When Leta Sobierajski enrolled in college, she already knew what she was meant to do, and she didn’t settle for anything less. “When I went to school for graphic design, I really didn’t have a backup plan – it was this, or nothing,” she says. “My work is a constantly evolving practice, and from the beginning, I have always convinced myself that if I put in the time and experimentation, I would grow and evolve.” After graduation, Sobierajski took on a range of projects, which included animation, print, and branding elements. She collaborated with corporate clients, but realized that she wouldn’t feel comfortable following anyone else’s rules in a 9-to-5 environment. Leta Sobierajski (standing) and Wade Jeffree (on ladder) \\\ Photo: Matt Dutile Sobierajski eventually decided to team up with fellow artist and kindred spirit Wade Jeffree. In 2016 they launched their Brooklyn-based studio, Wade and Leta. The duo, who share a taste for quirky aesthetics, produces sculpture, installations, or anything else they can dream up. Never static in thinking or method, they are constantly searching for another medium to try that will complement their shared vision of the moment. The pair is currently interested in permanency, and they want to utilize more metal, a strong material that will stand the test of time. Small architectural pieces are also on tap, and on a grander scale, they’d like to focus on a park or communal area that everyone can enjoy. With so many ideas swirling around, Sobierajski will record a concept in at least three different ways so that she’s sure to unearth it at a later date. “In some ways, I like to think I’m impeccably organized, as I have countless spreadsheets tracking our work, our lives, and our well-being,” she explains. “The reality is that I am great at over-complicating situations with my intensified list-making and note-taking. The only thing to do is to trust the process.” Today, Leta Sobierajski joins us for Friday Five! Photo: Melitta Baumeister and Michał Plata 1. Melitta Baumeister and Michał Plata The work of Melitta Baumeister and Michał Plata has been a constant inspiration to me for their innovative, artful, and architectural silhouettes. By a practice of draping and arduous pattern-making, the garments that they develop season after season feel like they could be designed for existence in another universe. I’m a person who likes to dress up for anything when I’m not in the studio, and every time I opt to wear one of their looks, I feel like I can take on the world. The best part about their pieces is that they’re extremely functional, so whether I need to hop on a bicycle or show up at an opening, I’m still able to make a statement – these garments even have the ability to strike up conversations on their own. Photo: Wade and Leta 2. Pandas! I was recently in Chengdu to launch a new project and we took half the day to visit the Chengdu Research Base of Giant Pandas and I am a new panda convert. Yes, they’re docile and cute, but their lifestyles are utterly chill and deeply enviable for us adults with responsibilities. Giant pandas primarily eat bamboo and can consume 20-40 kilograms per day. When they’re not doing that, they’re sleeping. When we visited, many could be seen reclining on their backs, feasting on some of the finest bamboo they could select within arm’s reach. While not necessarily playful in appearance, they do seem quite cheeky in their agendas and will do as little as they can to make the most of their meals. It felt like I was watching a mirrored image of myself on a Sunday afternoon while trying to make the most of my last hours of the weekend. Photo: Courtesy of Aoiro 3. Aoiro I’m not really a candle person (I forget to light it, and then I forget it’s lit, and then I panic when it’s been lit for too long) but I love the luxurious subtlety of a fragrant space. It’s an intangible feeling that really can only be experienced in the present. Some of the best people to create these fragrances, in my opinion, are Shizuko and Manuel, the masterminds behind Aoiro, a Japanese and Austrian duo who have developed a keen sense for embodying the fragrances of some of the most intriguing and captivating olfactory atmospheres – earthy forest floors with crackling pine needles, blue cypress tickling the moon in an indigo sky, and rainfall on a spirited Japanese island. Despite living in an urban city, Aoiro’s olfactory design is capable of transporting me to the deepest forests of misty Yakushima island. Photo: Wade and Leta 4. Takuro Kuwata A few months ago, I saw the work of Japanese ceramicist Takuro Kuwata at an exhibition at Salon94 and have been having trouble getting it out of my head. Kuwata’s work exemplifies someone who has worked with a medium so much to completely use the medium as a medium – if that makes sense. His ability to manipulate clay and glaze and use it to create gravity-defying effects within the kiln are exceptionally mysterious to me and feel like they could only be accomplished with years and years of experimentation with the material. I’m equally impressed seeing how he’s grown his work with scale, juxtaposing it with familiar iconography like the fuzzy peach, but sculpting it from materials like bronze. Photo: Wade and Leta 5. The Site of Reversible Destiny, a park built by artists Arakawa and Gins, in Yoro Japan The park is a testament to their career as writers, architects, and their idea of reversible destiny, which in its most extreme form, eliminates death. For all that are willing to listen, Arakawa and Gins’ Reversible Destiny mentality aims to make our lives a little more youthful by encouraging us to reevaluate our relationship with architecture and our surroundings. The intention of “reversible destiny” is not to prolong death, postpone it, grow older alongside it, but to entirely not acknowledge and surpass it. Wade (my partner) and I have spent the last ten years traveling to as many of their remaining sites as possible to further understand this notion of creating spaces to extend our lives and question how conventional living spaces can become detrimental to our longevity.   Works by Wade and Leta: Photo: Wade and Leta and Matt Alexander Now You See Me is a large-scale installation in the heart of Shoreditch, London, that explores the relationship between positive and negative space through bold color, geometry, and light. Simple, familiar shapes are embedded within monolithic forms, creating a layered visual experience that shifts throughout the day. As sunlight passes through the structures, shadows and silhouettes stretch and connect, forming dynamic compositions on the surrounding concrete. Photo: Wade and Leta and John Wylie Paint Your Own Path is series of five towering sculptures, ranging from 10 to 15 feet tall, invites viewers to explore balance, tension, and perspective through bold color and form. Inspired by the delicate, often precarious act of stacking objects, the sculptures appear as if they might topple – yet each one holds steady, challenging perceptions of stability. Created in partnership with the Corolla Cross, the installation transforms its environment into a pop-colored landscape. Photo: Millenia Walk and Outer Edit, Eurthe Studio Monument to Movement is a 14-meter-tall kinetic sculpture that celebrates the spirit of the holiday season through rhythm, motion, and color. Rising skyward in layered compositions, the work symbolizes collective joy, renewal, and the shared energy of celebrations that span cultures and traditions. Powered by motors and constructed from metal beams and cardboard forms, the sculpture continuously shifts, inviting viewers to reflect on the passage of time and the cycles that connect us all. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Falling Into Place is a vibrant rooftop installation at Ginza Six that explores themes of alignment, adaptability, and perspective. Six colorful structures – each with a void like a missing puzzle piece – serve as spaces for reflection, inviting visitors to consider their place within a greater whole. Rather than focusing on absence, the design transforms emptiness into opportunity, encouraging people to embrace spontaneity and the unfolding nature of life. Playful yet contemplative, the work emphasizes that only through connection and participation can the full picture come into view. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Photo: Wade and Leta Stop, Listen, Look is a 7-meter-tall interactive artwork atop IFS Chengdu that captures the vibrant rhythm of the city through movement, sound, and form. Blending motorized and wind-powered elements with seesaws and sound modulation, it invites people of all ages to engage, play, and reflect. Inspired by Chengdu’s balance of tradition and modernity, the piece incorporates circular motifs from local symbolism alongside bold, geometric forms to create a dialogue between past and present. With light, motion, and community at its core, the work invites visitors to connect with the city – and each other – through shared interaction. The Cloud is a permanent sculptural kiosk in Burlington, Vermont’s historic City Hall Park, created in collaboration with Brooklyn-based Studio RENZ+OEI. Designed to reinterpret the ephemeral nature of clouds through architecture, it blends art, air, and imagination into a light, fluid structure that defies traditional rigidity. Originally born from a creative exchange between longtime friends and collaborators, the design challenges expectations of permanence by embodying movement and openness. Now home to a local food vendor, The Cloud brings a playful, uplifting presence to the park, inviting reflection and interaction rain or shine..

