3D scanned tree trunks become translucent table legs for aki hamada architects' collection

This article highlights 12 furniture designs and interior products crafted from wood, all of which have been featured on Dezeen Showroom. The collection demonstrates the enduring versatility, durability, and aesthetic appeal of timber, a material that has been utilized in furniture making for thousands of years. Wood is also recognized as a sustainable choice due to its renewable nature and low embodied carbon footprint. The featured designs encompass a wide array of wood types, including Douglas fir, cherry, oak, walnut, beech, maple, and acacia. Each species contributes a unique tone and grain pattern, allowing for diverse aesthetic outcomes, whether left in its natural state or treated with paints and varnishes. The showcased products range from seating with organic shapes to lighting fixtures, illustrating the material's adaptability across different product categories. Among the featured items is the 4PM chaise longue by Massproductions, designed to offer comfort without upholstery and available in laminated Douglas fir or cherry wood, with a self-build option inspired by Enzo Mari. Yamagiwa's rereleased Taliesin lamps, originally by Frank Lloyd Wright, utilize oak, cherry, or walnut to create a distinctive lighting effect through rotating wooden boxes. Appareil Atelier's Elsie chair collection showcases gentle, rounded forms in timber, featuring a semi-circular seat and a curved backrest. The Spectrum Workstation Round ST160, a collaboration between Geckeler Michels and Karimoku, is a versatile table with a round top and splayed legs, available in natural or black wood. Ben McCarthy's Hollywood seating collection for Gohome offers stackable chairs and bar stools in oak, with a simple silhouette reminiscent of traditional director's chairs. Blu Dot's Hoard Storage Tables are characterized by biomorphic shapes and hollow interiors, made from black-finished or natural acacia wood. Koyori's minimalist Shaku Chair, designed by Ronan & Erwan Bouroullec, is composed of six individual components from black-stained beech wood. Konstantin Grcic's Bench collection for Plank includes a wooden bench and table, designed for easy assembly and disassembly. Neri&Hu;'s 98.6°F outdoor collection for De La Espada features various outdoor furniture pieces made from Croatian white oak, chosen for its resistance to rot. Patrick Norguet's Sova Lounge chair for Zanat boasts a solid wood frame available in maple, walnut, or oak, sourced from sustainably managed forests. Studio Lloyd's Sayari outdoor furniture collection, including a daybed and side table, uses eucalyptus globulus hardwood and features organic shapes. Lastly, Harri Korhonen's Naku Stack chair for Inno is a minimalist, stackable design in birch, ash, or oak, suitable for public spaces. These examples collectively highlight wood's continued relevance and innovative applications in contemporary furniture and product design. #WoodDesign #FurnitureDesign #InteriorProducts #SustainableMaterials #DezeenShowroom #LightingDesign #Seating #Tables #TimberCraft

The AESTUS series of stratified wooden vases represents a fusion of traditional materials and contemporary technology, drawing inspiration from the dynamic interplay between nature and machinery. These vases, designed by architect and wood researcher Oliver David Krieg, are characterized by their soft natural curves and a futuristic, warm aesthetic, achieved through the precise alignment, combination, and gentle sculpting of hundreds of layers of beech wood. Each vase incorporates a stainless-steel internal cavity, which serves both as a water-resistant repository and a stable base. Oliver David Krieg's design process for AESTUS intentionally blurs the lines between handcrafted artistry and automated manufacturing. The vases are carved by an industrial robot, capturing the fluidity of the machine's movements within the intricate texture of the wood. This approach yields unique, custom-made pieces, fabricated in Germany from premium beech wood, intended to highlight the emerging aesthetic possibilities within modern wood design. The project aims to celebrate the innovative application of technology to natural materials. While not explicitly following trends, the AESTUS collection aligns with a broader movement in design influenced by digital design and fabrication processes. This trend allows for the creation of complex, three-dimensional shapes that were previously unattainable. AESTUS distinguishes itself through its dialogue between natural materials and advanced technology, prompting reflection on contemporary technological advancements and natural forms. The development phase presented challenges in balancing natural, physical, and digital elements, particularly in integrating the robot's movements as a primary design tool. Parametric software and digital simulation tools were developed to explore design possibilities and seamlessly incorporate robotic fabrication, complemented by the production of prototypes to understand robotic constraints and ensure consistent quality. The future direction for AESTUS involves increasing exposure for Krieg's studio and attracting clients interested in either the specific product line or the underlying manufacturing process, which has potential applications across various surfaces and materials. Current efforts include developing new versions of AESTUS with alternative materials. From the perspective of interior design, wood, as one of humanity's oldest and most natural materials, continues to hold allure for designers and architects. Despite a past perception of being outdated, wood has recently seen a resurgence in interest due to its sustainability, adaptability, and inherent tactile and visual depth. This renewed appreciation for natural materials coincides with the emergence of innovative digital technologies that empower designers to engage directly with novel fabrication methods. Consequently, the interior design and interior products sectors are increasingly prioritizing sustainability and responsible manufacturing. This shift does not necessarily signal the emergence of specific new styles but rather a renewed focus on modern and classic design solutions that incorporate wood. #HomeDecor #ArtDesign #InnovationDesign #WoodenVases #DigitalFabrication #RoboticsInDesign #SustainableMaterials #InteriorDesign #BeechWood

