lebanese designer charles kalpakian uses optical illusions to form rocky shelves

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

The article details a site-specific installation by Berlin-based Barkow Leibinger Architects, titled ‘Loom-Hyperbolic’, showcased at the fourth Marrakech Biennale. This architectural piece is situated within the grounds of Mosque Koutoubia, Marrakech, and draws inspiration from Moroccan weaving traditions and the geometric patterns prevalent in local architecture. The installation is constructed primarily from local hand-peeled pinewood, designed to emulate the form of a traditional wooden loom. When yarn is stretched across its frames, it creates a canopy with a ‘hyperbolic’ effect. The structural arrangement features a grid pattern that thoughtfully references the positioning of ancient, broken-off columns nearby. ‘Loom-Hyperbolic’ is a prominent feature of the Biennale's main visual arts exhibition, 'Higher Atlas', which also includes contributions from notable figures such as former Turner Prize nominee Roger Hiorns and architect Juergen Mayer H. The installation offers a unique blend of familiarity and foreignness within its historical setting, providing distinct viewing experiences from above the ruins or from within its tent-like seclusion, whether observed during the day or at night. Photographs accompanying the article illustrate various aspects of the installation. One image captures the web-like structure crafted from wooden elements and cotton webbing, highlighting its intricate design and integration with the surrounding environment. Another photograph shows rocks used to secure the wooden posts to the ground, emphasizing the practical construction methods employed. An overhead shot provides a comprehensive view of the structure's scale and form. A night-time photograph showcases the illuminated installation, underscoring its ethereal quality. Additionally, sketches from Barkow Leibinger Architects reveal the detailed grid formation, reflecting its connection to the historical context of the site, and a close-up sketch illustrates how the angled wooden poles contribute to the hyperbolic canopy created by the stretched yarn. The article highlights the thoughtful design process that bridges contemporary architecture with local heritage and craftsmanship. #MarrakechBiennale #BarkowLeibingerArchitects #LoomHyperbolic #MoroccanCraftsmanship #ArchitecturalInstallation #SiteSpecificArt #MosqueKoutoubia #ContemporaryArchitecture

