Stockholm Creative Edition: Glass, Wood + Metal

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

The 2015 Stockholm Furniture & Light Fair showcased a vibrant array of established brands and emerging talents, with a refreshed layout that enhanced the exhibitor experience. Guest of honor Ilse Crawford, founder of Studioilse, reimagined her South London studio within the fair's central meeting area, providing a space for visitors to explore the profound impact of design on daily life. Coinciding with the fair, Crawford unveiled her inaugural collaboration with IKEA, introducing an accessible collection of furniture, lighting, and smaller items, including cork tables, hanging lights, accessories, and a day bed. This collection was presented in the charming setting of Ett Hem, a historic Stockholm house that Studioilse had previously redesigned into a boutique hotel in 2012. Several promising designers from previous years demonstrated their evolution into established brands. Baux, for instance, made its debut in the main hall, introducing a new wall system developed in partnership with Stockholm-based Form Us With Love. A notable newcomer was Taiwanese brand NAKNAK, a Taichung-based manufacturer with extensive experience in producing metal components for other brands. NAKNAK launched its first in-house collection, collaborating with international designers like Kyuhyung Cho from Stockholm. Their powder-coated metal wire house numbers, designed by Cho and Erik Olovsson, garnered significant attention for their innovative design. The fair's annual Greenhouse exhibition, a platform dedicated to fostering emerging talent, was curated by Note Design Studio. Their mirrored pavilion ingeniously highlighted the work of several up-and-coming designers. Among these, Danish designers Pettersen & Hein captivated with their structurally dynamic light objects, while Glen Baghurst showcased his colored concrete tiles and a versatile movable chair. Adding to the fair's dynamic, established Swedish architects and Wallpaper* Design Award winners, Claesson Koivisto Rune, ventured into production with their new homeware company, 'Smaller Objects.' This new venture focuses on everyday design, offering a collection of household items ranging from cooling stone coasters to innovative herb pots. In parallel, the architects launched a bright light collection with Wästberg and a structural modular sofa and side table with Offecct. Danish design stalwarts and fellow Wallpaper* Design Award winners Carl Hansen & Søn introduced a double-sided tray table with collapsible legs and a removable tray, available in light oak and smoked oak veneers, which quickly became a customer favorite. On a larger, architectural scale, Spanish powerhouse Cosentino, known for its ultra-compact slab material Dekton, collaborated with Munich-based designer Steffen Kehrle. Kehrle crafted a small structure entirely from Dekton, creating an informal gathering space called 'House of Dekton,' which offered a serene escape from the bustling fairground. The fair also featured other notable pieces like the 'Ghost Chair' by Ingrid and Olle Wingård for Minus tio, the 'Tuann' red shelf by Shuang Liang, and new copper 'PH 3.5-2.5' table lights from Louis Poulsen, all contributing to the diverse and innovative displays at the 2015 Stockholm Furniture & Light Fair. #StockholmFurnitureFair #DesignExhibition #FurnitureDesign #LightingDesign #EmergingTalent #NordicDesign #InteriorDesign #Homeware #ProductInnovation

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

The article highlights five Copenhagen-based creatives who are redefining Danish design by blending traditional aesthetics with contemporary approaches. These designers are characterized by their respect for heritage, openness to new ideas, and a focus on pushing creative boundaries, moving beyond the well-established minimalist, muted, and naturalistic style often associated with Scandinavian design. They are introducing fresh perspectives while maintaining a strong connection to craftsmanship and human-centered design principles. Helle Mardahl, a former fashion designer, transitioned into creating colorful blown-glass objects, including lamps, tableware, and decorative pieces. Her work is notable for its vibrant colors and whimsical forms, reminiscent of candy and childhood treats, which challenges the traditional muted palette of Danish design. Mardahl’s experience studying abroad in London influenced her appreciation for Copenhagen and inspired her to incorporate bolder aesthetics, proving that exposure to diverse cultures can enrich local design. Architect Søren Pihlmann operates his studio with an unconventional approach, emphasizing the use of existing building elements in renovations. His methodology avoids fighting against a structure's inherent potential, instead allowing the building to guide the design process. Pihlmann's work, which spans from industrial breweries to private homes, focuses on understanding materials and their stories, advocating for a shift away from purely conceptual architecture towards a more tangible, material-driven practice. He also questions profit-driven trends, prioritizing sustainable and respectful renovation. Thomas Woltmann, a furniture designer, focuses on bringing conceptual artistic thinking into relatable, functional design. His award-winning Re-C chair, made from recycled wood from an old church, exemplifies his commitment to using regional and recycled materials, re-establishing a connection between humans and the physical objects in their lives. Woltmann believes in drawing inspiration from Denmark's rich craft history to address contemporary challenges, such as the climate crisis, by focusing on natural materials, longevity, and craftsmanship, echoing the spirit of past Danish design masters while adapting to modern needs. Interior designer Jessica Vedel, with a background in fashion and photography and international experience in Berlin, London, and New York, blends Nordic minimalism with cosmopolitan elegance. Her designs are characterized by bespoke furnishings, intricate architectural details, and a keen sense of form and scale. Vedel's work is influenced by her Danish roots and the tradition of quality materials and architecture but incorporates more volume and layering, reflecting her global exposure. She also designs furniture, collaborating with brands and developing custom pieces, always driven by an intuitive creative impulse. Danielle Siggerud, an architect from Oslo, initially considered a career in medicine due to an interest in helping people, but her awareness of how spaces affect human feelings led her to architecture. Her firm specializes in both new builds and historic renovations, applying a "refined minimalism" that emphasizes materiality and tactility. Siggerud's approach, refined under John Pawson, considers the routines and situations of inhabitants, focusing on creating sensory experiences through thoughtful integration of elements like lighting, doors, and surfaces. Her work, which extends to furniture design, aims to elevate the everyday and interact with the past through a deep appreciation for human interaction with built environments. These five creatives collectively represent a dynamic evolution in Danish design, honoring its foundational principles while boldly exploring new directions. #CopenhagenDesign #DanishDesign #CreativeInnovation #HomeDesign #ArchitecturalRenovation #SustainableDesign #FurnitureDesign #InteriorDesign #MaterialExperimentation

