clap studio designs playful, millipede-inspired bench for MISSANA

Clap Studio has collaborated with the Spanish furniture brand Missana to develop 'Worm,' a modular sofa bench system. This project marks Missana's first foray into modular seating, following two years of intensive research and development. Missana is recognized for its contemporary designs and high-quality upholstery, and 'Worm' aims to expand its offering with a versatile and adaptable seating solution. The 'Worm' sofa system is inspired by the millipede, specifically its ability to bend and scroll, which translates into a design that is both playful and highly functional. The sofa is composed of three distinct modules: an end module, a straight module, and a curved module. Each module features an upholstered seat and an internal structure, which includes an iron base and short, thin legs that subtly resemble the legs of a millipede. This modular approach allows for an infinite number of seating configurations, catering to diverse spatial needs and aesthetic preferences. The design philosophy behind 'Worm' addresses the contemporary demand for adaptable spaces in various environments. Clap Studio emphasizes the necessity of creating furniture that can be reconfigured to suit different projects and situations, highlighting the system's utility in residential, workplace, and hospitality settings. The flexibility offered by the three-module system enables users to customize the sofa's size, shape, and color combinations, providing a tailored seating experience for any given space. The inspiration drawn from the millipede reflects a desire to inject an element of whimsicality and natural form into functional design. The designers recalled childhood explorations of millipede shapes, leading to the conceptualization of a furniture piece that emulates the creature's segmented and flexible nature. This innovative approach allowed Missana to introduce a product that not only meets practical requirements but also stands out for its unique aesthetic and creative origin. Overall, 'Worm' represents a significant development for Missana, offering a versatile, playful, and adaptable seating system that aligns with modern design principles prioritizing flexibility and user-driven customization. The collaboration between Clap Studio and Missana has resulted in a modular sofa bench that is designed to transform and adapt, making it suitable for a wide array of interior design contexts. #FurnitureDesign #ModularSofa #InteriorDesign #ClapStudio #Missana #ProductDesign #AdaptableSeating #SpanishDesign #WorkplaceDesign

This week's Dezeen Showroom features seven new product introductions, highlighting innovative furniture and lighting designs from various international brands and designers. A prominent introduction is the Worm sofa bench by Clap Studio for Missana, a modular seating solution characterized by its millipede-like shape. The bench consists of three adaptable modules—an end module, a straight module, and a curved module—allowing for flexible arrangements to suit diverse spatial requirements. Its design incorporates a rounded upholstered seat and distinctive metal legs, contributing to its unique aesthetic and functional versatility. The sofa is a testament to contemporary design that balances playfulness with practicality in modular furniture. Another notable product is the Arholma outdoor collection, designed by Alexander Lervik for the Swedish brand Skargaarden. This collection emphasizes minimalist design principles, offering a range of outdoor furniture pieces including chairs, tables, sofas, and sun loungers. Each item is constructed from galvanised powder-coated aluminium and durable outdoor fabrics, ensuring longevity and resistance to various weather conditions. The Arholma collection aims to provide elegant and resilient options for outdoor living spaces, blending seamlessly with natural or architectural environments. Fogia, another Swedish brand, presents the Big Sur Low coffee table, a collaborative effort between glass artist Simon Klenell and carpenter Kristoffer Sundin. This coffee table features a thin, tinted glass tabletop supported by rounded wooden legs, available in multiple color options. The fusion of Klenell's artistic vision in glass and Sundin's woodworking expertise results in a piece that is both functional and sculptural, adding a sophisticated touch to interior settings. For workplace environments, Narbutas has introduced customisable features for its Silent Room acoustic pod. This pod is designed to create private spaces for calls or meetings within open-plan offices, addressing the need for sound isolation and concentration in bustling work areas. New additions include an optional glass insert for the back wall, enhancing its adaptability, especially for installations near windows. The Silent Room aims to improve productivity and comfort in modern office layouts. Shakúff, a US-based brand, unveils the Dew pendant light, a design inspired by the natural phenomenon of dewdrops on leaves. These glass pendant lights are intended to be hung in multiples, forming elegant chandeliers. Available in clear, grey, or amber glass, the Dew pendant lights offer a delicate yet striking lighting solution, capable of creating varied atmospheric effects depending on the chosen color and arrangement. The design focuses on bringing a subtle, organic beauty into interior spaces through illumination. Andreas Engesvik's Lyra lounge chair for Fogia is highlighted for its contrast between soft cushioned seating and a graphic metal frame. The chair's design prioritizes both comfort and aesthetic appeal, aiming to evoke a sensation of sinking into a pile of pillows. The Lyra lounge chair embodies a modern approach to comfort, combining supportive structure with luxurious softness, suitable for various residential and commercial lounge settings. Finally, Zuma introduces the Lumisonic downlight, an innovative lighting solution that integrates a loudspeaker and is operated via voice activation. This wireless device offers additional functionalities such as circadian rhythm lighting and mood lighting, positioning it as a comprehensive smart home fixture. The Lumisonic downlight represents an advancement in home technology, merging lighting, sound, and intelligent control into a single, discreet unit, enhancing the ambiance and functionality of any room. #ProductDesign #FurnitureDesign #LightingDesign #InteriorDesign #ModularFurniture #OutdoorFurniture #AcousticSolutions #SmartHomeTechnology