When we think of an eBike, the form is usually large and clunky with motors whirring to propel us forward when needed – not so with the EIDOLON by Ponomarets. Everything obtrusive and unneeded has been stripped away, leaving a super sleek machine that truly does look and feel like its traditional counterparts in the luxury industry. Elegant German engineering meets material technology innovations in this 9.9 kg (just under 22 lbs) bike, weighing in right around the same, if not a touch beyond comparable traditional bikes. A cut above, the EIDOLON is tough to beat in terms of style, performance, and precision. A carbon fiber frame sets the stage for one of the lightest eBikes on the market. Handcrafted in partnership with All Ahead Composites in Veitshöchheim, Germany, the EIDOLON thoughtfully combines cutting edge components with human artistry. Inspired by classic racing bikes, the form is fluid and fast, showing movement even when stationary. A collaboration with VoyagerCo in Belgium takes this form to the next level, the thoughtful refinement of components and a certain discreet elegance maintaining intrigue and timelessness. For the braking system, Ponomarets worked with Swiss brand 612 Parts and Voyager to create a lightweight yet powerful addition to the EIDOLON. From handling capabilities to overall responsiveness, these brakes are crafted to the highest standards of quality. Exclusively designed for Ponomarets, this brake system features an advanced flatmount design, two-piston functionality, and is equipped with Trickstuff pads and Goodridge hoses. A top consideration is the option of having mechanical shifting or electronic shifting. The electronic shifting option outfits your bike with SRAM RED, top of the line components used by pro racers. The surprising simplicity of SRAM wireless electronic shifting is second to none, and keeps a tidy appearance since it does not require shift cables. Elegance and technical aesthetics are just the beginning with the EIDOLON. In a nod to traditional bike designs of the past, the wiring sits on the outside of the frame, completely serviceable and more importantly, creates the perfect conditions to reduce weight and improve performance. Staying true to their philosophy of honoring the past by retaining the specific choices that have delighted cyclists for decades, all while looking toward the future in terms of material choice and precision machining, the EIDOLON sets a new standard for eBike design going into the future. Ponomarets takes their design philosophy from precision timepieces and luxury cars, embodying the sleek, aerodynamic design choices preferred by these storied industries. Thoughtful, meticulous, and stylish, the brand looks to history in concept, and toward the future in execution. To learn more about the EIDOLON eBike by Ponomarets, please visit ponomarets.com. Imagery courtesy of Ponomarets.

The name, the myth, the icon: Barbie is almost synonymous with pink, the specific hues of the time responding to cultural trends across the decades. The doll – created by Ruth Handler in 1959, and distributed and produced by Mattel – has reflected and also shaped decades of American culture. Bauhaus-inspired, Barbie and HEWI have collaborated to present the Barbie x HEWI sanitaryware collection, bathed in an approachable yet sophisticated shade of pink. With a focus on celebrating individuality the Barbie way, HEWI fosters a precedent of inclusive design for bathrooms at large, ushering in a new era where all are safe and welcome. HEWI continues to set new standards in bathroom and accessory design for almost one hundred years. Their iconic extruded door handle has extended to every facet of the bathroom, including a towel bar, shower seat, soap dish, and toilet roll holder, offering everything you might need if your bathroom needs a bit of brightness. A lovely shade of light pink accented with an approachable cream color allows the Barbie x HEWI collection to fit in with existing decor, palette incredibly important in a room made for washing and cleanliness. With a satisfying thickness sometimes absent from bathroom collections, each piece receives the signature HEWI finish, glossy and made to last even through the toughest bath times. Barbie has been an integral part of our culture for over 65 years, offering a new perspective about what professions the doll could take part in and the roles she could play. In more recent years, inclusion has been a priority for the brand, choosing a more natural silhouette and featuring a more accurate and diverse picture of who Barbie and her friends could be. Here, this energy extends to the restroom, where the iconic Barbie pink meets the bold, Bauhaus silhouette of HEWI designs. HEWI has been at the forefront of product design for over 90 years, challenging themselves and others to anticipate the needs of subsequent generations. With work in healthcare, public projects, hotels, and education, HEWI strives to continue to push the boundaries of materials technology, closing loops on their production processes with projects like the Re-seat collection, made out of offcuts from injection molding. To learn more about the Barbie x HEWI sanitaryware collection, please visit barbiexhewi.com.  Imagery courtesy of HEWI.

Installations on corporate campuses are often more than just eye candy. They’re a preview of the company’s ethos, a physical expression of how they think and create. So it’s no surprise that Google’s latest architectural addition doesn’t just stand out – it computes. The Orb designed by Marc Fornes, founder of art and architecture studio THEVERYMANY, is a jaw-dropping pavilion that lives on the tech giant’s Charleston East Campus. With its swirling, code-born structure and shimmering, spaceship-like exterior, The Orb looks like something generated by an algorithm, and that’s because it is. Set against a backdrop of tree-lined paths and native landscaping, The Orb rises like an artifact from another world – yet feels perfectly at home alongside Google’s modern campus. Measuring 10 meters tall and 26 meters wide, it makes a striking first impression. Despite being constructed from aluminum just 3mm thick, the structure is entirely self-supporting – a feat made possible through advanced computational design and Fornes’ longtime fascination with using algorithms and code to generate form. From afar, it resembles a futuristic seedpod or celestial vessel; up close, its perforated skin creates a shifting experience that changes with the weather. Part sculpture, part shelter, The Orb invites curious passersby to pause, step inside, and explore. On sunny days, daylight filters through the aluminum skin, casting dappled shadows across the ground while the canopy above evokes a starry night. Come evening, the installation glows with ground-level spotlights, turning its surface into a mesmerizing play of light and shadow that amplifies its sculptural presence. Though its fluid form suggests it was forged from a single sheet of metal, The Orb is actually composed of 6,441 individual aluminum pieces held together by more than 217,000 rivets – a fact that underscores the sculpture’s dual identity as both architecture and art. “For architects, we’re too much of an artist; for artists, too much of an architect,” says Fornes. That in-between sensibility is exactly what makes The Orb so compelling: it defies easy categorization, blending structure, sculpture, and spatial experience into something entirely new. It’s a fitting symbol of innovation – one that mirrors Google’s own ethos of pushing boundaries through design and technology. For more information on The Orb, visit theverymany.com. Photography by Younes Bounhar of Doublespace Photography.

