BIÂN Celebrates 3 Years of Industrial Zen Design by STUDIO K

Mitsubishi Jisho Design architects Kei Atsumi and Motoya Iizawa unveiled 'The Warp' pavilion at the tenth Dubai Design Week, an immersive installation envisioned as a zen Japanese tea garden. This pavilion aims to bridge ancient Japanese craftsmanship with contemporary 3D printing technology. Situated amidst Dubai's modern skyscrapers, the installation offers a temporal journey from traditional Japan to the emirate's futuristic landscape. The Warp was activated through various events, including matcha tea ceremonies and design workshops, emphasizing its cultural and educational aspects. The core concept of The Warp pavilion revolves around the innovative integration of centuries-old Japanese joinery systems with advanced 3D printing techniques. Kei Atsumi highlighted that the pavilion comprises over 900 unique pieces, each featuring distinct shapes and curves, a complexity achievable only through computational design. These components are assembled using traditional Japanese joinery, a system historically employed in wooden shrines and temples. This method allows for easy assembly, disassembly, and relocation, showcasing an adaptive application for a more intricate, modern structure while ensuring its portability and reusability. The design process leverages computational modeling to precisely generate these small, double-curved panels, which seamlessly interlock to form the overall structure without the need for adhesives, nails, or metal fittings. The pavilion's journey for visitors commences at a pebbled garden, leading to the tea house, an intimate wooden space designed with a gentle twist that visually references Arabian sand dunes. Upon entering through a traditional small, low passage known as a nijiriguchi, visitors can participate in a matcha ceremony led by a Japanese tea master. This experience is intended to transport individuals into a Japanese spiritual realm, while simultaneously offering a view of Dubai's iconic Burj Khalifa, thus creating a dialogue between historical tradition and modern advancement. This spatial arrangement underscores the pavilion's role as a portal connecting disparate cultures and eras. Beyond its aesthetic and cultural significance, The Warp pavilion also promotes Mitsubishi Jisho Design’s Regenerative Wood technique. This circular production system focuses on reintegrating wood waste back into the forestry industry. Atsumi noted that typically, only about 50% of wood material is utilized in architecture and other products, with the remainder becoming waste. The pavilion addresses this issue by constructing the entire structure from a 3D-printed wood composite. This composite material is composed of 30% recycled sawdust and 70% bioplastic, making the pavilion a sustainable and beautiful example of material reuse and ecological responsibility. This project exemplifies a new language of architectural expression, combining traditional wisdom with cutting-edge technology for sustainable design and construction. #KeiAtsumi #DubaiDesignWeek #JapaneseJoinery #3DPrinting #SustainableArchitecture #PavilionDesign #WoodComposite #ComputationalDesign #MitsubishiJishoDesign

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

Karina Espinosa, owner of KE Design, discusses her journey into entrepreneurship, drawing inspiration from her parents' dedication to their own business. She emphasizes the importance of hard work and passion in her career as an interior designer. Espinosa highlights that her determination to pursue a career she genuinely enjoys, rather than a job she dreads, led her to establish KE Design after gaining substantial experience and knowledge in the field. KE Design offers comprehensive interior design services, specializing in residential spaces and commercial buildings. The company provides window treatments and custom furniture tailored to clients' needs. Espinosa describes her design aesthetic as a blend of modern and transitional elements with an organic touch, prioritizing meticulous attention to detail to reflect each client's unique style. KE Design aims to create timeless spaces, whether they are large-scale projects or smaller refresh initiatives, guiding clients through a collaborative process to bring their visions to fruition. Espinosa attributes her current success to unwavering hard work, personal sacrifices, clear prioritization, and a strong vision. She notes that being a business owner demands constant engagement, often requiring a 24/7 work ethic. Responsiveness to clients and vendors is crucial, as it fosters strong connections essential for business growth. She also underscores the value of learning from both positive and challenging experiences, advocating for a positive mindset to significantly influence outcomes. When asked about recommendations for a visitor to Miami, Espinosa suggests an itinerary focused on enjoying the city's outdoor and culinary offerings. She highlights the appeal of spending time by the water, whether lounging on the beach, boating in the ocean, or taking a trip to the Florida Keys for a tropical escape. For dining, she recommends exploring diverse restaurants and mentions several favorites with great ambiance, including The Deck at Island Gardens, La Mar, Regatta Grove, Mila, and Cipriani. She also suggests notable sushi spots like Uchi, Omakai, Katana, and Paperfish, and stresses the quintessential Miami experience of trying a Cuban cafecito and croqueta. Espinosa expresses gratitude for the support and encouragement she has received throughout her journey. She dedicates her success to everyone who continues to support her, her loved ones who motivate her to achieve her goals, and her late mother. She credits her mother with instilling in her the passion and drive for design, emphasizing that the values taught by her mother continue to guide her in all aspects of her life and work. #InteriorDesign #Entrepreneurship #MiamiLifestyle #BusinessJourney #DesignServices #KEDesign #CareerPassion #ClientSatisfaction

