cornice: stackable wooden stool by nao iwamatsu acts as seat, side table, and sculpture

The Cornice stacking stool, designed by Tokyo-based Nao Iwamatsu, addresses a gap in the modern furniture market for stackable seating that is both functional and aesthetically refined. While stools are versatile, offering additional seating, side table functionality, or even serving as plant stands, their lack of stackability can create storage issues, particularly in smaller living spaces. Iwamatsu's design aims to provide a solution that is playful yet elegant, suitable for sophisticated interiors. The inspiration for the Cornice stool is a fusion of East and West architectural elements. It draws from the layered cornices prevalent in Western architecture and the rhythmic beam structures characteristic of ceilings in Japanese temples and shrines. The stool's individual design features a stepped profile, which becomes more pronounced and sculptural when multiple stools are stacked. This stacking action transforms the functional objects into an artful display, highlighting the elegance and meticulous craftsmanship embedded within the design. Iwamatsu emphasizes that the true captivating aspect lies in the artisans' sensibility and the breath of craftsmanship expressed in these intricate, repeating details found in architecture. Beyond its aesthetic appeal and innovative stackability, sustainability is a core principle in the creation of the Cornice stool. Each unit is constructed from slender wood offcuts, minimizing waste. The legs, crafted from 13mm-thick wooden pieces, are designed with domino joints for enhanced strength. This joinery also facilitates flat-pack transportation, reducing shipping volume and environmental impact. While the initial prototype was made from teak, Iwamatsu suggests that other wood types, such as oak, can achieve a similar level of refinement and visual presence. This adaptability in material further contributes to the stool's sustainable design philosophy. The Cornice stool emerges as a significant contribution to contemporary furniture, especially as compact living continues to become more common in both urban and suburban environments. The design effectively demonstrates that space-saving solutions do not need to compromise on elegance or thoughtful design. Iwamatsu's work with the Cornice stool serves as an example of how practical needs for functionality and storage can be met without sacrificing sophisticated aesthetics, offering a refined piece of furniture that integrates seamlessly into diverse interior styles while also addressing environmental considerations through its material usage and transport efficiency. #StackingStools #NaoIwamatsu #JapaneseDesign #SustainableFurniture #CompactLiving #HomeFurnishings #InteriorDesign #ArchitecturalInfluence

The Swedish design firm Claesson Koivisto Rune collaborated with the Italian furniture manufacturer Arflex to create the 'Bonsai' upholstered seating collection. This collection draws inspiration from Japanese culture and aesthetics, specifically referencing the meticulously manicured, cloud-like forms of bushes and shrubs found in traditional Japanese gardens. The soft and curvy shapes of the seating pieces are a direct translation of these natural elements into furniture design. The 'Bonsai' collection features low, rectilinear wooden bases that support the rounded, upholstered tops. This design choice is a nod to the Japanese practice of 'tokonoma,' where cherished items, such as a bonsai tree, are displayed on horizontal surfaces to create a focal point. By emulating this traditional display method, the 'Bonsai' seating aims to elevate the upholstered components, treating them as objects of art or contemplation within a living space. The collection includes both sofa and pouf configurations, offering versatility in furnishing various interior environments. A distinctive optional feature of the 'Bonsai' seating is an integrated lamp. This lamp incorporates a draped, flowing fabric shade, contributing to the soft and organic aesthetic of the collection. Additionally, the lamp design includes a recessed stone plate, further grounding the piece in natural materials and textures. The combination of these elements — the rounded, organic forms, the low wooden bases, and the integrated lighting with natural accents — creates a harmonious and serene furniture collection that reflects a deep appreciation for Japanese design principles. The collaboration between Claesson Koivisto Rune and Arflex showcases a successful fusion of Scandinavian design sensibilities with Italian craftsmanship, all while being profoundly influenced by Eastern cultural practices. #BonsaiSeating #JapaneseCulture #ClaessonKoivistoRune #Arflex #FurnitureDesign #UpholsteredSeating #InteriorDesign #ScandinavianDesign #ItalianCraftsmanship

