Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

Key Takeaways Meta and Yandex have been found guilty of secretly listening to localhost ports and using them to transfer sensitive data from Android devices. The corporations use Meta Pixel and Yandex Metrica scripts to transfer cookies from browsers to local apps. Using incognito mode or a VPN can’t fully protect users against it. A Meta spokesperson has called this a ‘miscommunication,’ which seems to be an attempt to underplay the situation. Denmark’s Ministry of Digitalization has recently announced that it will leave the Microsoft ecosystem in favor of Linux and other open-source software. Minister Caroline Stage Olsen revealed this in an interview with Politiken, the country’s leading newspaper. According to Olsen, the Ministry plans to switch half of its employees to Linux and LibreOffice by summer, and the rest by fall. The announcement comes after Denmark’s largest cities – Copenhagen and Aarhus – made similar moves earlier this month. Why the Danish Ministry of Digitalization Switched to Open-Source Software The three main reasons Denmark is moving away from Microsoft are costs, politics, and security. In the case of Aarhus, the city was able to slash its annual costs from 800K kroner to just 225K by replacing Microsoft with a German service provider.  The same is a pain point for Copenhagen, which saw its costs on Microsoft balloon from 313M kroner in 2018 to 538M kroner in 2023. It’s also part of a broader move to increase its digital sovereignty. In her LinkedIn post, Olsen further explained that the strategy is not about isolation or digital nationalism, adding that they should not turn their backs completely on global tech companies like Microsoft.  Instead, it’s about avoiding being too dependent on these companies, which could prevent them from acting freely. Then there’s politics. Since his reelection earlier this year, US President Donald Trump has repeatedly threatened to take over Greenland, an autonomous territory of Denmark.  In May, the Danish Foreign Minister Lars Løkke Rasmussen summoned the US ambassador regarding news that US spy agencies have been told to focus on the territory. If the relationship between the two countries continues to erode, Trump can order Microsoft and other US tech companies to cut off Denmark from their services. After all, Microsoft and Facebook’s parent company Meta, have close ties to the US president after contributing $1M each for his inauguration in January. Denmark Isn’t Alone: Other EU Countries Are Making Similar Moves Denmark is only one of the growing number of European Union (EU) countries taking measures to become more digitally independent. Germany’s Federal Digital Minister Karsten Wildberger emphasized the need to be more independent of global tech companies during the re:publica internet conference in May. He added that IT companies in the EU have the opportunity to create tech that is based on the region’s values. Meanwhile, Bert Hubert, a technical advisor to the Dutch Electoral Council, wrote in February that ‘it is no longer safe to move our governments and societies to US clouds.’ He said that America is no longer a ‘reliable partner,’ making it risky to have the data of European governments and businesses at the mercy of US-based cloud providers. Earlier this month, the chief prosecutor of the International Criminal Court (ICC), Karim Khan, experienced a disconnection from his Microsoft-based email account, sparking uproar across the region.  Speculation quickly arose that the incident was linked to sanctions previously imposed on the ICC by the Trump administration, an assertion Microsoft has denied. Earlier this month, the chief prosecutor of the International Criminal Court (ICC), Karim Khan, disconnection from his Microsoft-based email account caused an uproar in the region. Some speculated that this was connected to sanctions imposed by Trump against the ICC, which Microsoft denied. Weaning the EU Away from US Tech is Possible, But Challenges Lie Ahead Change like this doesn’t happen overnight. Just finding, let alone developing, reliable alternatives to tools that have been part of daily workflows for decades, is a massive undertaking. It will also take time for users to adapt to these new tools, especially when transitioning to an entirely new ecosystem. In Aarhus, for example, municipal staff initially viewed the shift to open source as a step down from the familiarity and functionality of Microsoft products. Overall, these are only temporary hurdles. Momentum is building, with growing calls for digital independence from leaders like Ministers Olsen and Wildberger.  