Nifemi Ogunro talks design and family

Kengo Kuma, born in 1954 in Yokohama, Japan, initially favored modern concrete homes over his traditional wooden childhood dwelling, which featured rice paper screens and tatami mats. His perspective on traditional architecture shifted after being deeply impressed by Kenzo Tange's Yoyogi National Gymnasium, designed for the 1964 Tokyo Olympics, which ignited his passion for architecture. Over time, Kuma developed a profound appreciation for his childhood home's craftsmanship, natural materials, and the unique sensory experience it offered, influencing his architectural philosophy. Kuma's current architectural approach emphasizes harmony with the environment, history, and local traditions, focusing on the use of natural and handmade materials. This philosophy is evident in his diverse projects globally, including the wooden Japan National Stadium in Tokyo and the stone-clad V&A Dundee in Scotland. He begins each project with an immersive site visit to understand its 'spirit,' feeling the breeze and smelling the soil, often spending an entire day there to grasp its essence before selecting the most suitable materials. He believes that finding the 'protagonist material' for a place is crucial for architecture. His recent works demonstrate this material-focused approach. The UCCA Clay Museum in Yixing, China, incorporates handmade ceramic tiles to celebrate the region's pottery heritage, while the CMP Inspiration museum in Taichung, Taiwan, features a green-planted roof seamlessly integrated with partially buried exhibition galleries. For the Banyan Tree Higashiyama Kyoto, Kuma drew inspiration from traditional Japanese Noh theatre, creating an outdoor stage using yellow cedar and Kyoto cypress, highlighting the ethereal beauty of local traditions. In the South of France, Kengo Kuma & Associates designed the World Heritage and Pyrénées National Park House in Gavarnie, emphasizing harmony with the stunning natural landscape through traditional materials. The building's fluid form and glazed walls offer mountain views, while its thatched roof celebrates local haymaking traditions. Kuma actively advocates for the sustainable properties of thatch, using it in innovative ways such as exterior walls in the Yusuhara Marche and an upside-down thatched roof at Greenable Hiruzen, despite the challenges of reintroducing traditional materials into contemporary construction. Kuma has designed over 70 museums worldwide, including the V&A Dundee and the Hans Christian Andersen Museum. He redefines museums not just as spaces for art, but as places for conversation with art, space, and gardens, prioritizing intimacy and a sense of belonging within urban environments. His favorite museum project is the Nezu Museum in Tokyo, which he redesigned to integrate with its gardens, preserving the spirit and lifestyle of its founder, Nezu Kaichiro. He sees the museum as a tender, intimate space with a soft atmosphere, particularly appreciating the small café where Nezu's living room once stood. Addressing challenges in contemporary architecture, Kuma notes the rising costs of projects due to global events. He believes the solution lies in a long-term vision, emphasizing that architecture should create 'treasures' for future generations. He advocates for a return to nature, natural materials, and craftsmanship, which he sees as the foundation of community and economy. Kuma aspires to be remembered as the architect who transformed concrete-centric architecture back to using natural materials, drawing inspiration from the simplicity and sensory richness of his childhood home. He also admires Geoffrey Bawa's work, finds inspiration in Japan's onsens and ryokans for design ideas, and considers the Bamboo House in China one of his favorite projects due to its contrast with the Great Wall. #KengoKuma #Architecture #NaturalMaterials #SustainableDesign #JapaneseModernism #MuseumDesign #CulturalHeritage #ThatchArchitecture #EnvironmentalHarmony