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

The importance of a well-conceived lighting plan in home design is often underestimated, frequently being an afterthought rather than an integral part of the initial concept. Good lighting significantly contributes to an inhabitant's well-being, optimizes functionality, and elevates the overall aesthetic of a room, transforming an ordinary space into something remarkable through strategic fixture selection and placement. This principle was vividly demonstrated at the recent WOW!house design exhibit held at the Design Centre, Chelsea Harbour in London, England. The exhibition featured 22 unique rooms, each crafted by leading interior designers, where lighting often took center stage. The WOW!house exhibition, open to the public for a month in June to support the United in Design charity, was not a traditional house but an innovative installation. It comprised a series of exterior and interior spaces within the atrium of the Design Centre. These spaces were diverse, ranging from entries, kitchens, dens, bars, and dining areas to libraries, bathrooms, bedrooms, and outdoor courtyards, all brimming with originality and creative design solutions. Across most of these spectacular settings, lighting played a prominent role in defining the ambiance and functionality. One of the most striking examples was the grand entry of the installation, which featured an dramatic leaf chandelier by Cox London. Victoria Davar, founder of Maison Artefact, specifically requested a five-meter ceiling height to ensure the fixture was not only accommodated but also given pride of place, asserting its visual dominance upon entry. Davar emphasized that this height aligns with classical design principles. Her design philosophy for the entry embraced a blend of classical and modern elements, where the chandelier was framed against a traditional-surround fireplace. This approach allowed each element to balance the other, creating a dialogue between the old and the new. Davar intentionally utilized negative space, leaving the wall above the fireplace blank, to allow the chandelier to stand out as a sculptural piece without visual interruption, fostering a sense of airiness. Another innovative approach was seen in the courtyard room designed by Emma Sims-Hilditch. This multi-functional space, envisioned to support various aspects of country living such as a boot room, dog wash station, and gardening area, integrated classical elements of heritage country homes with modern touches. Sims-Hilditch positioned an oversized Charles Edwards lantern as a focal point above an island, drawing inspiration from classical English country house lanterns. The lantern received a contemporary update through its coloration, painted in Farrow & Ball's Lulworth Blue. Wall lights, inspired by carriage lanterns, and pendant lights with fabric shades in corner spaces were strategically placed to layer the lighting, ensuring both functionality and comfort. Sims-Hilditch underscored the importance of soft lighting and avoiding bare bulbs, opting for a layered system that included John Cullen Lighting for downlights and Soane Britain for wall lights. The bathroom designed by 1508 London exemplified how lighting can transform a functional space into a luxurious retreat. The design studio incorporated an advanced lighting system by John Cullen Lighting and Lutron, offering three distinct illumination programs: Ritual, Revitalizing, and Revery. Paris Albert, an associate at 1508 London, explained that “Ritual” supports daily cleansing routines, “Revitalizing” enhances vanities and showers for rejuvenation, and “Revery” creates a dreamlike state for relaxation. These options, accessible at the touch of a button, elevated the bathroom experience from mere utility to a restorative escape. Interior decorator and antiques dealer Daniel Slowik presented his morning room design, emphasizing subtle, layered lighting rather than bright, centralized fixtures or intrusive task lighting. He advocated for side lights, often converting decorative vases or antique items like Arts & Crafts candlesticks into lamps, to create ambient illumination. Slowik aimed for a subdued, not overlit, atmosphere, focusing on objects that also serve as beautiful design elements. While generally disliking overt task lighting, he integrated a brass floor lamp discreetly next to a reading chair, chosen for its distressed appearance that conveyed a sense of history and permanence. The unifying theme across all these designs is the necessity for lighting to be an intrinsic component of the overall design strategy. A thoughtful approach to illumination enhances comfort and functionality, highlights the aesthetic, and can dramatically transform a room into a unique and spectacular environment. #HomeDesign #InteriorDesign #LightingSolutions #WOWHouse #DesignExhibition #ArchitecturalLighting #DecorativeLighting #SmartLighting

This blog post showcases the intriguing work of Felice Varini, a Swiss-born artist renowned for his unique optical art installations. Varini's artistic approach involves creating geometric patterns that appear to float in space when viewed from a very specific vantage point. These ephemeral designs are often applied directly to architectural surfaces, both indoors and outdoors, transforming the perception of the environment. The article highlights that Varini uses a light projector to precisely plot these figures onto walls and other structures before meticulously painting or adhering them. The magic of his work lies in its dependence on the viewer's position; from most angles, the patterns appear as fragmented, illogical scribbles or disjointed shapes across various surfaces. However, upon finding the designated viewpoint, these disparate elements coalesce into perfect geometric forms, such as circles, squares, or lines, creating a powerful illusion of three-dimensionality. Several examples of Varini's work are presented, illustrating the diversity of his installations and the impact they have on their surroundings. One instance described involves an art piece in Cardiff Bay, where seemingly random markings on a structure resolve into a coherent design from a particular perspective. Another example shows abstract lines and shapes within a museum setting, which, from afar, form a unified artistic statement. The article also mentions a prominent red line running around a museum, suggesting how Varini integrates his art with existing architecture to alter spatial perception. Further examples include patterns applied to a piano, creating a fringed effect, and other seemingly chaotic lines that resolve into defined geometric shapes. The art is not confined to indoor spaces; the blog notes its appearance in townscapes, where large-scale installations interact with urban environments. The beauty of the reflections of these patterns on floors is also highlighted, adding another layer to the visual experience. The diverse illustrations demonstrate how these artworks, initially resembling mere sticky tape or random markings from a casual glance, reveal their intricate design and purpose when viewed from the correct angle. The blog concludes by encouraging readers to explore more of Felice Varini's extensive portfolio on his official website, providing links for further immersion into his captivating world of optical illusions and architectural interventions. #FeliceVarini #OpticalArt #GeometricPatterns #InstallationArt #ArchitecturalArt #Illusion #PublicArt #VisualPerception #ContemporaryArt

