note design studio + karolina stenfelt: soot

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

Sancal, a Spanish furniture brand, has introduced Core and Remnant, two new seating collections designed by Note Design Studio. These collections are characterized by their exploration of negative and positive space, drawing inspiration from architectural and interior design principles. Both Core and Remnant are part of the larger 'Void Matters' collection and share a foundational form, but they manifest this form in contrasting ways to create a complementary aesthetic. The Core range comprises sofas and armchairs with solid bases, presenting a sense of robust presence. In contrast, the Remnant loungers feature a hollow, more ethereal design, which posed a significant engineering challenge for the design team due to its apparent weightlessness. This design was achieved through a triangulated metal structure, informed by architectural weight-distribution techniques, requiring extensive development and experimentation to perfect. Note Design Studio approached the creation of these furniture pieces with the same philosophical inquiry they apply to spatial projects. They considered how to fill a given space and what remains when material is removed, extending these concepts from architecture to furniture design. The studio aimed to emphasize the 'nothingness' or negative space surrounding objects, elevating it to an equally important design element. They posited that while positive shapes often convey strength and activity, negative space evokes calmness and offers room for interpretation. The juxtaposition of these two relative spaces was intended to introduce a novel and thought-provoking dynamic to any room. The Core range specifically sought to evoke the appearance of being sculpted from a single block of material, employing sculptural design methods. Conversely, the Remnant armchair delineates the outline of a seat, rather than being a solid form. Both collections feature distinctive curved, quilted backrests and are available in a diverse palette of colors and fabrics, including mustard yellow, dark green, and light grey, allowing for versatile interior integration. These innovative designs have received recognition in the industry, with Core and Remnant being shortlisted in the seating design category of this year's Dezeen Awards. They join other notable designs such as Faye Toogood's Puffy Lounge Chair for Hem and Jasper Morrison's recyclable polypropylene cantilever chair. The collections highlight a sophisticated approach to furniture design, where the interplay of presence and absence, solidity and void, is central to the aesthetic and functional outcome. The 'Void Matters' collection ultimately represents a thoughtful exploration of how furniture can engage with and define the spaces it inhabits, challenging conventional perceptions of form and volume. #FurnitureDesign #Seating #NoteDesignStudio #Sancal #InteriorDesign #NegativeSpace #ProductDesign #DezeenAwards #VoidMatters

Stockholm Creative Edition, an independent design week established by Ulrika Kjellstöm Attar and Philippe Attar, showcases contemporary Swedish design from emerging and established artists and companies. This event, running through 29 September, contributes to Europe's dynamic design landscape, following Milan Design Week and 3 Days Of Design in Copenhagen. A central theme of the Stockholm Creative Edition is the innovative application of traditional Scandinavian materials: wood, glass, and metal. The various exhibitions, presentations, and workshops highlight both functional and futuristic interpretations of these classic elements. Monica Förster played a significant role in launching Subjective, a new brand founded by Ruben Schildt and Sebastian Schildt of Oxenstiernan restaurant. Initially, this collection, which includes plates, glasses, and tablecloths, was created for the Östermalm eatery. However, due to its success, it has now entered production. The items are crafted by local artisans with an emphasis on traditional methods and sustainability. Förster's notable contribution is the Babushka, a versatile glass container available in three sizes. Its lid is designed to function as a magnifying lens, enhancing the visual appeal of its contents, whether they are food items or decorative flowers. Glass is also prominently featured in the architectural design of Liljevalchs+, the recently completed extension of a beloved Stockholm museum. Architect Gert Wingårdh collaborated with potter and designer Ingegerd Råman to create the building's façade, which consists of a concrete wall embedded with 6,860 glass cups. This innovative solution ensures an ample flow of natural light into the interior. An exhibition at Liljevalchs+, running until 17 October, celebrates Råman's work, presenting a collection of unique glass vases that are the result of extensive experimentation with this material. In the realm of wood, Massproductions presents the Hercule, a coat-hanger made from oat or walnut. This piece, described as both playful and practical, is part of the exhibition 'Who Are You Hercule?' where the studio Specific Generic has reimagined it as an illustrated character. Designer Chris Martin noted that the product's shape often reminded people of an animal's nose or a human face, inspiring an installation that uses projections to animate illustrations by Patrik Mollwing. Asplund, a company known for promoting young Scandinavian designers since 1990, also features wood in its collection. Their Moci dining table showcases legs that gracefully connect with the tabletop, forming elegant curves and blending Swedish and Japanese design aesthetics. Creative director Sandra Adrian Asplund explains that the design was inspired by a coffee table created by Moa Sjöberg, which was seen at the Malmstens Linköping University graduate show. Metal is highlighted through Margarita Matiz Bergfeldt's Twilight, a wall-mounted candle-holder produced by Klong. Inspired by multigraph photography, which uses mirrors to multiply subjects, Bergfeldt aimed to achieve a similar effect with candlelight. The Twilight features metal surfaces in two finishes that amplify light, illuminating even the darkest areas of a home. This piece also serves as a vase. Metal is also a key component in office furniture, a sector where Swedish designers excel. Lammhults utilizes metal in its Corso Easy chair, a straightforward design based on a tubular metal structure and a leather or canvas seat, referencing Peter Andersson’s work. While designed for office environments, its rounded form allows it to be used in various settings. The chair is designed for disassembly and uses minimal materials, contributing to a lower environmental impact. #StockholmCreativeEdition #SwedishDesign #GlassDesign #WoodFurniture #MetalDesign #InteriorDesign #ProductDesign #SustainableDesign #NordicCreativity