The Pod collection, a collaboration between B&T Design and Japanese designer Jin Kuramoto, introduces a novel approach to furniture design, aiming to redefine how individuals sit, gather, and interact within a space. This collection, launched during Clerkenwell Design Week 2025, reflects B&T Design's commitment to innovation and rethinking fundamental aspects of furniture use. The Pod collection is characterized by its distinctive geometric transformation, featuring a cylindrical structure that creates an illusion of lightness. The furniture pieces appear to float, thanks to height-adjustable bases that prevent them from directly touching the ground. This visual levity is complemented by the physical solidity provided by cold-molded HR foam and wooden cores, ensuring both comfort and structural integrity. This balance is a defining characteristic of Pod's presence in any room. The collection is presented in two basic forms: Tri, a triangular shape, and Quad, a square shape. These elemental forms, reminiscent of shapes learned in childhood, are subtly transformed with cylindrical sections, making the resulting pieces both familiar and intriguing. Their enclosed design promotes intimacy and conversation, setting Pod apart from traditional sofas or benches and fostering new possibilities for spatial interaction and communication. Jin Kuramoto, born in 1976, established his design studio in 2008, bringing a philosophy rooted in Japanese design principles that emphasize simplicity and the "essence of things." His interdisciplinary work, spanning furniture, appliances, and automotive design, enriches the exploration of human behavior and space within the Pod collection. The partnership between B&T Design and Jin Kuramoto is significant, as Kuramoto's poetic design approach and cultural depth infuse an emotional layer into the collection. This collaboration underscores B&T Design's belief in the power of diverse perspectives in design. To commemorate their initial collaboration, B&T Design organized "3 Days of Discovery" in Istanbul, allowing Kuramoto to immerse himself in the city's environment. This experience contributed to the emotional and cultural foundation of Pod, highlighting a shared process of exploring cultural exchange and developing a common design language. Kuramoto emphasizes his focus on how furniture can inspire users and interact with its environment, aiming for Pod to facilitate playful engagement and enrich daily experiences. B&T Design, founded in 1995, originated as a metal workshop focused on craftsmanship. The brand has evolved into a global company, expanding its network to over 65 countries. Its philosophy centers on the question, "What can we do new today that will inspire people?" This approach guides the creation of not only design chairs, sofas, poufs, and tables, but also contributes to creating inspiring looks, moods, emotions, and feelings within spaces. The Pod collection embodies this spirit, representing a synthesis of innovative design and emotional connection. The launch of Pod at Clerkenwell Design Week coincided with B&T Design's 30th anniversary and the opening of a permanent showroom in London, marking a significant milestone for the brand. #FurnitureDesign #InteriorDesign #ProductDesign #ModernFurniture #DesignCollaboration #JinKuramoto #BTDesign #ClerkenwellDesignWeek #JapaneseDesign