Initiatives such as the Digital Europe Programme, which seeks to reduce reliance on foreign systems and solutions, further accelerate this push. As a result, the EU’s transition could arrive sooner rather than later As technology continues to evolve—from the return of 'dumbphones' to faster and sleeker computers—seasoned tech journalist, Cedric Solidon, continues to dedicate himself to writing stories that inform, empower, and connect with readers across all levels of digital literacy. With 20 years of professional writing experience, this University of the Philippines Journalism graduate has carved out a niche as a trusted voice in tech media. Whether he's breaking down the latest advancements in cybersecurity or explaining how silicon-carbon batteries can extend your phone’s battery life, his writing remains rooted in clarity, curiosity, and utility. Long before he was writing for Techreport, HP, Citrix, SAP, Globe Telecom, CyberGhost VPN, and ExpressVPN, Cedric's love for technology began at home courtesy of a Nintendo Family Computer and a stack of tech magazines. Growing up, his days were often filled with sessions of Contra, Bomberman, Red Alert 2, and the criminally underrated Crusader: No Regret. But gaming wasn't his only gateway to tech.  He devoured every T3, PCMag, and PC Gamer issue he could get his hands on, often reading them cover to cover. It wasn’t long before he explored the early web in IRC chatrooms, online forums, and fledgling tech blogs, soaking in every byte of knowledge from the late '90s and early 2000s internet boom. That fascination with tech didn’t just stick. It evolved into a full-blown calling. After graduating with a degree in Journalism, he began his writing career at the dawn of Web 2.0. What started with small editorial roles and freelance gigs soon grew into a full-fledged career. He has since collaborated with global tech leaders, lending his voice to content that bridges technical expertise with everyday usability. He’s also written annual reports for Globe Telecom and consumer-friendly guides for VPN companies like CyberGhost and ExpressVPN, empowering readers to understand the importance of digital privacy. His versatility spans not just tech journalism but also technical writing. He once worked with a local tech company developing web and mobile apps for logistics firms, crafting documentation and communication materials that brought together user-friendliness with deep technical understanding. That experience sharpened his ability to break down dense, often jargon-heavy material into content that speaks clearly to both developers and decision-makers. At the heart of his work lies a simple belief: technology should feel empowering, not intimidating. Even if the likes of smartphones and AI are now commonplace, he understands that there's still a knowledge gap, especially when it comes to hardware or the real-world benefits of new tools. His writing hopes to help close that gap. Cedric’s writing style reflects that mission. It’s friendly without being fluffy and informative without being overwhelming. Whether writing for seasoned IT professionals or casual readers curious about the latest gadgets, he focuses on how a piece of technology can improve our lives, boost our productivity, or make our work more efficient. That human-first approach makes his content feel more like a conversation than a technical manual. As his writing career progresses, his passion for tech journalism remains as strong as ever. With the growing need for accessible, responsible tech communication, he sees his role not just as a journalist but as a guide who helps readers navigate a digital world that’s often as confusing as it is exciting. From reviewing the latest devices to unpacking global tech trends, Cedric isn’t just reporting on the future; he’s helping to write it. View all articles by Cedric Solidon Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

In a 12,000-square-foot warehouse in Zeeland, Michigan, hundreds of chairs, sofas, and loveseats rest on open storage racks. Their bold colors and elegant forms stand in striking contrast to the industrial setting. A plush recliner, seemingly made for sinking into, sits beside a mesh desk chair like those found in generic office cubicles. Nearby, a rare prototype of the Knoll Womb® Chair, gifted by Eero Saarinen to his mother, blooms open like a flower–inviting someone to sit. There’s also mahogany furniture designed by Gilbert Rohde for Herman Miller, originally unveiled at the 1933 World’s Fair; early office pieces by Florence Knoll; and a sculptural paper lamp by Isamu Noguchi. This is the newly unveiled MillerKnoll Archive, a space that honors the distinct legacies of its formerly rival brands. In collaboration with New York–based design firm Standard Issue, MillerKnoll has created a permanent display of its most iconic designs at the company’s Michigan Design Yard headquarters. In the early 1920s, Dutch-born businessman Herman Miller became the majority stakeholder in a Zeeland, Michigan, company where his son-in-law served as president. Following the acquisition, Star Furniture Co. was renamed the Herman Miller Furniture Company. Meanwhile, across the Atlantic in Stuttgart, Germany, Walter Knoll joined his family’s furniture business and formed close ties with modernist pioneers Ludwig Mies van der Rohe and Walter Gropius, immersing himself in the Bauhaus movement as Germany edged toward war.  