African Designs Go Mainstream: Jomo Tariku Showcases The Birth Chair II at Dubai Design Week

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

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

Ibiyane, a design studio founded in 2020 by Tania Doumbe Fines and Élodie Dérond, originated during the lockdown period. Doumbe Fines, with a background in interior design, had a long-held ambition to design a chair. This led to the creation of an African birthing chair, which subsequently resulted in an invitation to create a seat for an exhibition. During this process, Dérond joined, and their collaborative synergy sparked the official formation of Ibiyane. The studio’s initial operations were based in Montreal and later relocated to Martinique, near Dérond’s childhood home. Ibiyane's core philosophy revolves around exploring the narratives embedded within objects and fostering deeper dialogues between creators and collectors. The name 'Ibiyane' is derived from the Batonga language, meaning 'to know one another,' reflecting the founders' belief in design as a medium for conversation and the exchange of ideas about the world, beauty, and design principles. This ethos is exemplified in their Elombe series, which garnered significant acclaim at Milan Design Week 2023. The term 'Elombe' translates to 'conversation,' and each piece in the numbered series is conceived as a distinct conversation, emphasizing an ongoing practice of dialogue and evolving understanding. Living and working in Martinique has profoundly influenced Ibiyane's design methodology. The studio has begun to incorporate local resources such as Caribbean pine and other native timbers, expanding beyond their initial stack-laminated techniques. Their design language is characterized by organic forms and curves, prioritizing simplicity while maintaining functionality. The designers actively engage with their natural surroundings, often drawing inspiration directly from elements found on the beach, allowing the inherent qualities of materials, particularly wood, to guide their sculpting process. Despite their rapid rise and critical recognition, including an early exhibition at Carpenters Workshop Gallery’s 'The New Guard: Stories from the New World,' Doumbe Fines and Dérond maintain a grounded perspective. Dérond, who is not formally trained in design, attributes this to her 'outsider' status, which she believes fosters a childlike and intuitive approach to creation. Doumbe Fines views their early successes as an expansion of possibilities, reinforcing their commitment to integrating an African essence into modern design. They aim to imbue their work with the philosophy and intentionality observed in traditional African art, sculpture, and design. Ibiyane’s ambitious and long-term vision positions them as a significant force in the design landscape. Their work is scheduled to be featured in an upcoming exhibition titled 'Enthroned' at the Jessica Silverman Gallery, running from January 11 to March 2, 2024, showcasing pieces from ten female-led design practices. The studio's work is also highlighted in the January 2024 issue of Wallpaper* magazine. #IbiyaneDesign #CaribbeanDesign #FurnitureMaking #MilanDesignWeek2023 #MartiniqueCraftsmanship #SustainableDesign #AfricanInspiredDesign #SculpturalFurniture #EmergingDesigners

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

The Design Show, an architecture, interior design, and fit-out exhibition, is scheduled to take place at the Cairo International Convention Center from May 23rd to May 25th. This event aims to showcase a comprehensive array of design innovations and connect professionals and enthusiasts within the industry. The exhibition is positioned as a significant gathering for the design sector in Egypt and the wider Middle East, offering a platform for exploring current trends and future directions in design. The event will host numerous exhibitors, including architects, interior designers, lighting specialists, furniture manufacturers, landscape designers, and workspace solution providers. Notable participants include Shira Group, Smart Wood, Novi Design & Furnishing, Herman Miller, Smart Furniture, and Duravit. The inclusive nature of the exhibition allows any relevant company to register and participate, fostering a broad representation of the industry. Support for The Design Show comes from prominent industry sponsors such as Asfour Crystal, Mohamed Talaat Architects, Nadim Industries, and Villeroy and Boch. Their involvement underscores the event's importance and its potential to contribute significantly to the enrichment and advancement of the Egyptian design sector. The presence of these key players helps solidify the exhibition's reputation as a vital industry occasion. In addition to the traditional trade fair components, The Design Show will feature "live design talks" accessible to all visitors throughout the exhibition dates. These sessions are designed to provide insights and foster discussions on various design topics. Furthermore, "panel discussions" will be held specifically for professionals from June 1st to June 3rd. These specialized sessions offer valuable networking opportunities and a forum for in-depth exchanges among industry experts. Attendees, whether seasoned professionals or design enthusiasts, can anticipate discovering groundbreaking products, gaining new perspectives, and staying informed about the latest design trends and developments. #TheDesignShow #DesignExhibition #EgyptianDesigners #InteriorDesign #Architecture #FurnitureDesign #CairoEvents #DesignTrends #Networking