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

Wood surfaces add warmth and a welcoming feel to spaces without overwhelming other materials, making them a timeless and neutral choice in design. Madera, a US-based wood design studio founded in 2012, specializes in creating wood flooring, millwork, and furniture. Their products range from white oak stairs to sustainable exterior decking and facades. Madera offers a "Seamless Wood Design" system, ensuring that various wooden elements like stairs, architectural panels, grilles, vents, interior doors, cabinet fronts, and millwork complement each other and the flooring according to client preferences. The Peconic House in New York, designed by Mapos, integrates natural materials to blend with its Long Island bay setting. Inside, Madera's Northern White Oak Flooring and white walls create bright, airy spaces, while the brand's grey-toned Hurricane recovered Ipe Decking enhances the exterior's weathered look. Desai Chia Architecture's Ledge House in Connecticut features a charred cedar exterior, reflecting the rocky landscape. Inside, Wide Plank European Oak Flooring by Madera contrasts with the dark facade, providing a light interior. Recesses lined with panelling from Madera's Stockholm Collection match the flooring, maintaining a cohesive aesthetic. Twentieth in California, by Woods + Dangaran, centers around an old olive tree. The white brick, three-story home offers both indoor and outdoor living. Madera's Wide Plank European Oak Flooring from the Stockholm Collection creates a warm backdrop, allowing natural light to form patterns across its surface. For the Moore House in California, a 1965 Craig Ellwood design, Woods + Dangaran undertook a sensitive restoration. The interior features Madera's wooden teak flooring and panelling, with custom Reclaimed Teak Flooring created to match existing teak elements, bringing warmth to the space. NoMad Loft in New York, renovated by Worrell Yeung, highlights classical materials in a contemporary setting. Drawing from the building's 1871 history, the design emphasizes materiality with a simple color palette. Madera's European Oak Flooring from its TRA collection is used alongside curved, grey-plastered walls and black and white furnishings. Arnold Studio's Clinton Residence in New York combines old and new by adding a two-story apartment to a historic brick house. Pale European Oak Flooring by Madera lightens the space, contrasting with dark wood ceiling beams. White oak stairs, made from the same Madera product, brighten the stairwell. The Cedars in New York, restored by Office of Tangible Space, features crisp white interiors and cedar cladding. Madera's whitewashed European Oak Flooring and white walls create bright, light-filled spaces, with black furnishings and frames providing a contemporary contrast. Di An Di, a Brooklyn restaurant designed by Office of Tangible Space and Huy Bui, aims for a bright, community-focused environment. Madera's American Ash furniture and millwork, paired with distressed timber flooring and deep green walls, create a simple, timeless interior. The David Rubenstein Forum in Chicago, a university building by Diller Scofidio + Renfro, is recognized for its six cantilevering blocks and glazed facades. Wide Plank Northern White Oak Flooring by Madera reflects light from the windows, and wood-paneled walls and ceilings add warmth to the lecture hall. Industrious at Equinox in New York, a co-working space, features Madera's Wide Plank European Oak Flooring in private offices and social areas. Klippa and Yarrow stairs from Madera's Stockholm and Terra Collections, combined with black balustrades, create a dramatic material palette, aligning with Equinox's luxurious aesthetic. #WoodDesign #InteriorDesign #MaderaSurfaces #ArchitecturalWoodwork #LuxuryInteriors #SustainableMaterials #FlooringDesign #ResidentialArchitecture #CommercialDesign