Stockholm Design Week 2025, held from February 3-9 in conjunction with the Stockholm Furniture Fair, showcased the dynamic and evolving landscape of Scandinavian design through a diverse array of exhibitions, events, and furniture launches. The event featured experimental and limited-edition pieces, particularly from the collectible design platform Älvsjö Gård. Among the notable presentations was "Table 4" by Niklas Runesson for Älvsjö Gård, a birch table featuring legs inspired by a beaver's tail, designed to comfortably seat seven. OEO Studio, for &Tradition, introduced the Ita table and bench collection, crafted from oak using Miyadaiku, an ancient Japanese carpentry technique that eliminates the need for screws or glue. This collection, including dining and coffee tables and benches, is designed for flat-pack shipping and easy assembly. Studio Stockholm, in collaboration with Dusty Deco, presented "Decadent," a club chair with a gracefully curved backrest and seat. Made from FSC-certified wood and upholstered in a dusty rose wool-blend bouclé Jacquard, it adds a feminine touch to a classic design. Erik Bratsberg's "CabinEtt" for Älvsjö Gård was a striking limited-edition piece made of walnut framing unevenly cut Mappa burl wood veneer. Form Us With Love designed the Nest Club Chair for +Halle, integrating a side table into a lean silhouette, aimed primarily at the hospitality market. Axel Wannberg's "Lamp 53" for Nordiska Galleriet, named for its 53-degree design angle, was re-released in new powder-coated stainless steel finishes. Thomas Bernstrand and Stefan Borselius, for Blå Station, introduced "Villhem," a lounge chair that blurs the lines between business and residential design with various customizable upgrades. David Ericsson's "V.DE.07" for Verk is a distinctive armchair with an optional Gotland sheepskin seat cover, known for its unique wool. Rug company Layered celebrated a decade with "Ten Years Unfolded," an archival collection re-presenting three existing geometric patterns—Illusion, Letters, and Triangle—in new colorways, all hand-tufted from 100% wool. Form Us With Love also collaborated with Baux on "X-Felt," a soundproofing solution featuring large-format acoustic panels and tiles with circular patterns inspired by Japanese Zen gardens. These panels are made from GRS-certified PET plastic, meeting fire safety standards without harmful chemicals. Finally, Kay Bojesen introduced the "Painted Mini Monkey," a four-inch rendition of the iconic wooden monkey, now available in apple green and power pink, crafted from FSC-certified beech wood. These highlights collectively demonstrate the innovation and aesthetic diversity showcased at Stockholm Design Week 2025. #StockholmDesignWeek #ScandinavianDesign #FurnitureFair #InteriorDesign #ProductLaunches #SustainableDesign #Craftsmanship #DesignExhibitions