This article features an interview with designer Omar Chakil, who has dedicated nearly a decade to reintroducing Egyptian alabaster onyx into contemporary design. Chakil, a French Egyptian Lebanese artist, describes himself as a self-taught natural aesthete driven to bridge cultural divides through his work. He is recognized for introducing the concept of collectible design to Egypt, with his pieces exhibited globally in Dubai, Brussels, New York, St Moritz, Venice, Athens, Cairo, and Paris. The interview delves into Chakil's unconventional entry into design, his affinity for indigenous materials and craftsmanship, his approach to overcoming design limitations, and his philosophy on uniting people through embracing individual uniqueness. Chakil’s journey into design began unexpectedly, influenced by his architect mother. Initially a singer, he found himself redesigning his studio in Paris, which led to decorating gigs despite lacking formal design education. A pivotal moment occurred when he was forced to return to Egypt, halting his singing career and prompting him to focus on product design. This redirection led him to explore traditional Egyptian crafts, eventually discovering the potential of alabaster, a material he initially disliked due to its common, unappealing market appearance. A friend, knowledgeable in history, convinced him of alabaster's significance, highlighting its endemic nature to Egypt and its historical use by pharaohs who valued its translucence as a symbolic gateway to the afterlife. His creative process is characterized by meticulous research and a focus on creating enduring, high-quality pieces rather than mass-produced items. Chakil emphasizes the importance of each object, intending for them to be cherished across generations, thereby fostering a deeper appreciation for the object’s story and the craftsmanship involved. Working with alabaster presents unique challenges; it is a hard stone but scratches easily, exhibits varying veining, and its quarries are largely inaccessible in Upper Egypt. These limitations necessitate building personal networks for sourcing and transportation, directly influencing his designs and pushing him to adapt to circumstantial constraints. He values collaboration with skilled craftspeople, believing that their expertise is essential for realizing his visions. Chakil discusses his unintentional but significant role in bringing collectible design to Egypt. His first collection, exhibited at the Beirut Art Fair in 2017, surprised many who couldn't believe the pieces were made from Egyptian alabaster, showcasing his ability to transform traditional materials into contemporary art. He aims to elevate Egyptian craft globally, drawing parallels with French and Italian design traditions that gained recognition through international exposure. Currently, Chakil is reinterpreting ancient Egyptian iconography, such as canopic jars, transforming their historical purpose of preserving organs for the afterlife into containers for hopes, wishes, and dreams. His recent exhibition at PAD Paris 2025 with Galerie Gastou further explores ancient Egyptian themes. Collaborating with Victor Gastou, Chakil was encouraged to use his unique design language to reference Egyptian history, particularly its impact on French culture. This exhibition marks his first venture into incorporating different types of marble alongside alabaster, as seen in pieces like the “Resurrection Table.” This scarab-shaped table combines Egyptian alabaster, Italian bianco, and Iranian onyx, symbolizing rebirth and humanity's shared connection to foundational civilizations, with an inscription that reads: “Like the scarab, guide me towards the light.” Chakil continues to seek new directions in his work, exploring other materials while maintaining his commitment to telling meaningful stories through endemic, local resources, with an upcoming show in We Design Beirut featuring no alabaster at all. #OmarChakil #EgyptianAlabaster #CollectibleDesign #ProductDesign #InteriorDesign #Craftsmanship #CulturalBridge #AncientEgypt #ModernDesign