Mitsubishi Jisho Design architects Kei Atsumi and Motoya Iizawa unveiled 'The Warp' pavilion at the tenth Dubai Design Week, an immersive installation envisioned as a zen Japanese tea garden. This pavilion aims to bridge ancient Japanese craftsmanship with contemporary 3D printing technology. Situated amidst Dubai's modern skyscrapers, the installation offers a temporal journey from traditional Japan to the emirate's futuristic landscape. The Warp was activated through various events, including matcha tea ceremonies and design workshops, emphasizing its cultural and educational aspects. The core concept of The Warp pavilion revolves around the innovative integration of centuries-old Japanese joinery systems with advanced 3D printing techniques. Kei Atsumi highlighted that the pavilion comprises over 900 unique pieces, each featuring distinct shapes and curves, a complexity achievable only through computational design. These components are assembled using traditional Japanese joinery, a system historically employed in wooden shrines and temples. This method allows for easy assembly, disassembly, and relocation, showcasing an adaptive application for a more intricate, modern structure while ensuring its portability and reusability. The design process leverages computational modeling to precisely generate these small, double-curved panels, which seamlessly interlock to form the overall structure without the need for adhesives, nails, or metal fittings. The pavilion's journey for visitors commences at a pebbled garden, leading to the tea house, an intimate wooden space designed with a gentle twist that visually references Arabian sand dunes. Upon entering through a traditional small, low passage known as a nijiriguchi, visitors can participate in a matcha ceremony led by a Japanese tea master. This experience is intended to transport individuals into a Japanese spiritual realm, while simultaneously offering a view of Dubai's iconic Burj Khalifa, thus creating a dialogue between historical tradition and modern advancement. This spatial arrangement underscores the pavilion's role as a portal connecting disparate cultures and eras. Beyond its aesthetic and cultural significance, The Warp pavilion also promotes Mitsubishi Jisho Design’s Regenerative Wood technique. This circular production system focuses on reintegrating wood waste back into the forestry industry. Atsumi noted that typically, only about 50% of wood material is utilized in architecture and other products, with the remainder becoming waste. The pavilion addresses this issue by constructing the entire structure from a 3D-printed wood composite. This composite material is composed of 30% recycled sawdust and 70% bioplastic, making the pavilion a sustainable and beautiful example of material reuse and ecological responsibility. This project exemplifies a new language of architectural expression, combining traditional wisdom with cutting-edge technology for sustainable design and construction. #KeiAtsumi #DubaiDesignWeek #JapaneseJoinery #3DPrinting #SustainableArchitecture #PavilionDesign #WoodComposite #ComputationalDesign #MitsubishiJishoDesign

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

Don Tanani, a new brand and design gallery, has emerged from a collaboration between Egyptian interior design firm Living in Interior and wood producers Ar-Co. This brand aims to offer a fresh perspective on contemporary furniture, interpreting Egyptian design and identity in a timeless manner. The inaugural collection, designed by Lina Al Orabi and titled Duality, features wooden furniture, including tables, consoles, and seating. These pieces are characterized by their curved lines and are crafted using traditional joinery and carving techniques rooted in ancient Egypt. The founders of Don Tanani, members of the Tanani family, express their intention to address a gap in the MENA region and Egyptian design market by elevating design made in Egypt and the Middle East. Their goal is to push the boundaries of Egyptian design and functional art, creating products that blur the line between utility and artistic expression. The brand plans to expand its collection through future collaborations with more Egyptian designers. The Duality collection, a result of a two-year development process, showcases a contemporary design approach deeply embedded in local traditional crafts. The collection draws inspiration from ancient Egyptian beliefs, where objects and art were considered living images, preserving likeness for future generations. The artisans of ancient Egypt imbued static materials with warmth, movement, and life through carving, effectively encapsulating moments in time. This historical reverence for craft is evident in Don Tanani's creations. The furniture pieces in the Duality collection feature sleek wooden forms with curved silhouettes and substantial volumes. Subtle patterns are integrated into the designs, adding a sense of lightness to the wooden structures. The collection skillfully combines natural woods with wood veneer techniques that mirror those employed in ancient Egypt. Furthermore, oxidized wood inlaid with camel bone is utilized to create compelling visual contrasts. This intricate detailing pays homage to ancient Egyptian craftsmanship, where similar inlay techniques were used with precious stones. Ultimately, the Duality collection endeavors to rekindle cultural memories and bridge centuries of craft and design with contemporary aesthetics. It represents the beginning of Don Tanani's journey to elevate Egyptian design and celebrate the creative talent within the region. The brand's commitment to both historical authenticity and modern interpretation positions it as a significant contributor to the evolving landscape of Egyptian design. #EgyptianDesign #FurnitureDesign #ContemporaryDesign #TraditionalCraftsmanship #LinaAlOrabi #DonTanani #InteriorDesign #Woodwork #CulturalHeritage

