mariko tsujimoto folds origami pop up furniture out of book covers

Designer Pao Hui Kao has developed the 'Paper Pleats' furniture collection, which includes stools, coffee tables, a dining table set, shelving, a space divider, and a ceiling lamp, all crafted from tracing paper bound with a unique rice glue. This innovative approach stems from the designer's personal sensitivity to chemicals found in many man-made materials and a commitment to creating recyclable products with minimal environmental impact. The core of the Paper Pleats collection lies in its distinctive manufacturing process. Each piece is constructed from tracing paper that is first soaked in rice water. This rice water functions as a natural adhesive, binding the individual sheets of paper together. As the paper absorbs the water and subsequently dries, it undergoes a natural shrinking and wrinkling process. This controlled contraction is crucial, as it contributes to the material's transformation into a surprisingly strong and rigid structure, despite the inherent fragility of paper. To achieve specific forms and maintain the desired aesthetic, Kao has engineered a series of bespoke tools, including various moulds. These tools are utilized to shape the wet paper, ensuring that the natural wrinkles are preserved while also allowing for the creation of regular patterns and pleats across the furniture pieces. The designer describes this process as a collaboration with the material itself, learning to control key elements like humidity and drying temperature to encourage the paper to adopt particular shapes and textures. A significant aspect of Kao's design philosophy is the ability to create objects that can support substantial weight, challenging conventional perceptions of paper's strength. This is achieved by forming numerous irregular paper tubes that are then bound together by the rice water, resulting in objects that possess a deceptive fragility in appearance but demonstrate considerable structural integrity. This method was initially developed during Kao's studies at Design Academy Eindhoven and has been continuously refined since 2016. The latest iterations of the Paper Pleats collection, including a series of three stools, were showcased at the Collectible design fair in Brussels. The presentation was hosted by the Belgian gallery Spazio Nobile, highlighting the collection's artistic and functional merits. Kao's choice of paper as a primary material is deeply rooted in both personal necessity due to allergic reactions to chemical components like pigments and coatings, and a broader interest in sustainable design practices. The designer emphasizes the importance of understanding recycling systems to investigate new methods of object creation that consider the entire lifecycle of a product. Paper, being a widely used and neutral material with a relatively simple and clean manufacturing process, proved to be an ideal choice for this sustainable endeavor. #PaperPleats #FurnitureDesign #SustainableDesign #RecyclableMaterials #RiceGlue #TracingPaper #DesignAcademyEindhoven #CollectibleDesign #EcoFriendly

The VTNA Table, designed by Yuta Takahashi Design Studio, showcases a radical transformation of an overlooked material: styrofoam. This work table is not merely a functional piece but a symbolic representation of creativity, willpower, and sculptural intention, turning what is often considered disposable into an extraordinary design statement. The design challenges conventional perceptions of material value by elevating styrofoam to a medium capable of bold expression. From an initial glance, the VTNA Table immediately captures attention due to its avant-garde silhouette. The tabletop is gently rounded, providing a softer and more fluid aesthetic compared to the rigid, angular forms commonly found in desk designs. This choice introduces a sense of organic flow to the piece. Beneath the tabletop, the table's legs are formed by two sharply angled triangles that intersect. These triangular structures are designed to provide both strength and stability, grounding the piece with a subtle reference to the Earth's power. The interplay between the tabletop's soft curves and the legs' sharp angles creates a visual tension, which is central to the table's overall sculptural presence and distinctive character. Upon closer inspection, the hand-polished surface of the tabletop reveals subtle irregularities. These imperfections are intentionally crafted to mimic the natural patterns found in wood grain, effectively making the viewer question the table's actual styrofoam composition. This clever detail adds depth and an unexpected natural quality to the material. The contrast between the smoothly polished flat surfaces and the rippling, uneven edges, all meticulously created by hand, establishes a compelling juxtaposition of textures. This tactile variety enhances the piece's futuristic form by injecting warmth and a sense of handmade artistry. The careful execution of these details highlights the studio's commitment to craftsmanship and the deliberate manipulation of material perception. The construction of the VTNA Table involves carving the entire structure from polystyrene foam using a hot wire. After the individual components are shaped, they are securely glued together to form the complete table. To ensure enhanced strength and long-term durability, the assembled styrofoam structure is then coated with a fiber-reinforced polymer (FRP) resin. This final coating not only strengthens the table but also seals and refines its surface. The process exemplifies how a material typically regarded as disposable can be transformed through innovative design and manufacturing techniques into a robust and aesthetically significant piece of furniture. This project serves as a powerful illustration of design's capacity to derive daring possibilities and significant artistic value from everyday, unassuming materials. The VTNA Table by Yuta Takahashi Design Studio stands as a testament to transformative design, demonstrating that even humble materials like styrofoam can be recontextualized into high-design objects. The table's unique blend of soft and sharp geometries, combined with its textural contrasts, creates a distinctive aesthetic that challenges traditional notions of furniture design. Its meticulous construction process, from hot-wire carving to FRP coating, underscores a dedication to both form and function, ultimately producing a piece that is both visually striking and structurally sound. #VTNATable #YutaTakahashiDesign #StyrofoamFurniture #InnovativeMaterials #SculpturalDesign #ModernFurniture #SustainableDesign #HomeFurnishings