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 perception of Scandinavian design, particularly Swedish design, has long been synonymous with minimalism: functional, pared-back aesthetics characterized by blond wood and stark white walls. However, a noticeable shift is occurring in Stockholm, where a resurgence of more colorful, richly textured, and historically inspired design elements is challenging this established notion. This movement is reintroducing forgotten periods of Swedish design history, injecting vibrancy into contemporary spaces. One prominent example of this evolving aesthetic is the Stockholm design shop Layered, housed in a 500-year-old building. Unlike the minimalist stereotype, Layered features marble pillars, gold scalloped moldings, and walls painted in deep turquoise and salmon. The interior is adorned with antique fringed lamps, furniture upholstered in dusty pink and marine blue velvets, and surrealist carpeting. This eclectic mix signals a departure from the purely functional and highlights a return to more ornate styles. This shift draws inspiration from several historical Swedish design trends. The gilded opulence of the 18th-century court of King Gustav III, known as Gustavian gilt, is making a comeback. Another significant influence is Josef Frank, a textile designer celebrated for his wild textiles and individualistic spirit. Additionally, the “Swedish Grace” movement, an appealing pastiche of Nordic folk motifs and ornate craftsmanship that emerged concurrently with Art Deco, is gaining renewed attention. Swedish Grace furniture and ceramics garnered international acclaim at the 1925 Paris world's fair and were exhibited at the Metropolitan Museum of Art, only to be overshadowed by functionalism and mass production in the 1930s, largely due to the rise of companies like Ikea. Andrew Duncanson, owner of Modernity, a vintage furniture gallery in Stockholm, notes the change, recalling a time when Swedish interiors were predominantly “50 shades of white.” He observes a current progression toward color, luxurious fabrics, and unexpected objects, executed with a distinctly subdued Scandinavian sensibility that sets it apart from trends in other European design hubs. This unique maximalism can be seen in historical sites like the Royal Swedish Opera and King Gustav III’s Pavilion, which showcase Sweden’s subtle interpretation of French Rococo, and Ragnar Ostberg’s mosaicked City Hall, a testament to Swedish Grace. The enduring Stockholm boutique Svenskt Tenn, which has carried Josef Frank's designs since 1934, also plays a role in this reawakening. A pivotal moment for this new aesthetic was the opening of Ett Hem, a hotel designed by British decorator Ilse Crawford in collaboration with Jeanette Mix. This 12-room Art Nouveau townhouse blends traditional Scandinavian elements, such as handwoven wicker chairs and tiled kakelugen stoves, with truffle-colored velvet sofas, snow-white marble, and classic candelabras from the 400-year-old brass foundry Skultuna. The Haymarket by Scandic Hotel further exemplifies this trend. Designed by the Stockholm firm Koncept, this hotel, housed in a 1920s department store, features interiors that lean more towards a "Miami than Scandi" aesthetic, incorporating palace red carpets, Deco wallpaper, and a kaleidoscope of velvet. Malin Glemme, the owner of Layered and a local designer, expresses her intention to rebel against the city’s long-standing aversion to ornamentation. She believes that minimalism has been dominant for too long and that Swedes are now more interested in expressing their individuality through design. #ScandinavianDesign #SwedishDesign #Maximalism #InteriorDesign #GustavianGilt #JosefFrank #SwedishGrace #StockholmArchitecture #DesignTrends

Glassware, historically considered less significant than ceramics, is experiencing a resurgence in popularity, driven by a renewed appreciation for its aesthetic and historical value. Collector Mark Hill notes the puzzling disparity in value and scholarly attention between glass and ceramics, despite glass's enduring appeal. Mid-century glassware, particularly pieces from Murano, Sweden, Finland, Denmark, the UK, the US, and Czechoslovakia, remains highly sought after. This era showcased a wide range of styles, from Murano's elaborate, kaleidoscopic designs using ancient techniques like murrine to the modernist simplicity and nature-inspired colors favored by Finnish designers such as Alvar and Aino Aalto with their iconic Savoy vase, and Timo Sarpaneva's textured Finlandia glassware. These designers often influenced each other, with British designers like Geoffrey Baxter drawing inspiration from Scandinavian aesthetics, incorporating natural textures into his designs. The international studio-glass movement, initiated in the 1960s by American artists like Harvey Littleton, democratized glassmaking by enabling individual artists to produce pieces in smaller furnaces, leading to more expressive works. Contemporary homeware brands are now channeling this mid-century aesthetic, exemplified by Danish brand Hay's Splash vase, which utilizes techniques like rolling molten glass over colored fragments. While the visual appeal of glass is a significant draw, current trends also reflect an interest in authentic craftsmanship, a sentiment highlighted by the Netflix series "Blown Away," which showcased the skill and drama of glassblowing. This show also brought attention to the increasing number of women entering the previously male-dominated field of glassmaking. Modern glass artists, such as Deborah Czeresko, the winner of "Blown Away," are also using their craft to explore conceptual and political themes, addressing issues like feminism and environmentalism through installations. Designers like Erwan and Ronan Bouroullec experiment with glass for architectural and conceptual pieces, while artists like Jochen Holz utilize techniques like lamp-working to create unique, asymmetrical glassware in vibrant hues. The industry is also evolving to incorporate more environmentally friendly practices. Manufacturers such as Japanese brand Sugahara and H&M Home are developing ranges from recycled glass and employing energy-saving production methods. British artist Allister Malcolm uses waste lead crystal, reuses offcuts, and powers his studio with solar panels. The "market for craft" report indicates a significant increase in the value of sales for individual glass pieces in England. Emerging trends include the growing popularity of colored glass, as observed by Turkish brand Nude, and a movement towards mismatched sets in tableware, offering greater freedom in design and color, as noted by SCP owner Sheridan Coakley. Technological advancements like 3D printing are enabling more intricate designs, while traditional handcrafted methods, such as lost-wax casting, remain vital for artists like Angela Jarman, ensuring the continued evolution and appreciation of glamorous glassware. #GlasswareDesign #MidCenturyModern #ArtGlass #HomewareTrends #SustainableDesign #Glassblowing #Craftsmanship #InteriorDecoration #NordicDesign

