A floating dialogue in space: Pod by B&T Design and Jin Kuramoto

teamLab, an international art collective, has partnered with TikTok to launch an innovative immersive art and sauna experience in Tokyo called 'TikTok teamLab Reconnect.' This unique exhibition, open until August 31, aims to allow visitors to experience art in an enhanced mental state, referred to as a 'sauna trance.' This state is achieved by cycling through saunas, cold showers, and periods of rest, which are believed to sharpen the senses and clarify the mind, enabling a deeper appreciation of the art. The concept draws inspiration from ancient Japanese traditions, blending this historical pastime with digital and immersive art. The exhibition features various saunas, each equipped with colorful lighting and calming scents, followed by a cold bathing area. After this cycle, visitors enter one of five immersive art installations. The experience encourages repeating this process before viewing each new art piece. The installations showcase several of teamLab’s signature boundary-defying works, including pieces from their new project, 'Supernature Phenomena.' Notable installations include 'Levitation,' 'Ephemeral Solidified Light,' 'Proliferating Immense Life in the Rain,' and 'Step into the Light Circle.' These pieces incorporate elements such as levitating orbs that pulsate with energy and color, and floating crystals of solidified light, creating an otherworldly environment. The exhibition challenges conventional notions of art viewing by integrating a physical and mental conditioning process. In collaboration with TikTok, teamLab also developed an augmented reality (AR) piece called 'Every Life Survives in Fluctuating Space,' which can be experienced remotely through the TikTok app. This extends the accessibility of the art beyond the physical exhibition space. The entire experience of 'TikTok teamLab Reconnect' is designed to be unconventional, pushing the boundaries of how art is perceived and interacted with. Further details about the exhibition are available on teamLab's official website. #TeamLab #ImmersiveArt #SaunaExperience #DigitalArt #ArtInstallation #TokyoExhibition #TikTokCollaboration #SupernaturePhenomena

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

Naoto Fukasawa, a renowned Japanese product designer, maintains that he does not adhere to a consistent overarching design philosophy, a claim that might seem unexpected given the purity, tactile warmth, and quiet sophistication evident across his extensive body of work. This assertion was made during an exclusive interview held on the sidelines of BODW In the City, an extension of the Hong Kong Design Centre’s annual Business of Design Week event, which concluded on January 18. Fukasawa elaborates that his objective is not to articulate a personal design philosophy but rather to craft objects that evoke a feeling of “rightness” in their users. This concept of “rightness” refers to a symbiotic relationship between an object and its user, where the object harmonizes with its environment rather than existing in isolation. Fukasawa challenges the notion that his approach itself constitutes a philosophy, clarifying that his primary aim is to achieve holistic unity within the user's environment. He emphasizes the interconnectedness of all elements, suggesting that no product exists independently. Even for a seemingly simple item like a water bottle, he believes that the entirety of life must be considered in its design. His perspective underlines the importance of integrating objects seamlessly into the user’s daily life and surroundings. During his visit to Hong Kong, Fukasawa delivered a talk at the B&B Italia showroom within the Colourliving emporium in Wan Chai. He expressed a long-standing desire to collaborate with B&B Italia, attributing this interest to the brand's focus on “life quality,” a characteristic he observed during his numerous trips to Italy. This shared emphasis on enhancing the quality of life through design resonated deeply with his own principles. An example of his collaboration with B&B Italia is the Grande Papilio armchair, launched in 2009. Despite its imposing, throne-like stature, which might seem to contradict his belief that products should recede into the background to highlight human life, Fukasawa clarifies that certain pieces can serve multiple functions. He acknowledges that some clients may desire a statement piece, but fundamentally, if an object is to be used, it must be designed for ease of use. For Fukasawa, beauty is an inherent function, suggesting that even a visually striking piece like the Grande Papilio armchair must also offer functionality and comfort when engaged with by the user. This nuanced view indicates that while he avoids an explicit philosophy, his design process is guided by principles of user harmony, environmental integration, and the functional role of aesthetics. #NaotoFukasawa #ProductDesign #DesignPhilosophy #JapaneseDesign #BODWInTheCity #BAndBItalia #FurnitureDesign #UserExperience #HongKongDesign