The article focuses on the work of Singaporean architect Edmund Ng, particularly his modernist approach to design and a recent project in the Sunset Way neighborhood. Ng views architecture as an art form that transforms client needs into artistic expressions, aiming to improve wellness through environmental design. His style is characterized by modernism, respect for material purity, and tropical adaptation, often utilizing off-form concrete and natural light to suit the local climate. Ng's clientele often return to him for subsequent projects, including their children, highlighting a strong client relationship and trust in his design philosophy. The article details a specific project: a new home for a retired couple on a 6,900-square-foot plot in Sunset Way, adjacent to the Ki Residences condominium. This location holds significant sentimental value for the couple, who previously resided in the now-redeveloped Brookvale Park within the same neighborhood. Ng’s design responded to the land's topography, which slopes towards the back, leading him to create a three-storey residence with a basement and swimming pool at the rear. From the street, the house maintains an unassuming facade of off-form concrete and black walls, but transforms upon entry. Upon entering, the house, named "The Green Sanctuary," reveals its porous design through full-height windows that frame views of lush greenery. Despite the unconventional placement of the living room and pool at the back, facing the condominium, mature and newly planted trees along the perimeter ensure privacy. The design prioritizes connecting residents with nature, offering vantage points for vegetation from various areas, including the dining room on the first floor and the master bedroom on the second. The master bathroom is uniquely cantilevered directly above the pool, enhancing the connection to the outdoor elements. The attic level provides panoramic views of the surrounding area, including trees, landed homes, and distant buildings. Ng incorporated tree patterns into specially commissioned metal screens on the second floor, shielding the guest bedroom while creating a visual effect of a forest silhouette when illuminated at night. This attention to detail reflects the architect's commitment to integrating natural elements and artistic expression into the home's fabric. The residence was specifically designed to accommodate the couple's extensive collections of art and classic cars, accumulated over three decades. Ng recognized these collections as integral to the couple's life journey and memories, shaping the home to serve as a personal art museum. The interior features simple materials and a black-and-white palette, allowing the diverse art pieces, ranging from sculptures by Daisy Boman and Li Chen to paintings by Lee Jung Woong, to become focal points. The husband's collection of car memorabilia and seven classic cars is housed in a dedicated double-volume den. The home is also designed for future adaptability, with an open-layout attic that can be converted into an apartment. This attic includes wall panels that slide to reveal a large mirror for the wife’s dancing, and opens to a terrace and a “secret garden in the sky.” Ng emphasizes that architecture should be soulful and responsive to client needs, asserting that a home is more than just a shelter but a reflection of the occupants’ lives and aspirations. He credits his wife for enabling his creative freedom, allowing him to "dream" in his architectural pursuits. #ArchitecturalDesign #ModernistArchitecture #ResidentialDesign #LuxuryHomes #ArtCollection #ClassicCars #SingaporeRealEstate #SustainableDesign

Anne-Sophie Rosseel, an interior and furniture designer, established House of RoRo after identifying a gap in the children's furniture market. Her motivation stemmed from a personal need for functional, ethically produced, and aesthetically pleasing children's furniture for her son that would integrate seamlessly into a home environment, rather than being confined to a playroom. Rosseel found existing options to be predominantly plastic, disposable, and overly cutesy, lacking the longevity and timeless design she sought. The initial prototypes of her furniture were developed for her own home and garnered significant positive attention from visitors, encouraging her to pursue the venture further. The process of creating her own collection offered a refreshing creative freedom, unburdened by client specific demands. The decision to officially launch House of RoRo was solidified when T Magazine expressed interest in featuring the upcoming line, providing an unexpected platform for her fledgling business. House of RoRo operates as a design studio specializing in children's furniture and objects, aiming to balance practicality with artistic expression. A core principle of the brand is the creation of high-quality, sustainable furniture that does not compromise on beauty. The brand's "Interlockables" collection exemplifies this philosophy, featuring flat-pack furniture designed like "puzzle pieces" that children can assemble themselves, with some parental assistance. This design choice addresses the common issue of children's furniture being short-lived and discarded, as House of RoRo's pieces are intended to grow with the child and endure over time. Rosseel emphasizes the importance of ergonomic design over mere cuteness, believing that children appreciate furniture that is comfortable and interactive. The Interlockables pieces are designed to be versatile and timeless, allowing them to fit into various home settings, including living rooms, without needing to be hidden away. Furthermore, recognizing that children's toys often accumulate, the furniture incorporates storage solutions to combine functionality with aesthetics. The brand prides itself on its ethical production practices, manufacturing locally with skilled artisans who receive fair wages. Production occurs in small batches to minimize waste, and even leftover material scraps are repurposed for samples or puzzles, demonstrating a comprehensive commitment to sustainability and conscious design. Her son, Iggy, is credited as a primary inspiration and motivator for the business, serving as the initial recipient and tester of the furniture. The endeavor, while demanding, was also seen as an opportunity to instill in her son the value of hard work in achieving one's aspirations. #InteriorDesign #FurnitureDesign #ChildrensFurniture #SustainableDesign #EthicalProduction #HouseOfRoRo #AnneSophieRosseel #Entrepreneurship #ProductInnovation