Wellness is no longer something we seek out. It’s something we’re building into our homes. From infrared panels and cold plunges to entire rooms designed for rest and recovery, the wellness-at-home movement is reshaping how we live and reset. Thermasol, a pioneer in steam and sauna innovation since 1958, embraces this shift with a new collection of Scandinavian-inspired saunas that bring spa-level luxury to both indoor and outdoor spaces in your home. With natural materials, European craftsmanship, and smart features like WiFi-enabled controls and ambient lighting, each sauna is designed to transform daily rituals into immersive moments of restoration. Aalto Indoor Sauna The new indoor models – Aalto, Astra, and Lumaria – each take a distinct approach to serenity. Aalto, named after the Finnish word for “wave,” features sculptural lines and a seamless blend of wood and glass, creating an organic sense of flow. Astra Indoor Sauna Astra, derived from the Latin word for “stars,” offers a luminous experience with a sleek, corner-friendly layout that maximizes space without compromising elegance. Lumaria Indoor Sauna Lumaria, a combination of the words “lumina” (which means light) and “aria” (or melody), lives up to its name by blending gentle illumination and refined design in two flexible sizes. The Medium fits two to three people while the Large fits up to five – perfect for home wellness areas of all shapes and scales. Ombra Outdoor Sauna Designed by award-winning designer Bojan Črešnar, Thermasol’s five new outdoor saunas feel like you’re stepping away for a short vacation away from home. Each model is a study in contrast – bold yet serene, architectural yet inviting. The Ombra uses tinted, reflective glass that offers privacy while maximizing the views. Wavy wood accents add an organic warmth to the otherwise streamlined facade. Ombra Outdoor Sauna Ombra Outdoor Sauna Ombra Outdoor Sauna Vue Outdoor Sauna Vue Outdoor Sauna Vue Outdoor Sauna The Vue opens up to nature with a striking full-glass front, while the Fortis leans into warmth and durability with thermally modified wood and layered insulation. Fortis Outdoor Sauna Fortis Outdoor Sauna Spectra Outdoor Sauna For those with smaller footprints, the Spectra delivers big on style in a compact form, and the Vera is tailored for balconies, rooftops, and garden corners, bringing wellness to even the coziest of spaces. Spectra Outdoor Sauna With this new collection, Thermasol continues to evolve what wellness can look and feel like at home. These saunas merge design, technology, and tradition in ways that feel both elevated and deeply personal. Whether you’re carving out a moment of stillness indoors or soaking in the quiet of your backyard, these saunas invite you to pause, reset, and reconnect – no spa membership required. Vera Outdoor Sauna To learn more about Thermasol’s newest saunas and bring tranquility into your own home, visit thermasol.com. Imagery courtesy of Thermosol.

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.

North Carolina-based contract furniture company Here Now introduces Tate, a new modular seating system produced to support users’ well-being in public spaces. “Tate was conceptualized during the pandemic when I was thinking about social distancing,” says Justin Champaign, founder and creative partner. The idea sat on the shelf as the team focused on other projects, but Champaign decided to revisit Tate when clients noted that privacy and wellness were key concerns. He looked at a variety of public spaces and was particularly inspired by the High Line. Built on an elevated rail line, this Manhattan park has more than 230 benches and seating areas. With plenty of space on each, two people will usually sit on opposite ends, which offers a sense of connection while still maintaining a level of personal comfort. Tate provides the same kind of form and function for indoor environments, from offices to hospitality spaces. Tate is a designer’s kit of parts that includes cushions, base beams, and tables that snap together for quick assembly – no tools required. A patent-pending pivot connector allows clients to link, rotate, or reconfigure pieces with ease. There’s no limit to how Tate can be combined or joined. A student might perch on an ottoman in a lecture hall, or colleagues gather on two-seaters mixed and matched in a collaboration zone. Designed with ergonomics in mind, the seating supports various postures, while seat pads that swivel keep bodies in motion during the day. Modular furniture is popular, but typical lounges are often bulky and have too many parts. Tate’s compact footprint allows it to fit in any space or even curve around columns. Units placed back-to-back are suitable for minimal interaction, and small-group brainstorming sessions are enlivened with side-to-side pairings. Made of a plastic frame and foam, the components are not only lightweight, they can also be fully recycled and disassembled. Specifiers may select modules with a high back, low back, or a more casual no-back style. These backs are lower than typical dividers, stopping slightly forward of shoulder height. Individuals are able to view their surroundings without obstruction, which creates a feeling of emotional security. Tate is reminiscent of a picnic table, with benches and a surface in the center. In this updated version, as elements are extended more space is available, accessible to wheelchair users and others with physical limitations. Tate made its official debut at ICFF in New York City last week, winner of an NYCxDESIGN award in the contract lounge seating category. Displayed in a yellow fur upholstery at the show, a complete range of Kvadrat fabrics is on offer via Here Now’s new graded-in textile program. It’s no surprise that Tate is already generating buzz, with its blend of versatility and fun. “When you do the unexpected with furniture like Tate, it creates moments of delight,” Champaign notes. “That can seem like a small thing, but it has so much impact.” For more information on Here Now, visit herenowdesign.com. Imagery courtesy of Here Now.

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”

In the 1950s, Kartell wasn’t yet known for its iconic plastic furniture, but it was already making waves in Italian design. One of its earliest, most unexpected products? A sleek, functional ski rack made for a Fiat. Decades later, the two Italian icons reunite for something a little more ambitious: the Fiat Grande Panda Kartell. This concept car reimagines Fiat’s beloved boxy silhouette with a design-first makeover, infused with Kartell’s signature color-blocking, material innovation, and bold personality. More than just a stylish refresh, the Fiat Grande Panda Kartell reflects shared values between the brands: simplicity, functionality, and accessibility. Fiat brings its automotive legacy; Kartell adds a forward-thinking approach to material and form. Unveiled at Milan Design Week 2025, the vehicle challenges what a car can look and feel like when design takes the driver’s seat. At first glance, it’s impossible to miss the fiery red exterior, a high-energy hue that nods to Kartell’s signature color. Contrasting black panels add a sharp color-blocked effect, dialing up the visual impact. Kartell’s iconic ‘K’ logo is stamped throughout the car, appearing on everything from the third pillar to the thermo-embossed upholstery. Inside, design lovers will spot a cheeky Easter egg: a mini version of Kartell’s iconic lamp, cleverly positioned on the dashboard cluster as a playful wink to Kartell’s lighting legacy. True to form, Kartell also brings its material expertise to the table. Polycarbonate 2.0 – a second-generation polymer made from renewable sources – makes its way into the car’s interior elements. Known for its durability and lightweight nature, the material is a subtle callback to Kartell’s most celebrated, sustainable designs. Even the upholstery leans into innovation. A “tex to tex” process transforms production scraps from Kartell’s Foliage armchair into fibers, which are then re-spun into 100% recycled polyester yarn for the seat covers. The result is a tactile interior that looks great, feels great, and makes a case for circular design in the automotive world. As more brands team up in unexpected ways, it’s refreshing to see two Italian legends reconnect through a shared history and a deep love for design. More than just a moment in Milan, the Fiat Grande Panda Kartell celebrates heritage while pushing boldly into the future. Stylish, sustainable, and distinctly Italian, it’s proof that when design leads the way, everyone wants a seat at the table – or in this case, behind the wheel. To learn more about the Fiat Grande Panda Kartell collaboration, visit kartell.com. Photography courtesy of Kartell and Fiat.