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

The article discusses the architectural installation "Spirit of the City" by London-based United Visual Artists (UVA) at A/D/O in New York, presented during New York Design Week. This installation is a collaboration with Mini, hosted in their innovative creative space, A/D/O. The primary goal of the installation is to offer a reflective experience within the dynamic urban environment, metaphorically and physically mirroring its surroundings and New York City at large. The installation consists of 9-foot-high modular columns that revolve, creating an immersive experience for visitors. The rotation patterns are not arbitrary; they are based on extensive research into human activity within the city. This research allowed UVA to develop a 24-hour algorithm that dictates the movement of the columns, transitioning from tranquil rhythms to more urgent, dynamic movements. As visitors navigate the space around these colossal totems, they can observe subtle shadows cast onto the ground, forming intricate, poetic patterns that respond to the kinetic energy of the columns. The surface of the columns themselves presents varying perspectives, shifting from serene sky blues to the grittier, industrial aesthetics of A/D/O's creative hub. This visual transformation further emphasizes the interplay between the installation and its urban backdrop. UVA, founded in 2003, is known for its art practice that integrates technology to create experiences that often extend beyond conventional physical boundaries. Their previous works have been showcased globally in prestigious institutions such as the Victoria and Albert Museum and YCAM in Japan. Matt Clark, founder of UVA, poses a fundamental question through "Spirit of the City": do human activities shape urban landscapes, or do urban landscapes, in turn, define human activities? This philosophical inquiry underpins the interactive and reflective nature of the installation. A/D/O itself, located in a converted warehouse in Brooklyn, opened the previous year, featuring a diverse array of design-focused retail, bars, and restaurants, aligning with Mini's broader design agenda. Mini's head of brand strategy and business innovation, Esther Bahne, states that Mini believes in design's capacity to foster a more humane world. A/D/O initially launched with Design Academy, a three-day festival for professional designers to explore cultural themes. "Spirit of the City" marks the space's first major showcase for NYCxDesign since its opening and was on display until 2 September. The installation, through its thoughtful design and interactive elements, invites contemplation on the symbiotic relationship between people and their urban surroundings. #NewYorkDesignWeek #ArchitecturalInstallation #UnitedVisualArtists #UrbanEnvironment #AdoSpace #MiniCollaboration #KineticArt #PublicArt

Johannes Budde's LITE is a unique light installation that challenges traditional perceptions of lighting design by merging elements of art and function. The piece playfully explores the boundaries of physics and established viewing habits through its 'floating candle' concept. Budde, a German designer, has crafted LITE using a combination of industrial and natural materials, specifically wired glass and sandstone, to create a sconce-style lamp that is both visually intriguing and interactively engaging. The core components of LITE include a large sheet of wired glass, typically used in industrial applications, and a base made from natural sandstone. The wired glass is upcycled from a German manufacturer, demonstrating a commitment to sustainability and material reuse. The sandstone is locally sourced from a family-owned business, minimizing transportation impact and supporting local economies. Budde meticulously cuts and files the sandstone to form cube-shaped feet that securely hold the wired glass sheet in place. One of the most captivating aspects of LITE is the illusion of a 'floating' candle. This effect is achieved through a cleverly designed screw connection with a pointed stick, inserted into the center of the glass sheet. From the front perspective, this attachment is not visible, creating the impression that the candle levitates unsupported. This design choice not only adds a magical element to the installation but also encourages a more intimate interaction, as users must manually light the candle. This interactive quality distinguishes LITE from many traditional art pieces, which often adhere to a 'no touching' rule. Budde's material selection is deliberate, combining the raw, industrial aesthetic of wired glass with the organic, earthy texture of sandstone. This juxtaposition highlights the beauty in repurposed materials and showcases how everyday substances can be elevated into sophisticated design elements. The use of sustainable and locally sourced materials underscores a thoughtful approach to design, focusing on environmental responsibility. LITE is presented as a piece that blurs the lines between art and functional design. While it serves as a lighting fixture, its conceptual nature and unique form provoke contemplation on the definition of art itself. The installation's antique sconce-like silhouette provides a sense of familiarity, yet its innovative execution and interactive component push the boundaries of what a light can be. The design invites viewers to question their conditioned viewing habits and engage with the object on a deeper, more personal level. #HomeDecor #ArtDesign #SustainableDesign #LightingDesign #IndustrialDesign #MaterialInnovation #JohannesBudde