Just before the outbreak of World War II, Walter Knoll relocated to the United States and established his own furniture company in New York City. Around the same time, Michigan native Florence Schust was studying at the Cranbrook Academy of Art under Eliel Saarinen. There, she met Eero Saarinen and Charles Eames. Schust, who later married Walter Knoll, and Saarinen would go on to become key designers for the company, while Eames would play a similarly pivotal role at Herman Miller—setting both firms on parallel paths in the world of modern design. The facility was designed in collaboration with New York-based design firm Standard Issue. The archive, located in MillerKnoll’s Design Yard Headquarters, is 12,000 square feet and holds over one million objects. (Nicholas Calcott/Courtesy MillerKnoll) Formerly seen as competitors, Herman Miller acquired Knoll four years ago in a $1.8 billion merger that formed MillerKnoll. The deal united two of the most influential names in American furniture, merging their storied design legacies and the iconic pieces that helped define modern design. Now, MillerKnoll is honoring the distinct histories of each brand through this new archive. The archive is a permanent home for the brands’ archival collections and also exhibits the evolution of modern design. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room.  The facility’s first exhibition, Manufacturing Modern, explores the intertwined histories of Knoll and Herman Miller. It showcases designs from the individuals who helped shape each company. The open storage area displays over 300 pieces of modern furniture, featuring both original works from Knoll and Herman Miller as well as contemporary designs. In addition to viewing the furniture pieces, visitors can kick back in the reading room, which offers access to a collection of archival materials, including correspondence, photography, drawings, and textiles. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room and will be open for tours in partnership with the Cranbrook Art Academy this summer. (Nicholas Calcott/Courtesy MillerKnoll) “The debut of the MillerKnoll Archives invites our communities to experience design history – and imagine its future– in one dynamic space,” said MillerKnoll’s chief creative and product officer Ben Watson. “The ability to not only understand how iconic designs came to be, but how design solutions evolved over time, is a never-ending source of inspiration.” Exclusive tours of the archive will be available in July and August in partnership with the Cranbrook Art Museum and in October in partnership with Docomomo.

Becky Luigart-Stayner for Country LivingCountry Living editors select each product featured. If you buy from a link, we may earn a commission. Why Trust Us?Like a well-made quilt, a classic farmhouse aesthetic comes together gradually—a little bit of this, a touch of that. Each addition is purposeful and personal—and isn’t that what home is all about, really? If this type of slowed-down style speaks to you, you're probably already well aware that Etsy is a treasure trove of finds both new and old to fit your timeless farmhouse aesthetic. But with more than eight million active sellers on its marketplace, sometimes the possibilities—vintage feed sacks! primitive pie safes! galvanized grain scoops!—can quickly go from enticing to overwhelming.To better guide your search for the finest farmhouse furnishings, we’ve gathered a go-to list of editor-and designer-beloved Etsy shops which, time and again, turn out hardworking, homespun pieces of heirloom quality. From beautiful antique bureaus to hand-block-printed table linens, the character-rich wares from these sellers will help you design the farmhouse of your dreams, piece by precious piece. Related Stories For Antique AmericanaAcorn and Alice Every good old-fashioned farmhouse could use some traditional Americana to set the tone, and this Pennsylvania salvage shop offers rustic touches loaded with authentic antique allure. Aged wooden wares abound (think vintage milk crates, orchard fruit baskets, and berry boxes), as well as a grab bag of cotton and burlap feed sacks, perfect for framing as sets or crafting into footstool covers or throw pillows. For French Country TextilesForest and LinenThere’s nothing quite like breezy natural fabrics to make you want to throw open all the windows