Palatino, a key entity within La Bottega Collective and a leader in hospitality design and accessories, has marked its tenth anniversary by introducing a new capsule series. This innovative series was developed in collaboration with a curated selection of architectural and design talents from around the world. The initiative, conceptualized with Paragone, a Paris and New York-based agency representing prominent and emerging design and architecture figures, solidifies Palatino's reputation as a curator blending hospitality, culture, and collectible design. Each capsule in the series consists of a limited collection of non-commercial, heirloom-quality objects, produced in extremely small quantities for specific hospitality properties globally. The series made its debut during Dubai Design Week, featuring Italian interior designer and artistic director Alessandro Moriconi. Moriconi's capsule for Palatino Hospitality embodies a refined approach to living, characterized by his sensitive and intuitive design philosophy. This approach integrates a strong sense of proportion, clean lines, material interaction, and a pursuit of natural harmony. The collection includes a walnut and leather catchall, a sculptural ceramic and aged metal vase, a mirrored tray accented with leather, and a lidded box made of aged metal with stone embellishments. Each item is designed as a functional artwork, combining elegant forms, contrasting textures, and precise finishes, reflecting a contemporary elegance rooted in craftsmanship and timeless design. The collection, which avoids ostentation, highlights refined simplicity and lasting character, echoing Moriconi's skill in creating interiors and objects that convey emotion, memory, and materiality. These pieces will be permanently showcased within the architectural framework of Jumeirah Marsa Al Arab, specifically in their iconic Pearl Suite. Following its launch in Dubai, the second installment of Palatino’s capsule collections was revealed in the newly renovated Waldorf Astoria in New York City, featuring Studio Akademos, the Paris-based architectural duo of Aurélien Raymond and Costanza Rossi. These pieces, described as “small architectures,” are characterized by their clean lines, minimal embellishments, and detailed craftsmanship. The use of textured woods, nickel or silver-plated metals, and jewelry-inspired handles emphasizes material richness and timeless elegance. The collection, which began with a jewelry box as a symbol of crafted simplicity, has expanded to include amenity boxes, trays, fruit bowls, and waste bins. Each item is designed to offer thoughtful functionality and subtle luxury for daily use, serving as permanent exhibition pieces in the Waldorf Astoria New York’s Waldorf Suite and Empire Suite. Looking ahead, Palatino has announced two new collaborations for 2026: with London-based design studio Campbell Rey, known for its vibrant and color-driven narratives, and with Dinosaur Designs, an Australian creative house celebrated for its sculptural resin art. These upcoming capsules are expected to further develop Palatino’s design language and reinforce its position as a trendsetter in narrative-driven hospitality design. Gabriella Zavatti, Co-Founder of Palatino, emphasized that this anniversary signifies not only a decade of craftsmanship and creativity but also the beginning of a new phase for the brand. She noted that each capsule represents a dialogue among design, architecture, and hospitality, exploring how objects can transcend their functional roles to become narratives, memories, and expressions of place. Tommaso Pacini, CEO of La Bottega Collective, stated that Palatino is a compelling example of design innovation within the collective, radically transforming the guest experience by reimagining occupancy supplies and equipment as cultural artifacts that redefine luxury for future generations of hospitality. The Palatino 10th Anniversary Capsules represent a significant moment in the brand’s creative history, celebrating design, craftsmanship, and collaboration, and setting the direction for its continued influence in hospitality design over the next decade. Palatino's client base includes prestigious hospitality brands such as Mandarin Oriental, Rosewood, Peninsula, Orient Express, and Bulgari Hotels, as well as renowned properties like Badrutt’s Palace and Hotel du Cap-Eden-Roc. #Palatino #LaBottegaCollective #HospitalityDesign #DesignInnovation #LuxuryInteriors #CollectibleDesign #ArchitecturalDesign #BoutiqueHotelDesign

Belgian designer Casimir marks three decades in the design industry with a new collection of six wooden objects, with another six pieces slated for future release. These initial six items include two consoles, a cabinet rack, a mirror, a side table, and a low table, all crafted from solid oak and walnut, chosen for their ecological qualities. Each piece is a limited edition, signed, and numbered, reflecting Casimir's hands-on approach as a self-described furniture artist who designs and produces his work in his own studio. The designer emphasizes concept over styling or trends, aiming to rethink and question classical furniture through his oeuvre. He values the authenticity and sustainable nature of wood as a material. One notable piece, Cross4, is a customizable console designed to lean against a wall. It incorporates the symbol of a cross, which Casimir explains is a loaded symbol in Flemish culture, traditionally placed above doors to signify welcome and protection. This console is thus intended as a gesture of hospitality at an entrance. CabinetRack2, measuring 120 centimeters wide and 180 centimeters high, showcases an innovative approach to furniture construction. Casimir created a standard cabinet without doors, then sawed it into two equal parts. These parts were subsequently shifted at an angle and glued together, resulting in a rack that can also function as a room divider, demonstrating an "exercise in what you can do with a standard cabinet." Mirror3, another piece in the collection, intentionally restricts the user's view, contrasting with traditional mirrors that offer a full reflection. Casimir drew inspiration from architectural sun blinds, which are horizontal slats used to block sunlight. He reinterpreted this concept by orienting them vertically to limit the reflection to a single viewpoint within a space. The side table, Arch, is unique in the collection for being crafted from walnut wood rather than oak. Its oval-shaped tabletop is cut from a larger rectangular piece of wood, with the remaining material utilized to form the legs. These legs consist of two trusses that cross beneath the oval top, creating a small vault. Plank5, a low table standing 35 centimeters off the ground, features five oak wood planks stacked in a manner reminiscent of a fireplace or campfire, with the plank ends extending at various angles. The final piece of this initial release is Console3, a double-shelved unit supported by three rotatable tripods. Casimir's upcoming six designs to complete the 12-piece collection include three ladders and a cabinet, alongside an exploration of furniture legs, all continuing his work with wood. The designer's ambition for the entire collection is for the pieces to endure for over a century, aligning with the tradition of classical furniture making. He notes the importance of experimentation and intuition in his creative process, where the idea, material, form, and function are deeply interconnected. #FurnitureDesign #WoodenFurniture #OakFurniture #WalnutFurniture #SustainableMaterials #BelgianDesign #ArtFurniture #LimitedEdition