Marie Kondo, the renowned Japanese organizing expert and star of Netflix's 'Tidying Up with Marie Kondo,' has expanded her influence beyond decluttering methods with the launch of her new e-commerce shop at konmari.com. This online store offers a curated selection of elegant lifestyle products that embody her philosophy of sparking joy. The collection is designed for individuals who have already embraced the KonMari method of tidying and are looking to enhance their daily lives with thoughtfully chosen items. Kondo emphasizes that these products are intended to be used once the initial decluttering process is complete, serving to enrich a joyful lifestyle rather than contribute to clutter. The product line encompasses a wide range of categories, including decorative objects, organizing essentials, bath products, and entertaining necessities. Shoppers can find items such as black and white steel trays for corralling small items, sleek glass storage containers, and elegant white serving platters, all selected to promote a sense of order and aesthetic pleasure. The pricing for these items varies, from an affordable $9 for an all-purpose household cleaner to a more substantial $220 for a large serving bowl. Among the notable items highlighted as Kondo's favorites are a $75 tuning fork, which aligns with her emphasis on sensory experiences and spiritual well-being, $16 incense for creating a serene atmosphere, and an authentic Japanese donabe (ceramic pot) priced at $180, reflecting her appreciation for functional and beautiful household tools. Other available products include a Tuning Fork & Rose Quartz Crystal set, Japan Dry Garden Series Incense, The Queen's Guard Candle, an Extra-Large Kaleido Tray, Leather Room Shoes, a Glass Teapot, Linen Coasters, and a Brass Plate. Kondo's vision for this collection is to empower individuals to elevate their living spaces and daily routines with items that hold genuine meaning and bring happiness. The philosophy behind the KonMari shop is not about accumulating more possessions, but rather about consciously choosing high-quality, beautiful, and useful objects that resonate with one's personal values and contribute to a harmonious home environment. This launch provides an accessible avenue for her followers to further integrate the principles of her joyful tidying method into their ongoing lifestyle choices. #MarieKondo #KonMari #HomeOrganization #LifestyleProducts #Decluttering #InteriorDesign #ElegantLiving #MindfulShopping #HomeDecor