This article features an interview with Mary Graham and Nicole Salvesen, co-founders of the interior design firm Salvesen Graham, renowned for their classic-meets-contemporary aesthetic. The discussion centers around the launch of their debut book, ‘A New English Style: Timeless Interiors by Salvesen Graham,’ offering insights into their design philosophy, sources of inspiration, and fundamental style principles. The designers reflect on the book's creation process, noting that it prompted a deeper consideration of their client work, their evolution as a practice, and their aspirations for growth. They emphasize that English style is inherently dynamic, characterized by ongoing change and the layering of new elements onto existing structures. The process also allowed them to revisit earlier projects, confirming the enduring quality of their initial designs even after a decade. Addressing the balance between English style's rich legacy and contemporary relevance, Salvesen and Graham explain that they always begin by examining the building itself. This approach helps identify traditional elements to be preserved, restored, and celebrated, guiding the overall design direction. They stress that homes should be vibrant and lived-in, not static museums. To inject modernity, particularly in traditional settings, they prioritize personal belongings such as artwork, books, and object collections. They highlight the impact of combining a formal drawing room with a striking piece of contemporary art as a central feature. Regarding the influence of location and setting, the designers assert that the essence of English style is not geographically confined. It can be successfully applied globally, adapting its unique character to each new environment. They liken this adaptability to how each project differs based on individual client preferences. The core of their approach lies in the 'spirit of decorating,' which encompasses layering, incorporating antiques, and prioritizing comfort, rather than being dictated by a specific setting. Layering is a fundamental aspect of their style, and they advise confidence in its execution, suggesting that more layering often leads to better results. They advocate for a mix of patterns and plains, alongside a variety of textures, to achieve depth in a room. For instance, the light-absorbing quality of thick cotton velvet can effectively contrast with a light-reflecting chintz. They clarify that layering extends beyond fabrics to include all elements of a room: flooring, lighting, art, books, and the tones and finishes of paintwork. The aim is a considered, not necessarily fussy, aesthetic. The designers emphasize the critical role of antiques in grounding a room and imparting authenticity, advocating for pieces with clean lines and excellent proportions, whether a 1970s glass lamp or a Georgian center table paired with a modern pendant light. They advise a gradual approach to incorporating antiques, adding pieces over time until a personal balance is achieved. Their approach to color involves strategic splashes in unexpected places within traditional spaces, such as inside a larder cupboard or at the end of a corridor. They acknowledge a contemporary conservatism regarding color in homes, contrasting it with historical periods that embraced more vibrant palettes. Often, they derive color inspiration from a favorite patterned fabric, extracting various hues and applying them with differing intensities to establish a room's identity. The designers confess to occasionally bending conventional design rules in their own homes, particularly regarding pragmatic considerations like heating requirements, prioritizing aesthetics over strict guidelines. They also take a relaxed stance on rules concerning wall light height or furniture spacing, believing that comfort and intuition are paramount. Living with their own interiors has reinforced the importance of quality design and craftsmanship. They note that well-made, classic pieces provide a stable foundation around which styles can evolve, allowing accessories, artwork, and furniture coverings to change while the room's essential structure remains. This concept of 'getting the bones right' applies to architectural details, room layouts, and investment pieces. They draw a parallel to fashion, where a timeless core allows for subsequent embellishment. The concept of 'Future Heritage' means creating interiors that honor and draw inspiration from the past while integrating modern aesthetics, technologies, and lifestyles. Their designs aim to bridge historical elements with contemporary innovations, yielding interiors that are both timeless and forward-looking. Ultimately, they hope their book offers readers a versatile, approachable, and accessible guide, encouraging them to celebrate heritage without being constrained by tradition, and to confidently infuse their homes with personal expression. #InteriorDesign #SalvesenGraham #EnglishStyle #FutureHeritage #TimelessInteriors #DesignInspiration #HomeDecor #Layering #Antiques