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

This article celebrates Suzanne Tick's induction into the Interior Design Hall of Fame, highlighting her multifaceted career as a material innovator, textile designer, and artist. Tick's work is characterized by a forward-thinking approach, integrating sustainability, advanced technologies like 3D knitting, and concepts of transparency and digitalism into woven surfaces for commercial interiors. Her textile brand, Luum, for instance, launched its 'Fabric of Space' collection with patterns inspired by celestial phenomena, coincidentally aligning with the public release of images from the James Webb Space Telescope. Throughout her four-decade career, Tick has collaborated with prominent brands such as Tarkett, Tandus Centiva, 3form, and Skyline Design, creating a diverse range of products including upholstery, drapery fabrics, high-performance carpeting, broadloom, cement-tile, LVT flooring, and etched glass panels. Beyond her commercial endeavors, she maintains an active fine-art practice, producing tapestries and experimental handweavings for clients like the Gates Foundation and BlackRock. Before establishing her independent studio and Luum, Tick served as an in-house design lead for Knoll Textiles, Unika Vaev, and Brickel Associates. However, she values the autonomy and risk-taking opportunities afforded by her entrepreneurial path. This independence has enabled her to innovate, as seen in Luum's pioneering contract industry fabrics made from postconsumer-recycled biodegradable polyester and discarded garment waste. Her journey began in the early 1980s after earning textile design degrees, where she quickly sought to understand the entire production process, learning everything from fiber sourcing to pattern implementation, an experience that shaped her holistic approach. Sustainability has been a cornerstone of Tick's philosophy, encompassing raw material development, structural innovation, and manufacturing method revitalization. At Luum, the focus is on developing new fibers and constructions, resulting in distinct fabrics. Her handweavings also incorporate novel and salvaged materials, such as dry-cleaning hangers, shredded ledgers, and cut-up paint sample discards. Tick attributes her salvage mindset to her upbringing, influenced by her father's scrap-metal business and her mother's creative pursuits and Eastern philosophy interests. Meditation has also profoundly influenced Tick's creative process and studio culture. After a period of personal dissatisfaction, she embraced Vedic meditation seven years ago and now teaches it, crediting it with enhancing collective creativity and clarity within her design teams. This practice has also reinforced her commitment to social responsibility, leading to free weaving workshops and involvement with The Light Inside, an organization teaching meditation to prison inmates. Tick's dedication extends to environmental stewardship, evidenced by her role in creating Resolution, the first solution-dyed panel fabric for Knoll Textiles, and her studio's textile waste recycling efforts. Her work consistently pushes boundaries, merging technology, craft, and human ingenuity to promote circularity in design. #SuzanneTick #InteriorDesignHallOfFame #TextileDesign #MaterialInnovation #Sustainability #LuumTextiles #KnollTextiles #SkylineDesign #VedicMeditation #ArtInstallation