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 growing awareness of the positive impact of nature on well-being has led to a renewed appreciation for natural materials in design. Consumers and designers are increasingly drawn to textures and colors that evoke a sense of the natural world, recognizing the stress-reducing and immunity-boosting benefits of even short exposures to natural environments. Responding to this trend, Post Company, an award-winning design firm, has collaborated with Idaho Wood, a company rooted in American woodcraft, to introduce the Ravine Collection of architectural lighting. This collection is a deliberate celebration of wood as a material, showcasing its inherent beauty and organic variations. The Ravine Collection is characterized by its simplicity of form, which intentionally highlights the material's expression. The design incorporates indirect lighting sources that accentuate the unique character and growth patterns of each piece of wood. Drawing inspiration from the Bauhaus movement, the collection integrates a sense of structure and intention into its design. Named after the last remaining forest in Brooklyn, the Ravine Collection thoughtfully bridges the gap between nature and sophisticated design. The collection currently features a table lamp and a flush mount light, both available in three distinct finishes, each offering a unique aesthetic and material property. The first finish option is Douglas fir, treated with a heritage natural timber oil. This application protects the wood's surface and imparts a soft, satiny luster, allowing the natural grain to shine through. The second option utilizes western red cedar, a wood highly valued for its distinctive aroma, natural oils, and inherent antimicrobial properties. Historically used in Native American rituals for cleansing and associated with anti-inflammatory and healing practices due to its natural resistance to decay, western red cedar brings a rich, sensory experience to the collection. The third finish employs the ancient Japanese yakisugi technique, which involves charring the wood's surface. This process creates an incredible blackened finish that is then sealed with oil, resulting in a waterproof and weatherproof surface. Beyond its protective qualities, yakisugi beautifully highlights the wood's distinctive growth patterns and hardens its outer layer, offering a completely natural, protective, and visually striking finish. The collaboration between Post Company and Idaho Wood was driven by a shared vision: to create sculptural lighting fixtures that not only provide illumination but also honor the raw essence of wood. Each piece in the Ravine Collection is handcrafted in North Carolina, demonstrating meticulous attention to detail and craftsmanship. The designs achieve a delicate balance between geometric precision and appropriate scale, fostering a subtle interplay of form, function, and material honesty that underscores the innate qualities of the wood. The table lamp in the collection is an architectural composition featuring a pyramidal shade resting on a rectangular base. Both components are meticulously carved from solid blocks of wood, demanding exceptional craftsmanship and access to high-quality materials. A wooden peg, a deliberate nod to traditional joinery techniques like mortise and tenon found in historic timber structures, anchors the lighting element within the base. This peg motif is ingeniously reused as the lamp's dimmer, adding a tactile and historically resonant detail. When illuminated at night, the shade's sharp geometry recedes, allowing a soft glow to highlight the base's intricate grain and silhouette, transforming each lamp into a potential heirloom. The flush mounts, designed for both indoor and outdoor use, extend this design philosophy. They feature two stacked rectangular elements, mirroring the table lamp's proportions, with recessed lighting that casts a warm, ambient light on the inner wood surfaces. Available in three sizes (5″, 7.5″, and 10″), these ceiling and wall fixtures offer a discreet yet impactful presence, infusing even minimalist spaces with natural warmth. The partnership between Post Company and Idaho Wood exemplifies a commitment to enduring aesthetics, careful artistry, and sustainable values, delivering a collection that celebrates the profound connection between human design and the natural world. #ArchitecturalLighting #WoodDesign #NaturalMaterials #PostCompany #IdahoWood #RavineCollection #SustainableDesign #Craftsmanship #InteriorDesign