The Folding Window Pattern Stool, designed by Lilin Jiao, offers a unique and functional solution for small living spaces, merging the utility of a stool with the versatility of a side table. This innovative design is characterized by its unusual nesting pattern, which allows two distinct furniture pieces to occupy the space of one. The stool is composed of two individual parts, each featuring L-shaped positive and negative interlocking details. These elements are not only visually striking but also serve a practical purpose, enabling the pieces to fit together seamlessly. The design's core appeal lies in its ability to be docked in multiple configurations. When nested, one stool can sit atop the other, forming a compact unit ideal for storage or when space is limited. Alternatively, the two parts can be separated and used individually, with the L-shaped details transforming into stable legs for each stool or side table. A particularly innovative configuration involves placing one stool upside down and nesting it with the other, creating an 'I-shaped' format that functions as a robust and stable side table. This adaptability caters to various needs and preferences within a home environment, offering flexibility in how the furniture is utilized. Aesthetically, the Folding Window Pattern Stool leverages a contrast between dark and light woods. This material choice not only enhances its visual appeal but also highlights the intricate interlocking mechanism, making the product a conversational piece. The dual-tone design adds a modern and sophisticated touch, ensuring that the stool is not just a utilitarian item but also an engaging element of interior decor. The combination of form and function encourages interaction, inviting users to explore its different arrangements and appreciate its clever construction. The concept of the Folding Window Pattern Stool addresses the contemporary demand for multi-functional furniture, especially in urban settings where space optimization is crucial. Its ability to serve as both seating and a surface, combined with its compact storage potential, makes it a highly practical addition to any home. The thoughtful design ensures stability and ease of use in all its possible configurations, making it a valuable asset for dynamic living spaces. The product’s recognition with the A’ Design Award in 2019 underscores its excellence in design and innovation. #NestingStools #MultiFunctionalFurniture #SpaceSavingDesign #ModernFurniture #HomeDecor #ProductDesign #AwardWinningDesign #InteriorDesign #LilinJiao

During Salone del Mobile 2023 at Fuorisalone, COR unveiled its latest furniture designs, emphasizing a vision for future-oriented seating that prioritizes comfort and retreat. The collection features the new Nook sofa, alongside updated versions of the iconic Shrimp chair and the introduction of the Jalis Club chair. These pieces collectively showcase COR's commitment to reducing furniture to its essential elements, aiming to create secure and relaxing spaces within the home. The designs are on display through April 23rd, offering a glimpse into contemporary furniture trends focused on user well-being and refined aesthetics. The Nook sofa, designed by Jehs + Laub, stands out as a new addition, offering a cozy, nest-like seating experience. Its compact form sits low to the ground and features a high back, creating a distinctive silhouette that manages to appear light despite its substantial presence. The design contrasts clean exterior lines with a soft, delicate interior, contributing to its sculptural quality. A key design detail is the piping, available in either contrasting or tone-on-tone colors, which subtly divides the sofa's inner and outer surfaces. This piping also highlights the narrow joints, which, despite their appearance, are not indicative of modularity but rather enhance the large format of the sofa and define its organically shaped body. Another significant reveal is the Shrimp 23, a reimagined version of the Shrimp easy chair originally designed by Jehs + Laub in 2011. The designers revisited their original creation to align it with contemporary tastes, specifically addressing the seat core while retaining the iconic bentwood shell. The updated Shrimp 23 features a new seat cushion with increased volume, providing a stronger contrast to the chair's shell. This slightly larger, soft cushion sits loosely within the shell, forming both an armrest and supportive back. The chair maintains its flexible bentwood shell, which is integral to its distinctive silhouette and name. Available in reinforced bentwood veneered in oak or walnut, or lacquered finishes, the Shrimp 23 offers material contrasts with its fabric or leather cushions, accentuating its unique character. The Jalis Club chair is introduced as a new member of COR’s Jalis Lounge family, also a creation by Jehs + Laub. This smaller chair shares the design language of its lounge counterpart, characterized by its folded cushion design. It features a low back, providing comfortable and upright support, distinguishing it from the more relaxed posture of the Jalis Lounge. The Jalis Club chair is offered with two base options: a wire frame or a rotating plate base, with the latter including an optional release mechanism. The standard wire frame is powder-coated in black, with other color options available upon request for an additional fee. These new seating options collectively reflect COR's ongoing evolution in furniture design, blending aesthetic appeal with functional considerations for modern living spaces. #CORFurniture #SaloneDelMobile2023 #Fuorisalone #NookSofa #Shrimp23Chair #JalisClubChair #JehsLaubDesign #ModernSeating #HomeFurnishings