and let that country air in while the pie cools. Unfussy and lightweight, the hand-crafted curtains, bedding, and table linens from these Lithuanian textile experts have a classic understated quality that would be right at home in the coziest guest room or most bustling kitchen. Warm, welcoming hues range from marigold yellow to cornflower blue, but soft gingham checkers and timeless French ticking feel especially farm-fresh. Our current favorite? These cherry-striped country cafe curtains. Becky Luigart-Stayner for Country LivingVintage red torchons feel right at home in a farmhouse kitchenFor Rustic RugsOld New HouseWhether or not you’re lucky enough to have gorgeous wide-plank floors, an antique area rug or runner can work wonders for giving a room instant character and warmth. This fifth-generation family-run retailer specializes in importing heirloom hand-knotted carpets dating back to the 1800s, with a focus on traditional designs from the masters in Turkey, India, Persia, and more. Their vast variety of sizes and styles offers something for every aesthetic, with one-of-a-kind patterns ranging from distressed neutrals to chain-stitched florals to ornate arabesques. For Pillows and ProvisionsHabitation BohemeIn true farmhouse fashion, this Indiana shop has curated an enticing blend of handcrafted and vintage homewares that work effortlessly well together. A line of cozy hand-stitched linen pillow covers (patterned with everything from block-printed blossoms to provincial pinstripes) sits prettily alongside a mix of found objects, from patinated brass candlesticks and etched cloisonné vases to sturdy stoneware crockery and woven wicker baskets. For Elegant Everyday DishwareConvivial ProductionSimple, yet undeniably stunning, the handcrafted dinnerware from this Missouri-based ceramist is designed with durability in mind. Produced in a single, time-tested shade of ivory white glaze, these practical stoneware cups, bowls, and plates make the perfect place settings for lively farm-to-table feasts with friends and family. Beautifully balancing softness and heft, each dish is meant to feel comfortable when being held and passed, but also to look attractive when stacked upon open shelving. For English Country Antiques1100 West Co.This Illinois antiques shop is stocked with all manner of versatile vintage vessels culled from the English countryside, from massive stoneware crocks to charming little escargot pots. Their collection of neutral containers can be adapted for nearly any provincial purpose (envision white ironstone pitchers piled high with fresh-picked hyacinths, or glass canning jars holding your harvest grains), but we especially love their assortment of old advertising—from toothpaste pots to marmalade jars and ginger beer bottles galore—for a nice little nod to the quintessential country practice of repurposing what you’ve got. Brian Woodcock/Country LivingPretty English ironstone will always have our heart.For a Cozy GlowOlde Brick LightingConstructed by hand from cord to shade, the vintage-inspired lighting produced by this Pennsylvania retailer is a tribute to the iconic quality and character of old American fixtures. Nostalgic design elements include hand-blown glass (crafted using cast-iron molds from over 80 years ago) and finishes ranging from matte black to brushed nickel and antique brass. To create an authentic farmhouse ambiance, check out their gooseneck sconces, enameled red and blue barn lights, and milky white striped schoolhouse flush mounts. For Enduring ArtifactsThrough the PortholeThe weathered, artisan-made wares curated by this California husband-and-wife duo have been hand-selected from around the globe for their time-etched character. From gorgeous gray-black terracotta vases and rust-colored Turkish clay pots to patinated brass cow bells and rustic reclaimed elm stools, each item is a testament to the lasting beauty of classic materials, with storied sun-bleaching and scratches befitting the most beloved, lived-in rooms. For Winsome Wall ArtEugenia Ciotola ArtThrough graceful brushstrokes and textural swirls of paint, Maryland-based artist Eugenia Ciotola has captured the natural joy of a life that’s simple and sweet. Her pieces celebrate quiet scenes of bucolic beauty, from billowing bouquets of peonies to stoic red barns sitting in fields of wavy green. For a parlor gallery or gathering space, we gravitate toward her original oils on canvas—an impasto still life, perhaps, or a plainly frocked maiden carrying a bountiful bowl of lemons—while her stately farm animal portraits (regal roosters! ruff collared geese!) would look lovely in a child’s nursery.For Time-Tested Storage SolutionsMaterials DivisionFunction is forefront for this farmhouse supplier operating out of New York, whose specialized selection of vintage provisions have