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

London design studio JamesPlumb, comprising artists James Russell and Hannah Plumb, has continued its Burnished Indigo project by creating a limited-edition bench. This new piece showcases an antique textile, which is made using medieval dyeing techniques, in a raw form that highlights its architectural qualities. The studio had previously used this fabric for an elaborate lampshade and a Chesterfield sofa, aiming to celebrate the sculptural aspects of the material in this latest creation. The textile's production involves a meticulous dyeing process that the designers describe as a ritual. This process includes repeatedly submerging the fabric in a deep blue dye mixture, which incorporates egg whites, ox or pig's blood, and fermented fruit juices to help the material absorb the color effectively. Following the dyeing, the fabric is either beaten with wooden mallets or placed under large, smooth rocking stones. This beating and pressing action is crucial for increasing the fabric's sheen and developing its unique texture. Instead of applying this labor-intensive dyeing technique to new materials, JamesPlumb opted to work with existing antique fabric that had already undergone this traditional treatment. This choice underscores their commitment to repurposing and celebrating historical craftsmanship. The methodology for creating the bench mirrored that used for their earlier Chesterfield Table, involving a repetitive cycle of soaking, drying, scrunching, attacking, and beating the fabric. The key distinction for the bench was a conscious decision to allow the fabric's inherent qualities to shine through, minimizing overworking, and then contrasting this raw texture with controlled deep buttoning, which adds a refined element to the piece. The limited-edition bench was produced in a run of eight pieces. It was exhibited at Gallery Fumi's stand during the PAD London fair, which took place from October 3 to October 9. To mark the launch of the bench and to articulate their creative journey with the antique textile, JamesPlumb composed a poem. The poem, a reflection on their artistic process, speaks to the fabric being “Bruised by hand, soaked, parched, opened, closed, attacked and rested” and describes how its “propriety disrupted, tightly buttoned, unravels to unruly abandon.” It concludes by calling the creation “a beautiful new chapter for a very old, almost ancient, thread,” encapsulating the studio's deep appreciation for the fabric's history and transformation into a contemporary design object. #JamesPlumb #FurnitureDesign #TextileArt #AntiqueFabric #IndigoDyeing #LimitedEdition #BenchDesign #Craftsmanship #InteriorDecoration