Designers Jess and Jonathan Nahon of Sugarhouse undertook a full renovation of an 805-square-foot apartment on New York City's Upper West Side for clients who were relocating from Denver. The primary goal was to transform a two-bedroom unit into a spacious one-bedroom with a flexible office space, catering to both the wife, a crime fiction writer, and the husband, a cybersecurity professional, who both work remotely. This required creating separate work-from-home areas and accommodating guests. The renovation presented several challenges, including the need for a gut renovation. Moving plumbing to expand bathrooms proved difficult, with one bathroom expansion deemed impossible due to the building's infrastructure. Additionally, the apartment's location resulted in suboptimal natural light. Despite these hurdles, the designers aimed to create a warm and welcoming Manhattan home with a focus on Scandinavian-inspired elements, particularly those reflecting the wife's Swedish heritage. Upon entering the apartment, the kitchen is immediately visible. The designers treated the kitchen as a piece of furniture, incorporating "cannonball details" inspired by historical Nordic furniture into the peninsula to create a distinctive, less generic look. This design choice also helped to open up the kitchen space to the living room, preventing it from feeling cramped. Collaborations with companies like Stahl + Band were key in creating custom elements, such as the chairs. To make the galley kitchen feel more inviting, upper cabinets were removed, which were perceived as dark and overwhelming. The designers emphasized that clients often overestimate their storage needs, and this removal helped lighten the space. A notable design feature is the interior stained-glass window connecting the kitchen hallway to the primary bedroom. This window, created in collaboration with Friend of All in Philadelphia, was inspired by Swedish tapestries and serves to bring light into the hallway while providing a unique artistic element for the wife's study on the other side. The designers aimed to make the connection between private and public spaces more harmonious. The smaller second bedroom was converted into a flexible study, incorporating glass double pocket doors to integrate it with the common area. These vintage glass French doors were salvaged from another project and modified, requiring significant effort from the contractors due to their vintage nature and the addition of a curved frame. Storage was a major consideration, especially for the husband's tech equipment. A customized USM desk was installed, allowing him to neatly store all his gear at the end of the workday. The living room features a striking Murano glass chandelier from Sogni di Cristallo, specifically designed to capture the golden light that occasionally enters the apartment from a nearby church. The clients' request for a stylish pullout leather sofa was met with a dark blue leather Montauk Sofa, reflecting their preference for leather furniture from their time in Colorado. In the guest bathroom, the floor tiles were inspired by a Nordic tapestry, offering a graphic grid design to introduce color in a subtle way, while the wall tiles complement this pattern. The primary bathroom, despite its small size and fixed risers, features a dramatic blue stone, sourced from Morocco, which wraps the entire space. A custom brass wash stand was designed to complement the stone vanity. The bedroom showcases a playful aesthetic with a custom rug from Cold Picnic, which incorporated elements from old tapestries, such as a leaf branch, avoiding a traditional look. Mounted nightstands were chosen to maximize visible floor space in the compact apartment and conceal electrical outlets for chargers. The biggest splurge for the project was the custom stained-glass window, while a vintage bar cart found for $500 was a significant save. Maximizing storage through custom millwork, including concealed radiators that double as cabinets and ample shelving in the study, and incorporating a wine fridge into the galley kitchen by utilizing a former closet space, were identified as key game-changers for the clients. #ApartmentRenovation #NYCDesign #SwedishDesign #SmallSpaceLiving #CustomMillwork #StainedGlass #GalleyKitchen #HomeOffice #InteriorDesign

This blog post compiles recent articles and projects from Designboom focusing on the application of glass in art, architecture, and design. The collection highlights the versatility and aesthetic potential of glass, ranging from large-scale public installations to architectural facades and interior elements. The articles showcase how artists and designers are pushing the boundaries of traditional glass use, incorporating it into innovative structures and artistic expressions. Key examples include a luminous forest in Hanoi composed of mirroring steel branches, demonstrating glass's role in creating immersive public art. Another project features an 'invisible Tokyo bar' that utilizes heated, transparent acrylic glass panels to distort reality, illustrating glass's capacity for experiential design. Architecture projects frequently employ glass for facades, as seen in Selgascano's transparent seaside café in China with three parallel glass volumes, and Cossement Cardoso's Helsinki museum concept, which features a textured glass skin forming a curved roof. The DA VÀNG studio in Vietnam also uses 3,000 glass bricks to create a curved, translucent house facade, emphasizing both structural and aesthetic applications. The articles also delve into the use of glass in smaller-scale design and art pieces. For instance, Bottega Veneta's summer show features 'lucid murano blown-glass stools' that mimic sea waves, showcasing glass as a medium for elegant furniture and decor. Artists like Vincent Leroy use floating lenses in an optical mobile, and Ben Tuna transforms a Porsche 911 into an art car with cathedral-inspired stained glass, highlighting the material's artistic adaptability. Sarah Brahim and Ugo Schiavi explore ancient rituals through glass temples and vessels, linking glass to cultural and historical narratives. Further architectural applications include a gradient brick facade by Delmulle Delmulle in a Belgium house, transitioning from terracotta to glass, and Vinklu's triangular prism coffee shop in Romania, using glass to fill narrow urban gaps. SICIS uses decorative glass to create glowing swimming pool surfaces in Cambodian villas, while BBWORKSPACE's Thai café employs iridescent panels to evoke gemstones and refract light. EcoLogicStudio's microbial installation at Triennale Milano reimagines domesticity with glass components, and Apropos Architects use a translucent glass facade for the Czech pavilion at Expo 2025 Osaka, demonstrating its use in significant public structures. Industrial design also features glass, such as Bugatti's Brouillard Coupe, which includes a miniature glass sculpture in its gearshift. Fredrik Nielsen's Stockholm studio explores glass's resistance to fragility and embraces chance in its creation. Atelier Échelle’s lakeside gallery residence subtly integrates glass within dark clay brick structures, harmonizing modern elements with traditional aesthetics. The variety of projects presented collectively underscores glass's multifaceted role in contemporary design, from enhancing visual experiences and light manipulation to contributing to structural integrity and artistic expression across diverse scales and contexts. #GlassArt #GlassDesign #ArchitecturalGlass #PublicInstallations #InteriorDesign #ContemporaryArt #BuildingMaterials #DesignInnovation #SustainableDesign