Expanded Eye, an artistic duo composed of Lisbon-based artists Jade Tomlinson and Kevin James, is exploring the divine feminine and the 'peaceful power of the Earthmother' through their recent sculptural works. Their art blurs the lines between abstraction and figuration, incorporating characteristic geometric and figurative elements. The duo is well-known for their unique approach to tattoos and assemblages, which often utilize wood and repurposed materials to create bold and textured compositions. They have temporarily paused their tattoo practice to dedicate their focus to developing these sculptural reliefs. Ceramic work has become a central part of their artistic process, drawing inspiration from Portugal's rich tradition of azulejo tiles, which symbolizes cross-cultural exchange. The artists aim to use this ancient, earthy material to depict serene guardians in earth-toned colors, seeking to evoke a sense of stillness and calm in contemporary society. Their compositions represent a convergence of past and present, exploring themes of timelessness and continuity through traditional techniques of working with clay, carving, and building. The graphic elements and fragmented features within their work also draw parallels to early 20th-century art historical Modernism, particularly the Cubist movement. Tomlinson and James highlight that the fusion of traditional materials with a modern artistic approach is a significant source of inspiration for them, serving as a connection between historical practices and the present day. Expanded Eye is currently undertaking their largest tile commission to date, and they intend to further integrate ceramics with other aspects of their diverse artistic practice. Their work continues to evolve, pushing the boundaries of material and form while maintaining a consistent thematic thread of earthy connection and timeless spiritual presence. #ExpandedEye #CeramicArt #WoodSculpture #Assemblage #FigurativeArt #AbstractArt #PortugueseArt #EarthMaterials #ContemporaryArt

The article introduces the work of Japanese designer Asao Tokolo, who effectively merges art and mathematics, bridging historical and contemporary influences, and Eastern and Western aesthetics. Tokolo's designs are characterized by patterns that interlock harmoniously without repeating, a concept initially demonstrated through magnetized tiles. These tiles, when rotated, consistently match at every edge, creating endless new configurations from a single set of elements. Tokolo's inspiration draws from the traditional Japanese arabesque patterns, known as karakusa, which originated in various Western and Middle Eastern regions approximately 1200 years ago. These patterns, typically representing flora, were historically used on clothing, bedding, and ceramics in Japan. While scholarly work often focuses on the fractal geometries and repetitive nature of these patterns, Tokolo's innovation lies in creating unique tile shapes that, despite their individuality, always connect seamlessly. This approach reflects a conceptual blend of Western individualism and Eastern collectivism. Following the development of the mathematical principles behind his unique patterns, Tokolo explored various applications. He collaborated with interior designers and architects, leading to the use of his designs in ceramic tiles and wall decorations. The patterns extended beyond decorative elements for homes, appearing in public spaces such as Tokyo trattorias, where they were frosted into glass partitions. Furthermore, Tokolo's designs were integrated into fashion and automotive industries, notably adorning Ooito jackets and Volkswagen Beetle seat fabrics, demonstrating their versatility and adaptability across diverse mediums. The article emphasizes the compelling nature of Tokolo's work, particularly highlighting the original magnetic tile piece as the most remarkable example of his design philosophy. The consistent fit yet non-repeating characteristic of these patterns is described as a form of mathematical magic. This aspect of his work underscores the designer's ability to create complex, engaging patterns that offer endless possibilities for arrangement while maintaining an inherent harmony. Tokolo's designs, therefore, are not merely aesthetic but also incorporate a deep mathematical and philosophical underpinning, challenging conventional notions of pattern and repetition. #AsaoTokolo #PatternDesign #JapaneseDesign #MathematicalArt #InteriorDesign #CeramicTiles #KarakusaPatterns #DesignInnovation #ModularDesign

