by A Peace Treaty’s Resort 2017 collection. This collection drew inspiration from the rich legacy of woven African art, featuring crocheted caftans, scarves, and intricately embroidered textiles. This thematic connection is evident throughout the workspace, with numerous pieces from Africa, including baskets and handmade crafts, integrated into the decor. Most of the baskets in the studio are from Rwanda, with the exception of a leather-handled bolga basket crafted in Ghana. Arbib emphasizes that these elements celebrate traditional handmade techniques, a core value reflected in both the brand's collections and its workspace. The studio, therefore, functions not only as a functional workspace but also as a curated showcase of global artistry and Arbib's personal narrative of travel and cultural appreciation, offering an alternative to mass-produced decor. #HomeDesign #InteriorDesign #GlobalInspiration #TribecaStudio #DanaArbib #APeaceTreaty #TextileArt #CulturalDecor

The Lesire Collection, designed by Botswana-based furniture designer Peter Mabeo, founder of Mabeo Studio, translates the intricate lace crochet techniques of 1900s South African women into a line of hardwood furniture. The collection's name, "Lesire," meaning "wedding veil" in Tswana, refers to a textile characterized by its distinctive scalloped-edge detail, which serves as the primary inspiration for the furniture's aesthetic. This design philosophy not only honors traditional craftsmanship but also provides a global platform for local artisans, as the collection is now available through Design Within Reach. The core material for the Lesire Collection is panga panga wood, a durable hardwood native to Southeast Africa known for its resistance to insects and fungi. This choice of material firmly anchors the collection in its geographical context, a fundamental principle for Mabeo. The designer emphasizes the importance of drawing inspiration from one's immediate environment, believing that globally applicable design directions are more authentically achieved by engaging with familiar surroundings. This approach allows for a blend of innate understanding and acquired knowledge, fostering a sense of freedom in artistic expression. The panga panga wood used in the collection is ethically sourced from LevasFlor, a Mozambican company committed to sustainable harvesting practices and community involvement. LevasFlor's FSC certification ensures a balance between international sustainability standards and local inclusivity, aligning perfectly with Mabeo's vision for responsible and community-centric design. Each piece within the Lesire Collection is meticulously hand-carved by Mabeo's skilled artisans, who meticulously transfer the scalloped-edge motif onto various furniture items, including mirrors, tabletops, credenzas, and storage benches. The angular legs of the tables, credenzas, and benches complement the scalloped pattern, creating a dynamic visual interplay between structural elements and decorative details. The inherent richness and textured grain of the panga panga wood contribute to the natural elegance of each item, while the hand-carved elements highlight the exceptional craftsmanship of the local artisans. This fusion of heritage, artistry, and raw material beauty results in a collection that is both culturally resonant and aesthetically sophisticated. #FurnitureDesign #HardwoodFurniture #MabeoStudio #PeterMabeo #AfricanDesign #SustainableMaterials #HandCarved #CulturalInspiration #InteriorDesign

Jomo Tariku, a Virginia-based designer and furniture maker, shares insights into his creative process, which draws heavily from his Ethiopian upbringing and African heritage. Born in Kenya and having traveled extensively across Africa during his youth due to his mother's work at Ethiopian Airlines, Tariku was exposed to a diverse collection of objects and furniture from an early age, collected by his diplomat father. His early experiences included working in a car shop in Addis Ababa between the ages of 14 and 16, where he constantly sketched and drew his surroundings while performing various tasks. This period, along with his later academic pursuit of an industrial design degree at the University of Kansas, laid the foundation for his distinctive approach to furniture design. Tariku's work is characterized by its exploration of objects and culture, often reinterpreting everyday African items and totemic figures into sleek, minimalist furniture. His designs incorporate bold colors like black ash and orange, paying homage to African craft and furniture-making traditions. Notable pieces, such as the Nyala chair, the Qwanta totem chair, the Meedo chair, and the Mukecha stool, have gained significant attention. His comb-shaped Mido chair (2021) was acquired by The Metropolitan Museum of Art, and other works are part of the collections at the Los Angeles County Museum of Art, Mint Museum, Denver Art Museum, and Baltimore Museum of Art. His work has also transcended the art and design world, with production designer Hannah Beachler featuring some of his pieces in "Black Panther: Wakanda Forever." Tariku recounts his journey into design, initially considering computer science before discovering his aptitude for art and design during his college years. His mentor at the University of Kansas encouraged his passion, which eventually led him