The article showcases 'Lip,' a conceptual coffee table designed by 3D designer Deniz Aktay, which reinterprets the traditional coffee table by integrating additional storage and a distinctive aesthetic. Aktay, known for his rendered designs, utilized Maxon's Cinema4D and Corona Renderer to bring this concept to life. The 'Lip' coffee table draws inspiration from a can, featuring a unique split in its tabletop. This central opening divides the table surface into two distinct parts, each with a lipped edge, creating practical space for neatly storing items such as books or magazines. This design element not only offers functional storage but also hints at a larger, hidden storage compartment within the table's base. Aktay's design philosophy for 'Lip' is rooted in the idea of a container whose contents seemingly wish to emerge. He explains that the design aimed to provide a low tabletop with easily accessible book storage, allowing the stored items to be readily seen and retrieved. The construction of the 'Lip' coffee table is characterized by its simplicity and minimalism, despite the complex steam bending techniques that would be required for its physical production. The table is composed of two primary elements: a base and a tabletop, and utilizes two main materials: aluminum and plywood. The metal aluminum base is designed to follow the contours of the wooden top, providing support for the two plywood sections and the items stored within the lipped edges. Aktay deliberately chose bent plywood for the tabletop, despite metal being an easier material to bend, to achieve a more natural surface feel. This choice underscores his commitment to balancing aesthetics with practical considerations. The article emphasizes how minimal interventions can yield significant results in design, highlighting that a simple cut and bend can transform a basic coffee table into a piece with enhanced storage options, varied surface hierarchies for display, and a strong creative flair. Furthermore, the article discusses the impact of hyperreal rendering in modern design. This technology enables designers like Aktay to visualize and iterate on experimental concepts rapidly and effectively, opening new avenues for 3D design exploration. Aktay details his creative process, noting that while the initial design idea for 'Lip' emerged quickly, the subsequent task of refining the 3D shape to achieve the most visually pleasing outcome took time. Following this, selecting appropriate textures and lighting was crucial for creating a convincing rendering. He estimates that the entire process, from conceptualization to the initial visualization, took approximately three hours, underscoring the efficiency that advanced rendering tools bring to contemporary design workflows. #FurnitureDesign #ConceptDesign #InteriorDesign #LifestyleDesign #VirtualReality #DenizAktay #CoffeeTable #3DRendering #ProductDesign