Chef, restaurateur, and food influencer Eeshaan Kashyap has launched a new tableware collection, 'Tablescape by Eeshaan,' which is characterized by its bold, artful, and unusual designs. The concept for these functional objects emerged during the lockdown period, leading to a limited-edition collection that includes plates, bowls, mugs, vases, candle stands, tablecloths, decorative objects, and small tables. Kashyap, who has a background as a trained chef and extensive experience in the restaurant industry, has always been intrigued by food presentation. He explains that during the lockdowns, the daily ritual of setting the table with his accumulated tableware became a nourishing activity, inspiring him to create his own line of functional pieces. This venture began as a personal creative experiment, driven by a desire to design tableware for his own use and to share a part of his culinary world with others, and has since evolved into a growing business. The collection showcases a diverse range of materials, reflecting Kashyap’s preference for the unconventional. While pottery forms a significant part of the collection, it also features resin bowls and candle stands, woven metal baskets, Shibori bowls made from paper, hand-painted tablecloths, and side tables constructed from glass. Many of these tableware pieces were designed in close collaboration with various studios specializing in different materials, while others were sourced from these studios. The emphasis on diverse materiality results in a collection where each piece offers a distinct aesthetic and tactile experience. A key aspect of the 'Tablescape by Eeshaan' collection is its focus on unique forms and finishes. The objects are handmade, with deliberate imperfections in form that contribute to the inimitable quality of each piece. While many items retain conventional shapes, 'The Modern Matka' stands out as a particularly inventive concept. This piece reinterprets the traditional Indian matka by placing its circular form on a square base, seamlessly blending the two geometries. This design not only updates the traditional object but also provides a stable foundation. Some versions of 'The Modern Matka' are coated in a vibrant ultramarine blue, enhancing their visual impact. Kashyap expresses a particular fondness for 'The Modern Matka,' indicating a desire to further explore this concept in different materials and sizes. The collection also features a variety of finishes, incorporating bold colors, patterns, and textures. For example, some woven metal baskets exhibit a patina finish, while the glass tables incorporate either color or silver mirroring on their undersides. Extensive experimentation with different glazes and colors on ceramic pieces has resulted in several striking designs. Notable highlights from the collection, in addition to 'The Modern Matka,' include 'The Spike Bowl,' inspired by sand casting; 'The Moon Vase,' a one-off piece fired using the Anagama technique for a unique finish; and the 'Blue Crackled Under-liner,' designed as a charger plate with broken glass pieces, a glaze, and a reflective surface. The contemporary terracotta vases and bottles are distinguished by a stunning marbling effect. Kashyap encourages creativity in styling these pieces, suggesting that while they can be used as a set, they are also designed to be mixed and matched with existing tableware. He proposes imaginative combinations, such as pairing a monochromatic vase with antique silver on a hand-painted tablecloth. The collection was exhibited at a pop-up and preview at Bikaner House and Vayu – Design for Living, and will be available through Kashyap's upcoming website or via his Instagram handle, @tablescapebyee. #TablewareDesign #HandmadeObjects #DiningDecorating #EeshaanKashyap #HomeDecor #ArtfulTableware #MaterialExperimentation #ModernMatka #UniqueFinishes