Architecture firm BIG has designed a new furniture collection called Lily for the Danish brand Skagerak. The collection, which includes a table, bench, and chair, is characterized by its lack of sharp corners, drawing inspiration from the gently sloping, oval shape of lily pads. This design choice is a recurring motif for BIG, which has previously incorporated similar organic, super-elliptical forms into other projects to encourage movement within spaces. The Lily collection is constructed from golden teak wood and supported by stainless steel X-frames. These materials were specifically chosen for their durability and suitability for both indoor and outdoor use. Erik Berg Kreider, a senior industrial designer at BIG, noted that the materials are expected to age gracefully over time, with the teak developing a lighter patina. The design prioritizes the natural beauty of the wood and steel by eschewing any additional paints or finishes. BIG's affinity for lily pad forms extends beyond this furniture collection. The firm previously designed oversized, lily pad-shaped floor cushions for children at WeWork's New York primary school. Berg Kreider highlighted that this soft, organic shape is a frequent design element for BIG because it promotes a natural flow of movement in various environments, suggesting that the furniture pieces are intended to be integral elements that guide interaction within a space. Functionality and versatility are key aspects of the Lily collection. The pieces are designed to be multifunctional, allowing them to transition seamlessly between indoor and outdoor settings. For instance, the bench can serve as both seating and a low coffee table, enabling flexible arrangements for dining or lounging. This adaptability aligns with a contemporary approach to living spaces, where furniture often needs to serve multiple purposes. The campaign images for the Lily collection were captured in BIG's Urban Rigger, a floating student housing project in Copenhagen made from shipping containers. This location was chosen due to its inherent combination of indoor and outdoor living elements, including balconies and a swimming platform, which resonated with the collection's design philosophy. The Urban Rigger itself is inspired by the maritime environment of Denmark, further connecting the furniture's water-themed inspiration with its promotional setting. Scheduled for release through Danish furniture brand Skagerak in March 2020, the Lily collection represents BIG's continued exploration of natural forms and multifunctional design. This project follows other notable home designs by BIG, such as the VIA57 lounge chair, inspired by their New York apartment tower, and the blown-glass Gople lamp, which is designed to aid indoor plant growth. These designs collectively showcase BIG's commitment to creating innovative and contextually relevant products for various living and working environments. #FurnitureDesign #BIGArchitecture #Skagerak #IndoorOutdoorFurniture #TeakWood #SustainableMaterials #OrganicDesign #DanishDesign #MultifunctionalFurniture

Benches are highly versatile furniture items that can significantly enhance interior design by filling spaces efficiently and offering diverse functionalities. These pieces are not merely for entryways, where they serve as convenient spots for putting on shoes, but also prove useful at the foot of beds, as alternatives to dining chairs at dinner tables, and even as substitutes for coffee and side tables. Their adaptability has made them a staple in modern homes globally, from coastal retreats in Massachusetts to urban apartments in Paris and row houses in Sweden. Designers have utilized benches to create low shelf-style seating along walls and to form eclectic conversation pits, showcasing their potential to optimize and stylize various living areas. Among the top selections is the Herman Miller Nelson Platform Bench, a classic piece originally designed for office settings. This bench features a slatted top and sturdy legs, with an optional cushion for enhanced comfort. It is praised for its streamlined platform design, which can be given more visual interest with a colored cushion, making it suitable for both professional and residential use. Its generous size allows for comfortable seating for two people and doubles as a coffee or side table. The Nelson bench is also available with metal wire legs, offering a sleeker aesthetic. Another notable option is the Serena & Lily Shore Bench, which embodies a cool, coastal aesthetic. This bench's airy wicker design makes it suitable for both indoor and outdoor placement. Its mid-level back support accommodates throw pillows, providing comfort during extended use. The design combines a rough-textured seat with softly lacquered arms and legs, creating a natural yet refined look. It is versatile enough to be used as a plant stand, further illustrating its multifaceted utility in home decoration. The McGee & Co. Scaletta Bench offers a striped, slipcover design that brings a cozy yet chic element to a room. Its ample length allows for comfortable lounging, and its durable perennial performance fabric is resistant to stains and fading, albeit with a noticeable texture initially. This bench is envisioned as a flexible piece that can transition from a bedroom perch to a dining bench, demonstrating its long-term adaptability within a home. The Four Hands Celeste Bench presents a sultry, sculptural silhouette with a slightly squiggly shape. Its design is characterized by a striking contrast between a stark wood base and velvet upholstery, creating a funky yet minimalist piece that adds personality without overwhelming the space. The ash veneer and mushroom-colored cover brighten predominantly dark entryways while maintaining a moody ambiance. Described as solidly built, this three-to-four-seater bench is comfortable and versatile for any room, with a modern, playful edge. For practical storage solutions, the Burrow Totem Bench is a standout choice. Initially used under an art wall, this bench proved most effective as a storage coffee table. Its interior compartment can conceal items such as candles, throw blankets, or even seasonal clothing. Available in dark and light wood tones, its minimalist, boxy design is modern yet classic, fitting seamlessly into various decor schemes when accessorized appropriately. The Rodin Bench by Athena Calderone highlights designer collaborations, featuring sculptural iron legs inspired by the French artist Rodin. Luxurious velvet upholstery combined with a rustic metal frame creates a textural dichotomy, transforming bare hallways or the foot of a bed into engaging focal points. Other AD-approved benches include the June Bench by Eny Lee Parker, known for its curvaceous charm and cloud-like upholstery, ideal for contrasting angular furniture or serving as an unconventional coffee table. The Artice Nederin Bench from Article offers a broad storage compartment with a sliding wood panel, suitable for displaying or concealing items, and can function as a media console. The Kazbah Bench by AllModern, with its intricately woven cowhide strips, provides an airy and artisanal touch, perfect for narrow spaces. The West Elm Pierce & Ward Iron Bench, designed by AD100 honorees, features an art deco-inspired metal base and is part of a cohesive capsule collection. The Häti Home Bench #2 blends midcentury and Scandi influences with a cottagecore appeal, complementing white oak furniture. Finally, the Interior Define Ines Bench offers extensive customization with 128 upholstery options, allowing homeowners to tailor the piece to their specific tastes. #HomeDecor #Furniture #BenchDesign #InteriorDesign #VersatileSeating #ModernHomes #StorageSolutions #CustomizableFurniture #DesignerCollaborations