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

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 highlights Jules Stafford, an interior design alumna from George Fox University, and her impactful work at DesignCase, a firm recognized for its community-focused projects. Stafford, a bi-cultural woman with Mexican and Filipino heritage, integrates her understanding of diverse cultures into her design philosophy, emphasizing the creation of hospitable spaces that foster community. A notable project discussed is the Immigrant Food restaurant in Ballston, Virginia, which she helped design. This restaurant is celebrated for its vibrant aesthetic, reflecting various immigrant cultures, and its role as a hub for cultural exploration and community engagement. Stafford's work extends beyond commercial projects to pro bono community initiatives. DesignCase recently revamped teacher lounges in a local K-12 public school, designing intentional spaces for educators across different grade levels. This project deeply resonated with Stafford, who witnessed the profound positive impact these revitalized spaces had on the teachers, reinforcing her belief in the power of design to serve and uplift communities. She views these opportunities as a way to steward her talents and contribute meaningfully to society. The article also delves into Stafford's personal journey, detailing her upbringing in Hesperia, California, within a large family that instilled in her a strong sense of community and a knack for organizing events. Her early experiences with hospitality and planning naturally transitioned into an interest in interior design. As a first-generation college student of color, Stafford faced unique challenges in pursuing higher education. Her family, with no prior college attendees, found the prospect of university cumbersome. She navigated a crossroads between pursuing a design-focused school or a faith-based institution, ultimately finding George Fox University and its Mosaic Scholars Program, which offered both academic and leadership development support. Her transition to George Fox was initially difficult due to the distance from home and financial pressures. Overwhelmed, Stafford considered leaving after only two weeks. However, the unwavering support from university staff, particularly Bryce Coefield and Jenny Elsey, played a crucial role in her decision to stay. They provided her with options and encouragement, demonstrating the strong community ethos at George Fox. Further support came in the form of a nanny position with George Fox’s women’s volleyball coach, Emily Davis, which offered her housing and extended her stay at the university, allowing her to thrive academically and personally. Casey Martin, Stafford's interior design professor, also provided significant mentorship and practical assistance, including helping her secure employment when an initial job fell through. Martin's commitment to connecting students with industry professionals and offering comprehensive support, whether professional or personal, was instrumental in Stafford's success. The collaborative spirit among her peers in the interior design program, where students supported each other through competitions and celebrated collective achievements, further underscored the importance of community. Stafford's story culminates in her securing a position at DesignCase, a moment celebrated by her classmates, symbolizing a shared victory and the fulfillment of her aspirations. She continues to advocate for collaborative design, emphasizing the need for diverse perspectives to create impactful and meaningful spaces, believing that even small organizations can achieve significant positive change. #InteriorDesign #CommunityEngagement #AlumniSuccess #GeorgeFoxUniversity #FirstGenerationStudent #CulturalFluency #ProBonoWork #Mentorship #CareerJourney