Ranieri, a Campania-based company with a century-old family history in volcanic rock treatment, showcased its innovative approach to lava stone at EDIT Napoli 2023 with the installation "A Matter Of Perspectives." This exhibition, part of the CULT program, highlighted the material's potential in art, architecture, and interior design through the vision of new creative directors Francesco Meda and David Lopez Quincoces. The installation was housed in Santa Maria La Nova, a deconsecrated Roman Catholic Renaissance-style church and monastery in Naples. The choice of this historic venue underscored Ranieri's commitment to its regional heritage. Giovanni Ranieri, the head of the company, emphasized the aim to ennoble the natural essence of lava stone with a bold, experimental interpretation, treating the material in unprecedented ways. "A Matter Of Perspectives" in the cloister of Santa Maria La Nova was an immersive experience. It featured two mounds of crushed lava rock dust and sculptural compositions of volcanic stone slabs with imperfect finishes. This design allowed visitors to explore the rich world of lava stone both up close and from a distance, observing from the portico that surrounded the installation. The portico also displayed a 10-meter material library, showcasing Ranieri's various finishes, including the new Odissea collection of 2D and 3D elements designed by Meda and Quincoces. The overall concept emphasized the beauty of imperfection and the interplay between raw material, natural elements, and human craftsmanship. The second part of the exhibition took place in the refectory, adorned with a 16th-century fresco. Here, Meda and Lopez Quincoces created a theatrical setting using light, focusing on a singular 17-meter table crafted entirely from volcanic stone. This monumental piece, with a crystalline green finish—Ranieri’s distinctive shade—demonstrated the material's versatility. The table featured a solid base and overhanging ends, creating an atmospheric effect. Surrounding the table were lava stone stools that, when grouped, resembled a single black lacquered block, but when separated, revealed dynamic sides with fluid patterns, achieved through Ranieri’s Zest Lava finish, which incorporates burgundy and golden-brown hues. The creative directors explained that the installation was designed to embody conviviality and to narrate a project with both aesthetic and functional characteristics, inviting public interaction with the natural material. They aimed for an elementary, almost primitive, and universal language, focusing on the material itself rather than solely on design. The intention was to create a concept that could be replicated in other contexts, giving it a multifaceted and extended life, all while respecting the inherent qualities of the lava stone. Ranieri's approach celebrates the natural composition of lava stone, revealing its unexpressed potential and breaking away from traditional aesthetics. #VolcanicRock #ContemporaryDesign #ArtisanalCraftsmanship #EDITNapoli #LavaStone #InteriorDesign #ArchitecturalMaterials #InnovativeMaterials #DesignInstallation

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

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 Desert Drop coffee table, designed by Karim+Elias, explores the fundamental relationship between sand and glass, two materials intrinsically linked by their transformative properties. The design draws inspiration from the desert environment, particularly the way sand transforms into glass under intense heat. This metamorphosis is central to the table's aesthetic and conceptual framework. The coffee table features a natural base that mimics the sculptural forms of desert 'droplets,' complete with contoured surfaces that resemble wind-sculpted sand. This earthen base is juxtaposed with a glass sheet top, which is designed to appear as if it has pooled and settled into place, evoking the fluid-like characteristics and color of oasis waters. The creation of glass from sand, often triggered by extreme natural events like lightning strikes or meteorite impacts, serves as a conceptual foundation for the Desert Drop table. This natural process of vitrification, where sand melts and then solidifies into a transparent material, is mirrored in the table's construction. The design highlights the contrast between the solid, structured base and the fluid, transparent top, creating a dynamic interplay between motion and stillness. The architects, Karim+Elias, emphasize this duality, stating that the glass top's appearance of having 'spilled over the base like a molten sheet' reinforces the narrative of transformation and elemental connection. The foundation, firmly rooted in the earth, provides a grounding presence for the seemingly delicate glass surface. The visual effect of the table, particularly the shimmering blue-green hues of the glass against the arid-inspired base, is intended to evoke the mirage-like presence of water in a desert landscape. This illusion adds another layer to the table's conceptual depth, inviting contemplation on the natural phenomena that inspire its form. The Desert Drop table was first unveiled at Dubai’s Downtown Design fair in 2024 and subsequently showcased at the 2025 Spring edition of Maison&Objet, receiving recognition for its innovative design and profound conceptual underpinnings. Karim+Elias, known for their work that often draws from natural elements and cultural contexts, successfully integrate these influences into a functional art piece. The table serves not only as a piece of furniture but also as a conversation starter, reflecting on geological processes and the inherent beauty found in material transformations. The intentional choice of materials and forms underscores a deep appreciation for the desert landscape and its unique phenomena, translating them into a contemporary design object. #DesertDropTable #KarimElias #CoffeeTableDesign #SandAndGlass #DubaiDesignWeek #MaisonEtObjet #SculpturalFurniture #ElementalDesign #MaterialTransformation