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

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

This article highlights ten furniture and lighting designs from Japanese brands and designers, curated to coincide with Designart Tokyo, an annual design festival that showcases architecture, interiors, product design, and art across various locations in Tokyo. The selection features a range of products including outdoor lantern lamps, sculptural tables, and carved wooden chairs, all previously showcased on Dezeen Showroom. Among the featured designs is the Kawara Armchair by Ronan and Erwan Bouroullec for Koyori. This chair is characterized by its classic shape, designed for dining or meeting settings, and its representation of high-quality Japanese craftsmanship. The box-like structure of the chair is intended to provide comfort. Another notable piece is the Sculpture Casting Bronze table by Time & Style, which incorporates a metal casting technique traditionally used for Buddhist statues in Japan for its large, sculptural base. This base is paired with an elliptical oak tabletop available in two sizes. Eterble fabric tablecloths by Japanese tableware brand Eterble are also presented. These tablecloths are made from recycled fabric, sourced from discarded items from weddings, hotels, and function rooms, and are offered in a neutral color palette. Seiki Design Studio, led by Kyoto-based designer Seiki Ishii, introduces the Bell lamp, a mobile lamp crafted from recycled glass. Its bell-shaped lampshade and blue loop allow it to be hung on a wall or placed on a floor stand. The Sou sofa, designed by Teruhiro Yanagihara for Swedish manufacturer Offecct, combines a wooden base with various cushioned seat options. Its minimalist design draws inspiration from both Japanese and Scandinavian design traditions. The Spectrum Workstation Round ST160, a collaboration between German studio Geckeler Michels and Japanese furniture manufacturer Karimoku, is a table made from Japanese oak. It features a circular cable tunnel in its center to manage cables efficiently while maintaining an aesthetic appeal. Product designer Yoshiki Matsuyama's Cachalot lamp for Ambientec is a portable light with a shape inspired by a whale's body. It consists of an LED light unit within a sculptural acrylic case, mounted on a die-cast zinc base. The DC10 chair by Inoda + Sveje for Miyazaki Chair Factory showcases a frame made from a carved piece of wood, emphasizing the natural material's color and grain. Its construction blends traditional handcrafting with modern CNC technology. The TO side table, created by Japanese designer Naoto Fukasawa for Italian brand Plank, is a minimalist piece featuring a circular base and tabletop. Made from four-millimeter-thick steel, it comes in various powdered-coated finishes. Finally, the Sparkler Lanterns by Kensaku Oshiro for Poltrona Frau are outdoor lamps available in three sizes. Their perforated shells, made from woven polypropylene rope, create unique patterns of light and shadow. This collection underscores a blend of traditional craftsmanship and contemporary design across various home furnishing categories from Japan. #JapaneseDesign #FurnitureDesign #LightingDesign #DezeenShowroom #DesignartTokyo #ProductDesign #InteriorDesign #Craftsmanship #SustainableDesign

The article showcases the Ramsey Hill Victorian home of Sarah and Zach Olson, built in 1885, located in St. Paul. The Olsons, with their two children Runa (7) and Hans (5), sought to imbue their historically rich residence with a distinct and playful personality, moving away from a conventionally tasteful aesthetic. Sarah Olson emphasized filling their home with objects they genuinely love, fostering an environment that encourages strong reactions from visitors, whether positive or negative. Upon moving in, the Victorian house presented a blank canvas, characterized by white walls, natural oak woodwork, and leaded-glass windows. Recognizing her inclination towards maximalist design, Sarah enlisted the expertise of interior designer Julia Miller of Yond Interiors. Miller's task was to temper Sarah's enthusiastic vision, integrate Zach's specific request for a large, felt-topped game table, and create a cohesive and interesting flow throughout the spaces. The design philosophy adopted by Miller was to harmoniously blend the home's turn-of-the-century heritage with mid-century elements, aiming for a vibe that pays homage to both eras. The vibrant pink wallpaper in the staircase served as a pivotal design element, inspiring a color palette of smoky pastels, browns, blues, and greens. Miller curated an eclectic mix of furnishings and lighting fixtures, which collectively brightened the formal architectural lines of the house. The living room was ingeniously divided into two distinct zones: one dedicated to Zach's strategy gaming and the other designed for Sarah's book club gatherings. The book club area features curvilinear, comfortable sofas and chairs alongside various tables, offering a flexible setting for social interactions. In contrast, the gaming area is anchored by clean cabinetry and elegantly shaped Gubi chairs, which provide a counterpoint to the substantial presence of Zach's game table. Miller highlights the importance of designing spaces that are actively utilized by the residents, underscoring her commitment to incorporating personal passions into the design. She notes that while Zach's game table presented unique design challenges, fulfilling his "heart's desire" was a central and rewarding aspect of the project. This collaboration resulted in a home that not only respects its historical context but also reflects the vibrant personalities and contemporary needs of its inhabitants, demonstrating how heritage and modern living can coalesce into a truly unique and conversation-starting environment. The article also details specific design choices, such as the dusty lavender chosen by Julia Miller for the vestibule, which exhibits shifting hues throughout the day, creating an engaging visual experience. A 1970s travertine table and a Blu Dot leather ottoman provide grounding elements in this narrow entry space. The front door is painted in Benjamin Moore’s Brown Teepee, adding a subtle pink flush that complements the Victorian architecture without overshadowing its intricate details. In the foyer, an exuberant patterned wallpaper, “Proteas’ Dream” by 17 Patterns, was strategically limited to the stairway to prevent an overwhelming effect, while hemp grass cloth from Gregorius Pineo, in a green tone extracted from the wallpaper, adds sophisticated drama. A 1950s-reproduction cone chandelier from 1stDibs maintains a light mood. The custom cabinetry for game storage and an integrated grate concealing the air-conditioning split demonstrate thoughtful functionality. The living room further exemplifies the blend of styles with a curvy sofa from Crate and Barrel, re-covered in a Christopher Farr Cactus Flower fabric, and a marble table with interlocking legs, creating a convivial setting for gatherings. #InteriorDesign #HomeTours #VictorianHome #EclecticStyle #RamseyHill #StPaulHomes #YondInteriors #HistoricRenovation