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

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

The Genipabu Sideboard is a furniture piece that draws its aesthetic and conceptual inspiration from the wind-swept dunes of Genipabu in Natal, Rio Grande do Norte, Brazil. The design is characterized by its flowing silhouette, which mirrors the natural erosion and movement of sand dunes. This artistic influence is evident in the gentle curves defining its surface, creating an organic and intentional texture that invites interaction and appreciation. The seamless integration of door handles, sculpted directly into the furniture's body, further reinforces this theme, mimicking the smooth, wind-shaped hollows found in natural dunes and establishing a cohesive blend of form and function. A key innovative feature of the Genipabu Sideboard is its integrated wine storage system. This rack is designed with a rhythmic triangular structure, subtly referencing the peaks and valleys of a dune landscape. This element serves both a practical purpose for wine enthusiasts and contributes to the overall visual narrative of the piece, allowing it to maintain its sculptural integrity while offering utility. The design was a collaborative effort between Estudio Galho and Movew, a Brazilian furniture company, and was developed between late 2024 and early 2025. The collaboration involved a series of in-person and remote meetings held in Natal, RN, and João Pessoa, PB, emphasizing the incorporation of local influences and materials into the final product. Sustainability is a central aspect of the Genipabu Sideboard's construction. Its base structure is crafted from MDF and covered with natural wood veneers, providing both durability and a natural aesthetic. The precision of the triangular wine rack is achieved through CNC machining. A notable feature is the use of certified solid wood for the external components, which are finished with a natural semi-gloss carnauba wax. This choice highlights the commitment to environmental responsibility, as carnauba wax is a renewable resource derived from the Carnaúba palm. This finish not only offers an elegant and tactile surface but also ensures the product's longevity and eco-friendliness. Measuring 2100 x 500 x 680 mm, the Genipabu Sideboard is designed to make a significant yet elegant statement within a living space. Its generous dimensions provide substantial storage capacity, while its sculptural form maintains a sense of lightness and visual appeal. The piece functions as both a buffet table and a wine bar, offering versatility for various home settings. The design reflects a thoughtful balance between artistic expression inspired by nature, practical functionality, and sustainable manufacturing practices, making it a unique and environmentally conscious addition to contemporary interiors. #SculpturalFurniture #BrazilianDesign #Sideboard #WineBar #SustainableDesign #NaturalInspiration #HomeDecor #EstudioGalho #MovewFurniture

The "Bolete" table series, a collaboration between Hong Kong-based architect and sculptor Henry D’Ath and design-art duo Batten and Kamp, introduces a family of limited-edition coffee and side tables. These pieces are distinguished by their mushroom-like forms, crafted from hand-carved solid wood and natural stone. The design integrates the sculptural weight typical of permanent furniture with a flexible, modular approach that features configurable, overlapping surfaces. The genesis of the Bolete series traces back to a custom commission where Batten and Kamp recognized a natural synergy between D’Ath’s carved wood creations and their signature raw stone bases. This initial insight led to the formal collaboration and the development of the Bolete collection, emphasizing a harmonious blend of two distinct material elements. Each table in the Bolete series is meticulously carved by Henry D’Ath, who allows the intrinsic patterns of the wood grain and the natural contours of the stone to guide the creation of subtly organic shapes. The wooden tops are available in two finishes: a natural, sealed varnish that highlights the wood's inherent beauty, or a glossy black finish achieved through layers of calligraphy ink. The choice of wood for the tops is Camphor, a variety prevalent in China and Japan, known for its aromatic properties and natural insect-repellent qualities. For the bases, raw Taishan Granite stones are used. These stones are culturally significant, often featured in Zen gardens, and are admired for their grey-white hues, reminiscent of the dramatic Karst Mountains. Each granite base is individually sourced and intentionally left untreated, ensuring that every table possesses a unique character. The collaboration is deeply rooted in the shared heritage and mutual admiration among Alexandra Batten, Daniel Kamp, and Henry D’Ath, all originally from New Zealand but now working together in a Hong Kong studio. This shared background is reflected in the design philosophy, which embraces natural materials, robust forms, and simplicity—elements integral to New Zealand aesthetics—while also incorporating local materials and subtle Zen influences. Alexandra Batten describes the collaboration as effortless, stemming from a lifelong connection and shared artistic vision. Initially launched as a side table in 2023, the Bolete series has expanded to include coffee tables. The modular nature of the design is key, allowing for diverse configurations and sizes through the arrangement of overlapping surfaces, which enhances the collection's adaptability and aesthetic appeal. The tables are produced in limited editions, with eight pieces plus four artist proofs available per configuration, highlighting their exclusivity. Plans are underway to exhibit the series in major art and design hubs, such as New York or Paris, in 2025, further solidifying its presence in the global design landscape. The project was submitted through a DIY submission feature, reflecting a direct engagement with the creative community. #FurnitureDesign #Woodwork #StoneCraft #TableDesign #ModularDesign #LimitedEdition #DesignCollaboration #NaturalMaterials #HandCarved