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

This article features an interview with Stephanie Kalb, a 2008 Interior Design alumna of the College for Creative Studies (CCS), who shares her journey and experiences in the field of interior design. Kalb recounts a pivotal encounter with Sandra Olave, the Chair of the Interior Design department at CCS, during an exhibition. This meeting significantly influenced her decision to pursue interior design studies at CCS, despite initially having studied marketing for five years. Kalb expresses that while she had an early interest in design, attending fairs and visiting construction sites in Europe, she did not fully recognize her passion for interior design until later in life. Kalb emphasizes the fulfillment she derives from seeing her designs transition from drawings to tangible realities. She highlights the importance of understanding clients' needs, whether for residential or office spaces, and integrating marketing strategies into her design approach, leveraging her prior marketing background. She particularly enjoys the initial on-site phase of a project, where conceptual designs begin to face technical challenges and real-world constraints. Kalb finds satisfaction in collaborating with workers, ensuring they comprehend her vision, and problem-solving unexpected issues that arise during construction, citing a challenging apartment project with many surprises as an example. Reflecting on her career path, Kalb advises her younger self to have pursued interior design earlier. She notes the difficulties of returning to studies at 35 with three children, especially adapting to new software and balancing academic demands with family responsibilities. She acknowledges the intense effort required, working many nights in addition to her daytime role as a mother. Kalb praises CCS for its teaching methodology, contrasting it with the more conceptual approach she experienced in France. She values CCS's blend of conceptual and technical education, particularly commending Sandra Olave's ability to foster talent and guide concepts to fruition, alongside other teachers who provided essential technical skills. This dual focus, she believes, is crucial for translating design ideas into practical, buildable solutions. Kalb's time at CCS concluded after four years due to her husband's contract ending in Detroit, necessitating a move back to France. She decided to complete her studies in France to gain a qualification relevant to the local electrical systems, building regulations, and material standards, as she intended to practice there. Despite her established career in France, Kalb expresses an ultimate goal of working in the U.S., hoping to integrate her European design background and knowledge into American projects. Her story illustrates the intersection of personal passion, educational influence, and professional ambition in shaping a successful design career. #StephanieKalb #InteriorDesign #CCSAlumni #CareerJourney #DesignProcess #ArchitecturalDesign #ProfessionalDevelopment #HigherEducation

This article features an interview with Berlin-based graphic and product designer Steffen Wagner, known for his unique approach to typography and expressive design. Wagner discusses his artistic process, inspirations, and the evolution of his personal and professional work. He explains his preference for muted tones in his personal projects, describing his color palette as "funky-retro," though he is gradually incorporating brighter and more provocative contrasts. When starting a new piece, Wagner emphasizes the importance of beginning simply to allow ideas to flow, aiming to visualize the core message or value through the artwork itself, sometimes obviously, sometimes subtly. He creates prints for galleries, shops, and individuals seeking to artistic enhance their homes with specific, identifiable messages, conceptualizing his work as "thoughts in frames." The interview highlights a distinct difference between Wagner's personal design aesthetic and his brand work for clients. While his personal projects often feature dynamic typography and whimsical geometrical shapes with muted tones, client work may require a different visual approach. He acknowledges the ongoing challenge of wanting to integrate his personal style into client commissions but notes a recent shift where galleries, shops, and magazines are now actively seeking his distinctive style for commissioned pieces. This development marks a transition of his hobby into his primary professional activity. Wagner expresses a dream of designing for The New Yorker but appreciates all clients who offer opportunities to explore new ideas and values. His artistic inspirations include cubist pioneers like the early Mondrian and Picasso, whose works he greatly admires. Wagner reveals that he typically conceives the sayings and quotes used in his typographic prints before he starts designing. These words are drawn from a vast collection of personal experiences, ideas about life, and reflections on the world, serving as a basis for thought-provoking art that reflects his life attitudes. He describes his graphic aesthetic with three words: playful, striking, and thought-out. His playful approach involves abstracting letters to the point of near unreadability, making the artworks striking as they require viewers to engage more deeply to decipher the message. The inclusion of hidden elements that subconsciously influence the viewer further underscores the meticulous thought process behind each piece. Wagner humorously states that if he weren't a graphic designer, he would still find ways to incorporate design into other roles, like a window cleaner or cashier, demonstrating his profound passion for his craft. #SteffenWagner #GraphicDesign #Typography #ProductDesign #ArtisticProcess #ExpressiveDesign #CreativeInspiration #FunkyRetro #HomeDecoration