The Multi-Tier Shelf system, designed by KALO, represents an innovative approach to home furniture, incorporating unique design elements and a blend of traditional and digital fabrication methods. This system, part of a new collection unveiled at Design Days Dubai in March 2016, challenges conventional furniture construction with its hardware-free design. The shelves are crafted from Maple and are supported by vertical slanting legs. A distinctive feature is the absence of traditional hardware connections; instead, the legs are secured to the topmost shelf using custom-made solid brass pins. This allows the legs to fold down, facilitating flat-pack shipping, a practical solution for transportation and storage. The Maple legs are designed to emerge organically from the horizontal top surface and extend downwards to the floor, creating a cohesive and natural aesthetic. Attention to detail is evident in the connection points where multiple pieces converge. These junctions are either subtly highlighted through the manipulation of the surrounding material, creating a 'soft' formal response, or expressed tectonically to seamlessly integrate the components. Further enhancing the design, inset camel leather collars are incorporated into the shelves, providing a snug fit around the legs and preventing slippage. The modular nature of the system allows for additional shelves to be installed at various heights, with precisely cut hole patterns that align with the leg slant angles. The broader collection from KALO, showcased alongside the Multi-Tier Shelf system, includes a coffee table, stools, and a lounge chair. All these pieces share the same organic formal language, demonstrating a consistent design philosophy across the range. The entire collection is designed and manufactured in Dubai, United Arab Emirates. KALO is a creative practice spearheaded by Ammar Kalo, a designer and architect whose work focuses on the intersection of digital technology and traditional craftsmanship. Kalo's methodology involves combining conventional material processes with advanced digital fabrication techniques. This approach explores the intricate relationships between materials, fabrication tools, and the resulting forms. His academic background includes undergraduate studies in Architecture at the American University of Sharjah and a Master of Science in Architecture from the Taubman College of Architecture and Urban Planning at the University of Michigan, with concentrations in Material Systems and Digital Technologies. Ammar Kalo currently serves as the Director of CAAD Labs and an Assistant Professor at the American University of Sharjah, where his research interests include developing design and fabrication projects that emphasize the inherent connections between materials, tools, and form-making. The Multi-Tier Shelf system exemplifies this philosophy, offering a modular, smart, and aesthetically pleasing furniture solution. #FurnitureDesign #KALO #DubaiDesign #ModularFurniture #DigitalFabrication #Craftsmanship #HomeDecor #InnovativeDesign #SustainableDesign