The Multi-Tier Shelf system, designed by KALO, represents an innovative approach to home furniture, incorporating unique design elements and a blend of traditional and digital fabrication methods. This system, part of a new collection unveiled at Design Days Dubai in March 2016, challenges conventional furniture construction with its hardware-free design. The shelves are crafted from Maple and are supported by vertical slanting legs. A distinctive feature is the absence of traditional hardware connections; instead, the legs are secured to the topmost shelf using custom-made solid brass pins. This allows the legs to fold down, facilitating flat-pack shipping, a practical solution for transportation and storage. The Maple legs are designed to emerge organically from the horizontal top surface and extend downwards to the floor, creating a cohesive and natural aesthetic. Attention to detail is evident in the connection points where multiple pieces converge. These junctions are either subtly highlighted through the manipulation of the surrounding material, creating a 'soft' formal response, or expressed tectonically to seamlessly integrate the components. Further enhancing the design, inset camel leather collars are incorporated into the shelves, providing a snug fit around the legs and preventing slippage. The modular nature of the system allows for additional shelves to be installed at various heights, with precisely cut hole patterns that align with the leg slant angles. The broader collection from KALO, showcased alongside the Multi-Tier Shelf system, includes a coffee table, stools, and a lounge chair. All these pieces share the same organic formal language, demonstrating a consistent design philosophy across the range. The entire collection is designed and manufactured in Dubai, United Arab Emirates. KALO is a creative practice spearheaded by Ammar Kalo, a designer and architect whose work focuses on the intersection of digital technology and traditional craftsmanship. Kalo's methodology involves combining conventional material processes with advanced digital fabrication techniques. This approach explores the intricate relationships between materials, fabrication tools, and the resulting forms. His academic background includes undergraduate studies in Architecture at the American University of Sharjah and a Master of Science in Architecture from the Taubman College of Architecture and Urban Planning at the University of Michigan, with concentrations in Material Systems and Digital Technologies. Ammar Kalo currently serves as the Director of CAAD Labs and an Assistant Professor at the American University of Sharjah, where his research interests include developing design and fabrication projects that emphasize the inherent connections between materials, tools, and form-making. The Multi-Tier Shelf system exemplifies this philosophy, offering a modular, smart, and aesthetically pleasing furniture solution. #FurnitureDesign #KALO #DubaiDesign #ModularFurniture #DigitalFabrication #Craftsmanship #HomeDecor #InnovativeDesign #SustainableDesign