The article showcases a solo installation titled 'If Chairs Could Talk' by London-based artist and designer Yinka Ilori, presented in collaboration with The Shop at Bluebird. Ilori is known for his work with upcycled furniture, and this particular collection draws inspiration from his Nigerian heritage, specifically traditional Nigerian parables and African fabrics. The chairs are characterized by their vibrant colors and narrative elements, aiming to tell stories through their design. This installation is part of the London Design Festival and will be on display until November 27th, 2015. The collaboration highlights a fusion of cultural storytelling with contemporary design practices, where discarded furniture is transformed into unique, culturally rich pieces. Ilori's creative process involves selecting chairs, often found or discarded, and then reimagining them with new upholstery and paint, integrating patterns and themes derived from Nigerian culture. Each chair in the 'If Chairs Could Talk' collection is intended to represent a specific parable or aspect of Nigerian tradition, effectively giving a voice to inanimate objects. This approach not only provides an aesthetic transformation but also imbues the furniture with deeper cultural meaning and narrative. The use of traditional African fabrics, known for their bold colors and intricate patterns, plays a crucial role in conveying these cultural narratives. Through his work, Ilori bridges the gap between art, design, and cultural heritage, offering a unique perspective on sustainability and storytelling through repurposed objects. The exhibition at The Shop at Bluebird provides a platform for these discussions, inviting viewers to engage with the chairs not just as functional items but as pieces of art that carry historical and cultural weight. The installation underscores the potential of upcycling to create new value and foster cultural appreciation. The project demonstrates how design can serve as a medium for preserving and reinterpreting cultural narratives, making them accessible to a wider audience. The chairs, once ordinary, become extraordinary artifacts, each speaking to a rich tapestry of Nigerian wisdom and artistry. This initiative reflects a growing trend in design towards sustainability, cultural authenticity, and storytelling, presenting furniture as more than just utilitarian objects but as carriers of memory and meaning. #UpcycledFurniture #NigerianDesign #AfricanFabrics #YinkaIlori #LondonDesignFestival #CulturalHeritage #SustainableDesign #ArtisticFurniture #InteriorDecoration

Danish design house Gubi has partnered with Unicef to launch the 'Young Hopes' campaign, an initiative aimed at supporting vulnerable children across the globe. This collaboration seeks to raise funds for Unicef's critical work in providing safe births, clean water, and access to education in crisis-affected regions. The campaign leverages the sale of 100 limited-edition 'Pacha' lounge chairs, one of Gubi's most iconic furniture pieces, designed by Pierre Paulin. The 'Pacha' lounge chair, originally created in 1975, is known for its playful yet elegant design. For this special initiative, Gubi has produced the chair in three exclusive colourways: Lupo Special Diagonal Bouclé 007, Harp 102, and Mumble 02. The campaign highlights the significant impact that the purchase of a single 'Pacha' chair can have: it can help provide emergency education for up to 475 children, contribute to the safe birth of 200 children, or supply clean drinking water for a month to as many as 35,000 children. Gubi's chief brand officer, Marie Kristine Schmidt, emphasized the company's commitment to assisting children in often overlooked countries. Unicef identified Burkina Faso, Myanmar, and Sudan as primary beneficiaries, recognizing these areas as severely impacted by conflict and crisis, yet receiving less global humanitarian attention. Schmidt noted that the campaign aims to foster optimism and focus on the future possibilities for these young people, rather than dwelling on past traumas. This approach reflects Gubi's desire as a global design company to partner with an international charity to make a worldwide difference. The collaboration is further strengthened by the geographical proximity of Gubi's waterfront headquarters in Nordhavn, Copenhagen, to Unicef's humanitarian supply base. This physical closeness facilitated a collaborative spirit, as described by Schmidt, where working with a neighbor to make a global impact was particularly appealing. Susanne Dahl, executive director of Unicef Denmark, lauded the initiative, encouraging not only purchases but also the spreading of awareness through social media to support Unicef's work. This partnership underscores a growing trend of design brands utilizing their platforms for social responsibility. By blending design excellence with humanitarian efforts, Gubi and Unicef's 'Young Hopes' campaign seeks to generate tangible benefits for vulnerable children, demonstrating how consumer choices can contribute to global welfare. The initiative provides a concrete example of how design and social impact can converge to address pressing global issues, offering a message of hope and empowerment for future generations. #Gubi #Unicef #YoungHopesCampaign #PachaLoungeChair #PierrePaulin #HumanitarianAid #ChildrensRights #SocialResponsibility #DesignForGood