to pursue furniture design for his industrial design thesis. He emphasizes that inspiration should not be limited to existing seating designs but can come from a wide array of African contexts, including hairstyles, the afro pick, landscapes, and headrests, allowing for truly unique and innovative designs. He discusses the transhistorical quality of his designs, which blend ancient influences with modern interpretations, creating pieces that defy chronology and symbolize collective and personal histories. He acknowledges the scarcity of historical data for many African objects, which were often made for utility without formal manufacturing structures. As a Western-educated industrial designer, Tariku interprets this past through his skills, ensuring that his pieces are titled to reference their inspirations, such as the Nyala chair's connection to antelopes or the Boraatii stool's link to Oromia headrests. The designer also considers the interactive relationship with users, exemplified by the Qwanta chair, which features an interchangeable backrest. This design was inspired by traditional African birch chairs and aims to involve users in creating their own totems, transforming the chair into a collaborative art piece. He explains his philosophy that his furniture serves both an artistic and functional purpose, akin to how common objects in Ethiopia were used for utility and then displayed as decorative elements. He views his pieces as sculptural, conceptual, and functional statements. Tariku elaborates on the sculptural aspect of his work, highlighting the balance between artistic form and ergonomic functionality. He strives for elegance, clean lines, and organic shapes that provide visual satisfaction and comfort. His creative process involves rigorous prototyping to ensure both aesthetic appeal and practicality. Regarding abstraction, he focuses on extracting the simplest geometric shapes from his inspirations, testing their endurance and researching thoroughly. He aims to make his designs recognizable to those familiar with the cultural references while also appealing to a broader audience. He discusses his material palette, which is currently limited to ash, American ash, and birch plywood, primarily due to cost and environmental considerations. He consciously avoids exotic African woods, prioritizing sustainable forestry practices in the U.S. He expresses interest in expanding into materials like plastics, metals, and carbon fiber when appropriate. Finally, Tariku speaks about his involvement with the Black Artists and Designers Guild (BADG), co-founded by Malene Barnett, which aims to promote and increase the visibility of Black designers from the diaspora and Africa. He believes that his work, and that of other Black designers, is crucial for challenging Western-centric design canons and pushing against misconceptions about African design, ultimately contributing to a more inclusive representation of global creative traditions. #JomoTariku #FurnitureDesign #AfricanDesign #Afrofuturism #IndustrialDesign #InteriorDesign #CulturalHeritage #BlackArtistsAndDesignersGuild #SculpturalFurniture

Banana Republic has expanded its BR Home line, which initially launched with home textiles, to include a comprehensive range of furniture, lighting, and interior accessories for bedrooms, living rooms, and dining areas. This expansion reflects the brand's long-standing design philosophy of reimagining classics with a global influence to create modern, timeless pieces. The furniture collection emphasizes a minimalist palette of natural materials and colors, designed for versatility and easy integration across different interiors. Key pieces highlighted include the Rose Pendant, crafted from hand-pressed clay petals by South African collective The Handmade Story, paired with the Sydney coffee table (handcrafted from cast aluminum in India) and the Stinson Sofa, which reinterprets midcentury modernism. Another ensemble features Napa End Tables made from solid mango wood with brass inlays, a Brooklyn Coffee Table showcasing Spanish Marquina marble, and Celeste Table Lamps with marble bases and aluminum shades. The Rio Sectional, handmade in North Carolina from modular units, is presented with Kent Coffee Tables made from hammered brass and painted glass. Lighting fixtures such as the Merrick pendant, with its hand-woven wire petals, are designed to make a visual statement and are juxtaposed with geometric forms like the Savannah Round Dining Table in European white oak. The collection is rooted in a dedication to quality craftsmanship and the use of opulent textiles and natural materials. This commitment is evident in the bedding, which utilizes European linen, cotton cashmere, and organic cotton, as well as in hand-rolled clay beading, hand-knotted wool rugs, and teak furniture hand-carved in Java. The collaboration with The Handmade Story for pendants and chandeliers underscores BR Home's focus on artisan-made pieces that also support ethical production, as the collective empowers women and families affected by HIV. The design team emphasizes meticulous attention to detail, including exaggerated stitching, linings, and trims, to elevate the overall aesthetic and quality of the products. Each furniture collection is named after a destination or concept that reflects its character, such as the London sofas with