Studio E.O founder Erik Olovsson's 'Indefinite Vases' series, launched in 2016, showcases a narrative-driven approach to design, focusing on the interplay between contrasting materials. The project unites fluid, hand-blown glass with robust marble slabs, granite, and onyx, resulting in visually compelling and unique pieces. Olovsson, known for imbuing his projects with a story without adhering to a linear narrative, describes his work as having an unpredictable outcome, which he finds particularly appealing in this series. The creation of the 'Indefinite Vases' involved a collaborative process with local glass artisans in Stockholm, where Olovsson is based. These artisans crafted the spherical glass forms that are designed to interact with and perch upon the carefully selected stone bases. Olovsson deliberately chose five distinct types of marble, granite, and onyx, conspicuously avoiding the common white Carrera marble to introduce more variety and character into the collection. A central theme of the 'Indefinite Vases' is the contrast between the ancient origins of the stone and the freshly blown, malleable glass. This juxtaposition creates a calming visual effect that has resonated with viewers. Olovsson expresses a particular fascination with the geological history embedded within the stone materials, seeing them as timeless elements that beautifully complement the ephemeral quality of glass. The unpredictable nature of how the molten glass settles onto the stone is a key aspect of the design, ensuring that each vase is a one-of-a-kind creation. The enduring appeal and potential for variation suggest that 'Indefinite Vases' is an ongoing project for Studio E.O, with Olovsson envisioning a continuous exploration of these material interactions. The works are made available for purchase through Galerie Kreo, a testament to their artistic and design value. The series challenges traditional notions of a vase, proposing an "indefinite" form that is continually shaped by the unique process of its creation and the inherent characteristics of its components. The designer emphasizes that the journey of creation and the element of surprise in the final form are integral to the identity of the vases, making them more than mere functional objects but rather sculptural expressions of material dialogue. #StudioEO #IndefiniteVases #BlownGlass #MarbleDesign #StoneCraftsmanship #ErikOlovsson #MaterialContrast #InteriorAccessories #SwedishDesign #ArtisanCollaboration

New York-based design studio Trueing has unveiled its latest lighting collection, Cerine, at this year's NYCxDesign festival. The collection, which includes two pendants, a floor lamp, and a sconce, features bold, hand-formed chain links made from thick borosilicate glass in a variety of vibrant colors. The Brooklyn studio, co-founded by Aiden Bowman and Josh Metersky, aimed to offer an "interesting spin on the familiar" by reinterpreting traditional chain motifs found in jewelry, industrial settings, and architectural ornamentation. The design draws inspiration from diverse sources, such as delicate golden chain necklaces, robust metal chains seen in shipyards, and the decorative elements on Beaux-Arts building facades. Metersky explains that while chain is a common element in traditional lighting design, Trueing sought to create a fresh interpretation, making the chain itself the focal point rather than merely a functional component. Each individual chain link is precisely seven centimeters wide and twelve centimeters tall, and can be customized in seven opaque or transparent color options to suit various bespoke arrangements. Beyond their aesthetic contribution, the glass chains play a crucial role in the structural integrity of the lights, allowing them to be positioned and held in place. The metal finishes accompanying the glass elements are available in brushed brass, satin or polished nickel, and oil-rubbed bronze, providing a range of complementary material options. Metersky highlights the unique character of the hand-made links, noting that their individual imperfections contribute to a cohesive and natural overall appearance. The Cerine series showcases different applications of these distinctive chains to support mouth-blown glass bulbs. One pendant design uses two hooks to suspend the fixture from the ceiling, creating a significant, inverse-arch-like droop. The sconce variant incorporates three glass links that dangle from a metal arm, which in turn holds the light bulb. The floor lamp design features nine stacked pieces of Carrara marble forming its base, with five pastel pink glass links suspended from an arched arm that supports the glass orb. The glass orb itself can be specified in classic white opaline or a selection of custom colors. Trueing launched the Cerine collection through a partnership with Pas De Calais, a Japanese clothing store situated in Manhattan's Soho district. This collaboration was deemed a natural fit due to the shared design sensibilities between Trueing and the fashion label, both prioritizing purity, nostalgia, and a refined, elemental approach to traditional forms. Bowman emphasized that the collection's essence—recalling traditional design pieces rendered in a reductive manner—aligns perfectly with Pas De Calais's ethos and aesthetic. The Cerine exhibition at 482 Broome Street was open until the end of May, coinciding with NYCxDesign 2019, which ran from May 10th to 22nd. This marks Trueing's second collection, following their debut range launched in January at The Future Perfect in Manhattan. The NYCxDesign festival also featured other notable exhibits, including Workstead and Calico Wallpaper's designs showcased at New York's Arcade Bakery, and an immersive lighting installation by Snarkitecture. Photography for the Cerine collection was provided by Lauren Coleman, with additional images by Alan Tansey for the installation at Pas De Calais. #LightingDesign #GlassChains #NYCxDesign #ProductDesign #InteriorDesign #TrueingStudio #HandFormedGlass #DesignExhibition #CerineCollection