The article introduces Daphne Martino and Claudia Barroso, co-founders of M&B Design Studio, highlighting their journey into entrepreneurship as interior designers. Both women, having spent years assisting friends and family with design projects, decided to formalize their passion into a business once their children reached high school and college, providing them with the necessary time and space. Their motivation extends beyond personal ambition; they aim to set an example for their daughters, demonstrating that it is possible to pursue new career paths and achieve significant goals at any age. M&B Design Studio distinguishes itself through its commitment to honesty, transparency, and open communication with clients. This foundational trust is crucial for navigating design challenges and delivering spaces that are aesthetically pleasing and deeply meaningful to their clients. The founders emphasize that their path has involved considerable hard work and perseverance, acknowledging the inherent challenges and frustrations of the interior design industry. Despite these difficulties, they describe themselves as resilient, embracing both the positive and negative aspects of their work and striving to enjoy the process. Their families have been an integral part of their business, offering support with everything from physical help during installations to organizing project spreadsheets. This familial backing is presented as a key factor in their success. The studio prides itself on delivering thoughtful, timeless, and tailored designs that clients genuinely appreciate, reflecting their dedication to their craft. Beyond their professional lives, Daphne and Claudia share insights into their personal preferences and recommended activities in Miami. When friends visit, they curate an itinerary that blends outdoor exploration, culinary experiences, adventure, and relaxation. Their suggestions include a morning visit to Fairchild Tropical Botanic Garden, followed by refreshments from Wayside Market. Sundays feature a stop at the Pinecrest Farmers Market for local produce and artisanal goods. A quintessential beach day in South Beach, complete with lunch at Joe’s Stone Crab, is also on the agenda. For a change of scenery and a more relaxed atmosphere, a trip to Ocean Reef is recommended for boating, swimming, and golf. Their itinerary also highlights Miami’s vibrant art and design scene, with visits to Wynwood for its street murals and creative energy, and the Miami Design District for its architecture, high-end shops, and curated spaces. Relaxation and rejuvenation are factored in with a spa day at The Standard Spa or Tierra Santa at Faena. Dining experiences are diverse and include COTE Miami for a Korean steakhouse, Bouchon Bistro in Coral Gables for French cuisine, and Queen Miami Beach for a glamorous dinner and show. Iconic local spots like Ball and Chain, known for its live music and history, are also included to offer a taste of Miami’s cultural heartbeat. The week concludes with drinks at Bellini at Mr. C Coconut Grove, offering a sophisticated end to their Miami tour. In acknowledging those who have supported their journey, Daphne and Claudia express profound gratitude to their husbands and children. They credit their families with unwavering support, encouragement, and understanding, which have been constant sources of strength throughout the late nights, early mornings, and significant milestones of their entrepreneurial endeavor. Their families are seen not just as supporters but as an integral part of everything they do at M&B Design Studio. #InteriorDesign #Entrepreneurship #FemaleFounders #SmallBusiness #MiamiLifestyle #WorkLifeBalance #FamilySupport #DesignStudio