In an era dominated by streaming services and digital music libraries, the vinyl record has made a remarkable comeback. Whether it’s the warmth of analog audio or the ritual of dropping the needle, vinyl has carved out a powerful niche in modern music culture. But while vinyl might win on audio quality and nostalgia, it’s long struggled with one key limitation: portability. Enter the Toshiba Aurex AX-RP10, a unique and compact portable vinyl record player designed to let music lovers take their turntables on the road – without sacrificing too much convenience. At first glance, the AX-RP10 seems like a niche curiosity, but it’s more than just a novelty. Toshiba has clearly put thought into the design and functionality of the device. It won’t slip into a pocket, but it’s small and lightweight enough to fit easily into a bag, which Toshiba includes in the box. This makes it a rarity: a vinyl player that actually invites you to leave the house with your records. The build quality leans into portability too. It’s compact, sturdy, and relatively minimalist, making it ideal for casual listening at a park, on a road trip, or anywhere your records might accompany you. A standout feature of the AX-RP10 is its built-in 2,000mAh rechargeable battery, which provides up to 10 hours of playback time on a single charge. That’s enough to get you through multiple full albums. Charging is done via USB-C, keeping it in line with modern charging standards, and making it convenient to recharge alongside your phone or other devices. Despite its retro concept, the AX-RP10 comes with a few modern touches. It supports both 33 1/3 and 45 RPM records, covering a wide range of albums and singles, whether you’re spinning new pressings or classic reissues. For audio output, Toshiba gives listeners multiple options. There are no built-in speakers, which helps keep the device compact and lightweight, but it features a 3.5mm stereo headphone jack so you can easily plug in wired headphones or connect to an external speaker. For those who prefer wireless audio, the AX-RP10 includes Bluetooth connectivity, allowing you to pair the player with Bluetooth headphones or speakers. While Bluetooth may introduce some audio compression and purists might prefer wired setups, the convenience of wireless listening adds versatility for casual use and outdoor environments. There’s even a “jacket holder” built into the back of the device. This simple stand lets you display the album cover of the record you’re currently playing, letting you enjoy the artwork or share what’s spinning with others. Fans of vintage gear will likely recognize the concept behind the AX-RP10. It bears more than a passing resemblance to the Audio-Technica Sound Burger, a cult-favorite portable turntable that originally launched in the 1980s and was recently reissued due to popular demand. Toshiba’s AX-RP10 echoes that legacy, while updating it for modern listeners with improved battery life and wireless capabilities. As of now, Toshiba has not announced an official price for the Aurex AX-RP10. However, given the price point of the Audio-Technica Sound Burger (around $200), it’s likely the AX-RP10 will land in a similar range. For more information, visit aurex.jp. Photography courtesy of Aurex and Toshiba.

Shelving can say so much about us – what we choose to hide, what we choose to show. Personality and utility collide, creating a necessary and usually static solution to an age-old problem: storage. N. Shook, led by designer Natalie Shook, offers a more flexible solution with the Ledoux Prêt, with trunk-like central towers that house large notches, perfect for shelves to fit into. With two distinct variations: one with draped steel shelf tops, one with beautiful perforated cabinet doors. Install the shelves at regular or irregular intervals, the choice is yours. Perforations are an elegant way to reduce weight, increase airflow, and maintain privacy within cabinetry. These perforations bisect a solid piece of cherry wood to form the shelves, marbling creating depth of color and a unique luminosity. Perforation also reduces the weight significantly, and making the changing of the shelf heights less cumbersome. The shelves are draped with a sheet of steel, to protect the top from damage. The steel looks as if it were just placed on and left out in the sun, melting gently on to the wood shelves. Satisfyingly thick yet light enough to move, the shelves create horizontal delineations within the vertical axis of the central piece, and offer a rare level of customization. Ledoux Prêt carries forward form sensibilities and tiered composition while offering just as much functionality and accessibility as its custom counterparts. Ledoux Custom features site specific, one of a kind pieces – Ledoux Prêt embraces the utility and essence of considered, custom work. “Ledoux Custom has always been about creating singular, sculptural pieces… With Ledoux Prêt, I wanted to celebrate the strength and clarity of the central column on its own. These designs offer a more immediate take: clean compositions that allow the form to stand confidently in space without elaborate intervention,” says Shook. Natalie Shook is a Brooklyn-based artist and designer, fitting in neatly to the intersection between fine art and design. Cooper Union graduate, process and precision are two grounding factors within her work, a deep respect for the material present in all her pieces. To learn more about the Ledoux Prêt collection, please visit nshook.com. Photography courtesy of N. Shook.

For his first solo venture, noted chef Mateusz Sarnowski, more affectionately known as Mati Pichci, wanted his restaurant to be the embodiment of the name he had chosen. In Latin, amator refers to a lover, a friend, an enthusiast, all descriptions of people who might dine at the new establishment located in the Østerbro district of Copenhagen, Denmark. To bring his vision of a Danish hjemme spisested or “home dining place” to life, Pichci tapped his friend and fellow Poland native, Adam Wierciński, founder of wiercinski-studio, to design the space, the architect’s first in the city. He envisioned AMATOR as an inviting place where guests could dine and socialize, inspired by the many festive gatherings hosted by Pichci. Wierciński made the most of the compact 538-square-foot space, transforming it into three spots in one: a café, a restaurant, and a venue for private events. During the day the kitchen serves breakfast and lunch. Flavorful fare includes dishes based on seasonal vegetables and the chef’s personal favorite, a classic omelette. Evenings, meanwhile, are reserved for private candlelit dinners. Near the entrance there is a wall-mounted installation featuring a piece of a tree trunk from a forest in Poland, a nod to the project’s prevalent materials. Simple geometric constructions – also designed by Wierciński – are formed of raw steel combined with solid wood. A high counter by the front window offers a view of charming townhouses, a perfect spot to tuck in with a beverage. Rather than basic bistro furnishings, a communal table is the focal point in the restaurant. Made up of a series of small tops, it includes interspersed plates atop stands that are used to hold food, drinks, or even candles. Each oak top is angled, and together they form a distinctive jagged line. Gaps between the tops give the look of separate tables, but by pulling out steel rings they can be easily combined into one large piece. Patrons sit at space-saving oak stools, initial items in the upcoming wiercinski-objects series. A bar, crafted from the same materials, and enhanced with brown mirrors, separates the open kitchen. Pops of the same yellow that fills in the eatery’s signature brand dot are visible here. This sunny shade is found on ceramic tableware and plywood shelves above the gray tile backsplash. Stainless steel elements, from sconces to circular mirrors, add a bit of shine. In a nook at the rear of the space a selection of vinyl from a range of genres is available to spin on a turntable, and custom-made speakers by local company Arda Audio ensure high-quality sound. Music is another key ingredient, and just like the cuisine, is part of the overall sensory experience at AMATOR. Mati Pichci and Adam Wierciński For more information on AMATOR or wiercinski-studio, visit wiercinski-studio.com. Photography by Paolo Galgani.