The shift to working from home has transformed personal living spaces into hybrid offices, prompting a reevaluation of household products and their functionality. Recognizing this new paradigm, New York-based Smart Design embarked on developing a four-piece transitional lighting collection in collaboration with 3D printed lighting manufacturer Gantri. The collection, known as the Aim Collection, was conceived to address the challenges of integrating professional work environments into compact home settings, where space is a valuable commodity. Industrial Design Director Dan Grossman highlighted that the design inspiration stemmed from the need to adapt existing home spaces, such as dining tables, into effective workspaces. This led to the creation of four distinct lighting solutions tailored for various work-from-home scenarios: a floor lamp, a directional task light, a lantern, and an upcoming clamp light. The core principle of the Aim Collection is adaptability, with each light designed to offer simple yet ingenious solutions to modern living challenges. For instance, the Aim Task Light allows users to effortlessly transition between directional task lighting and ambient lighting by simply adjusting its arm. Grossman further noted the intricate connection between mood and lighting, and how traditional task lighting, often designed for specific creative or productive tasks, needed to be reimagined to provide a more comforting experience in an often-stressful work-from-home context. Despite the apparent simplicity and intuitive nature of the Aim Collection's aesthetics, its manufacturing presented significant technical challenges for Gantri. Prior to this collaboration, Gantri had not produced 3D-printed lights incorporating moving parts. The partnership between Smart Design and Gantri leveraged the engineering expertise of both teams to overcome these manufacturing hurdles. A notable challenge was integrating the power cord within the movable arm of the Aim Task Light, requiring the development of internal hardware with round pivots and tension screws to minimize friction and prevent the cord from dislodging. Grossman emphasized that achieving this level of complexity with articulated joints and pivots through 3D printing was a considerable undertaking, necessitating extensive prototyping and testing to refine material constraints, tolerances, weight, and balance. The Clamp Light, another intricate component of the collection, also demanded the production of multiple moving parts. Smart Design's consumer research underscored the relevance of such a flexible lighting solution, as it revealed that work often occurs in unconventional home settings. The Clamp Light was designed to be highly portable and adaptable, featuring a hinge for easy adjustment and a clamp mechanism that allows it to be attached to various surfaces like shelves or table edges, transforming any spot into a makeshift desk. Ultimately, while 3D printing is central to the production process, Grossman stressed that it serves as an efficient means to an end. The primary objective was to create functional, intuitive products that resonate with customers, regardless of the manufacturing method. The Aim Collection, in alignment with Smart Design's overarching philosophy, prioritizes function and the inherent beauty of simplicity, aiming to provide users with valuable and significant lighting solutions that are easy to understand and use. #SmartDesign #Gantri #3DPrinting #LightingDesign #HomeOffice #FurnitureDesign #ProductInnovation #WorkFromHome #IndustrialDesign

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

Dezeen Showroom has unveiled 14 new products this week, featuring a diverse range of furniture, lighting, and finishes for both commercial and residential projects. Among the highlights is the "Technicolour" textile collection by graphic designer Peter Saville for Danish brand Kvadrat. This collection draws inspiration from the colorful sprays used by farmers to mark sheep, translating this rustic aesthetic into a series of vibrant handwoven and robot-tufted rugs with color spots, iridescent curtains, and upholstery made from British sheep's wool. Saville describes the collection as bringing "the industry of the land, in raw form, into the living environment," likening it to "rural graffiti." Other notable product additions include the "Mouro" lamp, designed by Patricia Perez for Case Furniture. This portable and rechargeable table lamp, suitable for indoor and outdoor use, features a disc-shaped LED light that rotates 360 degrees, enclosed within a rectangular frame that doubles as a handle. Rainlight's "Phlox" collection for Okamura offers a comprehensive range of seating and tables, including conference chairs, lounge chairs, high stools, and five table shapes. The collection, characterized by its gently undulating silhouettes, is inspired by the petals of the night-blooming phlox flower. For storage solutions, Bruno Rainaldi's "Ptolomeo" bookshelf for Opinion Ciatti is designed to emulate the appearance of books stacked in high piles while providing structural stability. Named after the founder of the Library of Alexandria, this stainless steel shelf is available in black, white, or Corten effect lacquered finishes. Dedar introduces two new textile collections: "The Art of Jacquard" and a "Textile wall covering collection." The Jacquard collection features ultra-thin yarns woven directly into the fabric to create rich patterns, including tropical bird motifs, nature-inspired designs, bold graphics, and abstract floral landscapes. The wall covering collection, inspired by grand tapestries, includes four patterns, such as screen-printed illustrations on linen and classic weaves of jute and linen, aimed at creating a cozy atmosphere. The "Hymn" lamp by Hiroto Yoshizoe for Ambientec is another portable and durable lighting option for indoor and outdoor settings. It employs two magnets to create constant oscillations, producing a flickering effect reminiscent of a candle flame. GamFratesi's "Beetle Chair," available through Suite NY, has been re-released with four new upholstery options in neutral shades, alongside black or brass leg finishes. John Pawson's "Frame" dining table for Nikari, originally designed for his own farmhouse, is a minimalist piece made from responsibly sourced ash or oak wood with a natural oil finish, boasting a lifespan of over 100 years. Alegre Design's "Talent" desk for Actiu is a versatile, mobile, and height-adjustable workstation designed for educational and training environments, featuring a dry-erase worktop that functions as a whiteboard when folded. Finishes also see new additions with CDUK's expanded "Corian Solid Surface" range, now available in a broader spectrum of neutral and warm colors. This material is lauded for its hygienic, durable, abrasion-resistant, and fade-proof qualities, making it suitable for both commercial and residential applications. Forbo Flooring Systems introduces "Marmoleum Linear," a carbon-neutral, plant-based linoleum flooring made from linseed oil, waste wood flour, and jute, designed to mimic wood with irregular grey and neutral stripes. ADEX presents the "Habitat" tile collection, a sustainable ceramic option for interior walls made with 55 percent white-body ceramics for enhanced durability. Lastly, Decocer's "Crag" tiles offer a family of porcelain tiles that replicate the look of stone and weathered steel, suitable for indoor and outdoor walls and floors, characterized by an industrial aesthetic and textured matte finish. #ProductLaunch #InteriorDesign #FurnitureDesign #TextileDesign #LightingDesign #SustainableMaterials #DesignInnovation #HomeDecor #WorkplaceSolutions