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

The Norrsken Kigali House, designed by MASS Design Group, addresses the economic challenges faced by East Africa's rapidly growing economies, specifically Rwanda, in attracting foreign direct investment for small and growing businesses. The project serves as an entrepreneurship hub in Kigali, providing a collaborative environment for innovation and growth. The initiative aims to foster local entrepreneurship and contribute to the region's economic development by offering essential infrastructure and support. The building, completed in 2022, occupies an area of 5090 square meters. MASS Design Group approached the project with a focus on community and adaptive reuse. The design incorporates a variety of spaces tailored to the needs of entrepreneurs, including coworking areas, private offices, meeting rooms, and communal gathering spaces. The architectural concept integrates local materials and construction techniques, reflecting a commitment to sustainable and contextually appropriate design. The emphasis on adaptive reuse suggests that the project likely involved the transformation of an existing structure, minimizing environmental impact and leveraging existing urban fabric. Key design elements include the strategic use of natural light and ventilation, promoting energy efficiency and a comfortable indoor environment. The interior spaces are designed to be flexible and adaptable, allowing for various configurations to support different types of work and collaboration. The selection of materials, such as wood and steel, highlights both aesthetic appeal and structural integrity, contributing to a modern yet rooted architectural expression. The project also incorporates features that foster a sense of community, such as inviting outdoor spaces and accessible common areas, encouraging interaction and networking among residents. The Norrsken Kigali House functions as a vibrant ecosystem for entrepreneurs, offering not only physical space but also access to mentorship, funding opportunities, and a network of like-minded individuals. This holistic approach is crucial for nurturing startups and small businesses, providing them with the resources needed to scale and succeed. The building's architecture plays a vital role in creating an inspiring and productive atmosphere, demonstrating how thoughtful design can contribute to economic empowerment and social development. The project's leadership included David Saladik, Kelly Alvarez Doran, and Anton Larsen as lead architects, with specialized teams handling structural engineering, civil engineering, environmental, mechanical, and plumbing aspects, and electrical and solar engineering. Geotechnical engineering was overseen by Harriet Kirk, and interior and furniture design by Amie Shao. This multidisciplinary collaboration ensured a comprehensive and integrated design process, addressing both functional and aesthetic requirements. The photography by Chris Schwagga captures the essence of the building's design and its impact within the Kigali landscape, showcasing its blend of functionality, sustainability, and community focus. The Norrsken Kigali House exemplifies a model for architectural intervention that extends beyond mere construction to actively support economic and social progress in emerging markets. Overall, the Norrsken Kigali House represents a significant architectural and social endeavor. It serves as a testament to the power of design to catalyze economic development and foster innovation within local communities. By creating a supportive and inspiring environment, the project contributes to the growth of East Africa's entrepreneurial ecosystem, demonstrating a sustainable and community-oriented approach to architectural development. The collaboration between Norrsken and MASS Design Group has resulted in a facility that not only meets the immediate needs of entrepreneurs but also lays the groundwork for long-term economic resilience and innovation in Rwanda. #CommunityArchitecture #AdaptiveReuse #CoworkInteriors #Kigali #Rwanda #EntrepreneurshipHub #SustainableDesign #EconomicDevelopment #ArchitecturalInnovation

The Black Artists + Designers Guild (BADG) has unveiled its inaugural initiative, the Obsidian Virtual Concept House, which offers a holistic vision for future living for Black families in America. This virtual dwelling, situated in Oakland, California, in the year 2025, is a collaboration with Hearst’s Luxury & Design Collection magazines: ELLE Decor, House Beautiful, Town & Country, and VERANDA. The project is rooted in four core principles: innovation, technology, sustainability, and futurism, aiming to create spaces that address spiritual and physical well-being. The Obsidian Virtual Concept House is more than just a home; it's an immersive experience designed to be celebrated through the month-long Obsidian Experience, which includes a 360-degree virtual tour and a series of live discussions and programming. This initiative marks the first of five planned iterations of Obsidian, which BADG intends to introduce in different cities over a five-year period. The architecture of the 11,000-square-foot house was co-designed by architect Nina Cooke John and designer Leyden Lewis. Their design thoughtfully incorporates the history of the Black Panther party in Oakland and the indigenous Ohlone people of the Bay Area. The house features advanced technological elements such as rainwater harvesting, solar energy collection, and geothermal cooling and heating, along with exterior landscaping designed for both leisure and growing vegetables, fostering a meaningful connection to the land. The house features 23 BADG members and creators who have designed various rooms and areas. These spaces challenge traditional designations like “living room” and “kitchen,” promoting a sense of fluidity and flexibility to accommodate extended, multigenerational families. For instance, the Sanctuary, designed by Cheryl R. Riley, is a separate structure meant for meditation, grieving, and worship. Its design, inspired by Ohlone huts, integrates facial and iris-scanning technology and voice command to control activities under its glass oculus, which itself draws inspiration from James Turrell’s sculpture _Meeting_ and Eero Saarinen’s M.I.T. Chapel. Another innovative space is the Room of Requirement by Leyden Lewis Design Studio, a warm, golden area equipped with robotic arms for massage and acupuncture, emphasizing health and wellness. Lewis highlights the room's role in providing a virtual doctor’s office and a space for relaxation and self-exploration, acknowledging the current global focus on health. Despite its technological advancements, the Obsidian Virtual Concept House also deeply integrates the past. Malene Barnett, founder of BADG, designed the Sankofa: Legacy Wall, inspired by the Adinkra concept of “go back and get it.” This wall, crafted from hand-carved clay tiles using West African architectural techniques, stores recorded stories and videos accessible via voice activation, serving as a choir of ancestral memories. The project is sponsored by several notable brands, including Caesarstone, Fiskars, Pottery Barn, Resource Furniture, S. Harris, Stark, Thermador, and YLighting. #ObsidianVirtualConceptHouse #BlackArtistsDesignersGuild #FutureLiving #SustainableDesign #HolisticWellness #ArchitecturalInnovation #CulturalHeritage #SmartHomeTechnology