Tokyo architect Fumihiko Sano utilized Muji's steel shelving system to construct a room-like installation for the "Measuring: This much, That much, How much?" exhibition at Tokyo's 21_21 Design Sight gallery, held from February to May 2015. This installation, titled "Unit of Muji," reimagined the popular self-assembly shelving unit, which first went into production in 1996, beyond its conventional function as storage to propose a more integrated living space. Sano's concept aimed to expand the shelving unit's utility, transforming it into an environment where storage and living are seamlessly unified. He drew inspiration from the shaku, a traditional Japanese architectural measuring unit, noting that the Muji shelving unit's dimensions of 800 millimeters by 370 millimeters align with this historical standard. The installation was composed of various lengths of these shelves, forming a structural grid that extended across both horizontal and vertical surfaces. Smaller shelving units were stacked to create pillars, providing support at the corners of the space and forming its external walls. Within this modular structure, irregularly arranged shelves showcased a selection of Muji's homeware products and clothing items, suggesting a functional domestic setting. To further emphasize the concept of a liveable space, a staircase and a dining table were integrated into the internal area of the installation. Sano explained that by employing steel shelving units to create a style reminiscent of traditional Japanese architecture, where pillars, rather than solid walls, provide support, he presented a novel perspective on the Japanese living environment. The construction of the installation prioritized simplicity and minimal intervention with the original shelving units. Only a few joints needed to be removed to allow for the configuration of multiple units without requiring any welding. The design deliberately left the simple connections and the slender metal-rod surfaces visible, highlighting the lightweight and modular nature of the structure. This approach underscored the adaptability and potential of mass-produced furniture to form complex, habitable structures, offering a fresh take on domestic space and the reinterpretation of everyday objects within an exhibition context. The project was photographed by Daisuke Shima/Nacása & Partners. #FumihikoSano #Muji #SteelShelving #ModularDesign #InstallationArt #JapaneseArchitecture #InteriorDesign #ExhibitionDesign #TokyoDesign

This article provides seven steps for organizing a closet using Marie Kondo's KonMari method, emphasizing the concept of 'sparking joy' to declutter and maintain an organized space. The first step involves removing every single item from the closet to gain a complete overview of all possessions, ensuring no forgotten items remain. Following this, the second step focuses on categorizing clothing by item type and material, such as grouping all pants together or all wool sweaters, to streamline the decision-making process when selecting outfits and to maintain a coherent arrangement. The third step introduces Marie Kondo's 'sparking joy line,' where clothes of the same color are placed together, with darker items positioned on the right and lighter items on the left, creating an upward visual flow. This arrangement is intended to facilitate easy placement and retrieval of items while evoking a sense of joy. The fourth step addresses shoe organization, recommending the use of stackable racks to maximize vertical space and grouping shoes by style, such as boots, sandals, and sneakers, to keep the collection tidy and accessible. For accessories, the fifth step suggests organizing them using a 'boxes within boxes' system. This method involves placing smaller containers inside larger storage boxes to keep delicate miscellaneous items safe and easily retrievable. The article notes that this doesn't necessarily require new purchases, as existing items like shoebox lids can be repurposed. The sixth step advises removing tags from new clothing items. Kondo views this act as a commitment to the item, signaling its adoption into one's wardrobe. If the presence of a tag indicates a lack of love for the item, it prompts a reevaluation of its place in the closet. The final step encourages individuals to think about how items are arranged in stores when organizing accessories, jewelry, and makeup. The goal is to create a visually appealing display that makes the process of getting ready more enjoyable. The article concludes by recommending investment in suitable clothes storage containers, such as baskets and boxes, to help maintain the newly organized closet. These tips aim to revolutionize clothes storage, simplify outfit selection, and encourage a more mindful approach to personal belongings. #MarieKondo #ClosetOrganization #Decluttering #KonMariMethod #HomeOrganization #StorageSolutions #SparkingJoy #WardrobeManagement #InteriorDesign

The ancient Japanese woodworking technique known as kumiko, which originated in the Asuka period (538 to 710 C.E.), involves precisely cutting thin wood slats to interlock into repeating geometric patterns. Initially used for screens and inlaid furniture panels, kumiko has evolved into a celebrated art form with its own distinct designs. This art will be featured at the 43rd annual Smithsonian Craft Show in Washington, D.C., held from April 24 to 27. The show will present the work of 120 American artists across various disciplines, with selections based on originality, artistic conception, beauty, and quality. Among the featured artists is David Gootnick, a D.C.-based kumiko craftsman. Gootnick utilizes Alaskan yellow cedar, transforming a five-foot-long plank into intricate, often less than two-millimeter-thick pieces. He emphasizes the importance of consistent wood thickness and precise angle cuts for the lattice-like designs. Gootnick, a lifelong woodworker, discovered kumiko ten years ago through online practitioners, including Australian expert Des King. He began by incorporating kumiko into cabinetry panels before creating self-contained wall art. While adhering to traditional Japanese motifs like hexagons and equilateral triangles, Gootnick adds contemporary elements such as darker redheart or Osage woods for color contrast and incorporates colorful cloth backings. He also introduces his own variations, including rosettes and lanterns, reminiscent of mission furniture. Although traditional kumiko relies solely on pressure from precisely cut angles, Gootnick uses a small dot of glue for enhanced longevity, ensuring his pieces endure for centuries. Another artisan showcasing kumiko at the Craft Show is Michael Jury from Springfield, Virginia. Jury, primarily known for his handmade Shaker- and Danish-inspired furniture, integrates traditional kumiko patterns into his cabinets and tables. He crafts basswood into small components to form the 'asa-no-ha' (hemp leaf) pattern. Jury has also used kumiko panels as sliding doors for a sideboard, backed with black momigami (kneaded paper), a piece that has received critical acclaim, including “best in show” awards at several exhibits. Gootnick notes his continuous improvement in the kumiko process, observing that a piece that once took him a month to complete can now be finished in two weeks, with a cleaner and more precise result. This evolution reflects a dedication to achieving closer to perfection in his craft. #Kumiko #JapaneseWoodworking #GeometricPatterns #SmithsonianCraftShow #DavidGootnick #WoodArt #Craftsmanship #Artisan #HomeDecor