Mumbai-based architecture firm MuseLab, founded by Jasem Pirani and Huzefa Rangwala, has ventured into product design, creating a unique series of wall hooks inspired by iconic architectural structures. The firm, established in 2014, views design as a problem-solving exercise, whether it involves large-scale buildings or smaller, everyday objects. Their latest product line demonstrates this philosophy by scaling down renowned architectural marvels into functional and aesthetically pleasing wall accessories. Piraani and Rangwala, who met as students in America, established MuseLab with a shared vision for collaboration and innovative design. Their studio in Mumbai, characterized by a perforated jali-inspired metal screen facade, reflects their commitment to material exploration and thoughtful design. The decision to create products, including the wall hooks, was not a deliberate shift from their architectural work but rather an organic outcome of creative downtime, allowing them to work on self-directed briefs and experiment with materials. The duo extensively explored various materials before settling on birch ply, which has become a signature element in all their creations, from their studio interior to their product range. This deep understanding and appreciation for birch ply are evident in the craftsmanship of their wall hooks, which combine their passion for architecture with their love for travel. The inspiration for these hooks arose from a desire to transform mundane wall accessories into decorative objects that retain visual interest even when not in use. The selection of architectural inspirations for the wall hooks was carefully considered, balancing aesthetic appeal with practical functionality. Iconic buildings like Le Corbusier’s Palace of Assembly from the Chandigarh Capitol Complex and Charles Correa’s Kanchanjunga Apartments were natural choices, admired by the designers since their formative years. The design process involved ensuring that the chosen buildings could effectively translate into functional wall hooks. For instance, the Empire State Building was deemed unsuitable due to its slender profile, while Oscar Niemeyer’s Mondadori building provided a more appropriate form. Michael Graves’s Denver Public Library presented a unique challenge, given Graves's use of vibrant colors, which needed to be adapted to the more subdued tones of birch ply. Each wall hook is meticulously laser-cut and then hand-assembled, showcasing MuseLab’s dedication to precision and detail. Beyond wall hooks, MuseLab has also diversified its product offerings to include coasters, trivets, notebooks, and hangers. These items similarly transform ordinary objects into sophisticated design pieces through their thoughtful conception and execution, highlighting the firm's ability to imbue everyday items with extraordinary design qualities. #MuseLab #ArchitecturalDesign #ProductDesign #WallHooks #BirchPly #LeCorbusier #CharlesCorrea #OscarNiemeyer #MichaelGraves #MumbaiDesign

Ceramic artist Peter Lane's work is explored through a monograph, highlighting his distinctive approach to large-scale architectural installations and his unique position within contemporary ceramics. Lane's process typically begins on the studio floor, where he and his team lay a thick clay slab. This slab is then meticulously sculpted, marked into a grid, and cut into modular units. Each component undergoes separate glazing and firing, often featuring metallic leaf details in white gold, yellow gold, or palladium. The completed units are then installed on walls, with each composition conceived as site-specific, resulting in monumental pieces that blend art, craft, engineering, and architecture. Lane's prominence in contemporary ceramics stems from the sheer scale of his operations, exemplified by his 10,000-square-foot Brooklyn studio, which houses New York City's largest kiln capacity. His interdisciplinary work transcends traditional boundaries, integrating elements of sculpture, painting, architecture, and interior design. Initially a painter focused on materiality, Lane discovered ceramics through a serendipitous encounter with mid-century modern pottery. This led him to Greenwich House Pottery, an Arts and Crafts institution, where he quickly embraced clay. His early creations included functional lamp bases, but his artistic scope expanded significantly following trips to Japan in 1998, which exposed him to an aesthetic that valued both artistic pottery and decorative painting. This exposure inspired Lane to develop a versatile artistic idiom applicable across various contexts and scales, from tableware and vases to furniture, murals, and complete interiors. Renowned designers and architects, such as Chahan Minassian and Peter Marino, recognized his talent and began incorporating his work into their projects. Lane soon started receiving independent commissions, primarily for residential settings, where his genius for monumental bespoke work became evident. Consistency and variation are hallmarks of Lane's success. His works are immediately identifiable by their deep relief textures and gilt spheres, yet he continually discovers new possibilities within this established vocabulary. A significant variable is his glazes, which he formulates from scratch, utilizing minerals like cobalt, manganese, and copper to achieve a wide chromatic range. The grid structure, a practical necessity for tilework, is transformed by Lane into an element of sculptural interest, with striations, perforations, or accordion folds moving across the regular backdrop, preventing the grid from completely disappearing under the biomorphic forms. One of Lane’s most notable commissions to date is the interior for the Hôtel de Crillon in Paris, completed in 2017. Collaborating with Minassian and architect Aline Asmar d’Amman, he designed the walls for the hotel's swimming pool, which is part of a spa area beneath a courtyard. This project was part of a major renovation of the 18th-century building, aiming for a streamlined opulence that distinguished it from contemporary hotel renovations. Despite working on high-profile commissions and for celebrity clients like Robert Downey, Jr., Lane maintains an unpretentious approach, remaining hands-on in his studio daily, transforming raw clay into evocative installations that infuse spaces with mood and physicality. #PeterLane #CeramicArt #ArchitecturalInstallations #InteriorDesign #Sculpture #ClayArt #BespokeArt #Materiality #HôtelDeCrillon