Jasmine Roth, an HGTV star known for her shows like 'Rock the Block' and 'Hidden Potential,' transitioned into the design business unexpectedly and has since developed a passion for assisting individuals with home redecoration. She frequently uses social media to engage with her audience, viewing it as a vital communication tool that helps her connect with people who share similar experiences and design challenges. Roth emphasizes that social media has been instrumental in her career, offering a platform to share her design projects, such as decorating her outdoor space, and receive feedback from followers. Operating in a predominantly male-dominated industry like construction, Roth has been positively received and strives to empower other women and individuals who may feel apprehensive about construction and home design. She values the genuine relationships she has built with her followers through social media, appreciating their feedback and shared experiences. This interaction allows her to understand her audience better and witness how they adapt and evolve her design ideas, further reinforcing the impact of her work. Roth describes her career's rapid growth as surreal, expressing gratitude for the opportunities she encounters daily. She recently added 'author' to her accomplishments with the upcoming release of her book, 'House Story,' on September 28. Despite her professional achievements, Roth finds contentment in her personal life, particularly enjoying time at home with her husband, Brett Roth, and their daughter, Hazel. During her summer plans, Roth focused on redecorating her outdoor patio, a project she detailed as part of her partnership with Marshalls. She highlights the importance of selecting a consistent accent color in design to create a cohesive look, demonstrating this by incorporating yellow into her patio decor. This collaboration with Marshalls allowed her to fully design her outdoor space, showcasing her practical approach to home renovation and design. Through her various platforms, Roth continues to inspire and guide those interested in construction and home design, making it more accessible and less intimidating for a broader audience. #JasmineRoth #HGTVStar #HomeDesign #ConstructionAdvice #SocialMediaEngagement #MarshallsPartnership #InteriorDesign #FemaleEmpowerment #OutdoorSpaceDesign