The Reborn Furniture Project, developed by Korean designers Younghyun Kim and Dasom Lee, addresses the growing problem of textile waste by transforming old clothes into conceptual furniture. This initiative highlights both the environmental impact of discarded garments and the potential for innovative product creation through upcycling. The project features a collection of metal chairs with upholstered elements crafted from previously used items such as puffa jackets and leather bags. These handcrafted upholstery pieces are then attached to stainless steel frames, which Kim and Lee manually bend into distinct, ribbon-like shapes. The inspiration for these frame shapes is drawn directly from the construction process of the upholstered components. One of the key design principles of the Reborn Furniture Project is the modularity of its components. All chairs are engineered so that the upholstered sections can be detached from the metal frames. This separation is achieved through the use of leather zippers, straps, and buckles, many of which are repurposed from the original garments and discarded bags. For instance, buttons, zippers, buckles, and fasteners integrated into the furniture are directly sourced from the old clothes and accessories, showcasing a thoughtful approach to material reuse and design. Kim and Lee’s work draws attention to a significant environmental issue: the vast amount of textile waste generated globally. Despite widespread efforts to promote recycling, a substantial portion of recyclable textiles still ends up in landfills. Reports from fashion retailers like H&M indicate that only a quarter of the 95% of textiles that could be recycled actually are. This project serves as a compelling illustration of how overlooked materials, such as end-of-life fabrics, can be given a second life. The use of discarded textiles for upholstering furniture is an emerging trend that the Reborn Furniture Project exemplifies, demonstrating a creative and practical application within the circular economy. The designers’ methodology involves simple, handcrafted techniques to reinterpret consumer waste streams, transforming them into functional and aesthetically engaging furniture pieces. The project underscores the importance of sustainable design practices and the potential for designers to contribute to a more circular economy. By consciously repurposing materials that would otherwise be discarded, Younghyun Kim and Dasom Lee offer a tangible solution to textile waste while simultaneously challenging conventional notions of furniture design. Their work encourages a re-evaluation of material value and promotes the idea that beauty and functionality can be derived from existing resources. #FurnitureDesign #InnovativeMaterials #SustainableDesign #Upcycling #TextileWaste #CircularEconomy #HandcraftedFurniture