their modernist silhouette, the Brooklyn collection's bold forms from handcrafted marble, Lisbon's organic modernism in oak, and Sydney's streamlined, textural beauty. BR Home also offers home styling advice through the BR Atelier, providing one-on-one appointments with stylists to assist customers with selecting individual pieces or developing complete interior schemes. This service aims to empower customers to create impactful spaces with the versatile and carefully curated BR Home range. The expansion into a full furniture line maintains the brand's core values of discovery, self-expression, and a rich, textured aesthetic that has defined Banana Republic since its inception in 1978. #BRHome #FurnitureCollection #HomeDecor #InteriorDesign #HandcraftedFurniture #NaturalMaterials #ModernDesign #TextileArt #GlobalInspiration

The article explores the evolving landscape of interior design in Kenya, highlighting key trends shaping homes in 2025. It begins by reflecting on how design trends have shifted over the years, drawing on personal anecdotes about past styles like wall units and bold wallpapers, and the impactful use of color. The author emphasizes that design is not merely about aesthetics but about creating experiences and evoking feelings of warmth and safety. Contemporary trends are influenced by culture, travel, and technology, making Kenyan homes increasingly dynamic. A significant focus is placed on "Walls That Wow," detailing how walls have transitioned from mere backdrops to central design elements. The article notes the decline of traditional wall units in favor of modern features such as fluted panels, 3D wallpaper, and floating shelves. Wainscoting is also mentioned as a popular choice for adding a touch of classic elegance. The preference for white or off-white walls is explained by their ability to reflect light, enlarge spaces, and serve as versatile canvases for other decorative elements like curtains and furniture. "Ceilings and Lights" are presented as another area where significant design evolution has occurred. No longer confined to a single central bulb, ceilings are now integral design features. Magnificent chandeliers and statement light fixtures are highlighted for their ability to elevate rooms, especially those with high ceilings, adding a grand and dazzling effect. Gypsum ceilings are also discussed as a popular modern choice, offering clean finishes, cleverly concealing curtain rods, and allowing for integrated soft lighting that creates a cozy, sophisticated ambiance, akin to show houses and hotels. Small, thoughtful details, described as "Subtle Touches with Big Impact," are shown to contribute significantly to a room's overall charm. Wooden frames around entrances, particularly in dining areas and corridors, are noted for adding structure and elegance without closing off spaces, framing views like a beautiful picture. The evolution of TV stands is also covered, from bulky wall units to movable stands, and finally to the current trend of floating TV stands. These floating units are favored for their aesthetic appeal, space-saving qualities, ability to hide cables, and the cleaner, more open feel they impart to a room, especially when paired with fluted or 3D wall panels. The article further analyzes "Furniture and Layout Shifts," pointing out a move away from the traditional coffee table as the living room's centerpiece. Instead, dining tables are gaining prominence as multifunctional hubs for family activities, remote work, and social interactions. This shift reflects a more intentional way of living. There is also a strong inclination towards simpler, uncluttered spaces, with heavy, oversized furniture being replaced by pieces with clean lines and softer tones, promoting a calm and airy atmosphere. This trend underscores the philosophy that less is more, advocating for homes that prioritize functionality and comfort over excessive display. In conclusion, the article emphasizes that modern home design in Kenya transcends mere trend-following. It is about crafting personal, warm, and intentional spaces that tell a story about their inhabitants. Homes are now seen as reflections of individuality, constantly evolving while maintaining a core sense of belonging and comfort. Ultimately, good design is about the feeling a home evokes – that quiet sense of warmth and security that signifies "home." #InteriorDesign #KenyaTrends #HomeDecor #WallDesign #CeilingDesign #Lighting #FurnitureTrends #ModernLiving #RealEstate

The Shed, located in New York, United States, is a non-profit cultural organization dedicated to commissioning, developing, and presenting original works of art across various disciplines for diverse audiences. Completed in 2019, the building, known as the Bloomberg Building, was designed by Diller Scofidio + Renfro in collaboration with Rockwell Group. The facility spans an area of 18,500 square meters and is notable for its physical adaptability, engineered to accommodate a wide range of artistic endeavors. The Bloomberg Building features an eight-level base structure. This base includes two dedicated levels for gallery space, providing ample room for art exhibitions. Additionally, it houses the versatile Griffin Theater, designed to host performances and events. The upper levels of the base are home to The Tisch Skylights, which encompass a rehearsal