lived out dutiful lives of purpose. Standouts include a curated offering of trusty antique tool boxes and sturdy steel-clad trunks whose rugged patina tells the story of many-a household project. Meanwhile, a hardworking mix of industrial wire and woven wood gathering baskets sits handsomely alongside heavy-duty galvanized garbage bins and antique fireplace andirons.For Pastoral PrimitivesComfort Work RoomFull of history and heritage, the old, hand-fabricated furnishings and primitive wooden tools in this unique Ukrainian antique shop are rural remnants of simpler times gone by. Quaint kitchen staples like chippy chiseled spoons, scoops, and cutting boards make an accessible entry point for the casual collector, while scuffed up dough troughs, butter churns, washboards, and barrels are highly desirable conversation pieces for any antique enthusiast who’s dedicated to authentic detail. Becky Luigart-Stayner for Country LivingAntique washboards make for on-theme wall art in a laundry roomFor Heirloom-Quality CoverletsBluegrass QuiltsNo layered farmhouse look would be complete without the homey, tactile touch of a hand-pieced quilt or two draped intentionally about the room. From harvest-hued sawtooth stars to playful patchwork pinwheels, each exquisite blanket from this Kentucky-based artisan is slow-crafted in traditional fashion from 100% cotton materials, and can even be custom stitched from scratch to match your personal color palette and decorative purpose. For a classic country aesthetic, try a log cabin, double diamond, or star patch pattern. For Hand-Crafted GiftsSelselaFeaturing a busy barnyard’s worth of plucky chickens, cuddly sheep, and happy little Holstein cows, this Illinois woodworker’s whimsical line of farm figurines and other giftable goodies (think animal wine stoppers, keychains, fridge magnets, and cake toppers) is chock-full of hand-carved charm. Crafted from 100% recycled birch and painted in loving detail, each creature has a deliberately rough-hewn look and feel worthy of any cozy and collected home. For Open-Concept CabinetryFolkhausA hallmark of many modern farmhouses, open-concept shelving has become a stylish way to show that the practical wares you use everyday are the same ones you’re proud to put on display. With their signature line of bracketed wall shelves, Shaker-style peg shelves, and raw steel kitchen rails, the team at Folkhaus has created a range of open storage solutions that beautifully balances elevated design and rustic utility. Rounding out their collection is a selection of open-shelved accent pieces like bookcases, benches, and console tables—each crafted from character-rich kiln-dried timber and finished in your choice of stain.Related StoryFor Antique Farmhouse FurnitureCottage Treasures LVThe foundation of a well-furnished farmhouse often begins with a single prized piece. Whether it’s a slant-front desk, a primitive jelly cabinet, or a punched-tin pie safe, this established New York-based dealer has a knack for sourcing vintage treasures with the personality and presence to anchor an entire space. Distressed cupboards and cabinets may be their bread and butter (just look at this two-piece pine hutch!) but you’ll also find a robust roundup of weathered farm tables, Windsor chairs, and blanket chests—and currently, even a rare 1500s English bench. For Lively Table LinensMoontea StudioAs any devotee of slow decorating knows, sometimes it’s the little details that really bring a look home. For a spot of cheer along with your afternoon tea, we love the hand-stamped table linens from this Washington-based printmaker, which put a peppy, modern spin on farm-fresh produce. Patterned with lush illustrations of bright red tomatoes, crisp green apples, and golden sunflowers—then neatly finished with a color-coordinated hand-stitched trim—each tea towel, placemat, and napkin pays homage to the hours we spend doting over our gardens. For Traditional TransferwarePrior TimeThere’s lots to love about this Massachusetts antiques shop, which admittedly skews slightly cottagecore (the pink Baccarat perfume bottles! the hobnail milk glass vases! the huge primitive bread boards!) but the standout, for us, is the seller’s superior selection of dinner and serving ware. In addition to a lovely lot of mottled white ironstone platters and pitchers, you’ll find a curated mix of Ridgeway and Wedgwood transferware dishes in not only classic cobalt blue, but beautiful browns, greens, and purples, too.Becky Luigart-Stayner for Country LivingPretty brown transferware could be yours with one quick "add to cart."For Folk Art for Your FloorsKinFolk ArtworkDesigned by a West Virginia watercolor and oils artist with a penchant for painting the past, these silky chenille floor mats feature an original cast of colonial characters and folksy scenes