The enduring appeal of industrial design, exemplified by spaces like Andy Warhol’s Silver Factory with its exposed beams and raw materials, continues to shape contemporary aesthetics. This design philosophy, characterized by its no-frills and utilitarian approach, is particularly evident in modern bathroom design. Neo-Metro, a California-based company established in 1998, has successfully transitioned from primarily serving the residential sector to offering durable and artful industrial chic washbasins and toilets for commercial applications. The company’s products often feature custom powder-coated stainless steel fixtures, allowing for unique geometric patterns and negative space designs that Kristin Kahle, VP of Neo-Metro, notes provide dramatic results. Central to Neo-Metro's commercial offerings is the environmentally-friendly and hygienic WEDGE basin. This innovative basin, compatible with various faucets, creates the visual effect of water seamlessly disappearing into an angular space, effectively preventing spillage. Constructed from post-consumer recycled bio-based materials, the WEDGE basin boasts a Class A fire rating, aligning with contemporary demands for sustainable and safe building components. Kahle emphasizes the company's commitment to providing a sustainable commercial basin that stands out in the market, describing it as "functional art." Designers are expected to value its clean lines, straightforward installation, and ease of maintenance. The WEDGE Basin is available in several configurations, including 30-inch one-station, 72-inch two-station, and 96-inch three-station options, offering versatility for diverse spatial requirements. While the blanco (white) solid surface version is typically in stock for quick shipment, other standard colors are available within a few weeks. Furthermore, Neo-Metro provides extensive customization options for designers, allowing them to specify the shape, color, size, and thickness of their products. The company also offers solutions for concealing plumbing fixtures and wall-mount supports, contributing to a minimalist and modern aesthetic. These design details enable the cast resin fixtures, some of which integrate LED lighting, to become focal points without visual clutter. The LED lighting feature, particularly popular in establishments like restaurants and nightclubs, enhances the ambiance by emitting a soft glow from the translucent material, adding a dramatic and functional element to dimly lit environments. Neo-Metro operates under Morris Group International, a company with over 70 years of experience in manufacturing stainless-steel plumbing fixtures for large-scale commercial projects. This long-standing expertise underpins the quality of Neo-Metro’s products throughout their design, development, and installation phases. Designers specifying Neo-Metro products benefit from a streamlined process, as items arrive on-site pre-fabricated with necessary connections, ready for immediate installation by plumbing contractors. This hands-on approach by the company significantly reduces preparation time and labor costs, offering an efficient solution for commercial and residential projects alike. #IndustrialDesign #BathroomDesign #NeoMetro #CommercialDesign #SustainableDesign #Washbasins #InteriorDesignTrends #ArchitecturalFixtures #CustomDesign