The Zangbeto Side Table, designed by Salù Iwadi Studio, draws inspiration from the Zangbeto masquerade of the Ogu (Egùn) people in southwestern Nigeria. This wooden furniture piece translates the conical shape of the traditional Zangbeto costumes into a functional and aesthetically engaging side table. The design employs a structured composition of layered wooden fins, arranged radially in a spiraling configuration, which aims to capture the essence of the masquerade's spinning dances while ensuring the table's stability. The intricate arrangement of these fins is crafted to evoke the centrifugal energy and hypnotic motion characteristic of the Zangbeto performances. This creates an illusion of perpetual rotation, imbuing the static object with a dynamic, kinetic energy. The fins are meticulously hand-carved and taper upwards, balancing structural integrity with visual lightness. This tapering design not only mirrors the ascending movement of the Zangbeto dances but also creates an optical effect that suggests the table is levitating. Furthermore, the angular configuration of the fins allows the side table to serve a dual purpose as a bookshelf, providing support for books. The design incorporates negative space between the fins, which further contributes to the floating appearance and allows light to filter through, casting dynamic shadows that mimic the movement of the masquerade. The tabletop features carved spiral ridges that emanate outwards from the center. These concentric patterns symbolize the energy pathways and vibrations generated during the Zangbeto's ceremonial performances, and they also evoke the cosmic flow of energy and life, reinforcing themes of interconnectedness and cyclical renewal. This detail invites tactile interaction, allowing users to experience the narrative through touch as well as sight. The surface of the table exhibits alternating matte and polished finishes, which reflect the interplay of light and shadow observed during Zangbeto ceremonies. This contrast adds a dynamic visual texture, reminiscent of how light interacts with the raffia costumes during the ritual. The natural wood grain is prominently displayed, grounding the piece in its materiality and emphasizing its organic connection to the earth and its cultural roots. Salù Iwadi Studio prioritizes sustainability in the table's construction, utilizing sustainably sourced wood. This choice underscores the material's inherent beauty and aligns with traditional African practices that emphasize environmental harmony. The hand-carved details throughout the fins and tabletop demonstrate meticulous craftsmanship, honoring the intricate artistry and spiritual significance of the Zangbeto costumes. The layering and radial arrangement of the fins represent a modern reinterpretation of traditional construction methods, merging heritage with contemporary innovation. Ultimately, the Zangbeto Side Table serves as more than just a piece of furniture; it is an object that encourages engagement with cultural narratives. It celebrates and honors the Zangbeto as a cultural guardian, while also showcasing design's potential as a medium for storytelling, education, and cultural preservation. Through its thoughtful design and rich symbolism, the table invites an exploration of the interconnectedness of life, culture, and art, providing a contemporary perspective on West African traditions. #ZangbetoSideTable #SaluiwadiStudio #BeninCulture #NigerianArt #FurnitureDesign #WoodenFurniture #CulturalHeritage #SustainableDesign #HandCarved #KineticSculpture

The article introduces Quartet, an innovative side table designed by San Francisco-based studio Otelier, which transforms into four individual stools. This multifunctional furniture piece addresses the common challenge of limited seating and storage in both small and large living spaces, providing a practical solution for entertaining guests. The design allows the four stools to nest together seamlessly, forming a compact side table when not in use, resembling a 3D puzzle. Quartet's development by Otelier founder Yvonne Hung during quarantine was motivated by a desire to mitigate urban loneliness, which she identifies as a contemporary public health concern characterized by emotional isolation despite physical proximity. By encouraging social interaction through readily available seating, the design aims to foster connections and reduce feelings of solitude. Sustainability is a core principle behind Otelier's design and manufacturing process. The Quartet table is constructed from FSC-certified ash wood, ensuring that the timber is sourced from responsibly managed forests. The product is shipped in recycled cardboard packaging, and Otelier actively participates in tree planting initiatives and offsets carbon emissions associated with production and shipping, aligning with principles of a circular economy. The name "Otelier" itself is a blend of "atelier" and an "O" representing this circular economic approach. Beyond its transformative functionality, the Quartet incorporates thoughtful design details for user comfort and durability. Each stool is engineered with large steel brackets beneath the seat, providing robust support for a load capacity of up to 300 pounds. Felt glides are integrated into the base of each leg to prevent scratching and protect flooring surfaces. Additionally, the design includes specific features such as sufficient clearance at the edges of the seats to prevent finger pinching and a practical cut-out handle, facilitating easy movement of the entire unit when configured as a side table. This furniture piece is presented as a solution for individuals seeking flexible and space-saving furniture options that also align with sustainable practices. The article highlights the product's availability through a Kickstarter campaign, providing a timeframe for interested individuals to support and reserve a Quartet unit. #Otelier #QuartetSideTable #TransformableFurniture #SpaceSavingDesign #SustainableDesign #FSCcertifiedWood #MultifunctionalFurniture #UrbanLoneliness #HomeFurnishings