This article discusses an experimental collaboration between Italian furniture brand Cappellini and Swedish flooring company Bolon, focusing on the innovative use of Bolon's woven vinyl material as upholstery for furniture. Giulio Cappellini, the director of Cappellini, details how his company is integrating Bolon's new material into their furniture designs, marking a significant departure from its traditional use as flooring. The collaboration centers around a new version of the Anemos coffee table, originally designed by Italian designer Antonio Facco for Cappellini in 2015. The initial Anemos product featured a wooden table with four padded seats, which could be retracted to form a unified, monolithic shape. Cappellini and Facco sought to reimagine this design, aiming for a softer aesthetic with fully upholstered seats. For this new iteration, they chose Bolon's Villa La Madonna material. This hybrid material, first introduced in a collection of experimental rugs at Stockholm Design Week, combines strips of vinyl with other textiles like wool and polyester. Facco highlights the material's durability, which surpasses that of conventional upholstery fabrics, enabling its application not only on the seats but also on the tabletop. This decision allows for a cohesive and unified visual appeal across the entire piece of furniture, blurring the lines between different surfaces within a space. Cappellini's relationship with Bolon dates back several years, with prior collaborations involving Bolon flooring in installations and showrooms. However, this project represents their initial foray into utilizing Bolon's material for furniture upholstery. The current result is a prototype of the Anemos table, serving as an experimental foundation for future developments. Both companies view this project as a crucial experimental phase. Cappellini expresses commitment to further developing furniture designs with Bolon, anticipating that this prototype could evolve into a commercially viable product within approximately a year. The article is part of a 12-part video series, “Bolon at Heart,” produced by Dezeen, which explores Bolon's history, design philosophies, and technological advancements. #FurnitureDesign #BolonFlooring #CappelliniFurniture #ExperimentalMaterials #InteriorDesignInnovation #WovenVinylUpholstery #AntonioFacco #VillaLaMadonna