Stockholm Design Week 2019, anchored by the Stockholm Furniture Fair (February 5-9), presented an array of exhibitions and installations that skillfully blended Swedish heritage, a commitment to sustainability, and the charm of village life with contemporary design. The event, held amid a snowy Stockholm, showcased numerous designers and studios, each contributing to a rich tapestry of Nordic aesthetics and innovative practices. Among the highlights was French designer Pauline Deltour's 'Rope Rug' for Hem. Deltour's meticulous process involved exploring 25 braiding techniques to create three distinct rug designs available in four modern tones: terracotta, seaweed, salt & pepper, and night blue. Produced in collaboration with Indian manufacturers, these rugs emphasize traditional craftsmanship and intricate dyeing, resulting in a rustic yet contemporary appeal. Note Design Studio, based in Stockholm, created the 'Snowtopped' installation for Tarkett, demonstrating the versatility of Tarkett’s sustainable vinyl flooring. This installation reimagined the Nordic landscape with layers of snowdrifts and dunes, showcasing the material's limitless possibilities beyond its functional use. The aim was to highlight the material's flexibility and adaptability in an unexpected way. Copenhagen-based Frama and Andreas Martin-Löf Arkitekter collaborated on 'Spatial Sensibilities.' This exhibition, located in a newly renovated architectural office overlooking the Riddarfjarden waterway, presented Frama’s minimalist designs and muted tones within a naturally lit modernist building. The setting offered a tranquil contrast to the bustling design week activities. Neri + Hu, the Chinese design duo, served as the guest of honor at the Stockholm Furniture Fair. Their site-specific installation, 'The Unfolding Village,' addressed the global issue of disappearing village cultures. Inspired by the alleyways and street life of clan-based villages, the structure, constructed from local timber, unfolded to reveal furniture designed by Neri + Hu, emphasizing the preservation of community and tradition. Färg & Blanche presented 'The Baker’s House' in an 1800s Swedish townhouse, which was the former home of co-founder Emma Marga Blanche’s great-great-grandfather. This personal exhibition featured new designs that referenced the Blanche family's historical Crispbread factory. The display included contributions from brands such as Petite Friture and Gärsnäs, merging personal history with modern design. Sight Unseen collaborated with Swedish brand Kasthall to showcase the capabilities of its new Rug Designer tool. The vibrant and graphic rug designs highlighted the bespoke potential of the digital service, allowing both designers and non-designers to experiment and create unique pieces. The inspiration for the designs subtly drew from the trompe l’oeil geometric patterns often seen on Milanese building facades. British architect David Chipperfield's product designs were featured in an exhibition displaying his work for brands like Alessi and e15. The exhibition also introduced new iterations of his ‘w102’ lamp for Wästberg, originally launched in brass, now available in a black steel finish and various configurations, including wall and floor mounts. The collaboration 'Sie Wohnen Hier' by Bukowskis x Magniberg brought together contemporary art and design from the auction house Bukowskis with textiles from Magniberg. The abstract showcase featured artful compositions, pairing oriental porcelain and cubist furniture with layered prints and textured surfaces, aiming to inspire design-led curiosity. Snøhetta's ‘s-1500’ chair for NCP reimagined Bendt Winge’s classic ‘R-48’ chair using recycled plastic waste from fish farming, including nets, ropes, and pipes. This exhibition at the fair highlighted the material and craft heritage of northern Norway and underscored Snøhetta's commitment to sustainability, encouraging other companies to rethink material repurposing. Claesson Koivisto Rune opened the Portal Bar in St. Eriksplan during Stockholm Design Week. This new space, owned by chef Klas Lindberg, hosted numerous events and featured interiors with murals by Jesper Waldensten, custom lighting by Wästberg, and furniture by Swedese, quickly becoming a central hub for social gatherings. Finally, Baux introduced 'Acoustic Pulp,' revolutionary acoustic tiles made from Swedish fir and pine trees, water, wheat bran, potato starch, plant wax, and fruit peels. This biodegradable, recyclable, lightweight, durable, and sound-absorbing material, originally developed for the coffin industry, showcases a true dedication to nature, with geometric patterns organically derived from the wheat content. These diverse presentations collectively underscored Stockholm Design Week's focus on innovation, heritage, and environmental responsibility. #StockholmDesignWeek #SwedishHeritage #SustainableDesign #NordicDesign #InteriorDesign #FurnitureFair #Craftsmanship #MaterialInnovation #ArchitecturalDesign

Stockholm-based designer Monica Förster has collaborated with the Bosnian company Zanat to create a new collection of wooden furniture and accessories. This collection integrates Bosnian hand-carving traditions with Scandinavian design principles, a fusion described by Förster as a multidisciplinary approach. The range, which includes a dining chair, a modular shelving and cabinet system, and a series of decorative bowls, was unveiled at Stockholm Design Week 2015 as part of the “Sarajevo Sessions: Scandinavian Designers Discover Bosnian Handicraft” exhibition, held at Stockholms Auktionsverk. The core of this collection lies in Zanat’s unique hand-carving technique, which involves using a specialized set of knives and chisels to create intricate patterns on wood. This traditional craft is currently being considered for inclusion in the 2015 UNESCO World Intangible Cultural Heritage List, highlighting its cultural significance and the urgent need for its preservation. Förster's designs deliberately feature visible indentations and patterns, serving to showcase and celebrate this artisanal method. The materials used for the furniture pieces are diverse, encompassing oak, maple, ash, cherry, walnut, and elm, emphasizing the natural beauty and versatility of wood. The design philosophy behind the collection aimed to imbue solid wood pieces with a sense of lightness. This was achieved through the incorporation of thin edges and slender structures, contributing to a modern aesthetic while respecting the traditional craftsmanship. The carved motifs found throughout the collection are inspired by the fluid movement of water, a theme that also influenced the naming of the furniture items after Bosnian rivers. This thematic consistency adds a poetic layer to the functional objects. One of the notable pieces, the Unna dining chair, features optional scallop-shaped carvings on its backrest. It is available in natural or stained finishes and can be complemented with a moulded leather cushion, offering customization options. The Tara storage system, another key component, is designed to be highly versatile. It consists of freestanding shelves and cabinets of varying heights that can be used individually or combined to form larger storage solutions. This modular system can function against a wall or as a room divider, and each cabinet can be personalized with abstract hand-carved patterns, further emphasizing Zanat’s signature craft. The circular bowls within the collection are distinguished by their rounded stands, which feature repeating, improvised patterns created by Zanat’s skilled wood carvers. These bowls are available in different heights and widths, making them adaptable for various decorative or functional purposes. The entire project underscores a commitment to preserving and revitalizing traditional handicraft by integrating it into contemporary design, thereby giving it new relevance and visibility on a global stage while honoring its heritage. #MonicaFörster #Zanat #StockholmDesignWeek #FurnitureDesign #WoodCarving #ScandinavianDesign #BosnianHandicraft #Craftsmanship #InteriorDesign