The article details a collaborative campaign between Swedish fashion brand Totême and interior designers Halleroed, which uses a series of perspective-shifting images and 3D installations to celebrate their home city of Stockholm. Totême founders Elin Kling and Karl Lindman conceived the campaign with a strong focus on the geography and introspection afforded by their city, aiming to integrate fashion, lifestyle, and architectural elements. The campaign features photographs by Mikael Jansson, a renowned photographer admired by Totême for his work with luxury brands like Chanel, Brioni, and Dior. Jansson's contribution involved documenting an imagined day in Stockholm, capturing scenes such as a model dining at Teatergrillen, shopping at Hötorget market, and architectural facades, including Totême’s design studio. The collaboration with Jansson was facilitated by the restrictions that kept the creative team within Stockholm, which, according to Lindman, enhanced the campaign's value by utilizing local talent. Halleroed, long-term collaborators with Totême, were responsible for the 3D installations. Known for their sleek, materiality-focused retail spaces for brands such as Acne Studios and Byredo, Halleroed previously designed Totême's Art Deco-centric townhouse and its graphic space in Nordiska Kompaniet. Their affinity for Swedish materials is highlighted, and their architectural expertise was crucial in translating Totême's vision into physical manifestations. For this campaign, titled 'A Stockholm Story,' Halleroed constructed two-meter-high cuboid plinths using scarlet steel tubing. Elin Kling explained that the vibrant red tone was chosen for its elegance, contrasting effectively with Jansson's signature monochrome photography and offsetting the typically gloomy late summer Stockholm skies when the images were shot. This choice enhanced the industrial feel of the constructions while providing a visual pop. The campaign serves to emphasize Totême's distinct design cues and its deep connection to Stockholm. The article suggests that by showcasing elements of the city, from its scenic waterfront to its archipelago, Totême invites its audience to stylishly trace a route through the Swedish capital. This strategic use of local talent and a city-centric narrative aims to reinforce the brand's identity and its strong ties to its origins. #Fashion #Design #Stockholm #Toteme #Halleroed #MikaelJansson #Campaign #Collaboration #InstallationArt