space, a creative lab for local artists, and a skylit event space, offering flexible areas for artistic development and public engagement. A key architectural feature of The Shed is its telescoping outer shell. This shell can be deployed from over the base building and glides along rails onto an adjoining plaza, creating an expansive outdoor performance area known as The McCourt. This innovative design allows the building to physically transform, effectively expanding its footprint and capacity to host large-scale performances, installations, and events, responding dynamically to the needs of different artistic presentations. The project involved a comprehensive team of consultants and specialists to bring its complex design to fruition. Diller Scofidio + Renfro served as the lead architects, with Rockwell Group collaborating on the architectural design. Key consultants included Thornton Tomasetti for structural design, facade engineering, and kinetic engineering services, highlighting the intricate movable structure. Jaros Baum & Bolles handled MEP and fire protection, while Vidaris provided energy modeling consultation. Lighting design was managed by Tillotson Design Associates, and acoustic consultation by Akustiks. Construction management was overseen by Sciame Construction. Vertical transport consultants Van Deusen & Associates contributed to the building's internal logistics. Specialized consultants for the kinetic systems included Hardesty & Hanover, and Fisher Dachs Associates served as theater consultants, ensuring the functionality of the performance spaces. Cimolai was the structural steel fabricator, and Vector Foiltec fabricated the ETFE (Ethylene TetrafluoroFluoroethylene) material used in the outer shell. Additional expertise was provided by Code Consultants Inc. for building codes, Ducibella Venter & Santore for security, Entek Engineering for facade maintenance, James R. Gainfort for waterproofing, and Construction Specifications Inc. for specifications. Graphic design and wayfinding were handled by Other Means. The project's photography was primarily captured by Timothy Schenck, documenting the building's exterior and interior spaces. #CulturalArchitecture #ExhibitionCenter #NewYork #DillerScofidioRenfro #RockwellGroup #KineticArchitecture #PublicArtSpace #ArchitecturalInnovation #BuildingTransformation

Antwaun Sargent, a New York-based critic and curator, has curated his first exhibition as a director at Gagosian, titled ‘Social Works’. This exhibition, which opened on June 24 at Gagosian’s West 24th Street gallery, explores the concept of creating and dissecting space for the betterment of individuals and their communities, particularly focusing on Black social practice. Sargent's curatorial approach is deeply rooted in over a decade of engagement with Black American artists and is characterized by his critical perspective and realistic understanding of the art world. The show features a diverse group of artists, ranging from established figures to emerging talents, and utilizes various media and site-specific installations. The exhibition highlights the intergenerational efforts of Black Americans in developing coping strategies to navigate societal barriers, drawing inspiration from oral traditions, spiritual practices, and lived experiences. Sargent's work in ‘Social Works’ reflects his ongoing commitment to addressing Black agency, moral responsibility in representation, and the significance of formal artistic merit. His influence extends beyond formal publications, encompassing informal discussions and debates with artists and curators, where he consistently challenges existing norms and advocates for self-advancement within the Black art community. The exhibition aims to foster introspection and change by presenting multifaceted perspectives on the Black American experience. Key artists featured in ‘Social Works’ include David Adjaye, Theaster Gates, Linda Goode Bryant, Rick Lowe, and Titus Kaphar. Lauren Halsey, an architect and artist, contributes site-specific sculptures, such as her 'black history wall of respect' (II) and 'box' sculptures. Halsey's work is informed by her family's history in South Central Los Angeles and incorporates found, reworked, and fabricated materials to imagine Afrofuturist possibilities, often referencing the 'FUBUarchitecture' concept. Her pieces, whether monochromatic or vibrant, engage multiple senses and underscore the urgency of civic change from the perspective of a Black woman. David Adjaye, known for his architectural achievements like the National Museum of African American History and Culture, presents his first large-scale sculpture in the US for this exhibition. This monumental work, made from compacted earth, prompts a re-evaluation of material value and aligns with his plans for the Edo Museum of West African Art in Benin City, Nigeria, which will house the Benin Bronzes. Carrie Mae Weems contributes photographs from her ongoing series 'Roaming' and 'Museums', which depict her standing within or in front of public spaces, critically examining their inclusivity. Her presence, often in an elegant black dress, symbolizes her immovable role in supporting cultural structures. Linda Goode Bryant, a veteran in New York’s art and activism scene and founder of the first Black-run gallery, Just Above Midtown, presents an interactive living