Tarkett, a prominent global provider of recyclable flooring solutions, has officially opened its new UK and Ireland showroom, Tarkett Atelier, situated in the vibrant creative district of Clerkenwell, London. This innovative space, located at 47-53 St John Street, was designed in collaboration with Stockholm-based Note Design Studio and contractor Area Square, opening its doors on July 6th. The showroom aims to offer architects, designers, and end-users a comprehensive experience, showcasing the latest sustainable and design-led interior finishes and demonstrating how various materials can be creatively re-envisioned. The design ethos of Tarkett Atelier draws inspiration from Britain's industrial city heritage, adopting a 'soft industrial' aesthetic. A core principle of the design is sustainability and adaptability, evident in every curated aspect of the interior. The entire space utilizes materials from circular collections and is composed of 100% recyclable components. The showroom redefines the conventional showroom experience by seamlessly integrating technology with digital features, including interactive displays and virtual reality elements. This approach allows for a deeper engagement with the products and design possibilities. A distinctive feature of the showroom's interior is the thoughtful selection of contrasting materials and textures by Note Design Studio. These materials were chosen for their tactile qualities, durability, and striking industrial aesthetics. The design team employed an unconventional approach to traditional materials, particularly hard and soft flooring. These materials are imaginatively transformed into various functional elements, such as linoleum counter bases, work surfaces, vinyl tabletops, structural pillar cladding, and even lighting fixtures, highlighting their versatility beyond typical applications. The showroom prominently features several of Tarkett's key collections, including Desso Fields, Retrace, Linowall, iQ Granit, Natural, and Parade Excellent. A dedicated gallery area serves as a platform to exhibit Tarkett's flagship products and materials, providing visitors with an understanding of each product's benefits within a well-structured and purposefully designed environment that extends beyond simple samples. Furthermore, the space is designed to host bespoke art installations crafted from Tarkett flooring, showcasing artistic applications of their products. An open product lab is integral to the Atelier, fostering co-creation and experimentation. This lab enables visitors to develop their project ideas by selecting from Tarkett's extensive range of carefully curated materials and products. The multi-functional nature of Tarkett Atelier is further enhanced by incorporating areas for various activities, including socializing, hosting events, dedicated meeting rooms, quiet phone booths, and collaborative workspaces. The showroom provides a dynamic and inspiring environment that facilitates creativity, collaboration, and a deeper appreciation for sustainable and innovative interior design solutions. #TarkettAtelier #NoteDesignStudio #FlooringDesign #SustainableInteriors #ShowroomDesign #LondonArchitecture #MaterialInnovation #RecyclableMaterials #InteriorDesign

The article highlights a shift in the perception of Scandinavian design, moving beyond the traditional male-dominated figures like Arne Jacobsen, Finn Juhl, and Hans Wegner. It introduces a new publication, '_Real Nordic Living_', which aims to provide a more contemporary and inclusive view of Nordic design by featuring female designers, diverse aesthetics, and lifestyle elements beyond furniture. The core concept of 'hygge' is explored through the work and philosophies of three prominent women designers. Josephine Akvama Hoffmeyer, the Ghanaian-Danish founder of File Under Pop, is presented as a key figure in this modern interpretation. Her company specializes in hand-making ceramic tiles, wallpaper, and paints in Copenhagen. Hoffmeyer's work extends to hotels and residences globally, including a current project in Uruguay. She emphasizes the importance of color in Nordic interior design, noting a move away from the past two decades' prevalence of white and pastels. Hoffmeyer advocates for using specific color palettes to define rooms, such as fresh and cool hues for bedrooms and warmer, denser tones for kitchens or living rooms, to create 'hygge' in an accessible and economical manner through paint. Julie Bonde Bülck of Uh la la Ceramics is another designer featured, known for her porcelain pieces characterized by slick, curved shapes often described as 'seductive'. Her work incorporates a modern, tech-inspired aesthetic, exemplified by spherical dishes with snap-on lids. Bonde Bülck acknowledges Jony Ive as an influence, indicating a blend of traditional ceramic craftsmanship with contemporary design sensibilities. Finally, Ragnhild Wik of Wik Oslo, initially a costume designer, established her eponymous shop in 2014. Her studio, located in a 200-year-old stable in Oslo, serves not only as a workspace but also as a showroom and a communal gathering space for family, friends, and colleagues. Wik’s approach to her studio, filled with secondhand furniture and collected items, embodies the cozy and inviting spirit of Nordic 'hygge', reflecting a personal and collected aesthetic rather than a purely minimalist one. This collection of designers collectively showcases a refreshing and expanded definition of Scandinavian design, one that is more diverse, vibrant, and reflective of modern living. #NordicDesign #ScandinavianDesign #Hygge #HomeDesign #InteriorDesign #WomenInDesign #CeramicArt #WallpaperDesign #ColorTheory