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

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

This article presents an interview with renowned architect Kengo Kuma, focusing on his architectural philosophy, particularly his views on regionalism and the role of architects in the 21st century. Kuma, whose work spans globally and includes upcoming projects in Australia, defines architecture as “an act of producing a thing from a place.” He participated in the 2016 Regional Architecture Conference: Evoke, where Linda Cheng, associate editor of ArchitectureAu, discussed his approach to integrating local and regional characteristics into his international designs. Kuma expresses a strong preference for the term "regions" over "regionalism," which he believes can lead to misunderstandings about the inherent value of a place. He emphasizes that each region offers unique insights that are crucial for architectural design, viewing the region as "the mother of architectural design." He contrasts this perspective with the 20th-century internationalism, which was largely driven by industrialization and standardization. For Kuma, the 21st century demands a focus on individual regions and communities as the foundation for creative architectural endeavors. The interview delves into how Kuma maintains a sense of regional identity within international urban contexts and in a globalized practice. He argues that globalism does not diminish regionalism but can, in fact, enhance its value. Kuma rejects the notion that globalism has killed regionalism, suggesting instead that the world's increasing interconnectedness can highlight the diversity and distinctiveness of various regions. His method involves extensive personal travel and direct engagement with people and communities, believing that real-life experiences and conversations are indispensable for understanding and absorbing the "spirit of the place." He regards the internet as an imperfect medium that can only hint at the value of such real experiences, making physical presence and interaction a crucial first step in his design process for every project. Kuma also reflects on the concept of cultural exchange, drawing parallels with figures like Bruno Taut and Frank Lloyd Wright, who, as foreigners in Japan, illuminated aspects of Japanese culture and history that locals might have overlooked. He applies this idea to his own international projects, citing the Sydney Opera House by Jørn Utzon as an example where an architect found an ideal location that amplified his design concepts. Kuma's own project, The Darling Exchange in Sydney, is another illustration of this principle, where the unique dynamics of the Sydney waterfront and the city's open atmosphere inspired a departure from his previous designs. The interview further explores the relationship between Kuma's writing and designing processes. He considers writing a complementary yet distinct medium from design, noting that design is primarily intuitive, while writing allows him to retrospectively articulate the meaning and thought process behind completed projects. He views writing as a necessary step for clarifying ambiguities and progressing his architectural understanding. Kuma also discusses the importance of self-criticism, recalling his critique of his early M2 building commission, which he sees as pivotal for continuous self-improvement and evolution as an architect. He champions the idea that architects, like artists such as Picasso, must constantly change and adapt to remain relevant and creative. Finally, Kuma addresses the perceived arrogance among some contemporary architects, linking it to his 2008 manifesto, *Anti-Object*, which criticized "self-centred and coercive" architecture. He advocates for architects to embrace humility, warmth, and kindness, describing these qualities as essential themes for 21st-century design. Kuma suggests that architects are sometimes misused as branding tools, leading to an inflated sense of their own value. He contends that architects should emulate craftsmen in their humility, respecting materials and understanding their limitations, which forms a fundamental basis for his own work. #KengoKuma #Architecture #Regionalism #ArchitecturalDesign #CulturalExchange #DesignPhilosophy #SydneyArchitecture #ArchitecturalTheory #Interview

French architect Jean Nouvel has expanded his furniture design portfolio with 'Mia,' a new outdoor furniture collection for the Italian brand Emu. This collection, consisting of tables and chairs made from steel and aluminum, features a distinctive design characterized by 'jaunty angles and simple lines.' Initially conceived for the Mia restaurant within the new RBC Design Centre in Montpellier—another project by Nouvel scheduled to open in the autumn—the collection has now transitioned into mass production, making it accessible to a broader market. Nouvel describes his approach to furniture design as an exploration of 'elementarity,' emphasizing the essence and character of an object rather than merely simplifying its shape. He views himself as an architect who designs like an architect, contrasting his method with that of a stylist. Despite some perceiving his work as minimal, he asserts that his focus is on capturing the fundamental nature and function of a chair or table. He highlights that designing a chair is one of the most challenging tasks, a sentiment he shares with figures like Mies van der Rohe, who famously stated that designing a chair is more difficult than designing a skyscraper. Nouvel's design philosophy for the Mia collection involved a deep engagement with Emu's manufacturing techniques and materials, aiming to create a product that reflects the company's spirit while maintaining a simple yet optimistic identity through angular joints. The Mia collection, while sharing a complementary spirit with Nouvel's architectural work, is not directly designed to reflect the specific character of the Montpellier building. Instead, it embodies a broader stylistic consistency found across his diverse creations. The collection offers a variety of pieces, including stackable seats with and without arms, armchairs, a high stool, a bench, and two tables. The chairs feature tubular steel frames with laser-cut aluminum seats and backs, while the tables also use tubular steel frames paired with fold-down tops made from hot galvanized sheet metal. Nouvel also discusses his engagement with limited-edition design, citing examples such as pieces for the Gagosian Gallery. He notes that he is establishing a showroom in Paris to present a curated selection of his furniture, aiming to provide a comprehensive understanding of his design philosophy of 'elementarity.' This initiative is driven by his desire to clarify his identity as a designer, as he does not produce a large volume of products annually like some contemporaries. The showroom will allow viewers to see the cohesive style and underlying principles across his various furniture creations. The 'Mia' collection therefore represents a significant step in making his distinctive design approach more widely available and understood. #JeanNouvel #FurnitureDesign #OutdoorFurniture #Emu #ArchitecturalDesign #ProductDesign #Montpellier #ItalianDesign