Studio Monsoleil, founded by designer Sevval Kalaycikli, introduces a collection of glass tables and lighting fixtures that employ optical illusions to enhance interior spaces. Kalaycikli primarily uses glass, valuing its timeless quality and its ability to create a sense of openness and brightness in a room. Glass's reflective surface and transparent nature are utilized to visually expand spaces and counteract the visual weight of other materials, contributing to a lighter, more airy atmosphere. The collection features several distinct designs. The "Cosmos" series comprises coffee tables characterized by gradient colors. These tables are designed to be central pieces in social settings, with the color harmonies in their bases symbolizing gathering and shared ideas. This series includes various color schemes, such as tables with green gradients, to complement different interior aesthetics. Another notable design is "Stardust," a coffee table inspired by cosmic themes. Its gradient purple glass evokes images of deep space and distant galaxies, adding an element of mystery and wonder to a room. The "Melted Mirrors" offer a playful element, encouraging a less serious interaction with reflective surfaces. The "Twist" coffee table draws inspiration from the yin-yang philosophy, representing the balance of opposing yet complementary forces. Its base is formed by two gradient glass pieces, abstractly illustrating the concept of continuous motion and change. This design aims to bring a dynamic and thoughtful element to living spaces. Studio Monsoleil also presents a range of lighting designs. The "Mermaid Table Light" is inspired by the ocean's deep blues, featuring a spherical light resting on a bisecting glass piece, reminiscent of a mermaid surfacing from water. This light casts a tranquil glow with its sapphire and turquoise hues. In contrast, the "Scarlet Sunset" light uses shades of red to mimic a radiant sunset, designed to evoke warmth and comfort as it appears to descend like the sun on the horizon. "Euphoria" is a table light that captures the iridescent and magical colors found in nature, drawing parallels to phenomena like the aurora borealis. This design brings a vibrant and enchanting light quality to its surroundings. Finally, "Timeless Glow" features a soft brown luminance, symbolizing enduring charm and lasting beauty through its subtle yet distinct presence. Each piece in the collection aims to transform spaces through light, color, and form, demonstrating the versatility and aesthetic potential of glass in contemporary design. More information about Studio Monsoleil and its collection is available on its official website. #StudioMonsoleil #GlassFurniture #OpticalIllusions #InteriorDesign #HomeFurnishings #GradientGlass #CoffeeTables #TableLights #ModernDesign