The 62nd Salone del Mobile in Milan, a prominent international design event, and its accompanying Fuorisalone events are showcasing a diverse range of Japanese design talent. Several established and emerging Japanese designers and brands are presenting their latest works, emphasizing innovation, sustainability, and traditional craftsmanship. Among the newcomers at the Rho Fiera exhibition complex are Adal and Nagano. Adal is presenting its 'Look into Nature' brand, which re-imagines igusa (Japanese rush grass), traditionally used in tatami, as a sustainable material for contemporary furniture. This involves transforming igusa into flexible textiles for chair backrests, coffee table panels, minimalist room screens, and abstract wall art, all inspired by Japanese landscapes. Nagano Interior, on the other hand, focuses on solid wood, highlighting its natural grain and texture through meticulous hand-finishing in its 'Think Basic' series. Daft about Draft, directed by Taiju Yamashita, is exhibiting for the second time at Rho Fiera. The brand features plush furnishings and sleek tables characterized by curved forms, soft textiles, dusky tones, and a focus on velvety textures, dark woods, and brushed metals. Yamashita's approach views furniture as a medium for expression, aiming to create personal narratives through user experience. Sixteen works are on display this year, with six making their debut in Milan. Karimoku Furniture is presenting its largest Milan showing to date, with four of its brands spread across different venues. At Rho Fiera, Karimoku Case, a collaboration with renowned designers Norm Architects and Keiji Ashizawa, showcases furniture for specific architectural projects. New pieces include those designed for the 'Bellustar Tokyo' hotel (Case 09) and the 'Azabu Hills Residence' complex (Case 10), featuring curvilinear forms, subdued hues, and the first use of lighter-toned keyaki (zelkova) wood in the Case series. Fuorisalone events in Milan’s Tortona district feature Karimoku New Standard, making its first appearance in five years with an installation curated by Connie Husser and creatively directed by David Glaettli. Karimoku's collaboration with Zaha Hadid Design also returns with new additions to its architecturally inspired Seyun lineup. A new brand, Mas, an all-wood furniture line from Karimoku, is also introduced. Named after the traditional hinoki (Japanese cypress) masu cup and a nod to 'mass production,' Mas includes clean-lined chairs, benches, stools, and tables made from Japanese coniferous woods, detailing unique joinery. SaloneSatellite, which spotlights young designers, features Hana Mitsui, who is re-thinking traditional textile production through recycling waste materials. Her 'Visual Illusion' installation includes 'Blurring Checker,' a fabric inspired by the deliberate misalignment of independently dyed warp and weft threads in kasuri textiles, creating soft, blurred patterns. Product designer Kodai Iwamoto showcases new lighting works, including the 'Komoru' circular wall lamp and the 'Arrow Stand Lamp,' which emanates light mysteriously from behind, demonstrating his self-taught techniques in metalworking and wood carving. Further Fuorisalone innovations include the 'Origin of Simplicity. 20 Visions of Japanese Design' exhibition at the ADI Design Museum, curated by Rossella Menegazzo. This exhibition explores simplicity in Japanese design from the 1960s to the present, featuring over 150 works in a forest-like setting designed by Kenya Hara. The Isola Design Festival, expanding to new venues in Milan’s Isola district, includes three exhibitions with Japanese creators. Yu Watanabe transforms his space into an atelier for 'Disclosure: Design Studios Unveiled,' exhibiting material explorations and urushi (Japanese lacquer) pendant lamps. Shinkogeisha’s 'New Craft' exhibition combines design, engineering, and technology into contemporary craft, showcasing 3D-printed items like Nosemono (attachments to natural rocks and branches) and Tilde’s knit-textured radios. Arakawa Grip celebrates its 50th anniversary with an installation by Kaori Akiyama, and also features new furniture and homeware products from 16 Japanese designers. Other notable presentations include 'Wonderpowder,' a collaboration between design studio We+ and Shimadzu, exploring the design potential of powder as a material through an interactive installation at Dropcity. Majotae, a textile brand directed by Teruhiro Yanagihara Studio, is launching its first collection of naturally dyed bedding, reviving taima-fu, an extra-fine hemp fabric from the Edo Period, with the help of modern technology. #SaloneDelMobile #MilanDesignWeek #JapaneseDesigners #FurnitureDesign #SustainableMaterials #TextileInnovation #Craftsmanship #ArchitecturalDesign #ProductDesign