Nordic Nest, an e-tailer established in 2002, has cultivated a distinctive niche in the Scandinavian interior design market by prioritizing storytelling and brand building. Unlike typical online retailers, Nordic Nest offers a curated experience that allows customers to explore and engage with Scandinavian design at their own pace. The platform serves as a primary destination for enthusiasts of Scandinavian interior design, emphasizing functional simplicity and timeless beauty, and is expanding its efforts to enhance the global visibility of Scandinavian design. The company's extensive catalog features over 60,000 Scandinavian design products from more than 300 brands. The selection is meticulously curated, highlighting craftsmanship and artistic expression. Nordic Nest supports a diverse range of creators, from emerging talents to established designers, providing year-round assistance through marketing collaborations, exclusive product launches, and international outreach. This commitment extends beyond transactional relationships, focusing on showcasing each studio's unique craftsmanship and innovative techniques through various channels, including digital campaigns, curated showcases, and events, thereby popularizing Scandinavian design globally. During the 2025 Stockholm Design Week, Nordic Nest hosted an intimate dinner at Stockholm’s Nationalmuseum, bringing together leading Scandinavian design brands such as Fritz Hansen, Iittala, Louis Poulsen, Gärsnäs, and Audo Copenhagen. This event celebrated both the enduring traditions and contemporary innovations within Scandinavian design, underscoring the company’s dedication to providing brands with a platform for increased visibility and recognition beyond the Nordic region. Among the highlights of the event was the unveiling of Iittala’s Solare collection, a new tableware line inspired by light. This collection, which includes glassware, textiles, and home accessories, captures the interplay of brightness and form, continuing Iittala’s legacy of avant-garde design and colored glass since its founding in 1881. Danish brand Audo also introduced the Pavot Collection, a collaboration with designer Colin King. This collection, featuring artfully crafted vessels like the Pavot Centerpiece, Bowl, and Vase, draws inspiration from the organic shape of a poppy seed head, blending ancient influences with modern craftsmanship. Each piece is cast in aluminum and finished with a brown bronzed patina, embodying a timeless yet contemporary aesthetic. Through these initiatives, Nordic Nest reinforces the notion that Scandinavian design is rooted in careful attention to detail and a profound sense of connection. #ScandinavianDesign #InteriorDesign #NordicNest #ECommerce #DesignRetail #BrandBuilding #DesignEvents #FurnitureDesign #HomeDecor

The "Innesti" series, developed by designers Alexandra Denton and Sofia Lazzeri, introduces a collection of vessels that seamlessly integrate glass and textiles. The name "Innesti" is derived from the Italian word for grafting, a botanical process involving the fusion of tissues from two distinct plants to cultivate new varieties. This concept serves as the foundational principle for the project, which aims to merge disparate materials to generate novel forms and aesthetic experiences. The core idea behind Innesti is to combine the inherent qualities of a hard, rigid material like glass with the soft, pliable nature of textiles. This juxtaposition results in a compelling visual and tactile harmony, where the seemingly contradictory characteristics of the materials complement each other, creating a sense of belonging and unity. The designers intentionally chose these materials to highlight their individual voices and to stimulate an aesthetic appreciation that thrives on contrasts. This approach celebrates the unique properties of each component while showcasing how they can be harmoniously integrated. Innesti is not merely about combining materials; it is also a deliberate exploration of knowledge and tradition within design. By drawing inspiration from the ancient technique of grafting, Denton and Lazzeri infuse their contemporary design with a reverence for established practices. The project underscores the potential for innovation when traditional methods are reinterpreted through a modern lens, emphasizing the enduring relevance of craftsmanship and material understanding. The series was prominently featured at Greenhouse during Stockholm Design Week, an event recognized for showcasing emerging talent and innovative design concepts. Its exhibition there highlights the project's significance in the broader design landscape, drawing attention to its inventive use of materials and its thoughtful conceptual framework. The public presentation allowed for a wider appreciation of how Innesti challenges conventional perceptions of material compatibility and opens new avenues for design exploration. Through Innesti, Alexandra Denton and Sofia Lazzeri offer a compelling narrative about the transformative power of material synthesis. Their work demonstrates that by thoughtfully combining diverse elements, designers can create objects that are not only visually striking but also imbued with deeper meaning, fostering a richer aesthetic and intellectual engagement with everyday objects. The project serves as an example of how designers can push boundaries by exploring the interplay between contrasting textures and forms, ultimately enriching the discourse on material innovation and design artistry. #InnestiVessels #AlexandraDenton #SofiaLazzeri #GlassTextileDesign #MaterialFusion #DesignInnovation #StockholmDesignWeek #ContemporaryDesign #HomeFurnishings