3DVIA, a Dassault Systèmes brand, focuses on bringing ideas to life in 3D within the home and furniture industry. Its primary platform, HomeByMe, offers online 3D experiences that allow users to create and visualize their dream interiors, discover furnishing inspiration, and personalize products and decor. This intuitive platform is accessible anytime, anywhere, and from any device, providing omnichannel solutions that redefine how consumers envision their ideal homes. The 3D experiences cater to two main audiences: HomeByMe for Consumers and HomeByMe for Enterprises. HomeByMe for Consumers offers free or subscription-based access to individuals, craftsmen, and interior designers, enabling them to directly engage with the platform for personal or professional projects. HomeByMe for Enterprises is designed for companies such as furniture, kitchen, and DIY retailers, as well as brands and manufacturers. These businesses can integrate HomeByMe into their websites or physical stores, or both, to enhance customer engagement and streamline the sales process. The solution supports companies of all sizes, from international retailers to independent businesses, across various sectors including kitchen, bathroom, storage, DIY, furniture, and home decor, with multi-language and currency capabilities. A key customer success story highlights Cabinets.com, the largest online retailer of U.S.-manufactured and assembled cabinets. Cabinets.com adopted HomeByMe to revolutionize the kitchen market by allowing consumers to design their ideal kitchens online. This approach eliminates the need for physical store visits, enabling customers to personalize kitchens based on their needs and budgets, and make faster, more informed decisions using realistic 3D visualizations. Jeff Robertson, President of Cabinets.com, emphasized the importance of an easy-to-use, web-based experience, praising HomeByMe's simplicity and intuitive workflow for digital kitchen design with the latest styles and trends. 3D space planning solutions, like HomeByMe, are tools that facilitate the visualization and design of interiors in 3D, providing an immersive experience for various users. These users include consumers looking to renovate their homes, interior designers and architects who present ideas to clients, contractors and installers planning home improvement projects, realtors showcasing properties to potential buyers, and retailers and manufacturers offering interactive design tools to customers. The platforms allow users to effortlessly create, modify, and visualize room layouts in 3D, personalizing spaces with furniture, decor, and appliances. Modern 3D planners are often web-based and cloud-enabled, focusing on intuitive user experiences. Some specialize in specific areas like kitchens or bathrooms to meet diverse business requirements. HomeByMe also supports the creation of detailed and accurate 3D floor plans, which are valuable for visualizing entire home layouts before construction or remodeling begins. The platform's seamless omnichannel approach integrates online and in-store experiences, making it versatile for various design needs. Consumers and interior designers can access HomeByMe directly for free or via subscription, while businesses can connect with 3DVIA Sales for enterprise solutions tailored to their specific needs, including specialized planning for different rooms and product categories. #3DHomeDesign #InteriorDesignSoftware #HomeByMe #RetailTechnology #DigitalTransformation #FurnitureIndustry #KitchenDesign #SpacePlanning

The Danish design brand Vipp collaborated with Marrakesh and Paris-based Studio KO to create a temporary guesthouse for 3daysofdesign. This collaboration aimed to blend North African aesthetics with Nordic design principles, resulting in a unique synthesis of weathered textures and Danish design heritage. Studio KO, founded by Karl Fournier and Olivier Marty, approached this project with a deep admiration for modern architecture, particularly referencing Jean Nouvel's work and the Louisiana Manifesto, which emphasizes the relationship between a structure and its environment. Their design for the guesthouse incorporates materials and techniques that evoke both protection and vulnerability, permanence and ephemerality. One significant design choice was the use of timber treated with the Japanese shou sugi ban technique for the guesthouse's exterior. This charring process enhances the wood's protective qualities while giving it a distinctive, aged appearance. Inside, the guesthouse features Vipp's modular Loft sofa, reinterpreted with Pierre Frey textiles. These fabrics, known for their hand-woven textures, introduce an element of traditional craftsmanship that contrasts with the sofa's modern, geometric form. Similarly, the Vipp Swivel chair, typically upholstered in leather, was given a new identity with Pierre Frey's textured materials, highlighting the subtle variations as a design strength. Kasper Egelund, the third-generation owner of Vipp, emphasized the project's goal to challenge conventional expectations of a Danish design company. The collaboration sought to create a dialogue between Vipp's established aesthetic and Studio KO's distinct approach, fostering a new kind of harmony through the juxtaposition of contrasting materials and ideas. The space is designed to engage all senses, incorporating tactility, sound, scent, and bold visual aesthetics, aiming to provide a surprising and playful experience for visitors. This cross-cultural design initiative underscores a commitment to innovation and a broader understanding of design possibilities, moving beyond singular cultural influences to create a globally inspired yet locally rooted experience. #InteriorDesign #Vipp #StudioKO #CopenhagenGuesthouse #3daysofdesign #NordicDesign #NorthAfricanSensibility #PierreFrey #ShouSugiBan