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

Milan Design Week and Salone del Mobile 2024 provided a prominent platform for Japanese design, showcasing a diverse range of innovative creations from various brands. The event highlighted traditional craftsmanship integrated with modern aesthetics, spanning furniture, lighting, textiles, and art installations. Several key brands presented new collections and exhibitions across Milan, emphasizing unique materials and design philosophies. Karimoku Case, known for its woodworking and manufacturing precision, exhibited at Salone del Mobile with a theme of 'Natural Contrasts.' The exhibition, curated by architect Keiji Ashizawa, created a serene atmosphere with spaces designed to connect indoor and outdoor elements. A notable feature was the reintroduction of _keyaki_ (zelkova) wood, traditionally used in temples and shrines, into contemporary furniture, aiming to revive its popularity. Designs by Ashizawa, Norm Architects, and Norman Foster were prominently displayed, reflecting a holistic approach to furniture within specific project settings. Three other Karimoku brands also held separate exhibitions. Seyun, a collaboration fusing Zaha Hadid's futuristic designs with Karimoku's wood craftsmanship, unveiled a new side table, tray, and lounge chair, all crafted from single pieces of wood. Mas, creatively directed by Wataru Kumano, debuted in Milan with 'Project Hinoki,' an exploration of Japanese cypress wood, featuring minimal lights by Daniel Rybakken and low triangular tables by Ville Kokkonen. Karimoku New Standard, with David Glättli as creative director, presented its first solo show in five years, showcasing pieces like the Polar sofa by Moritz Schlatter and textiles from a collaboration with Reiko Sudo's nuno, all in an atmospheric artist's studio setting. The textile industry was represented by Hosoo, a centuries-old Kyoto maker, in collaboration with Michele de Lucchi. Their 'Mind Landscape Collection' explored forest aesthetics through four new textiles (Cedar, Red Elm, Red Oak, Afzelia) with motifs derived from macro photographs of wood fibers and satellite imagery, blurring the lines between wood and fabric. Issey Miyake's 'Fold and Crease' installation, created by Dutch collective We Make Carpets, featured 60,000 hand-dyed bamboo skewers forming an undulating abstraction, evoking an underwater landscape within the brand's flagship store. Sugiyama Furniture, specializing in solid iron craftsmanship, presented 'The Beauty of Lines,' showcasing the versatility of iron in minimalist interior products. Collaborations with Japanese creatives yielded pieces like Kazuteru Murasawa's Felice chairs, combining lightweight iron with organic leather details, and Fumie Shibata's Wall Deco series. Ambientec, a Japanese lighting brand, introduced Fotika, a hybrid portable and desk lamp designed by Kensaku Oshiro, inspired by the light filtering through ocean waters and crafted from a single piece of aluminum. Majotae, a Japanese hemp brand, presented Majotae 9490, a new line of bedding made from _tamai-fu_, a super-fine traditional hemp, with textiles displayed in natural dyes. The exhibition also showcased historical hemp artifacts and a live demonstration of traditional weaving. Stellar Works, a Japanese furniture brand based in Shanghai, returned with an expansive showcase inspired by Marco Zanuso, featuring new Neri & Hu products like the Qi collection sofas and the Taiko terrazzo table by Studio Stefan Scholten. Finally, Nagano Interior, making its Salone del Mobile debut, presented solid wood furniture crafted from materials like red oak and Japanese ash, embodying the concept of 'wa' or harmony, with pieces like the DT614 table and Corona chair. Ritzwell, another Fukuoka-based furniture maker, blended Japanese craftsmanship with functional design, showcasing the Constantino Armchair by Shinsaku Miyamoto and the MT Coffee Table, alongside new wood color shades Sohbobku and Gen. #MilanDesignWeek #SaloneDelMobile #JapaneseDesign #FurnitureDesign #TextileInnovation #LightingDesign #Craftsmanship #SustainableMaterials #InteriorDesign

The article details the 'Destinations' exhibition, a key component of Dubai Design Week, which brought together six international design weeks to showcase emerging brands with a focus on lighting. The event served as a global platform, highlighting diverse design approaches from cities including Mexico City, Beijing, Helsinki, Istanbul, Melbourne, and San Francisco. Each participating design week presented three emerging brands, demonstrating a variety of innovative lighting solutions. From Melbourne International Design Week, Lab De Stu, founded by Andre Hnatojko, featured highly modern and oversized Popper lamps. Ben Tovim contributed pieces that explore geometric structures and material values, while Christopher Boots presented graphical works that combine traditional and contemporary techniques. San Francisco Design Week showcased Lumio lamps, which are designed to open like a book, creating a unique illumination experience. Beijing Design Week's contribution included Eoq lamps, known for their Moiré effect, adding a distinctive visual element to lighting design. Helsinki Design Week featured Saas Instruments, which innovated with Alexander Lervik's crystal glass Sparkle pendant and Sense Light Swing lamps, offering both aesthetic beauty and functional versatility. Mexico City's Abierto Mexicano De Diseño highlighted craft-led and pattern-projected lighting solutions from Ediciones Jalapas, alongside Tributo's materially rich and formally sound designs. The exhibition emphasized how specific materials are utilized to reflect the distinct regional contexts in which these light sources are produced. The 'Destinations' exhibition underscored the global nature of design, where creativity converges from various corners of the world. The diverse range of styles and applications presented at Downtown Design Dubai demonstrated that despite geographical and cultural differences, the sublime qualities of light possess the potential to unify and connect communities worldwide. The showcase allowed for the appreciation of different interpretations of lighting, from clean geometry and ingenious references to intricate weaving techniques and crystal refraction, all contributing to the transformation of an essential resource into an art form. #DowntownDesignDubai #LightingDesign #DubaiDesignWeek #InternationalDesign #EmergingBrands #DesignInnovation #GlobalDesign #ArchitecturalLighting #HomeDecor