Studio RAP, a Dutch architectural practice, has completed an innovative project named 'New Delft Blue' which integrates computational design and fabrication with traditional ceramic craftsmanship. The installation serves as an entrance to a residential building block in Delft, a city in the western Netherlands renowned for its historical blue and white pottery production. The project was developed in collaboration with Dutch ceramics manufacturer Koninklijke Tichelaar and aims to redefine ceramic ornamentation in contemporary architecture. New Delft Blue consists of two large entry gates, each measuring approximately four meters in width, eight meters in height, and twelve meters in depth. These gates are situated at the entrance of the PoortMeesters residential building block, part of the larger Nieuw Delft urban redevelopment project. The design is a modern reinterpretation of traditional Dutch city gates and pays homage to Delft's medieval trading history, enveloping a public staircase while also serving as a visual and functional threshold. The design draws inspiration from the aesthetic principles of traditional Delft Blue porcelain plates, which have evolved from replicating Chinese and Japanese patterns to incorporating Dutch motifs. A consistent feature in these plates is the contrast between intricate, nature-inspired frames and serene, picturesque scenes. Studio RAP translates this concept into the New Delft Blue installation, with the gates acting as three-dimensional frames that feature algorithmically generated, nature-inspired patterns. These patterns are designed to guide visitors from the public area into the semi-public courtyard, symbolizing a transition into an idyllic oasis. Studio RAP utilized algorithmic design to address the manufacturing constraints inherent in creating a large-scale curving surface. The geometric design of the tiles carefully incorporates parameters such as maximum overhang, width, height, depth, shrinkage, and internal support structures. This meticulous approach results in a fluid and sculptural composition that resembles a three-dimensional painting. A translucent blue glaze is applied to the surface of these 3D-printed modules, enhancing their visual impact. The glazing technique accentuates the convex contours with a light blue hue, while the concave sections feature deeper blue glaze pools. This creates a dynamic interplay of colors and textures, reflecting the city's canals and its famous porcelains, and is further enhanced by the contrast with the surrounding earth-toned brickwork. #StudioRAP #NewDelftBlue #3DPrinting #CeramicTiles #Delft #ComputationalDesign #ArchitecturalInnovation #PublicArt #TraditionalCraft

The article introduces Bengt Thornefors, the creative director of Sahco, a nearly 200-year-old textile brand, and his innovative approach to integrating fashion and interior design. Thornefors, known for his work in the fashion industry with brands like Acne Studios and Saint Laurent, was appointed to his current role in 2022. His background includes co-founding the bedware brand Magniberg, which, like Sahco, is now under the ownership of Kvadrat. This experience has equipped him with extensive expertise in fashion, which he now applies to the realm of textiles. Thornefors's appointment by Kvadrat's CEO, Anders Byriel, reflects a desire to inject fresh perspectives into Sahco, moving beyond traditional textile manufacturing to embrace broader cultural and artistic influences. Thornefors views interiors as having a special appeal, and his ability to navigate both fashion and interior design was a key factor in his selection. He aims to explore the interplay between historical textile traditions and contemporary design, creating collections that embody the essence of a true textile maison. For Sahco's inaugural press presentation at Kvadrat's New York City headquarters, Thornefors adopted an unconventional approach. He transformed the space into a white-box gallery, showcasing fabrics tailored into garment bags and hung on rolling racks, reminiscent of a fashion show. These textile displays were artfully combined with fine art photographs and furnishings from the esteemed Swedish institution Svenskt Tenn, demonstrating a fusion of art, fashion, and home decor. This presentation strategy was a deliberate effort to blur the boundaries between different creative disciplines, emphasizing the emotional and artistic value of textiles rather than just their functional aspects. The reception to Thornefors's innovative presentation was highly positive, even from discerning figures like Jonathan Olivares, the architect of the presentation space. His new collections for Sahco are characterized by a blend of heritage sensibilities, retaining Sahco's traditional decorative florals, with a contemporary Scandinavian aesthetic. Thornefors highlights examples such as lime-green embroidery on a jet-black background, which illustrates his modern interpretation of classic motifs. This design philosophy underscores his belief that Sahco sells more than just fabric; it sells emotions, aiming to evoke feelings and experiences through its products. The article concludes by noting that this story originally appeared in the September 2023 issue of ELLE DECOR, emphasizing its relevance and timeliness within the design world. #TextileDesign #InteriorDesign #FashionInfluence #BengtThornefors #Sahco #Kvadrat #HomeDecor #ScandinavianDesign #CreativeDirection