The article highlights Monica Barbaro's approach to bookshelf styling, showcasing an eclectic arrangement of plants, books, and various trinkets. This method is presented as a masterclass in achieving a balanced yet lived-in aesthetic, drawing inspiration from her Instagram post revealing open-style wall shelves. Barbaro's design involves alternating between horizontal and vertical stacks of books, complemented by framed artwork, a lamp, mugs, and a small plant. This diverse selection of accessories, coupled with a thoughtful balance of shapes and sizes, offers an interesting and easily replicable styling approach. According to design experts, achieving a harmonious bookshelf does not necessitate perfect symmetry. Laura Hammett, creative design director at Laura Hammett Living, emphasizes the importance of creating dimension and asymmetry. She suggests that while similar proportions and height levels on both sides contribute to balance, the overall look should avoid appearing 'over-styled.' Hammett recommends pairing items, such as glass vases and photo frames, in different sizes to build a dynamic display. Glass objects are noted for their ability to reflect light and evoke a sense of fluidity, while personalized photo frames add depth and a unique touch to the arrangement. The article also stresses the significance of incorporating a variety of objects alongside books to enhance visual interest and create contrast on open shelves. Hammett advises mixing different materials and textures to add depth to the display. Sculptural items like bookends can serve as ornamental pieces or functional supports for vertically stacked books. The combination of contrasting forms and shapes, such as organic glass vases next to a bronze-trimmed media box, can produce a striking visual effect. Monica Barbaro's bookshelf exemplifies this principle, featuring an assortment of materials from paper to ceramics and greenery, resulting in a truly varied and engaging display. To maintain a balanced bookshelf, it is crucial to avoid overcrowding the shelves with excessive objects and accessories. On open shelves, every item is visible, making intentionality key to creating a cohesive and harmonious look. The article suggests that by carefully selecting and arranging a diverse range of items, individuals can transform their bookshelves from mere storage units into significant focal points within a living space, reflecting a curated and personal style. #BookshelfStyling #CelebrityHomes #InteriorDesign #HomeDecoration #MonicaBarbaro #DecoratingIdeas #OpenShelves #DesignTips #LauraHammett

The article highlights TRASHY, a North Carolina-based company, and its 2025 furniture collection, which addresses the issue of non-degradable waste by repurposing styrofoam. The company blends reclaimed styrofoam with concrete to create functional and aesthetically pleasing furniture, including the Dune Coffee Table, Dune Side Table, Dune Dining Table, and the Wave of Change Side Table. This innovative approach aims to close a significant waste loop by diverting between 40 to 50 cubic feet of styrofoam from landfills for every square foot of concrete produced. The development of TRASHY's process is rooted in recycling technology from North Carolina's Research Triangle and draws inspiration from the region’s furniture-making heritage. The company emphasizes a blend of materials science and traditional craft, collaborating with expert manufacturers to ensure each piece is durable, contains a high percentage of recycled content, and possesses a refined form. The design process includes rigorous real-world testing to guarantee the furniture's resilience against various environmental factors and daily use, making it suitable for both indoor and outdoor settings. The 2025 collection's design is inspired by the tranquil dune landscapes of Topsail, North Carolina, reflecting a dual purpose: protecting the environment from styrofoam pollution and offering versatile furniture solutions. A critical aspect of the collection is its tactile quality. The Dune tables, for instance, feature warm gray concrete dotted with charcoal flecks and subtle pockets that interact with light, creating an engaging visual and textural experience. The organic shapes of the pieces contribute to an elegant outline, showcasing the innovative material's inherent beauty. TRASHY employs a clever design choice by utilizing a polished finish for the tabletops, which facilitates easier cleaning and maintenance. This polished surface contrasts with the relatively gritty, exposed aggregate base, creating an interesting material dichotomy that is both refined and unique. For consumers who prefer a smoother surface, the Dune tables are also available with a smooth finish, offering design flexibility. The Wave of Change Table further exemplifies TRASHY's commitment to sustainability. Its tabletop incorporates the company’s proprietary styrofoam recycling process, while its legs are crafted from Urban Wood, sourced from naturally fallen trees in North Carolina. This dual use of reclaimed materials underscores the company's mission to close waste loops comprehensively. TRASHY's founder, Laura Olson, was motivated by the pervasive problem of styrofoam's long degradation period. Her vision led to the creation of sustainable, lightweight, and thoughtfully designed products that are also conceived for future disassembly and repair, promoting a circular economy. All furniture pieces are made to order, which helps minimize waste, labor, and storage requirements, aligning with the company's overarching sustainable production philosophy. #SustainableDesign #RecycledFurniture #StyrofoamRecycling #ConcreteFurniture #EcoFriendlyHome #FurnitureDesign #MaterialInnovation #WasteDiversion #CircularEconomy