Scandinavian design, traditionally associated with utility, affordability, and simplicity, is experiencing a significant resurgence in luxury residential real estate, particularly in New York City. This trend, moving beyond its mass-produced roots like Ikea, is being embraced by high-end condo projects and reinterpreted by prominent design firms. Key to this shift is the design's underlying philosophy of “modest luxury,” characterized by refined and subtle aesthetics, understated elegance, and warmth, as articulated by interior designer Neal Beckstedt. It prioritizes purity, simplicity, clean lines, and natural materials like wood, often coupled with neutral color palettes and fine craftsmanship. The core of Scandinavian design blends aesthetics with functionality. Interior designer Tali Roth notes that while the high-end market often favors opulence, Scandinavian design emphasizes simplicity, where the overall impact derives from the thoughtful assembly of individual components. This concept resonates with the Swedish principle of “lagom,” advocating for “not too much, not too little,” succeeding the Danish “hygge” trend. This balanced approach has positioned Scandinavian design at the forefront of contemporary high-end design. The historical origins of Scandinavian design trace back to the early 20th century, influenced by Germany's Bauhaus school. The Bauhaus principle of creating a “total work of art,” integrating all aspects of architecture and interior design holistically, was adopted and evolved in the Nordic countries. Finnish architect Alvar Aalto, for instance, exemplified this by designing everything from the building structure to minute details like lamps and glassware. This movement gained significant traction in the U.S. in the 1950s. While sharing some overlap with Mid-Century Modern and Minimalism, Scandinavian design distinguishes itself through specific characteristics. Unlike Mid-Century Modern, which often uses darker hues, Scandinavian design prioritizes lightness and brightness, reflecting the long Nordic winters, and employs a muted color palette. In contrast to Minimalism's use of industrial materials like stainless steel and chrome, and reliance on geometric forms, Scandinavian design favors organic materials, subdued colors, and softer aesthetics. Beckstedt summarizes it as “form and function with warmth.” Contemporary luxury developments in NYC are actively incorporating Scandinavian influences. For instance, 145 President in Carroll Gardens, Brooklyn, promotes itself with the tagline “Scandinavian inspired. Brooklyn based.” The development's exterior features handmade Danish brick, and its interiors emphasize natural light, warm wood floors, custom cabinetry, and a Scandinavian-influenced material and color palette. Similarly, 505 West 19th Street in West Chelsea, designed by Danish architect Thomas Juul-Hansen, showcases natural materials, craftsmanship, and sophisticated interiors to create calm, comfortable, and private living spaces. The design ethos of simplicity and functionality translates into a curated and edited selection process for interiors. Designers like Tali Roth advocate for carefully chosen items rather than an abundance of possessions. Vanessa Antonelli, specializing in nurseries, highlights the desire for clutter-free, bright spaces with natural elements among her clients, often achieved through strategic storage solutions that double as décor. Chris Taylor of Morris Adjmi Architects notes that their firm's principles—simplicity, functionality, clean lines, light, natural materials, and craftsmanship—naturally align with Scandinavian design, as seen in projects like 211 Schermerhorn. This project features bright interiors with pale woods, large format plank floors, and integrated, handcrafted-looking cabinetry, evoking a handcrafted, artisanal feel through custom-stained white oak floors with varying widths and knotting. To incorporate this style, designers recommend choosing modern furniture with clean lines in natural wood, mixing natural elements like florals and plants with hard metals, and incorporating woven textiles to add softness, ultimately creating spaces that are both functional and warm. #ScandinavianDesign #LuxuryRealEstate #NYCDesignTrends #InteriorDesign #ArchitecturalInfluence #ModestLuxury #NaturalMaterials #BrooklynRealEstate #WestChelsea #ThomasJuulHansen