Margrethe Odgaard, a Copenhagen-based designer, has cultivated a rigorous and innovative approach to color and textile design since launching her independent studio in 2012. Her body of work includes textile designs for prominent companies such as Hay and Georg Jensen Damask, as well as collaborations with other Danish creatives, including furniture designers and chef-brewers. This extensive output is underpinned by a meticulous methodology, particularly her unique color index. Odgaard developed her own 280-color palette as an alternative to existing mathematically-derived systems like Pantone, RAL, and NCS. She found these traditional systems to lack complexity and aimed to create hues that possess an immediate sensory appeal beyond just sight. Her criterion for a successful color is its 'edibility' – if one is willing to put the color in their mouth, it effectively relates to the body. This approach led to a rich spectrum of colors, from a color-shifting cocoa to an ultra-saturated neon purple, which she meticulously painted onto popsicle sticks to visualize and categorize. Her design philosophy is deeply influenced by her upbringing in pastoral western Denmark, where the natural environment fostered an attraction to opposition and a drive to make a significant impact through her work. Odgaard, an alumna of the Rhode Island School of Design and the Royal Danish Academy of Fine Arts, describes her constant striving to not merely 'make noise' but to 'make a difference' as a designer. Beyond her color index, Odgaard's diverse portfolio showcases her inventive spirit. She created 'Navajo Drawings,' which are wooden 3-D stick drawings inspired by Native American art, envisioned as three-dimensional wall decorations. Her 'Fold Unfold' tablecloth design features patterns that appear to flow out of its creases, demonstrating an innovative use of textile form. Additionally, her design for the 'Yolk' bowl for Kähler exemplifies her ability to translate her color and form sensibilities into various product categories. Odgaard's studio in Copenhagen serves as the hub for her multifaceted projects. Her consistent output and distinct approach highlight a designer who not only understands the technical aspects of color and material but also imbues her creations with a deeper, sensory connection. Her work stands as a testament to the power of thoughtful design that engages both the intellect and the senses. #MargretheOdgaard #TextileDesign #ColorTheory #DanishDesign #ProductDesign #InteriorDesign #DesignInnovation #CopenhagenStudio

The Danish company Notes has introduced a novel approach to the paint industry, simplifying the often-complex process of selecting paint colors. The company emerged from the observation that traditional paint brands present an overwhelming array of choices, making it difficult for consumers, designers, and architects to make informed decisions. Notes addresses this by offering a curated palette of 40 colors, which are carefully selected to embody Scandinavian aesthetic principles of simplicity and minimalism. The core philosophy behind Notes is to provide a foolproof color selection experience. The brand works with leading creatives in design and architecture to develop a cohesive and harmonious color palette, ensuring that any combination of their colors will result in an aesthetically pleasing outcome. This simplification is intended to empower individuals to confidently define the mood and aesthetic of their living spaces, highlighting that true freedom often stems from straightforward solutions. The brand's catalog serves as a source of inspiration, enhancing color awareness and demonstrating the profound impact color has on setting the emotional and intellectual ambiance of a home. Notes operates exclusively through an online shop, designed for ease of use and accessibility. The website features an editorial section where interior designers and stylists share their insights and experiences, providing guidance and inspiration for individual color choices. The online platform facilitates shade matching and combinations through clear examples and explanations, aiming to ensure optimal results for users. To further support customers, Notes offers free sample kits and a comprehensive tools section, supplying everything needed for a painting project, including brushes, primers, dust sheets, and tapes. Beyond aesthetics and user-friendliness, Notes places a strong emphasis on product quality and sustainability. The company offers a thick-textured paint formulated to provide a matte, uniform, and long-lasting finish, distinguished by its unique pigments. From an environmental perspective, the paint is water-based, features low Volatile Organic Compound (VOC) content, and is certified with both the EU Ecolabel and the Swan Ecolabel, underscoring the brand’s commitment to eco-friendly practices. The brand's innovative approach was showcased at the Milan Design Week 2023 as part of the “This is Denmark” exhibition, which highlighted how contemporary Danish creators interpret national heritage values through modern design. This exhibition featured 15 selected objects, with Notes demonstrating a practical and thoughtful application of Danish design principles to everyday home improvement. #HomeDecor #InteriorDesign #PaintIndustry #ScandinavianDesign #ColorPalette #SustainableDesign #MilanDesignWeek #OnlineShopping