Spanish designers Maria Roca and Erika Biarnes have developed an innovative modular furniture system called Snap, which allows users to transform almost any flat surface into a piece of furniture without the need for drilling or gluing. The concept emerged from the designers' personal experiences with the rigidity of traditional furniture during their travels, which often failed to adapt to changing lifestyles. Their goal was to create a flexible and adaptable furniture solution that could be easily assembled and disassembled. The Snap system consists of an epoxy paint-covered steel loop, ingeniously designed to function as a clamp. The top part of the loop bends over to form a flat point, with one side acting as a rigid support and the other as a flexible section that can be bent back to create an opening. This opening then springs shut to securely grip a flat object between its two parts, effectively clamping onto a surface. The designers dedicated significant time to perfecting this clamping mechanism, ensuring it is easy to use, aesthetically pleasing, and stable. They emphasize that the system is much simpler to operate than to describe, allowing for quick setup. Crucially, a PVC-coated cable is integrated into the design, attaching to one of the leg's upright supports through a hole. This cable is identified as the "secret ingredient" for Snap's stability and strength. When tightened, the cable reinforces the clamping system, enabling a set of four legs to support up to 98 kilograms, provided the attached board is equally robust. The clamp's design accommodates surfaces ranging from one to four centimeters in thickness and can adapt to various shapes, including triangular, rectangular, or irregular boards. Snap offers unparalleled flexibility in furniture configuration. Users are not restricted to traditional four-legged designs and can attach as many legs as desired, repositioning or removing them as their needs or preferences change. This adaptability allows for the creation of bespoke furniture tailored to specific spaces and evolving requirements. Roca and Biarnes have established their company, Be-elastic, to bring Snap to market and are actively seeking funding through Kickstarter to initiate their first production run. The project represents a significant step towards more dynamic and user-centric furniture design, promoting resourcefulness and minimizing waste by repurposing existing objects. #ProductDesign #ModularFurniture #DIYFurniture #ClampingSystem #FlexibleDesign #SustainableDesign #FoundObjects #HomeFurnishings

Petra, a new showroom founded by Monica Khemsurov, co-founder of Sight Unseen, made its debut at NYCxDESIGN, introducing a curated collection of artistic hardware. The brand aims to revitalize the popularity of sculptural hardware designs, drawing inspiration from Khemsurov's observations during her travels. Petra focuses on offering select boutique hardware pieces and exclusive, commissioned works from independent designers, emphasizing architectural detail and artistry. The inaugural collection features hardware from 27 designers and brands, providing solutions for various applications including cabinet knobs, drawer pulls, door handles, switch plates, appliance handles, curtain tiebacks, and towel bars. A notable inclusion in this debut is a new line of hardware from designer Pamela Love, which showcases hand-carved cabinet knobs in organic forms such as eyes, pomegranates, and urns. The collection also highlights historical designs through licensed reproductions from BD Barcelona, featuring knobs and handles originally crafted by Antoni Gaudí for buildings constructed between 1902 and 1910, as well as Salvador Dali’s intricate 1937 Rinoceróntico door handle. Petra distinguishes itself through its commitment to expressive hardware, both in aesthetic and conceptual terms. The brand's offerings largely consist of small-batch, handmade fixtures designed to serve as distinctive elements within interior spaces, differentiating them from mass-market options. While some pieces function as elevated basics, many are intended to be statement pieces, reflecting a fusion of art and functionality in everyday hardware. The initiative seeks to elevate the role of hardware in interior design, transforming utilitarian objects into points of artistic expression and focal points within a room. The curated selection suggests a move towards hardware that not only performs its function but also contributes significantly to the overall design narrative of a space. #NYCxDESIGN #ArtisticHardware #HomeFurnishings #InteriorDesign #MonicaKhemsurov #PamelaLove #SculpturalDesign #DesignerHardware