Sand, despite its common association with beaches and playgrounds, is a critical resource for modern technology. It is indispensable for manufacturing silicon microchips, fiberoptic cables, insulation, and solar cells, and forms the primary ingredient for glass used in consumer electronics such as refrigerators, microwaves, and computers. Despite the extensive efforts involved in extracting, transporting, refining, and processing sand into complex electronic components, there is a significant lack of effective recycling initiatives for these components once electronic goods reach the end of their lifecycle, often leading to them being discarded in landfills. While glass possesses excellent properties for recycling, current EU directives concerning the efficient processing of glass from electronic waste (E-waste) are notably absent. Addressing this critical environmental and resource management issue, the Norwegian architectural design firm Snøhetta has partnered with Brussels-based Studio Plastique to develop a research project titled ‘Common Sands – Forite.’ This collaborative endeavor aims to explore the feasibility of recycling and repurposing glass components found in electronic waste. Building upon existing research conducted by Studio Plastique, ‘Common Sands – Forite’ has evolved into a joint research initiative with Snøhetta, focusing on investigating potential applications for recycled E-waste glass. Through a series of extensive trials, prototype developments, and material variations, the project team successfully established a standardized process for recycling E-waste glass components. Concurrently, they developed an application that not only integrates but also highlights the variable material qualities inherent in this recycled glass: the creation of glass tiles. The project further benefited from the involvement of Fornace Brioni, an Italian ceramic tile manufacturer. Fornace Brioni contributed its considerable experience, industrial expertise, production capabilities, and potential for large-scale implementation to the initiative. The collaboration resulted in the creation of glass tiles in two distinct sizes, available in both opaque and transparent finishes. Each tile exhibits a unique pattern and aesthetic, collectively showcasing a profound and intricate terrazzo-like material quality. These characteristics render the tiles suitable for a diverse range of architectural uses, including surface coverings and semi-transparent partition elements. ‘Common Sands – Forite’ strategically leverages the unique compositional, chromatic, and structural properties of the waste material to produce a series of innovative architectural glass tiles. The project initially concentrates on waste glass sourced from ovens and microwaves as a starting point, primarily to demonstrate the aesthetic depth, functional versatility, and overarching potential of the recycled material. However, the scope of this project is not confined solely to this specific material stream, indicating broader possibilities for E-waste glass recycling in the future. This initiative represents a significant step towards developing sustainable solutions for electronic waste, transforming discarded materials into valuable architectural components, and establishing a circular economy within the construction and design industries. #SustainableDesign #EwasteRecycling #GlassTiles #ArchitecturalMaterials #CircularEconomy #MaterialInnovation #Snøhetta #StudioPlastique #FornaceBrioni

Norwegian architecture practice Superunion has meticulously designed a small, multifunctional space for Atelier Felix, located within Oslo's renowned Kunstnernes Hus. This project, undertaken by a firm Wallpaper* identified as 'ones to watch' in their 2014 Architects Directory, transforms an existing gallery space into a versatile area accommodating a workshop, reading room, and exhibition space. Kunstnernes Hus, an early example of Norwegian functionalism designed in 1930 by architects Blakstad and Munthe-Kaas, continues to be a central hub for contemporary art in Oslo. Superunion's design respectfully integrates into this historic context while introducing a distinct new character. The Atelier Felix space is designed for maximum flexibility, featuring three distinct zones. A bespoke wall unit serves as a floor-to-ceiling shelving system, providing ample display space for artists and the public to showcase temporary works. This shelving unit also cleverly encloses a more private reading area behind it, complete with space-saving window seats, maximizing the utility of the compact footprint. A key element of the design is a spiralling, sheer curtain that acts as a flexible room divider. This weightless partition allows for the separation of the workshop area from the rest of the room, creating an intimate setting without completely isolating it. The transparent nature of the curtain ensures that natural light continues to permeate the entire space, maintaining an open and airy feel. Further enhancing the connection to its surroundings, a wall-length window offers views of the bustling café below, allowing visitors to engage with the vibrant atmosphere while maintaining a sense of tranquility within the Atelier Felix. Architect Vilhelm Christensen from Superunion emphasizes that the design drew inspiration directly from the historical building itself. The practice's primary goal was to honor the existing architecture while imbuing the new space with a unique contemporary identity. This balance is achieved through the incorporation of crisp lines and a Scandinavian minimalist aesthetic, which directly mirrors the classical cubic forms of Kunstnernes Hus. The color palette of the space also pays homage to the building's heritage. The architects specifically chose a blue wall color, sampled from a fresco found in the building's foyer, to ensure a cohesive and historically sensitive integration. Additionally, the linoleum floor in Atelier Felix is a continuation of the flooring material used throughout the existing 1930s gallery space, further blending the new with the old. This functionalist-inspired approach and light touch by Superunion have resulted in a modern, adaptable space that respectfully complements its iconic historical host, Kunstnernes Hus, enhancing its capacity to host diverse artistic and cultural activities. #Architecture #InteriorDesign #MultifunctionalSpace #NorwegianDesign #KunstnernesHus #Superunion #AtelierFelix #Functionalism #OsloArtScene