sculpture titled 'Are we really that different.' Created in collaboration with architect Liz Diller, this piece is inspired by Bryant's urban farming venture, Project Eats, and will provide free food to gallery visitors, marking a unique initiative for Gagosian. Rick Lowe, founder of Project Row Houses, showcases pieces from his 'Black Wall Street' series, which investigates the economic challenges faced by African Americans. His work draws from the history of prosperous Black communities like Greenwood in Tulsa, Oklahoma, emphasizing the importance of independent Black community building and economic empowerment. The exhibition also includes works by emerging artists such as Alexandria Smith and Christie Neptune, reflecting Sargent's commitment to showcasing artists across different career stages and fostering diverse dialogues within the art world. #AntwaunSargent #SocialWorks #GagosianExhibition #BlackArt #ContemporaryArt #CuratorialPractice #AfricanAmericanArtists #ArtAndActivism #CulturalInclusivity

The article highlights nine Black-owned home brands and stores, aiming to provide year-round support and visibility for businesses that often face limited exposure compared to major retailers. While Black History Month brings some attention, the article emphasizes the need for continuous promotion of these brands. Each featured brand offers a unique range of home decor and furnishings, showcasing diverse styles and ethical practices. Sustainable Home Goods, founded by LaToya Tucciarone, offers a variety of ethically sourced and sustainable products including home decor, glassware, cleaning products, and textiles. The brand collaborates with artisans from marginalized communities globally, focusing on providing job opportunities and economic stability. Notable products include the Pillowpia Tabletop Belly Basket, Creative Women Cactus Silk Pillows, and The Great Lakes Goods Anthurium Forever Flower. 54kibo, established by Nana Quagraine, is inspired by contemporary African design. Originating from Ghana and South Africa, Quagraine curated a collection of home decor, lighting, and linens from African designers. The brand's name, derived from Africa's highest summit and the number of African countries, symbolizes excellence in design. Key offerings include the 54kibo Teal Hand-Tufted Wool Rug, the Amur Matte Black Table Lamp, and the Yellow Cord Woven Mirror Artwork. Jungalow, a women-owned company, focuses on creating vibrant and healthy home environments. Beyond offering colorful wallpapers and quilts, the brand is committed to social responsibility, planting trees in Africa and donating to organizations like Black Lives Matter. They feature exclusive art prints from international artists and handmade textiles from India, such as the Justina Blakeney X Loloi Waves Lumbar Pillow, Jungalow Arched Cane Shelf Set, and the Justina Blakeney Kaya Shorty Ceramic Planter. Sheila Bridges Home, led by interior designer Sheila Bridges, reimagines traditional French toile with designs that reflect African American experiences. Her collection spans textiles, glassware, and wallpaper, bringing a blend of history and classic design. Featured products include the SBD Classic Stripe Wallpaper, SBD Harlem Toile Wall Decals, and SBD Harlem Toile Fabric. Linoto, founded by Jason Evege, specializes in 100% linen bedding, bath, and kitchen products. Evege's personal quest for affordable linen sheets led him to create a business that now boasts over 10,000 orders. Linoto's items, crafted in a New York workshop, include reusable Linen Paper Towels, comfortable Linen Pillowcases and Shams, and the luxurious Linen Spa Towel. Albany Park, co-founded by Darryl and Jessica Sharpton, simplifies the furniture buying process by offering three core sofa designs tailored to various needs. Their Ẹkáàbọ̀ collection, inspired by Darryl Sharpton's West African roots, features bold and colorful African prints. Examples are the Albany Park Ẹkáàbọ̀ Park Armchair, the versatile Park Armchair, and the functional Kova L-Shape Sectional + Console couch. Estelle Colored Glass, a luxury brand by Stephanie Hall, draws inspiration from her grandmother Estelle's glass collection and childhood summers in South Carolina. The brand offers hand-blown colored glass drinkware and cake stands, such as the Estelle Cake Stand Lavender, Estelle Colored Champagne Coupe Stemware, and Estelle Colored Rocks Glass Set. Clare, founded by interior designer Nicole Gibbons, addresses the challenge of selecting paint colors with a curated palette and a "Color Genius Quiz." Their water-based paints are VOC-free and Greenguard Gold Certified. Notable products include Clare Neutral Paints, Clare Primer, and the Clare No-Fail Neutral Swatch Kit, which allows customers to test colors at home. Finally, Pretty Honest Candles, started by Andrea Bertrand, focuses on creating candles with fragrances that effectively fill an entire home. After two years of development, Bertrand perfected her formula, offering 8- and 14-ounce handcrafted soy candles with long burn times, along with wax melts, room sprays, and reed diffusers. Featured items are Pretty Honest Room & Linen Sprays, the Old Flame Soy Candle, and the Honeysuckle Jasmine Soy Candle. #BlackOwnedBusinesses #HomeDecor #InteriorDesign #SustainableLiving #AfricanDesign #Textiles #Furniture #HandmadeGoods #HomeFurnishings