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

Ibiyane, a design studio founded in 2020 by Tania Doumbe Fines and Élodie Dérond, originated during the lockdown period. Doumbe Fines, with a background in interior design, had a long-held ambition to design a chair. This led to the creation of an African birthing chair, which subsequently resulted in an invitation to create a seat for an exhibition. During this process, Dérond joined, and their collaborative synergy sparked the official formation of Ibiyane. The studio’s initial operations were based in Montreal and later relocated to Martinique, near Dérond’s childhood home. Ibiyane's core philosophy revolves around exploring the narratives embedded within objects and fostering deeper dialogues between creators and collectors. The name 'Ibiyane' is derived from the Batonga language, meaning 'to know one another,' reflecting the founders' belief in design as a medium for conversation and the exchange of ideas about the world, beauty, and design principles. This ethos is exemplified in their Elombe series, which garnered significant acclaim at Milan Design Week 2023. The term 'Elombe' translates to 'conversation,' and each piece in the numbered series is conceived as a distinct conversation, emphasizing an ongoing practice of dialogue and evolving understanding. Living and working in Martinique has profoundly influenced Ibiyane's design methodology. The studio has begun to incorporate local resources such as Caribbean pine and other native timbers, expanding beyond their initial stack-laminated techniques. Their design language is characterized by organic forms and curves, prioritizing simplicity while maintaining functionality. The designers actively engage with their natural surroundings, often drawing inspiration directly from elements found on the beach, allowing the inherent qualities of materials, particularly wood, to guide their sculpting process. Despite their rapid rise and critical recognition, including an early exhibition at Carpenters Workshop Gallery’s 'The New Guard: Stories from the New World,' Doumbe Fines and Dérond maintain a grounded perspective. Dérond, who is not formally trained in design, attributes this to her 'outsider' status, which she believes fosters a childlike and intuitive approach to creation. Doumbe Fines views their early successes as an expansion of possibilities, reinforcing their commitment to integrating an African essence into modern design. They aim to imbue their work with the philosophy and intentionality observed in traditional African art, sculpture, and design. Ibiyane’s ambitious and long-term vision positions them as a significant force in the design landscape. Their work is scheduled to be featured in an upcoming exhibition titled 'Enthroned' at the Jessica Silverman Gallery, running from January 11 to March 2, 2024, showcasing pieces from ten female-led design practices. The studio's work is also highlighted in the January 2024 issue of Wallpaper* magazine. #IbiyaneDesign #CaribbeanDesign #FurnitureMaking #MilanDesignWeek2023 #MartiniqueCraftsmanship #SustainableDesign #AfricanInspiredDesign #SculpturalFurniture #EmergingDesigners

This article highlights the design process and final product of the Kai entryway bench, a project by Industrial Design student Damian Byland from the Basel Academy of Art and Design. Byland, a former bike mechanic, focused on creating an attractive, easily manufacturable, and minimal-waste piece of furniture. The Kai bench is described as a simple cloakroom bench crafted from birch plywood, featuring a clear design language and a sloping seat for comfort, with integrated storage space for shoes in its lower section. A key aspect of the Kai bench's design is its emphasis on efficient production, primarily utilizing a Striebig panel saw. The design allows for nearly all manufacturing steps to be completed using this saw, including the precise kerf cuts necessary to bend the seat to its intended angle. This manufacturing approach aims to streamline the production process while minimizing material consumption. Material efficiency is a core principle behind the Kai bench, as it is designed to use the entire length of a standard 2500 mm birch plywood panel. This strategic use of material significantly reduces waste during manufacturing, aligning with sustainable design practices. The bench's aesthetic and functional qualities are complemented by its thoughtful production methodology. However, the design also attracted critical commentary. One commenter raised concerns about the long-term usability and maintenance of the bench, particularly regarding the accumulation of dust, dirt, and debris in its central area over time. This feedback underscored the importance of considering real-world usage and potential misuse when designing furniture. Another comment suggested an alternative construction method, proposing that the same aesthetic could be achieved by joining two pieces and routing a radius, potentially simplifying production and addressing cleaning challenges, while questioning if the designer had explored such alternatives. A further critique pointed out that "minimal waste" in this context only meant using a full board, not necessarily an efficient use of wood overall, suggesting a similar bench could be made with less material. Additionally, a minor correction was made regarding the location of the Basel Academy of Art and Design, clarifying that it is in Switzerland, not Germany. These discussions reflect the rigorous evaluation inherent in design education and professional practice, where both aesthetic appeal and practical considerations, including manufacturing efficiency, material sustainability, and user experience, are critically assessed. #IndustrialDesign #FurnitureDesign #MinimalWaste #EntrywayBench #PlywoodFurniture #SustainableDesign #ProductDesign #StudentWork