Japanese architect Yo Shimada, from Tato Architects, has conceptualized a modular, multifunctional coffee table named Utsuri, designed to be constructed by consumers using readily available materials from DIY stores. This initiative was commissioned by the German DIY retailer Hornbach, emphasizing a do-it-yourself approach rather than purchasing an assembled product. Consumers are provided with a set of instructions, available in a book sold by Hornbach, to guide them through the assembly process. The Utsuri table is intentionally designed to be affordable, with all necessary materials costing less than 150 euros. These basic components are widely accessible not only at Hornbach but also at other hardware stores, promoting a broad appeal and ease of replication. The design addresses the common challenge of limited living space by offering a versatile storage solution. The coffee table features three white-painted birch plywood tops, arranged at varying heights and mounted on dowel legs. These tops are shaped as multiple overlaid squares, forming a clustered arrangement. A key feature of the design is its rotatable elements; the three interconnecting tables can be independently rotated around their shared legs, allowing for various configurations to suit different needs and spaces. This adaptability makes the table suitable for diverse contexts and occasions, mirroring the functionality of traditional Japanese furniture. Adding an aesthetic dimension, the undersides of the table tops are spray-painted with neon colors. These vibrant undersides cast a warm, colored glow onto the white surfaces below, with the intensity of the illumination changing throughout the day. This visual effect is inspired by the reflections of neon signs on wet streets in Kobe, Japan, demonstrating Shimada's integration of local cultural and environmental observations into his design. Shimada's concept for the Utsuri table draws inspiration from the Japanese chabudai table. The chabudai is a traditional low-lying table with collapsible legs, often used in tatami rooms, which transforms the room's function throughout the day—from dining to tea ceremonies or work, and then making way for futons at night. This historical precedent underscores the Utsuri table's core principle of adaptability and space optimization. The Utsuri table is Hornbach's second collaboration with an architect for a DIY design edition, following a lounge chair by Sigurd Larsen. The project's instructional book, detailing Shimada's design journey in both Japan and Germany, has been released in Germany and is planned for release in other European countries. #DIYFurniture #CoffeeTableDesign #ModularDesign #HomeDecor #JapaneseDesignInfluence #SpaceSavingFurniture #HornbachCollaboration #YoShimada #TatoArchitects

Japanese designer Yasutoshi Mifune has developed an innovative modular paper screen called Kakine, which translates to "hedge" in Japanese. This screen allows for variable shapes and sizes through the assembly of its individual paper components. Each unit of the Kakine screen is uniquely formed like a branch, yet all units share the same size and shape, designed to interlock seamlessly like puzzle pieces. This modularity is a core aspect of its design, enabling users to customize the screen's configuration to suit different spatial requirements and aesthetic preferences. The Kakine screen's apparent complexity belies its simple construction, as it is composed solely of a single, replicated paper piece that fits together repeatedly. This approach highlights an elegant simplicity in design, demonstrating how a singular, well-conceived element can be multiplied to create intricate and adaptable structures. The design emphasizes sustainability and resourcefulness by relying on a single material and a repetitive manufacturing process. Mifune's work with the Kakine screen exemplifies a blend of traditional Japanese aesthetic principles, such as modularity and natural forms, with contemporary design methodologies. The concept of a "hedge" not only informs the product's name but also its function, providing a delicate yet distinct partition within a space. The use of paper as the primary material contributes to the screen's lightweight nature and allows for a certain translucency, which can enhance the ambient light rather than blocking it entirely. The adaptability of Kakine means it can be used in various settings, from private homes requiring subtle room divisions to larger commercial spaces seeking flexible and artistic partitions. Its reconfigurable nature provides a practical solution for dynamic environments where spatial arrangements may need to change periodically. The screen’s artistic quality also positions it as a decorative element, capable of adding a unique textural and sculptural dimension to interiors. In essence, the Kakine paper divider screen represents a thoughtful design solution that marries aesthetic appeal with functional versatility. It showcases how simple materials and intelligent modular design can result in a product that is both visually striking and highly practical, allowing for personal expression in the configuration of living or working spaces. #PaperDivider #ModularDesign #JapaneseDesign #YasutoshiMifune #HomeFurnishings #InteriorDesign #SustainableDesign #CustomizableDecor