The Independents marks Colony’s 10th anniversary as a platform where founder Jean Lin’s personal vision and marketplace viability find rare equilibrium. The exhibition brings together 24 design studios from Colony’s orbit, each responding to what independence in design practice means to them. The resulting collection serves as both retrospective and manifesto – a declaration that independence in design isn’t merely aesthetic preference but philosophical stance. A paper cord chair with a single walnut along a corner hinge sits in the corner of Lin’s Tribeca gallery space. To the casual observer, it might register simply as a thoughtful detail of material juxtaposition. But Chen Chen & Kai Williams’ Walnut Corner Chair carries cultural memory within its form. The designers drew inspiration from the Chinese tradition of passing walnuts from one generation to the next, objects worn smooth by the hands of ancestors. This object-as-inheritance becomes a fitting metaphor for what Colony has cultivated over its decade of existence. “I’m very proud of the community of independent designers that we have built at Colony over the past decade,” says Colony founder Lin. “The Independents exhibition encapsulates my very own ‘why.’ My belief in the independent spirit is limitless, and so is my awe.” The exhibition reveals how Colony’s cooperative model has evolved beyond representation to becoming an incubator. Studios emerging from the gallery’s Designers’ Residency program – including Ember Studio, Thomas Yang Studio, and the freshly minted Studio BC Joshua from the 2025 class – demonstrate how Colony functions as both launch pad and ongoing support system. Materiality serves as a throughline connecting past and present. Current Colony designers like Hiroko Takeda, Moving Mountains, and SSS Atelier present new work that extends their material investigations. Takeda’s textiles in particular showcase how technical mastery creates spaces for expression – the constraints of the loom enabling greater creative freedom. For more information on The Independents, visit Colony at goodcolony.com. Photography by Brooke Holm.

Kloo didn’t set out to eliminate the ritual of making coffee; they set out to refine it. Equal parts culinary secret weapon and everyday indulgence, Kloo is a small-batch coffee concentrate that delivers bold, specialty-grade flavor to everything from your first morning cup to cocktails and desserts. It’s part chef’s tool, part personal luxury – crafted for those who love to cook, love to host, and love a good cup of coffee. Kloo’s frosted glass bottle adorned with an artful screen-printed design, looks more like a fine spirit than a morning essential. The logo – a maze-like looped ‘K’ – reflects the brand’s ethos: complexity distilled into simplicity. It’s a bottle that signals premium, not just in flavor, but in form. Founded by mother-daughter duo Claudia Snoh and Mariella Cho, Kloo was created from a shared obsession with the nuance of great coffee. Mariella, a certified Q Grader (the coffee world’s version of a sommelier), developed Kloo’s proprietary “super concentrate” brewing method to bring out the purest, most expressive flavor of each bean – then aged each batch for up to 21 days to deepen body and complexity. From sourcing to shipping, every detail is intentional. Kloo uses only specialty-grade beans (each scoring 85+ by Q Graders), roasted in-house and brewed in small batches. The concentrate is then cold-shipped and kept refrigerated to preserve every note. A taste of the single-origin varieties: Colombia (Venecia, Cundinamarca): Almond, maple syrup, blackberry Kenya (Karundu, Nyeri): Grapefruit, lemongrass, dark chocolate Ethiopia (Adado, Yirgacheffe): Peach, jasmine, wild berry Guatemala (Pasajquim, Atitlán): Toffee, burnt toast, dark chocolate Each profile is bold enough to stand on its own, yet balanced enough to complement whatever you’re making. Unlike many concentrates, Kloo’s strength and consistency make it a natural fit for chefs and bakers, especially in large batches where precision matters. Whether you’re stirring it into a sauce or folding it into a batter, Kloo delivers depth, not bitterness. It’s a shortcut that doesn’t feel like one. And while it’s a favorite among chefs, it also belongs in every home cook’s fridge. You’ll find yourself reaching for it more than you expect – whether for an impromptu dessert, a 4pm boost, or an elevated cocktail. For those who love to gather, Kloo is a quiet revolution. It makes the art of hosting feel seamless – adding flavor, elegance, and just a little flair to your moments of connection. One of the best-kept secrets of the seasoned host? Bookend your gathering with memorable moments. Start high, end high – and do it with something that’s bold, caffeinated, and effortlessly chic. Welcome your guests with a low-ABV drink, perfect for warm afternoons. Kloo Stout 1.5 oz Kloo coffee concentrate 12 oz chocolatey stout or lager Preparation: Add chilled Kloo to the bottom of a pint glass, then slowly pour in the beer and let it mix naturally. Smooth, rich, and just unexpected enough to be a conversation starter. Close the evening by serving guests an easy and elegant dessert that never disappoints. Kloo Affogato 1 scoop vanilla gelato 1 shot (about 1.5 oz) Kloo concentrate Preparation: Pour Kloo directly over the gelato just before serving. Dessert and coffee, all in one beautiful moment. Like most devout daily coffee drinkers, I’ve always been skeptical of concentrates – too often they’re bitter, flat, or forgettable. Kloo is different. It doesn’t replace the ritual of great coffee; it respects it, while making room for all the ways we actually live. Whether you’re brewing slowly, moving quickly, cooking for others, or just trying to get out the door, Kloo brings depth and intention – without asking you to compromise. For more information on Kloo, visit drinkkloo.com. Photography courtesy of Kloo.