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

This article explores the preferred tableware shopping destinations of 12 interior designers, offering insights into curating elegant and functional tablescapes for various occasions. The article highlights a range of sources, from high-end luxury brands to artisanal boutiques, vintage shops, and more affordable retailers, demonstrating how design professionals approach selecting plates, bowls, platters, glassware, flatware, and linens. Vicky Charles of Charles & Co emphasizes attention to detail and frequently turns to Abask for its exquisite selection of plates, bowls, and serving pieces that combine timeless elegance with an organic, natural finish. Abask's unique textures and muted tones provide a versatile canvas for relaxed yet elevated dining experiences. For a more opulent and eclectic touch, Charles also recommends RW Guild, known for its globally sourced artisanal pieces with rich, earthy tones, and Il Buco Vita for vintage-inspired glassware and luxurious table linens that blend beauty and functionality. Emily Ward and Louisa Pierce of Pierce and Ward adopt a personalized approach, mixing antique, vintage, and new items across different price points to reflect clients' personalities and lifestyles. They prioritize durability and longevity, recommending Heath Ceramics for plates and bowls, Studio Ford for cotton napkins and tablecloths, and Jean Dubost Laguiole Steak knives, particularly those with brass accents. Pembrooke & Ives, a New York design studio, suggests Mary Mahoney for high-end brands like Hermes and Bernardaud, ideal for refined and elegant tables. For a contemporary aesthetic, MAX ID offers unique geometric table pieces. They also favor Abask and David Mellor, the latter for its diverse range of porcelain from various countries. Paige Wassel, director of Paige Wassel, expresses a strong preference for thrifting tableware, actively searching Etsy for vintage cutlery, etched coupes, everyday drinking glasses, and hand-fired bowls and plates with artisan stamps. She also appreciates Japanese handmade ceramics and opts for more affordable finds due to her tendency to break glasses. Laura Lubin of Ellerslie Interiors recommends Sasha Nicholas for stunning handcrafted tableware, including chargers and dinner plates with intricate, timeless designs, and Hudson Grace for rich, saturated linens and napkins that add depth and character. Gideon Mendelson, founder of Mendelson Group, categorizes his recommendations by formality. For formal settings, he suggests Bergdorf Goodman, Bernardaud, and Christofle. For casual or everyday use, Heath Ceramics, Mondays, Wilcoxson, and Camille at the Wheel are preferred. For more affordable options, Williams-Sonoma and Crate & Barrel are highlighted. Dan Mazzarini of BHDM Design and ARCHIVE is a fan of splatterware from March SF. He looks to Ralph Lauren for timeless stemware and CB2 for budget-friendly tumblers and glasses. Mazzarini enjoys mixing modern cutlery from Wayfair with vintage and antique finds, and stresses the importance of linen napkins, properly starched and ironed. He also advises incorporating lighting, such as smoked hurricanes from March SF and portable table lamps. Kathy Kuo of Kathy Kuo Home recommends her own brand for its extensive collection of dishes, glassware, linens, and flatware, featuring a variety of styles, materials, and vendors like Simon Pearce, Juliska, Vietri, Villeroy & Boch, and L'Objet. Kishani Perara, founder of Kishani Perara, likes TABLE ART, Bergdorf Goodman, Artemest, Il Buco, and Sharland England for tableware and candlesticks. She emphasizes the value of incorporating special family pieces or vintage finds from platforms like Etsy, eBay, Chairish, and 1stDibs. Darren Henault of Darren Henault Interiors champions Julia B. Casa in Florence for its spectacular embroidery and appliqué, and E. Braun on Park Avenue for timeless and luxurious selections. He collects a variety of dish patterns, including Herend's Rothschild, Fischcale, and Chinese Bouquet, and Royal Crown Derby's Midori Meadow, which he mixes and matches. For glassware, he particularly values Lobmeyr water glasses from Vienna for their delicate elegance. Finally, Gray Walker of Gray Walker Interiors prefers simple linen hem stitch tablecloths and napkins, often with festive embroidery. She builds tablescapes around specific decorations, combining sterling silver, Tiffany china and crystal, and clippings from her garden. She collects table linens from sources like Schweitzer Linens. Josh Greene of Josh Greene Design recommends Collecto for quality dining ware, including traditional Italian and whimsical floral china, and Abask for its diverse independent designs. For luxurious occasions, Tiffany is a staple, while West Elm is suggested for more affordable, classic dining sets. #InteriorDesign #Tableware #HomeDecor #Tablescapes #DesignersChoice #LuxuryHome #VintageDecor #KitchenDecor #DiningRoom

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

Dutch manufacturer Hakwood has introduced three new geometric wall tile designs, focusing on uncomplicated shapes like repeated squares, interlinked circles, and trapezoidal forms. These new additions to their wall-tile collection are designed to create patterned feature walls in various settings. The tiles are suitable for both residential and commercial applications, offering versatility for interior designers and architects. Examples of their use include patterned headboards in bedrooms, distinctive feature walls in housing developments, and outlining display areas within retail spaces. Adriaan Hoogendoorn, a technical specialist at Hakwood, emphasizes that while the designs appear simple, their proportions are meticulously crafted to resonate effectively. The choice of color placement allows for the creation of numerous unique patterns from a single tile design, providing extensive customization opportunities. To further support design flexibility, Hakwood offers an online customization tool that enables architects and designers to experiment with tile colors and create bespoke patterns. Additionally, the tiles are available in two thicknesses, 15 millimeters and 20 millimeters, which allows for the incorporation of three-dimensional surfaces to add depth and visual interest to walls. Hakwood, based in Werkendam, the Netherlands, has nearly four decades of experience in producing wooden flooring and wall tiles. The company consistently engages in collaborative projects and creative installations to showcase its products and innovative design capabilities. Recently, Hakwood partnered with interiors company Shape London to develop an installation for Clerkenwell Design Week. This installation featured three-meter-high Dutch townhouses constructed from bright-pink tiles, demonstrating a playful and impactful use of their materials. In 2016, Hakwood also collaborated with Flea Folly Architects to construct a temporary timber tunnel within the arch of London's St John's Gate, an installation that drew inspiration from the historical monastic character of the location. The new geometric wall tiles underscore Hakwood's commitment to combining simplicity with design effectiveness. The products are designed to empower designers and architects to personalize spaces, ranging from private residences to public commercial establishments. The availability of varied colors, customization options, and different thicknesses caters to diverse aesthetic and functional requirements, ensuring that the tiles can adapt to a wide array of interior design concepts. These offerings reflect a strategy to provide materials that are both visually appealing and highly adaptable, reinforcing Hakwood's position as a provider of innovative surfacing solutions. #Hakwood #WallTiles #GeometricPatterns #InteriorDesign #ProductDesign #CommercialInteriors #ResidentialDesign #Customization #3DSurfaces