This guide offers a comprehensive approach to closet organization, drawing insights from tidying expert Marie Kondo. It emphasizes that organization is not a seasonal task but an ongoing practice that can bring joy and mental clarity. A well-organized closet allows for easy navigation and understanding of item locations, contributing to a calm and motivated mindset. Kondo's KonMari Method is a key component of this approach, advocating for organizing by category rather than location. This involves gathering all items from a single category, regardless of where they are stored, to get a complete overview of one's inventory. The next crucial step is to retain only those items that "spark joy," a core principle of the KonMari Method, ensuring that the space is filled with cherished and purposeful belongings. The article outlines a step-by-step routine for closet organization, beginning with removing everything from the closet. This allows for a thorough assessment and visualization of the ideal setup. Visualizing the arrangement, potentially by sketching it out, helps in making the most of available space, considering factors like hanging space, shared areas, and placement of shoe racks or laundry hampers. Folding clothing according to the KonMari Method is highlighted as an effective way to save space and maintain tidiness, providing better visibility of items. This technique should be applied consistently, whether items are stored in drawers or various storage bins within the closet. Additionally, maximizing vertical space is crucial for efficient organization, with less frequently used items stored at the top and clearly labeled boxes for easy identification. Regarding the frequency of closet cleaning, Kondo suggests that it depends on individual habits and the rate of accumulating new items. She personally tidies her closet annually during spring when switching out seasonal clothing, which also serves as an opportunity to organize other areas of the home. However, others might prefer summer to fall for their yearly tidying session. The key is to approach the task with intention and gratitude. The article also delves into different types of closet organizers, explaining their uses and benefits. Kondo recommends specific items from her collection with The Container Store, such as stackable shoe racks, bamboo storage bins, and bamboo hampers, particularly for smaller closet spaces. These all-purpose bins with wipeable cotton liners are ideal for neatly storing clothing and accessories while looking aesthetically pleasing. For minimizing items, Kondo provides a structured approach: re-homing or repurposing items by offering them to family, friends, or community members; reselling items on various platforms; donating to local thrift stores or shelters; and recycling old or tattered clothes through textile recycling programs. This systematic process helps individuals live more minimally and reduce clutter effectively. #ClosetOrganization #MarieKondo #KonMariMethod #HomeOrganization #Decluttering #StorageSolutions #TidyingTips #Productivity #HomeDecor

French artist duo Zim & Zou have unveiled their latest paper installation, "Flying Faubourg," for the Hermès window display in Tokyo’s Ginza Mitsukoshi. This intricate paper sculpture pays tribute to Hermès’ equestrian heritage by featuring a floating, hybrid creature, part horse and part machine, rendered in warm, sunset-inspired hues. The artwork integrates elements of Hermès' iconic Parisian storefront at 24 Faubourg Saint-Honoré, reimagining it as a structure soaring above the cityscape of Tokyo. Zim & Zou, who refer to themselves as "paper pirates," constructed this complex installation specifically for the opening of the Hermès Ginza Mitsukoshi store. The central sculpture represents their most elaborate creation to date, meticulously assembled in their studio in France before being transported and installed in Japan. The piece is innovatively held together by magnets, supporting both smaller vessels suspended above and miniature buildings below. The artists describe "Flying Faubourg" as a potent symbol of intellectual freedom and artistic expression. The installation features the horse-like figure gazing forward, its mane seemingly flowing in the wind, which evokes Hermès' foundational origins in saddlery and equestrianism. Below this fantastical flying structure, viewers can identify iconic landmarks of Tokyo, such as the Tokyo Skytree, the Rainbow Bridge, and the Tokyo Tower, inviting an imaginative exploration of the city. The artists conveyed that the "Flying Faubourg" is momentarily static within the window display, yet it perpetually invites bold exploration of both the real world and the boundless realm of imagination. The artwork showcases Zim & Zou's signature use of paper as a primary medium, demonstrating their expertise in transforming two-dimensional sheets into detailed, three-dimensional forms. Their previous collaborations with Hermès and other notable brands highlight their unique approach to art and design, which often involves crafting entire fantastical worlds from paper. The choice of paper for such an elaborate installation also emphasizes the artists' commitment to a material that is both versatile and environmentally conscious, aligning with contemporary interests in sustainable art practices. The installation serves not only as a promotional display for Hermès but also as a significant artistic statement, merging luxury branding with imaginative craftsmanship and cultural storytelling. #PaperArt #Hermes #ZimAndZou #WindowDisplay #PaperSculpture #TokyoArt #EquestrianSpirit #InstallationArt #GinzaMitsukoshi