Japanese design studio Nendo presented their solo exhibition titled “Dancing Squares” at the Art Stage gallery in Singapore, which ran from January 13th to January 16th, 2011. The exhibition showcased a collection of furniture pieces including a bookshelf, a lamp, a stool, and a table, all characterized by a design aesthetic that gives the illusion of distorted or tumbling squares. This collection aims to imbue a sense of motion into static objects. The core concept behind the “Dancing Squares” series involves assembling square elements in a way that suggests dynamic movement. For instance, the bookshelf in the collection features a design where a part of its structure appears to be frozen in a cascade of tumbling planes. This creative approach introduces variation in how books can be stacked and displayed, moving beyond traditional linear arrangements. Another piece, the stool, is designed with a distinctive twist, providing it with a visually playful appearance. This design choice contributes to the overall theme of dynamic forms within the collection. The lamps in the exhibition are engineered to roll and remain stable, thanks to their carefully arranged planes, which also allow them to cast light in multiple directions, enhancing their functional and aesthetic versatility. Perhaps one of the most striking pieces is the table, which gives the impression of leaning or falling away. Despite this precarious visual effect, the table maintains its full functionality. The design also creates an optical illusion where objects placed on its surface appear to sink into its folds and sways, challenging perceptions of stability and form. These various movements and distortions are intended to create a fascinating interplay between balance and unbalance, making the planes of the furniture seem to dance. Nendo’s exhibition at Art Stage, located at Basement 2, Hall D at Marina Bay Sands, Singapore, was open to the public without an admission fee. The photographs of the collection were captured by Masayuki Hayashi. This exhibition provided insight into Nendo’s innovative approach to design, where everyday objects are reimagined with a fluid and dynamic sensibility, transforming conventional furniture into artful expressions of motion and form. #Nendo #FurnitureDesign #Exhibition #ProductDesign #ArtStageSingapore #SquareMotif #InnovativeDesign #InteriorDesign #JapaneseDesign

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

The Pod collection, a collaboration between B&T Design and Japanese designer Jin Kuramoto, introduces a novel approach to furniture design, aiming to redefine how individuals sit, gather, and interact within a space. This collection, launched during Clerkenwell Design Week 2025, reflects B&T Design's commitment to innovation and rethinking fundamental aspects of furniture use. The Pod collection is characterized by its distinctive geometric transformation, featuring a cylindrical structure that creates an illusion of lightness. The furniture pieces appear to float, thanks to height-adjustable bases that prevent them from directly touching the ground. This visual levity is complemented by the physical solidity provided by cold-molded HR foam and wooden cores, ensuring both comfort and structural integrity. This balance is a defining characteristic of Pod's presence in any room. The collection is presented in two basic forms: Tri, a triangular shape, and Quad, a square shape. These elemental forms, reminiscent of shapes learned in childhood, are subtly transformed with cylindrical sections, making the resulting pieces both familiar and intriguing. Their enclosed design promotes intimacy and conversation, setting Pod apart from traditional sofas or benches and fostering new possibilities for spatial interaction and communication. Jin Kuramoto, born in 1976, established his design studio in 2008, bringing a philosophy rooted in Japanese design principles that emphasize simplicity and the "essence of things." His interdisciplinary work, spanning furniture, appliances, and automotive design, enriches the exploration of human behavior and space within the Pod collection. The partnership between B&T Design and Jin Kuramoto is significant, as Kuramoto's poetic design approach and cultural depth infuse an emotional layer into the collection. This collaboration underscores B&T Design's belief in the power of diverse perspectives in design. To commemorate their initial collaboration, B&T Design organized "3 Days of Discovery" in Istanbul, allowing Kuramoto to immerse himself in the city's environment. This experience contributed to the emotional and cultural foundation of Pod, highlighting a shared process of exploring cultural exchange and developing a common design language. Kuramoto emphasizes his focus on how furniture can inspire users and interact with its environment, aiming for Pod to facilitate playful engagement and enrich daily experiences. B&T Design, founded in 1995, originated as a metal workshop focused on craftsmanship. The brand has evolved into a global company, expanding its network to over 65 countries. Its philosophy centers on the question, "What can we do new today that will inspire people?" This approach guides the creation of not only design chairs, sofas, poufs, and tables, but also contributes to creating inspiring looks, moods, emotions, and feelings within spaces. The Pod collection embodies this spirit, representing a synthesis of innovative design and emotional connection. The launch of Pod at Clerkenwell Design Week coincided with B&T Design's 30th anniversary and the opening of a permanent showroom in London, marking a significant milestone for the brand. #FurnitureDesign #InteriorDesign #ProductDesign #ModernFurniture #DesignCollaboration #JinKuramoto #BTDesign #ClerkenwellDesignWeek #JapaneseDesign