The article details a collaborative campaign between Swedish fashion brand Totême and interior designers Halleroed, which uses a series of perspective-shifting images and 3D installations to celebrate their home city of Stockholm. Totême founders Elin Kling and Karl Lindman conceived the campaign with a strong focus on the geography and introspection afforded by their city, aiming to integrate fashion, lifestyle, and architectural elements. The campaign features photographs by Mikael Jansson, a renowned photographer admired by Totême for his work with luxury brands like Chanel, Brioni, and Dior. Jansson's contribution involved documenting an imagined day in Stockholm, capturing scenes such as a model dining at Teatergrillen, shopping at Hötorget market, and architectural facades, including Totême’s design studio. The collaboration with Jansson was facilitated by the restrictions that kept the creative team within Stockholm, which, according to Lindman, enhanced the campaign's value by utilizing local talent. Halleroed, long-term collaborators with Totême, were responsible for the 3D installations. Known for their sleek, materiality-focused retail spaces for brands such as Acne Studios and Byredo, Halleroed previously designed Totême's Art Deco-centric townhouse and its graphic space in Nordiska Kompaniet. Their affinity for Swedish materials is highlighted, and their architectural expertise was crucial in translating Totême's vision into physical manifestations. For this campaign, titled 'A Stockholm Story,' Halleroed constructed two-meter-high cuboid plinths using scarlet steel tubing. Elin Kling explained that the vibrant red tone was chosen for its elegance, contrasting effectively with Jansson's signature monochrome photography and offsetting the typically gloomy late summer Stockholm skies when the images were shot. This choice enhanced the industrial feel of the constructions while providing a visual pop. The campaign serves to emphasize Totême's distinct design cues and its deep connection to Stockholm. The article suggests that by showcasing elements of the city, from its scenic waterfront to its archipelago, Totême invites its audience to stylishly trace a route through the Swedish capital. This strategic use of local talent and a city-centric narrative aims to reinforce the brand's identity and its strong ties to its origins. #Fashion #Design #Stockholm #Toteme #Halleroed #MikaelJansson #Campaign #Collaboration #InstallationArt

The Milan-based design studio 6:AM, founded by Edoardo Pandolfo and Francesco Palù in 2018, is redefining the application and perception of Murano glass. The studio's name, 6:AM, signifies the moment the furnaces on the Venetian island are ignited daily, marking the continuation of a 700-year-old glassmaking tradition. Pandolfo, a Venice native, and Palù, an architect, aim to introduce Murano glass to a broader audience through a diverse range of products, including architectural installations, modular lighting, furniture, and sculptural objects, all characterized by precision, materiality, and conceptual clarity. Their work spans bespoke commissions for international brands and research-driven explorations into the future of glassmaking. 6:AM's approach marries ancient techniques with contemporary aesthetics, emphasizing a continuous dialogue between craftsmanship and design. This synergy means that product development and glassworking techniques evolve in parallel, where the object's shape often dictates how the glass is worked, and conversely, the design influences the choice of technique. The studio collaborates closely with Murano's master artisans, leveraging their extensive expertise in manipulating glass in its molten state. They actively experiment with layering, fusing, and adapting traditional methods to expand the material's potential while striving to minimize environmental impact. A notable project demonstrating this ethos is FLOAT, unveiled during Milan Design Week 2024. This collection repurposed salvaged glass from 1930s Milanese windows into furniture, shelving, and architectural cladding. By combining fused glass panels with minimalist steel structures, FLOAT explored new technical and aesthetic possibilities for post-industrial materials. This initiative culminated in the 'Resourceful Intelligence' installation at the 2025 Venice Architecture Biennale, where reprocessed glass from Milan’s Palazzo Missori was utilized to showcase circular design strategies, developed in collaboration with Park Associati. Earlier in the year, 6:AM held its inaugural solo exhibition, 'Two-Fold Silence,' at Milan's historic Piscina Cozzi during Milan Design Week. The exhibition featured Quadrato, a lighting collection that draws inspiration from 1920s industrial design, blending Bauhaus rationalism with the geometric abstraction of Kazimir Malevič. The Quadrato collection, crafted from blown Murano glass with varying textures and opacities, included a screen-printed lattimo wall lamp encased in painted iron, offering a modern interpretation of early 20th-century emergency lights. From crafting jewel-like hand-blown Murano glass stools for Bottega Veneta’s SS26 runway show to their pioneering material recovery projects, 6:AM consistently demonstrates a distinctive visual language. This language is characterized by fluid silhouettes, luminous textures, and a steadfast commitment to handmade quality. Each cuboid stool for Bottega Veneta, for instance, began as a 43 cm glass block shaped using cast-iron molds engraved with CNC technology, reflecting a process akin to traditional marble sculpture. The studio's work is deeply embedded in Murano’s historical glassmaking heritage, yet it is decisively forward-looking, continuously pushing the boundaries of glass design. #GlassDesign #MuranoGlass #6AMStudio #MilanDesign #SustainableDesign #BottegaVeneta #ArchitecturalInstallations #ContemporaryCraftsmanship #CircularDesign