The Egon Side Table, a new addition to the Egon furniture collection by Iratzoki Lizaso for Alki, offers a versatile and practical solution for various informal settings. This solid wood auxiliary table is designed to complement the existing collection, which includes a sofa system, coffee tables, and poufs, all intended for lounge and informal office spaces. The primary function of the Egon Side Table is to provide a convenient and easily movable surface. Its design caters to the dynamic needs of modern workspaces and living areas, making it suitable for collaborative tasks, holding beverages, or serving as a temporary workstation for laptops and other electronic devices. A key feature of the Egon Side Table is its height adjustability. This design element enhances its adaptability, allowing it to conform to different user preferences and situations, whether it's being used for working, casual dining, or simply holding a drink. The table's solid wood construction emphasizes durability and a timeless aesthetic, aligning with the overall design philosophy of the Egon collection. The portability and functional design make it a useful item for environments where flexibility and informal interaction are prioritized. This piece reflects a contemporary approach to furniture design, focusing on utility, ergonomic considerations, and aesthetic integration within a broader collection of furniture. #SideTable #FurnitureDesign #HomeFurnishings #OfficeFurniture #VersatileDesign #SolidWood #IratzokiLizaso #Alki

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

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

AD50 architect Bijoy Jain, renowned for his ability to craft enduring structures from humble materials, has translated his signature aesthetic into a captivating furniture collection for Brussels-based studio MANIERA. This collaboration invited architects to design bespoke furniture pieces, with Studio Mumbai being selected for this year's edition. The resulting series features four meticulously hand-crafted collections, all produced in the firm's Mumbai-based workshop, demonstrating how an architect can effectively downsize their grand vision to create smaller, yet equally impactful, fragments. One of the collections, 'Brick Studies,' makes an elegant statement using the ubiquitous brick. Miniature bricks were baked directly in the studio and then carefully glued together to form the backrests of simply constructed stools and benches. These seating pieces are offered with either a rosewood or marble base. The unique quality of the 'Brick Studies' seats lies in their ability to reflect the individual skill of both their maker and their creator, emphasizing the handmade aspect of each piece. The 'Illumination Studies' collection draws inspiration from the Tazia, a ceremonial object used in India during Muharram. Traditionally, Tazias are models of monuments crafted from bamboo sticks and cotton strings, then covered with river-mud and 'carved' paper, carried on shoulders in processions. Studio Mumbai reimagined this cultural object as a light fixture, albeit one without a conventional bulb. The almost 3-foot-high objects are fashioned from slender bamboo sticks tied together with pink silk threads and adorned with gold leaf, transforming a traditional symbol into a contemporary design element. 'Charpai Studies' reinterprets the archetypal Indian daybed, or charpoy, a common fixture in many homes, into a contemporary rosewood folding chair. The decision to evolve the charpoy into a chair was influenced by Bijoy Jain's recollection of Gio Ponti's Superleggera chair while working on the design. This collection also includes a one-seater variation. Ropes play a crucial role in these pieces, not only holding the construction together but also serving as the seat and backrest, highlighting a minimalist and functional design approach. Finally, 'Landscape Studies' is a nature-inspired collection that draws from India's agrarian landscape. This collection features two abstract pieces created using papier mâché, bitumen, and cow dung. These materials are further treated with body wax and rubbed with coal. The culmination of this unique material combination and process results in abstract forms that deliberately avoid any specific geometry, instead embodying the organic and unrefined beauty of natural landscapes. This collection showcases Jain's ability to imbue furniture with a sense of place and natural texture, reflecting his deep connection to material and context. #BijoyJain #StudioMumbai #MANIERA #FurnitureDesign #HandcraftedFurniture #ArchitecturalDesign #IndianDesign #MaterialInnovation #AD50Architect