The 'Connected' project, a collaboration between British furniture brand Benchmark and the American Hardwood Export Council (AHEC), emerged from the unique challenges posed by a global pandemic. This initiative brought together nine designers to create furniture pieces aimed at enhancing the working-from-home experience. A significant aspect of this project was the designers' inability to physically visit the workshop or interact directly with their creations, necessitating reliance on remote communication tools like Zoom and WhatsApp, and a considerable degree of trust in the craftspeople at Benchmark. Sean Sutcliffe, co-founder of Benchmark, highlighted the increased leap of faith required from designers in trusting the technical, visual, and sensory aspects of the craftsmanship without in-person observation. An example of the innovative problem-solving employed by Benchmark is demonstrated in Studio Swine’s chair, which required its red oak and cherry wood components to be submerged in the River Kennet for a week to facilitate steam-bending. This resourcefulness is characteristic of Benchmark's workshop, which boasts 58 skilled craftspeople. Sabine Marcelis, a Wallpaper* Designer of the Year, praised Benchmark's willingness to push creative and technical boundaries, a stark contrast to the limitations often encountered with other manufacturers. Marcelis's contribution to 'Connected' is the 'Candy Cubicle,' a maple-veneer box designed to conceal home-working tools, including her partner’s monitor, with a surprising acid-yellow interior. Sustainability is a core principle of 'Connected,' mirroring previous collaborations between AHEC and Benchmark. Designers selected from red oak, maple, and cherry—woods that represent 40 percent of American hardwood forests but are often underutilized. David Venables, European director at AHEC, explained the council's mission to reintroduce these 'unfashionable' woods to designers and consumers, thereby promoting the sustainable use of all natural resources. The project underscores how consumer choices influence forest composition, advocating for a broader appreciation of timber species beyond the obvious choices. The pandemic and the chosen materials appear to have fostered a renewed appreciation for nature among the designers. Works range from Thomas Heatherwick’s biomimicry-inspired maple planters to Studiopepe’s 'Pink Moon' chair, reflecting a collective desire to connect with the natural world. Despite a common theme of natural inspiration, each designer's individuality is evident. Maria Bruun created a Scandinavian-style table from rippled maple, while Jaime Hayon’s 'Mesamachine' showcases complex, humorous, and movable cherry wood components. Ini Archibong's 'The Gate,' an outdoor collection, draws inspiration from the Giant’s Causeway, featuring a hexagonal plinth of red oak and cherry and a green-lacquered red oak top with brass inlays. Maria Jeglinska-Adamczewska's seat utilizes barrel-making techniques for its curved form, and Sebastian Herkner designed 'Stammtisch,' a modern Lazy Susan with sliding trays made from various woods and finishes. The designers will see their completed pieces in person for the first time at London's Design Museum, where 'Connected' will be exhibited from September 11 to October 11. This exhibition marks the culmination of a project that navigated unprecedented challenges through remote collaboration, trust, and a shared commitment to design and sustainability. #FurnitureDesign #Woodworking #RemoteCollaboration #SustainableDesign #HomeOffice #Craftsmanship #DesignMuseum #HardwoodExports #InteriorInnovation