WANTED, the International Contemporary Furniture Fair’s (ICFF) show-within-a-show, has grown almost exponentially since its first iteration as WantedDesign circa 2011, evolving so much so that the platform – with its iconic yellow walls nestled into the Javits Center – has become one of America’s go-to platforms to find emerging talent, tap into an intimate creative network, and discover trends ahead of the commercial industry. The 2025 showcase provided a wealth of inspiring design, we had to share a roundup all its own… Mockinbird Studio Epic in proportion, masterfully constructed, and officially record-making. The Farsala-based Mockinbird Studio showcased their most ambitious project to date: a monumental space divider. It is the largest – and arguably most beguiling – piece of contemporary marquetry artwork in existence, entirely designed and handcrafted in their Greece studio using traditional techniques. The object blends functionality with a narrative-driven, highly-aesthetic composition for the perfect piece of collectible design. Cuff Studio Cuff Studio presented their first solo exhibition, entitled “Within,” and unveiled select pieces from their Spring 2025 furniture collection of the same name. The C Back Lounge Chair – a trade exclusive – distills some of their favorite design gestures into an elegant, barely-their structural frame then paired with a sculptural waterfall seat and back cushion. Of note are the protruding curves that seemingly reach out for a handshake and the textural, pink upholstery seen here, which echoes triangular forms used across their broader portfolio. Mary Ratcliffe Studio + Anony Presenting together for their fourth ICFF, Mary Ratcliffe Studio (MRS) and Anony collaborated on a booth filled with sleek and sculptural, architecturally-inspired design objects. Their work is elementally complementary, which lent themselves to a more honest, fulsome showcase. MRS’s monumental furniture pieces are inspired by the physicality of material play, while Anony’s lighting takes inspiration from architectural gestures. Ready To Hang Mirrored surfaces are hard to resist, especially when their design makes you feel seen – figuratively speaking. Ready To Hang’s fashionable, ready-to-wear-inspired furnishings feel like fun accessories and an extension of personal style as they approach home decor through concepts found in styling for apparel. This year marked their ICFF debut with a highly curated showcase mixing classic pieces with a few concepts yet to come. UWU Studios Typically driven by a human-centered design ethos, multidisciplinary UWU Studios has expanded their scope to include the feline experience. Their UNU Cat Dreams product is equal parts pet play and collectible design, sure to please all parties. Even aesthetes without a furry friend can still appreciate its composition, blending surfaces, textures, colors, and forms for quite unique sculptural compositions. It’s an exemplary approach that elevates everyday objects to the venerable. Estudio PM Racking up multiple awards during the show – and rightfully so – Estudio PM demonstrated how fabric waste and unwanted textiles can be recontextualized within the realms of art and home furnishings. The duo behind the initiative created totems and garment-inspired side tables with the careful layering of reclaimed cloth. Noiro Studio Hand-blown glass lamps stood on various podiums in a curious display of artisanal lighting comprising colorful bases dotted with glass and stone orbs. Each globe’s curvature represented the fabric of spacetime, with precious objects are suspended within the glass shades – a steady reminder of our weight, and also insignificance, of our existence in the world. Noiro Studio plays with themes of heft and weightlessness, continuing to keep things relative. Ridezign Ridezign offers an ode to New York City. The Tesser Collection resembles skyscrapers in miniature blocks constructing cantilevered forms in multiple configurations and colors. These lamps leverage additive manufacturing making every piece made-to-order, reducing overstock, and ultimately eliminating the need for storage. The warm diffusion of the subsequent layers of material create lovely channels of light, adding to the spectacle of the city. Koba Furniture Koba Furniture is proud to create all elements for Series 02 within their Baltimore studio – except for the drawer pulls, shares designer Sam Acuff – a testament to the respect for craft that is clearly shown here. Jauntily stocky feet meet tiny tube legs, with a nicely balanced drawer set on top. Extra points for the elevated milk crate; it adds such a nice feel to the booth. 9 & 19 9 & 19 is back this year with organic shapes and cheeky details. Who doesn’t love an easter egg in design? From inlaid squiggles to handmade tiling, this collection offers a unique blend of customization and utility while remaining approachable and fun. Hannah Via Hannah Via brings some highly welcome fiber arts representation to WANTED, her tufted lamps bringing a sense of whimsy and possibility to the show. Sporting pops of scarlet, cobalt, and bronze, a light peach background acts as a pendant for a singular Edison bulb, which cases a cozy glow in an elegant connection to the warmth of the yarn it rests upon. Sawyer Made Lovingly crafted in Woodbury, Vermont, Sawyer Made is a second-generation family of woodworkers honoring the classic stance and build of a Windsor chair, but with a few modern updates. As the arm meets the back, the angle rotates 90 degrees offering a beautiful detail absent from most traditional Windsors. Like ballet, a combination of experienced craft and innate knowledge makes the hardest work look easy. Ora House Cobalt is back in a big way with Ora House, as evidenced by their removable upholstery panels that can be switched out to reflect any style or change in local decor. Playful, soft, and sturdy, the ottoman, bench, and hutch offer a fun way to sit, stay, and store. Daniel Gruetter Daniel Gruetter is a woodworker based in Toronto, Canada. Showing an elegant credenza created entirely out of the discarded offcuts from his practice, he upends what is considered valuable on a platform that inherently places value on everything. Employing wooden hinges takes the project to another level, letting a singular material do the talking through expert craftsmanship. Reces NYC With a nod to the cobalt we spotted around the show, Reces NYC wraps up our top picks for WANTED this year with a gestural upholstered piece. Elements extend in a satisfyingly solid manner to create an interesting and distinctly luxurious look users could get lost in. Check out out the rest of Design Milk’s NYCxDESIGN coverage here!

The In-Side Collection of outdoor furniture by Thomas Heatherwick resembles an impossible shell, formed to protect a creature not from this world. The shapes warp naturally around themselves, for a surprising finish at the end: a burst of bright multicolored spots made of recycled plastic, growing in great numbers across the surface. A beautiful example of rotational molding, this collection produced for Magis brings innovative technology and imaginative design together in harmony. Following several months of testing the rotational moulding technique using a blend of two types of recycled polyethylene, Magis observed that while the exterior of the material seemed fairly standard, slicing it open exposed an unexpected, unevenly speckled interior. “The idea behind this new collection is to use waste materials and reveal their inner beauty in an unexpected way,” says Heatherwick. The thought and experimentation that went into the In-Side Collection is exemplary of Heatherwick’s style – rigorous research goes into materiality, production methods, and detailing. This collection features rippled molding on the outside, a clever use of the capabilities of rotational molding. Coupled with the colored flecks on the interior, the material is a blend of post-consumer and post-industrial recycled polyethylene, part of extensive research into the impact recycling can have on our collective waste streams. Discarded bottles can now become luxury furniture through imagination and work. Flecks gain traction on the inside of the chair, adding pops of confetti-like color in contrast to the soft, muted exterior color palette of Sage, White, and Terracotta. The collection features an armchair, sofa, and low table, all rated for outdoor use. Organic form reigns supreme, not staking any claim on the natural environment but instead blending in, adding interest and elegance to any landscape. Thomas Heatherwick is a British designer focused on the human experience. He explores architecture, urban planning, product design and interiors projects, centering the axis of his studio around originality, inventiveness, and identity. Since 1994 when his studio was established, he has challenged convention, sustainability, and a strong sense of materiality at the forefront of his work. As our world becomes more globalized, his ideals of democratic design and cleverness of craft remain evocative of another time, while his aesthetic decisions stay cutting-edge. Since 1976, Magis has been pushing the boundaries of design, striving to incorporate the values of respect, honesty, and loyalty to their work. Based in the Veneto, a region of Italy known for it’s high-quality craftsmanship and level of finish within design, they strive to employ Italian craftspeople from as close to the locale as possible. This ensures that they can maintain close relationships with suppliers, and produce as much local commerce as they can. In their Code of Ethics, rare for a furniture brand, they detail their commitment to their employees, customers, and suppliers in that order, establishing where their commitments lie overall – to their people, ensuring Magis products will be made well by respected artisans for decades to come. To learn more about the In-Side Collection by Thomas Heatherwick for Magis, head to magisdesign.com. Photography courtesy of Magis.