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

This article announces the launch of Marimekko's new peel-and-stick wallpaper collection, highlighting its appeal to individuals with flexible design preferences. The collection features four classic prints from the 70-year-old Finnish design company, available in various color palettes. The author notes that these designs stand out due to their rich history in fashion and design, offering a blend of contemporary and timeless aesthetics. The collection includes the popular Unikko print, available in five color combinations, such as poppy red with magenta and creamy white with olive green. The author points out that the creamy white with olive green Unikko print aligns with 2022's trend towards acidic colors and maximalist interior design. Other featured prints are Puketti, characterized by hydrangeas; Kompotti, a speckled fruit grid; and Rulla, a children's pattern with primary-colored animals on skates, reminiscent of millennial childhood bedrooms. Each wallpaper roll measures 20.8 inches wide by 18 feet long, and for the launch, all prints are offered at a 20 percent discount. The author expresses enthusiasm for the collection, particularly noting the ease with which a few rolls could be installed without assistance in just a few hours. The article includes direct links to purchase the Marimekko Unikko Peel and Stick Wallpaper in black and red, as well as the Marimekko Beige Puketti Peel and Stick Wallpaper, the Marimekko Pink and Grey Kompotti Peel and Stick Wallpaper, and the Marimekko Multi Rulla Peel and Stick Wallpaper from various retailers like Amazon, Wallpops, and The Home Depot. #MarimekkoWallpaper #PeelAndStick #HomeDecor #InteriorDesign #FinnishDesign #UnikkoPrint #HomeRenovation #DesignHistory #MaximalistInterior

The article details the design and features of the new Assemble Studio, located in Melbourne, Australia, which was developed by the Australian architecture and design firm Assemble with contributions from local organizations. The core objective of the fit-out was to embody the company's strong design philosophy within its physical workspace. A standout element of the studio is its geometric ceiling, characterized by triangular, origami-inspired folds crafted from timber battens. This innovative ceiling design emerged from the necessity to conceal a complex network of pipes, ductwork, air-conditioning units, smoke detectors, and fire alarms that cluttered the original ceiling. To achieve this, the design team experimented with various sculpted origami forms using paper, ultimately arriving at five distinct triangular shapes. These shapes are then mirrored and repeated eight times across the entire length of the ceiling, effectively camouflaging the overhead systems while allowing them to remain fully functional. Beyond the aesthetic and functional aspects of the ceiling, the studio incorporates custom-built furniture that enhances its versatility. All furniture pieces are equipped with castor wheels, enabling easy re-arrangement and reconfiguration of the interior space. This flexibility is crucial for accommodating various activities, including events and design workshops, ensuring the studio can adapt to diverse operational needs. Sustainability and a commitment to revealing the building's inherent character were central to the renovation. The exposed concrete on the side walls serves a dual purpose: it offers an attractive raw aesthetic and contributes to energy efficiency. The thermal mass of the concrete walls is designed to absorb the sun's rays, helping to regulate the interior temperature. Furthermore, the design intentionally exposes the 'bones' of the building, with marks and notes made by builders during construction left visible on the walls, creating an 'inner-beauty' aesthetic that celebrates the construction process. Material selection also prioritized environmental responsibility. All joinery and ceiling battens are constructed from sustainably harvested hoop pine plywood, finished with a low VOC (Volatile Organic Compound) clear wash, minimizing harmful emissions. The desktops feature marmoleum, a traditional flooring material composed of linseed oil and natural pigments, chosen for its eco-friendly properties. Additionally, the studio benefits from large windows that allow ample natural light to flood the interior, significantly reducing the reliance on artificial electric lighting and further enhancing its sustainability credentials. The project exemplifies a thoughtful integration of innovative design, functional flexibility, and environmental consciousness. #AssembleStudio #GeometricCeiling #OrigamiDesign #TimberBattens #SustainableDesign #ArchitecturalRenovation #OfficeDesign #MelbourneArchitecture #InteriorArchitecture