Fefostudio, a local design firm, and architect Kamilla Csegzi have collaborated to design "The Ephemeral Table," a large table crafted primarily from mycelium. This innovative piece was featured at the Collectible design fair in New York. The table's composition includes 50 percent mycelium substrate mixed with various organic waste materials, such as paper and leaves. The project, named Acts, is structured as a three-part series, with the Collectible presentation being the second iteration. The initial part involved a studio dinner during NYCxDesign in May, and the third act is planned as an outdoor dinner. Fernando "Fefo" Aciar, the founder of Fefostudio, explained that the use of mycelium in this project represents a collaboration with nature. This design questions the inherent value traditionally assigned to material culture, emphasizing its transient nature and continuous transformation, much like natural processes. Aciar highlighted that the creation is fleeting, showcasing the positive cycle from decay to growth, akin to everything in the natural world that evolves and transforms over time. He further elaborated that by partially relinquishing creative control and allowing nature to influence the design, the mycelium table transforms into an evolving, living entity that facilitates a trio of gatherings. The table's form was created by molding it around objects found within the studio. Subsequently, the voids left in the table were utilized to develop molds for the amber-colored glassware that accompanied the presentation. Fefostudio and Kamilla Csegzi aimed to establish a "dialogue" between the materials employed and the circular production methods integrated into the design. Aciar underscored that the mycelium table itself acts as a mold for new objects, thereby initiating an interactive exchange between "positive and negative," "content and container," and "natural and artificial" elements. By reversing these roles, the installation accentuates the perpetual circularity inherent in their creative process. For the final stage of the project, Aciar intends to leave the table at the location of the last dinner. This act, described as "Act III," symbolizes the project coming full circle, returning the piece to nature to disintegrate. As the table merges with the ground, it is expected to foster the growth of new plants, which will, in turn, facilitate future communal gatherings. Over the past decade, mycelium has gained increasing recognition in various design applications, with designers exploring its potential. This material has been successfully incorporated into the creation of diverse objects, including bicycle helmets, lampshades, and even stage sets for concerts. "The Ephemeral Table" stands as a testament to the potential of biodegradable materials and circular design principles in contemporary furniture design. The project challenges conventional notions of permanence in design by embracing natural processes of growth and decay. It serves as a practical demonstration of how art and design can intertwine with ecological concepts, offering a sustainable alternative to traditional material consumption. The collaboration between Fefostudio and Kamilla Csegzi exemplifies a forward-thinking approach to design that prioritizes environmental consciousness and the inherent beauty of natural transformation. This initiative not only presents an artistic creation but also sparks a broader conversation about sustainability, material innovation, and the cyclical relationship between human creation and the natural world. #MyceliumDesign #EphemeralTable #Fefostudio #KamillaCsegzi #CollectibleDesign #BiodegradableMaterials #CircularDesign #SustainableFurniture #NewYorkCity