Acne Studios, the Swedish fashion label, has opened a new flagship store in Tokyo's Aoyama district, a move that encapsulates the brand's playful yet minimalist aesthetic. The store, located on a prominent corner of Omotesando, an area known for its architectural significance, was designed by Acne Studios' founder and creative director, Jonny Johansson, in collaboration with Stockholm-based studio Halleroed. This new location replaces a previous store on a nearby backstreet and represents the culmination of Johansson's long-standing connection and inspiration drawn from Japan. The conceptual foundation for the store was inspired by the idea of a 'garage' – an open, technical space. Johansson envisioned an interior that maintained the skeleton of the original building, incorporating extensive use of glass to create a seamless flow between the inside and outside, allowing visitors to feel connected to Aoyama. This structural openness is complemented by a unique design element: softly-textured pink granite stone. This material is used to connect various spaces, extending across floors and walls, and forms two prominent, airy staircases with clean, minimalist lines and subtly indented handrails. The choice of pink for the granite was deliberate, aimed at avoiding a 'banal' or 'naïve' impression. According to Ruxandra Halleröd, co-founder of Halleroed, the team explored various textures and materials before settling on a granite that intensifies in pink hue when flamed. This approach was intended to create a mature and nuanced pink, moving beyond typical feminine connotations to become a 'pop color' that aligns with Acne Studios' slightly vague yet distinct brand identity. Contrasting the soft pink granite, the store integrates reflective metal accents, angled mirrors, and dynamic stainless steel clothing hangers that are sharply suspended from the ceiling. This blend of materials and forms adds to the store's contemporary and edgy atmosphere. Further enhancing the creative interior are bespoke elements from long-term Acne Studios collaborators. British designer Max Lamb contributed a series of pieces, including shiny soft leather seats that appear to merge with the walls, tufted carpets, and 'Blob' chairs made from hand-dyed yarns. Illumination is provided by dozens of custom strip-lighting fixtures, conceived by designer Benoit Lalloz, which are strategically placed across ceilings and integrated into metal displays. Surrealist mannequins by artist Daniel Silver introduce an additional layer of artistry. Ruxandra Halleröd emphasizes that the design thrives on contrasts, mirroring Tokyo's own blend of high-tech and historical elements. The stark, hard-material-clad building contrasts with the irregular, shiny furniture, creating unexpected visual and tactile experiences. Christian Halleröd, also a co-founder of Halleroed, highlights Japan as a significant source of inspiration, particularly for its commitment to quality and craftsmanship. The store's opening is also marked by a collaboration with artist Takuro Kuwata, who created a series of candy-bright ceramic vessels and reinvented the brand's 'Camero' bag and denim jeans with rainbow designs and trompe l'œil effects. This reflects Johansson's perspective that "fashion is supposed to be fun" and a desire for luxury to be inclusive rather than exclusive, a philosophy that deeply informs the new Tokyo flagship. #AcneStudios #Tokyo #FlagshipStore #FashionDesign #RetailArchitecture #InteriorDesign #JapaneseCraftsmanship #ContemporaryArt

This article highlights ten furniture and lighting designs from Japanese brands and designers, curated to coincide with Designart Tokyo, an annual design festival that showcases architecture, interiors, product design, and art across various locations in Tokyo. The selection features a range of products including outdoor lantern lamps, sculptural tables, and carved wooden chairs, all previously showcased on Dezeen Showroom. Among the featured designs is the Kawara Armchair by Ronan and Erwan Bouroullec for Koyori. This chair is characterized by its classic shape, designed for dining or meeting settings, and its representation of high-quality Japanese craftsmanship. The box-like structure of the chair is intended to provide comfort. Another notable piece is the Sculpture Casting Bronze table by Time & Style, which incorporates a metal casting technique traditionally used for Buddhist statues in Japan for its large, sculptural base. This base is paired with an elliptical oak tabletop available in two sizes. Eterble fabric tablecloths by Japanese tableware brand Eterble are also presented. These tablecloths are made from recycled fabric, sourced from discarded items from weddings, hotels, and function rooms, and are offered in a neutral color palette. Seiki Design Studio, led by Kyoto-based designer Seiki Ishii, introduces the Bell lamp, a mobile lamp crafted from recycled glass. Its bell-shaped lampshade and blue loop allow it to be hung on a wall or placed on a floor stand. The Sou sofa, designed by Teruhiro Yanagihara for Swedish manufacturer Offecct, combines a wooden base with various cushioned seat options. Its minimalist design draws inspiration from both Japanese and Scandinavian design traditions. The Spectrum Workstation Round ST160, a collaboration between German studio Geckeler Michels and Japanese furniture manufacturer Karimoku, is a table made from Japanese oak. It features a circular cable tunnel in its center to manage cables efficiently while maintaining an aesthetic appeal. Product designer Yoshiki Matsuyama's Cachalot lamp for Ambientec is a portable light with a shape inspired by a whale's body. It consists of an LED light unit within a sculptural acrylic case, mounted on a die-cast zinc base. The DC10 chair by Inoda + Sveje for Miyazaki Chair Factory showcases a frame made from a carved piece of wood, emphasizing the natural material's color and grain. Its construction blends traditional handcrafting with modern CNC technology. The TO side table, created by Japanese designer Naoto Fukasawa for Italian brand Plank, is a minimalist piece featuring a circular base and tabletop. Made from four-millimeter-thick steel, it comes in various powdered-coated finishes. Finally, the Sparkler Lanterns by Kensaku Oshiro for Poltrona Frau are outdoor lamps available in three sizes. Their perforated shells, made from woven polypropylene rope, create unique patterns of light and shadow. This collection underscores a blend of traditional craftsmanship and contemporary design across various home furnishing categories from Japan. #JapaneseDesign #FurnitureDesign #LightingDesign #DezeenShowroom #DesignartTokyo #ProductDesign #InteriorDesign #Craftsmanship #SustainableDesign