Akira Minagawa, a Tokyo-born designer, has successfully merged Japanese and Nordic aesthetics across various design fields, from fashion to home furnishings and tabletop items. Minagawa, who studied at Bunka Fashion College, initially launched a women’s clothing label named Minä Perhonen, which is Finnish for 'I butterfly.' This brand has since expanded into interior-related projects, with a dozen shops across Japan. His work involves frequent international travel for fashion shows in Paris, porcelain pattern development for Richard Ginori in Italy, and collaborations with Scandinavian brands like Artek, Fritz Hansen, PP Møbler, and Kvadrat, the latter manufacturing his textiles. Minagawa's unique approach to design blurs the lines between fashion and furnishings. He explains that his initial designs for Minä Perhonen involved creating textiles from which clothes were made, indicating that both fashion and fabric design were integral from the start. His transition to designing fabrics for furnishings was a natural progression, leading to a decade-long collaboration with Kvadrat. His early contributions to Kvadrat included an embroidery pattern, an ikat-dyed woven textile, and an oversized floral curtain fabric, some of which are still in production. He differentiates between designing fabrics for fashion and furnishings by highlighting the role of motion; fashion fabrics interact with the body's movement, while furnishing fabrics serve as visual accents in a static space. However, many of his textiles are versatile enough to be used for both applications. Minagawa attributes his strong Finnish connection to a visit at age 19, where he felt an immediate resonance with the Finnish way of life and aesthetic, noting the shared cultural emphasis on design and craft rooted in daily existence, similar to Japan. He also acknowledges Marimekko's influence, citing Fujiwo Ishimoto's long tenure there as proof of a common design culture between the two nations. Regarding his design process, Minagawa states that he does not rely on prior research, data collection, or mood boards. Instead, inspiration emerges from a 'merged chaos of memories and imagery' from his daily life. He recently showcased an installation for Kvadrat, titled 'Forest Comes Home,' which premiered at Salone Internazionale del Mobile in Milan and was later featured in Maharam's San Francisco showroom. This installation explored the concept of nature and healing through woven fabrics and embroidery, creating a 'forest' of fabric-covered objects both on the floor and suspended from the ceiling, interpreting 'forest' as 'for rest.' Minagawa's future plans include further expansion of his boutiques in Japan, which already combine fashion, fabric, furniture, and food, emphasizing the coexistence of fashion and interior design. He also expresses a desire to expand into architecture, indicating a holistic vision for design that encompasses various aspects of daily life and physical spaces. #AkiraMinagawa #JapaneseDesign #NordicDesign #TextileDesign #FashionDesign #InteriorDesign #Kvadrat #MinäPerhonen #DesignPhilosophy #GlobalCollaborations

This article highlights seven contemporary examples of conversation pits, showcasing how this classic architectural feature, popularized in the mid-20th century, is being reinterpreted in modern design. Conversation pits are sunken areas furnished with seating, often incorporating small tables or creative steps for access, designed to foster intimate gatherings. The featured projects demonstrate diverse applications and styles. The Clay House in the UK, designed by Bureau de Change, incorporates an angular conversation pit into a house extension in London. Its tile floors and upholstered cushions create a cozy yet contemporary space, with its design drawing inspiration from Victorian boxing rings, and it includes a small set of stairs for access. In California, the Magnum Opus residence by Kelly Wearstler and Masastudio features a rectangular conversation pit within its pool house. This pit is situated beneath a skylight, boasting plush grey cushioning set against a concrete ledge, and adorned with lamps and a brass coffee table in its center. Ludwig Godefroy's Casa Alférez in Mexico introduces a vibrant splash of color to an otherwise stark brutalist interior located in a pine forest near Mexico City. This shallow conversation pit is entirely lined with cushions and cylindrical bolsters, providing a soft contrast to its concrete surroundings. The Madhappy retail space in Los Angeles, designed by PlayLab Inc, presents a circular conversation pit integrated into the store's carpeted flooring. Sky-blue couches and aluminum side tables define this space, which is positioned in front of a speaker display, encouraging interaction. In Las Vegas, The Pinky Ring cocktail lounge, a collaboration between Bruno Mars and Yabu Pushelberg, showcases a grand, centrally located sunken area. This expansive conversation pit, with its plush green upholstery, offers a distinct, lower-level gathering space separate from the main bar and circulation areas, and includes smaller table and chair arrangements within. Sonn's Plaster House in the UK incorporates a seating area reminiscent of a conversation pit within a London residential extension. This L-shaped arrangement, featuring plush cushions and a recessed design, is strategically positioned to align with the garden level, maximizing natural light and offering a seamless connection to the outdoors. Lastly, the Blow Models office in Spain, designed by Isern Serra, features two stark-white conversation pits flanking a plant-filled central pit. These recessed seating areas, with soft white cushions, are intended to serve as versatile backdrops for photoshoots, blending functionality with aesthetic appeal in a modeling agency setting. These examples illustrate how contemporary designers are adapting the conversation pit, using varied material palettes and forms, to suit modern spaces ranging from private residences to commercial establishments, enhancing social interaction and offering unique aesthetic statements. #ConversationPits #InteriorDesign #HomeInteriors #ArchitecturalFeatures #ModernDesign #ResidentialArchitecture #CommercialDesign