Once confined to mountain cabins, 1990s basements, and Swedish saunas, cedar walls are experiencing a significant resurgence in modern interior design. This wall treatment, historically associated with rustic aesthetics, is being reimagined by contemporary designers to offer warmth and a subtle evergreen scent without the dated appearance of its past iterations. The key to this modern revival lies in a strategic approach to finish, color palette, and accompanying decor. Traditionally, cedar paneling in its less desirable form was characterized by a glossy, orange-red tint, often paired with elements like Tiffany lamps and laminate flooring, contributing to an outdated look. However, a new generation of designers is proving that the natural beauty of unpainted timber—whether pine, cedar, or oak—can be elevated to create sophisticated and inviting spaces. The core principle for modernizing this material involves opting for a light, matte finish that preserves the natural texture and color of the wood. This approach moves away from heavy stains and glossy treatments, allowing the wood's inherent character to shine through in a more refined manner. To prevent the wood paneling from appearing overtly rustic or reminiscent of a bygone era, designers are integrating vibrant textiles, bold paint colors, and striking art pieces. These contrasting elements serve to modernize the space, injecting a fresh and contemporary feel while leveraging the warmth that wood naturally provides. The juxtaposition of natural wood with modern furnishings and decor creates a dynamic and visually appealing environment that transcends traditional cabin aesthetics. Max Humphrey, a Portland, Oregon-based designer known for his Americana aesthetic, exemplifies this trend by staining wood in lighter tones and pairing it with pale furniture. This method brightens the space and updates the classic wood-paneled look. Similarly, French designer Pierre Yovanovitch has adopted this style in projects like Le Coucou in Méribel, France. He maintains a monochrome palette, such as a rusty red-dotted carpet complementing a painted ceiling in the same hue, to update quintessential Alpine pine paneling. This cohesive color strategy allows the wood to integrate seamlessly into a sophisticated, contemporary design. Frances Merrill of Reath Design embraces the cabin vibe, enhancing the rusticity of wood planks with elements like checkered table skirts, oil paintings, and patchwork quilts. Crucially, she ensures the overall design remains current by incorporating furniture with clean, modern lines. This thoughtful balance prevents the space from feeling dated, instead creating a harmonious blend of rustic charm and contemporary elegance. The renewed interest in wood wall treatments signifies a shift towards natural materials and an appreciation for their inherent beauty when thoughtfully integrated into modern design schemes, positioning them as a compelling alternative to popular finishes like shiplap. #WallTreatment #InteriorDesign #CedarWalls #HomeDecorTrends #WoodPaneling #DesignInspiration #ModernRustic #HomeRenovation #MaterialRevival

Dutch designer Lieske Schreuder has developed an innovative method for creating floor tiles from colored snail excrement. Her project, which combines biology with art and design, involves feeding snails colored paper and then collecting their feces to form new materials. This unconventional approach highlights the potential for utilizing natural processes and unexpected resources in design. Schreuder's interest in this concept began after observing snails in her garden consuming paper and cardboard. This led her to acquire hundreds of snails from a farm and establish a dedicated laboratory to conduct experiments. In this lab, she systematically fed the snails various colored papers to investigate the resulting excrement. Her findings revealed that snails not only consume colored paper but also produce feces that retain the paper's original hue. The designer explained that snails are unable to absorb the color pigment into their bodies, causing the pigment to pass through their digestive system and be expelled as colored excrement. The laboratory setup includes multiple compartments where snails are provided with sheets of colored paper. The paper's cellular structure is similar to the plant matter snails typically eat, making it a suitable dietary substitute for the experiment. Once the colored excrement is produced, Schreuder collects it. The material possesses a malleable texture, which she then processes using a portable machine of her own design. This machine grinds, mixes, and presses the snail excrement into tiles. The resulting tiles have a distinct, roughly textured surface and maintain the vibrant colors of the paper originally consumed by the snails. Schreuder reflected on the common occurrence of walking on unnoticed snail excrement in gardens and streets, suggesting that if these excrements were colored, they would create a kind of "snail excrement carpet." This observation fueled her exploration into transforming this otherwise overlooked natural byproduct into a visible and functional material. In addition to tiles, the designer has also experimented with pressing the feces into molds using a spatula to create delicate threads. These threads have a five-millimeter diameter, and Schreuder is currently researching potential applications for them. She noted that producing one meter of this thread takes approximately an hour and requires six grams of ground excrement, which is roughly the amount produced by nine snails over five days. This project is part of a larger exhibition titled "Biodesign," held at The New Institute in Rotterdam. The exhibition showcases 57 different ideas that integrate biology with art, architecture, and design, demonstrating innovative uses of biological processes and materials. Schreuder's work exemplifies the interdisciplinary nature of biodesign, pushing the boundaries of material science and sustainable design by repurposing biological waste into novel products. #Biodesign #SnailExcrement #SustainableMaterials #LieskeSchreuder #InnovativeDesign #FloorTiles #MaterialExperimentation #RotterdamExhibition