The High-Tech Architecture movement, which emerged in 1970s Britain, was characterized by exposed mechanical systems, structural elements in vibrant colors, and adaptable interiors constructed from lightweight, metallic materials. This style, often called “structural expressionism,” was popularized by architects such as Norman Foster, Richard Rogers, and Renzo Piano. It transformed industrial and factory production elements into an ornamental language, where functionality became the primary aesthetic. These designs paradoxically appeared as technology began to shrink, with the advent of microchips, home computers, and global communication networks. These advancements led to computer-aided design, new material technologies, and rapid prototyping, giving rise to sleek and simple technological aesthetics. Currently, a new generation of designers is reevaluating the meaning of a “high-tech” aesthetic in interior and object design. Moving away from post-pandemic trends that favored natural and organic materials, these designers are incorporating digital manufacturing techniques and processes while playfully engaging with past factory-made components. Harry Nuriev of Crosby Studios, known for his chromatic surfaces, pixelated videogame-inspired furnishings, and digital software-referencing wallpapers, views the past high-tech movement as a "cold engineer’s functional aesthetic." For him, contemporary high-tech design should be centered on the "virtual experience." Nuriev recently coined the term “transformism” to describe his design philosophy, which involves combining existing objects and materials to create a transition from one form to another. His Video Game Stool collection exemplifies this, inspired by the aesthetic of low-quality, downsized furniture files in virtual environments. Nuriev’s "transformist" approach, as seen in his Retro Futurism Collection, transforms streamlined machine-like motifs into soft, reflective textiles, mimicking liquid stainless steel settling into sofas or bedsheets. Other designers are using factory aesthetics as a foundation for broader metaphors in commercial spaces. Masquespacio’s MO Bakery and Espresso Bar in Saudi Arabia draws inspiration from the role of water in baking and coffee brewing, employing metallic finishes to evoke flowing water. Sandblasted pipes extend from a mirrored ceiling, forming booths and reminiscent of the pipes and air ducts of the Centre Pompidou. Curvilinear glass and chrome orbs represent gas bubbles, blending industrial shine with organic forms. This curvilinear approach advances the high-tech aesthetic toward a more streamlined language. This style is also evident in spaces where industrial elements were always present, such as Buero Wagner’s office transformation. The Munich-based architectural studio converted its basement into a workspace, using galvanized steel gratings for custom seating and welded furniture that appears to grow organically from the floor. An aluminum foil curtain provides natural light and privacy, allowing industrial elements like exposed gas pipes and X-Beams to remain visible. The versatile space echoes the flexible, open-plan ideals of the High-Tech architectural era. CHYBIK+KRISTOF’s Modular Research Center for KOMA Modular exemplifies flexibility and ecological motivations. This “innovation hub” for modular building prototypes incorporates elements of High-Tech Architecture and digital design, notably omitting right angles and using rotating containers as structural columns. Constructed from three main modules (roof, container, and floor), the center features shiny load-bearing walls and floor-to-ceiling windows that reflect natural light off perforated metal ceilings. The materials are locally produced, aligning with High-Tech Architecture’s original ecological concerns and emphasizing the structure as a dynamic, adaptable module that promotes human activity. The High-Tech architectural style has also influenced furniture and objects. The Korean design group niceworkshop’s Affordance Series, crafted from polished stainless steel, directly references industry and machinery. Chairs feature industrial lifts instead of legs and roll on steel wheels, while a bench, inspired by an assembly line, rests on a precisely engineered sphere. Oversized bolts and screws are exposed, making joinery and construction ornamental. This collection, aimed at “inducing human behavior and psychology,” encourages users to interact with objects as if they were industrial factory workers, pushing them to engage with the furniture’s mechanics. Founder Hyunseog Oh explains that the series uses elements like conveyor belt rollers and industrial lifts to highlight the interaction between furniture and user. This approach, recalling Le Corbusier’s concept of homes as "machines for living," embodies an ultramodernity celebrated by High-Tech architects. Whether in commercial projects or everyday objects, the familiar motifs of the High-Tech Architecture movement, adapted for smaller scales, continue to reflect a fascination with mechanical workings, extending beyond mere function into decorative expression. #HighTechInteriors #ArchitecturalRevival #CrosbyStudios #Masquespacio #BueroWagner #CHYBIKandKRISTOF #niceworkshop #DesignTrends #IndustrialAesthetics