In the buzzing heart of Myeongdong, one of Seoul’s most iconic shopping and culture districts, HOTEL DRIP&DROP reimagines modern hospitality through the lens of coffee. More than just a place to rest your head, it doubles as a quiet tribute to South Korea’s deep-rooted and ever-evolving coffee culture. Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Developed by LOG Hotel Group Co., Ltd., this new hospitality concept combines clean-lined design with the curated comforts of a local café. The name says it all: guests are invited to “drip” into Seoul’s rich cultural fabric and “drop” their travel fatigue in a space designed for recharging. Photo courtesy of HOTEL DRIP&DROP At the core of HOTEL DRIP&DROP is its dedication to great coffee. The 7th-floor communal lounge functions as a curated “coffee zone,” showcasing a rotating selection of the city’s most celebrated roasters. The hotel’s own signature blend – developed with 2022 KCRC roasting champion Min-ho Kim – is brewed fresh daily, acting as both a morning pick-me-up and a nod to Seoul’s café boom. The hotel strips away excess in favor of quiet functionality and thoughtful comfort, balancing minimalist aesthetics with intentional spatial design. Featuring 13 tranquil rooms and 52 cleverly designed capsule beds, it caters to solo adventurers and small groups alike. Private rooms are compact but carefully considered, outfitted with everything needed for a solid night’s rest. The gender-separated capsule section follows suit – simple, secure, and surprisingly cozy. All units prioritize tranquility over tech, which offers a true media break during your visit. Every capsule and suite-style room includes a personal coffee dripper set, encouraging guests to slow down and brew their own cup before the day’s exploration begins. It’s a small but meaningful gesture that makes your morning feel less rushed and intentionally slow in the best way possible. Location-wise, you’re perfectly positioned to explore Myeongdong’s fashion-forward scene, the retro-industrial cool of Euljiro, and the serenity of Cheonggyecheon Stream – all of which are within walking distance. Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP In a city where the pace rarely slows and space is tight, this micro-hotel dares to slow things down. Whether you’re dropping in for a few nights or passing through with a suitcase and an open mind, HOTEL DRIP&DROP ensures your stay ends on a high note – coffee in hand and well-rested for what’s next. Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP What: HOTEL DRIP&DROP Where: 44, Myeongdong 3-gil, Jung-gu, Seoul, Republic of Korea How much: Price upon request Design draws: The hotel’s unique coffee-centric concept – featuring a curated lounge with Seoul’s top roasters and in-room coffee drippers – offers an immersive, sensory introduction to South Korea’s vibrant coffee culture. Book it: HOTEL DRIP&DROP Go virtually on vacation with more design destinations right here. Photography by Maivy Tran, unless otherwise noted.

With a background in industrial design, Amanda Schneider explored every aspect of a product’s trajectory early in her career, from concept development to sales, always via a holistic lens to understand the points of view of manufacturers and consumers. Her ideal role, however, was one that emphasized more than just the bottom line. “It clicked the moment I realized that the real magic happens at the intersection of creativity and strategy,” says Schneider. “I believe that data can empower creatives, and creativity can humanize data. And when we bridge that gap? That’s when design starts changing industries, shaping behavior and moving the world forward.” Amanda Schneider Schneider is founder and president of SANDOW DESIGN GROUP’s ThinkLab, and since 2018 she has led the only market research firm focused on the design and architecture ecosystem. She thrives on uncovering unexpected insights and translating them into stories that inspire meaningful action – essential in the ever-evolving world of work. Industry leaders have taken notice, and today Schneider is a recognized thought leader featured on leading platforms. Her 2024 TEDx talk, Work is Broken. Gen Z can help fix it, has more than 400,000 views and counting. She is also host of the hit podcast Design Nerds Anonymous, and has recently introduced BASELINE, the new ThinkLab initiative. This survey and podcast provides a real-time snapshot of industry sentiment and activity. When she’s not on the job, Schneider is a mom to three boys, and can be found chasing adventure in her Jeep Wrangler. It’s not always easy to maintain an ideal balance, but carving out quality time is essential. “If I am being honest, I am not always great at switching off completely, especially because I love what I do,” Schneider notes. “But one small thing that helps is dinner with my family. No laptops, no phones, just real conversation. It sounds simple, but it’s grounding.” Today, Amanda Schneider joins us for Friday Five, sharing her favorite stats for designers! 1. The average designer has 40X the recommendation power as the average American Consumer has buying power. Source: USDIBR That’s not a typo. According to ThinkLab research, designers influence purchasing decisions at 40 times the rate of the average American consumer. And if you work at one of the top 200 Interior Design Giants of Design firms? That number jumps to a staggering 140 times. While most people pick products for their own homes, designers are making choices that affect dozens – sometimes hundreds or thousands – of people at once. One spec. One project. Ripple effects across supply chains, industries, and how people experience space. That kind of power often flies under the radar. But it shouldn’t. Designers aren’t just making things pretty – they’re making decisions with real impact. And when you zoom out, those decisions can shape how sustainably we build, how inclusively we design, and how responsibly we spend. You already have the influence. The opportunity? That’s using it for good. 2. By 2050, the interior design industry will have influence over approximately one-tenth (10%) of the world’s carbon emissions. Yes, you read that right. One-tenth of global carbon emissions – in some way, shape, or form – will be influenced by decisions made in the interior design industry by the year 2050. Not construction. Not just architecture. Interiors. (Shout out to Metropolis Magazine for this stat and their work on the Climate change toolkit!) It’s easy to think of sustainability as someone else’s job – the architect, the engineer, the client. But designers have their hands on the levers that control how long things last, what materials get used, and how to avoid sending product to the landfill. Multiply that by millions of square feet across homes, workplaces, schools, hotels, hospitals – and it adds up fast. Don’t let this overwhelm you. Let it empower you. Designers helped create this world. That means they’re also perfectly positioned to help redesign it for the better. 3. As of 2025, Gen Z makes up 27% of the workforce. That’s more than one in four employees. And they’re not coming – they’re already here. Gen Z is shaping how we work, live, collaborate, and connect. They bring new expectations around flexibility, inclusivity, tech, and well-being. And they’re just getting started. Why does this matter for designers? Because the spaces you’re designing today will still be in use a decade or more from now. If we’re not paying attention to shifting values, behaviors, and ways of working, we risk building environments that don’t resonate – or worse, don’t function – for the people who will actually use them. Designing for the future means understanding who’s going to be living in it. Gen Z is your new end user. Time to listen. 4. The Interior Design Industry is 85% Female – But Only 40% of Its Leaders Are Interior design is one of the few industries that’s not just female-friendly – it’s female-dominated. Nearly 88% of students entering the field are women. And 85% of practicing professionals are, too. But here’s where it gets tricky: only 40% of leadership roles are held by women once we get to the largest firms. That’s a massive drop-off – and a missed opportunity. When the people doing the work don’t have a seat at the table where decisions are made, the entire industry loses out on perspective, insight, and progress. Diversity isn’t just about fairness. It’s about making the industry better, stronger, and more representative of the people it serves; especially when we are leading design for the built environment for all people. The first step? Awareness. The next? Action. 5. The Average Design Committee Has Doubled in Size Over the Past 5 Years Design decisions are no longer made in a room of two or three. In today’s world, the average commercial design project involves double the number of decision-makers it did just five years ago. That means more voices, more complexity – and a whole new set of challenges. And here’s the truth: It doesn’t matter how great your design is if you can’t communicate its value. Great ideas fall flat without buy-in. Beautiful solutions stall out without alignment. Today’s most successful designers aren’t just creative—they’re translators. They bridge the gap between vision and business case, between aesthetics and impact. Good design always starts with empathy. If you want to better understand your clients – and what’s really happening in their world to move projects forward – check out the Design Nerds Anonymous podcast. Catch Schneider’s TED Talk – Work is broken, Gen Z can help fix it – below:

1. Irregular Sleep Pattern Glasgow-based Irregular Sleep Pattern takes textiles to a whole new geometric level. Launched in 2020 by wife & husband team Jolene Crawford and Mil Stricevic, the duo grew tired of not finding cool bedding and sleepwear in bold patterns and fun colors that aligned with their aesthetic. Eschewing the typical nature of the fashion business which can produce excess and unnecessary waste, the pair follow their own path and add prints and products as they desire and not according to the seasonal fashion calendar. From mix and match pajamas to robes (and even eye masks), to duvet covers, sheets, and throws, Irregular Sleep Pattern will elevate not only your sleep game, but your home’s decor too. 2. Ippei Tsujio’s Bread Wrapping Paper Japanese graphic designer Ippei Tsujio has created wrapping paper that will turn any gift into something that looks good enough to eat. The tasty trio of realistic paper comes in a baguette, loaf, and ciabatta design that’s been making the rounds on Instagram lately. And while they aren’t yet available, Tsujio states on IG that they will be selling the no-carb designs soon. 3. Stella McCartney x Hydefy Fungi Crossbody Bag Stella McCartney’s groundbreaking Stella McCartney x Hydefy Fungi Crossbody Bag marks a bold leap forward in sustainable luxury. Debuting on the Spring/Summer 2025 runway, the Stella Ryder – crafted from Hydefy’s innovative fungi-based material – is the brand’s most sophisticated vegan handbag to date. With a sculptural design inspired by a horse’s back and a striking silver metallic finish, the bag shows how high fashion can embrace environmental responsibility without compromising elegance or durability. Hydefy’s cutting-edge material offers a refined, high-performance alternative to leather, ushering in a new era of eco-conscious design for luxury accessories and beyond. 4. Giant Agua Beach Towel by Volver Bring the sunshine with you wherever you go this summer with Volver’s vibrant and oversized Agua beach towel. Designed in Portugal, these super fun towels radiate pure vacation energy with playful blush pink and sunflower yellow shades woven in a graphic pattern. Made from 100% Oeko Tex certified cotton, it’s soft, absorbent, and lightweight – perfect for beach days, pool lounging, or sunny park visits. With its square(ish) 79″ x 83″ shape, fringed edges, and branded details, the Agua towel is big enough to share and stylish enough to stand out. Volver also makes smaller beach towels in other other colors if you’d rather not share ;) 5. Le Corbusier: Le Grand book from Phaidon Coming October 2025 from Phaidon, the new edition of Le Corbusier: Le Grand is a landmark visual biography celebrating one of the most influential architects of the twentieth century. Richly illustrated with sketches, photographs, and personal correspondences, this monumental book offers an intimate and comprehensive look at Le Corbusier’s groundbreaking work and complex persona. Spanning his prolific career across architecture, design, and urban planning, the book reveals the depth of his creative vision and enduring impact on the built environment. A must-have for architecture enthusiasts and design aficionados alike!

Tucked into a residential lot in Victoria, Australia, Palm House demonstrates how an outdated home can be sensitively reimagined to meet the evolving needs of contemporary family life – without erasing its history. Designed by Leeton Pointon Architects + Interiors, the project breathes new life into a post-war 1940s suburban dwelling that had grown tired, dark, and disconnected from the outdoors. At the heart of the project is a core belief in working with what exists. Rather than resorting to complete demolition, the architects chose to retain the majority of the original structure. This choice not only reduced environmental impact but also allowed the design team to allocate resources strategically – enhancing key functional spaces like the kitchen, pantry, laundry, and communal living zones. By doing so, the new intervention becomes a focused, high-quality addition rather than a sprawling overhaul. The new extension, aptly described as a “garden room,” serves as the heart of the home. Set within a carefully curated landscape, the addition embraces its environment through expansive glazing, creating a seamless transition between interior and exterior. As one moves through the original portion of the house, a framed view through an arched portal gradually reveals the light-filled pavilion and the lush garden beyond. This newly established relationship with the outdoors marks a shift from the house’s original inward-facing character. Natural light, previously absent, now floods the living areas. Garden views extend in all directions, and ventilation flows with ease – qualities that significantly enhance the comfort, wellness, and joy of daily life. Despite the complex spatial language of Palm House, its material palette remains refreshingly simple. Concrete, glass, and wood work in harmony to create a contemporary yet calming environment. These materials were chosen for their enduring qualities, while adding a modern layer to the original historic home. Internally, the layout allows for easy movement throughout while creating nuanced distinctions between spaces. Generous open-plan areas encourage connection, along with gentle curves and changes in ceiling height that form more intimate nooks for retreat. The modern furnishings curated by Karyne Murphy Studio lean toward soft textures, natural hues, and minimalist compositions, reinforcing the calm and contemplative atmosphere throughout. A defining element of the extension is its sculptural concrete roof. Its sweeping curves create a rhythm and softness not typically associated with the material. This roof not only defines the architectural character but also serves practical functions: shielding the home from excessive summer heat, providing thermal mass for energy efficiency, and framing views both upward and outward. The expressive oculus skylights punctuating the roofline act as dramatic light sources. They direct shifting patterns of sunlight throughout the day, animating the interior with shadows and reflections. Sustainability is a core principle in Palm House’s design and addition. By reusing the existing building structure and focusing new construction on essential areas, the architects dramatically reduced material waste and reduced costs. Passive design strategies – including orientation, shading, thermal mass, and natural ventilation – were integrated from the outset. Solar panels are concealed within the roofline, water tanks are hidden yet accessible, and the landscaping supports food production and biodiversity without compromising aesthetics. For more information on Palm House or Leeton Pointon Architects + Interiors, visit leetonpointon.com. Photography by Lisa Cohen, courtesy of BowerBird.