Palestinian designer Lameice Abu Aker, based between Jerusalem and Milan, is revitalizing the centuries-old art of glassblowing from her homeland. Her work aims to infuse hope through vibrant colors, unique forms, and a touch of femininity, while also preserving Palestinian cultural heritage. Abu Aker emphasizes the significance of reclaiming artisanal practices for her people, particularly given the historical roots of glassblowing in the Middle East, with Sidon and Aleppo being early centers, and Hebron in Palestine historically renowned for its glass production. Hebron's glass factories once produced distinctive blue and green jugs, cups, bottles, and beads, a craft passed down through generations. Abu Aker collaborates with skilled Palestinian artisans to create modern glass pieces, including flower vases and drinking cups, breathing new life into this traditional art. Her designs have garnered international recognition, being showcased at prestigious events like Milan Design Week and the Design Doha Biennial. Abu Aker's personal journey into design began in Jerusalem, fueled by a childhood interest in sketching and visual expression. Her move to Milan allowed her to specialize in furniture design and explore various materials, with a strong desire to integrate her Palestinian heritage into contemporary design. She chose glass as her primary medium due to its historical connection to her heritage and its unique artistic qualities. She describes the glassblowing process as challenging yet poetic, dreamy, and romantic, highlighting the material's dynamic and somewhat unpredictable nature, often described by artisans as 'dancing.' Her approach involves a deep respect for the material, avoiding molds and allowing the glass to dictate its own form through extensive experimentation and dedication. She recognizes the global challenge of declining craftsmanship, noting that in Palestine, this issue is exacerbated by various external pressures. Abu Aker views her work as a crucial effort to remind people of the value of artisanal traditions and to support craft communities that are often overlooked in a fast-paced, consumer-driven world. The establishment of her atelier, Ornamental by Lameice, was a deliberate step during the COVID-19 pandemic, providing an opportunity to align her artistic passion with a meaningful objective of cultural preservation. The aesthetic of her colorful pieces is characterized by lightness, fluidity, and an organic feel. Abu Aker aims for designs that provoke conversation, evoke emotions, and express a balance of strength and femininity, contrasting with harsh or edgy forms. Her inspirations are diverse, ranging from music and poetry to natural forms, acknowledging that the creative process often leads to unexpected outcomes. She collaborates with the Twam family, a multi-generational glassblowing family from Jaba’, whose inclusive and collaborative approach to their craft deeply moved her. She highlights the inherent challenges of glassblowing, such as working with extreme heat and the delicate nature of the material, which demand intense focus, intricacy, and patience. Through her work, especially amidst the current climate in Palestine, Lameice Abu Aker aims to assert Palestinian identity and demonstrate the community's unique capabilities and high-skilled craftsmanship, viewing activism through the lens of artistic creation. #LameiceAbuAker #PalestinianDesign #Glassblowing #CulturalPreservation #Craftsmanship #MiddleEasternArt #DesignDoha #MilanDesignWeek #HeritageCrafts

This article highlights an innovative optical illusion integrated into the flooring of a showroom for Casa Ceramica, a tile company located in Manchester, UK. The design creates the visual effect of a large, deep hole in the floor, but it is, in fact, a perfectly flat surface. The primary purpose of this ingenious design is to deter visitors from running through the showroom's hallway, encouraging a slower, more deliberate pace. While the precise reasons for people rushing in a tile showroom are not explicitly stated, it is humorously suggested that the tiles themselves might be so compelling that customers are eager to see them. The owner of Casa Ceramica, Duncan Cook, demonstrated the illusion in a video, initially navigating the seemingly treacherous floor cautiously before revealing its flat nature by walking directly over the 'hole' with ease. A representative from the company explained that the inspiration behind this flooring was to craft an entrance that plays on illusions, aiming to redefine expectations of how tiles can be utilized in design. The design effectively creates a sense of disorientation upon entering the showroom. However, the illusion is directional, meaning it only works when viewed from one specific angle, ensuring that visitors can safely exit the showroom without experiencing the same disorienting effect. The article includes several images and GIFs that visually demonstrate the optical illusion from different perspectives, showcasing its effectiveness. These visuals confirm that the floor indeed appears to have significant undulations and depressions, despite being entirely level. The illusion is achieved through a meticulous pattern and shading of tiles, creating a trompe l'oeil effect that tricks the eye into perceiving depth where none exists. This creative application of tile design not only serves a practical purpose—slowing down foot traffic—but also acts as a memorable and engaging feature for the showroom, leaving a strong impression on visitors. Public reactions to the illusion, as noted in the article, indicate widespread impression and sometimes a sense of unease or vertigo from the convincing visual trick. Comments from individuals suggest that even after knowing it's an illusion, the visual impact can be so strong that it remains difficult to 'unsee' the perceived hole or wavy surface. This feedback underscores the success of the design in achieving its intended effect of both captivating and cautioning visitors. The floor's design exemplifies how artistic creativity and an understanding of perception can be applied to functional spaces to enhance user experience and achieve specific behavioral outcomes. #OpticalIllusion #TileDesign #ShowroomDesign #InteriorDesign #CreativeFlooring #TrompeLoeil #ArchitecturalInnovation #CasaCeramica