modeled after heirloom textiles from the 18th and 19th centuries. Expect lots of early American and patriotic motifs, including old-fashioned flags, Pennsylvania Dutch fraktur, equestrian vignettes, and colonial house samplers—each made to mimic a vintage hooked rug for that cozy, homespun feeling. (We have to admit, the folk art-inspired cow and chicken is our favorite.)For Historical ReproductionsSchooner Bay Co.Even in the most painstakingly appointed interior, buying antique originals isn’t always an option (don’t ask how many times we’ve been outbid at an estate auction). And that’s where this trusted Pennsylvania-based retailer for historical reproductions comes in. Offering a colossal collection of framed art prints, decorative trays, and brass objects (think magnifying glasses, compasses, paperweights, and letter openers), these connoisseurs of the classics have decor for every old-timey aesthetic, whether it’s fox hunt prints for your cabin, Dutch landscapes for your cottage, or primitive animal portraits for your farmstead.For General Store StaplesFarmhouse EclecticsHand-plucked from New England antique shops, estate sales, and auctions, the salvaged sundries from this Massachusetts-based supplier (who grew up in an 1850s farmhouse himself) are the type you might spy in an old country store—wooden crates emblazoned with the names of local dairies, antique apple baskets, seed displays, signs, and scales. Whether you’re setting up your farmstand or styling your entryway, you’ll have plenty of storage options and authentic accents to pick from here. Becky Luigart-Stayner for Country LivingSo many food scales, so little time.Related StoriesJackie BuddieJackie Buddie is a freelance writer with more than a decade of editorial experience covering lifestyle topics including home decor how-tos, fashion trend deep dives, seasonal gift guides, and in-depth profiles of artists and creatives around the globe. She holds a degree in journalism from the University of North Carolina at Chapel Hill and received her M.F.A. in creative writing from Boston University. Jackie is, among other things, a collector of curiosities, Catskills land caretaker, dabbling DIYer, day hiker, and mom. She lives in the hills of Bovina, New York, with her family and her sweet-as-pie rescue dog.

Graduate Student Develops an A.I.-Based Approach to Restore Time-Damaged Artwork to Its Former Glory The method could help bring countless old paintings, currently stored in the back rooms of galleries with limited conservation budgets, to light Scans of the painting retouched with a new technique during various stages in the process. On the right is the restored painting with the applied laminate mask. Courtesy of the researchers via MIT In a contest for jobs requiring the most patience, art restoration might take first place. Traditionally, conservators restore paintings by recreating the artwork’s exact colors to fill in the damage, one spot at a time. Even with the help of X-ray imaging and pigment analyses, several parts of the expensive process, such as the cleaning and retouching, are done by hand, as noted by Artnet’s Jo Lawson-Tancred. Now, a mechanical engineering graduate student at MIT has developed an artificial intelligence-based approach that can achieve a faithful restoration in just hours—instead of months of work. In a paper published Wednesday in the journal Nature, Alex Kachkine describes a new method that applies digital restorations to paintings by placing a thin film on top. If the approach becomes widespread, it could make art restoration more accessible and help bring countless damaged paintings, currently stored in the back rooms of galleries with limited conservation budgets, back to light. The new technique “is a restoration process that saves a lot of time and money, while also being reversible, which some people feel is really important to preserving the underlying character of a piece,” Kachkine tells Nature’s Amanda Heidt. Meet the engineer who invented an AI-powered way to restore art Watch on While filling in damaged areas of a painting would seem like a logical solution to many people, direct retouching raises ethical concerns for modern conservators. That’s because an artwork’s damage is part of its history, and retouching might detract from the painter’s original vision. “For example, instead of removing flaking paint and retouching the painting, a conservator might try to fix the loose paint particles to their original places,” writes Hartmut Kutzke, a chemist at the University of Oslo’s Museum of Cultural History, for Nature News and Views. If retouching is absolutely necessary, he adds, it should be reversible. As such, some institutions have started restoring artwork virtually and presenting the restoration next to the untouched, physical version. Many art lovers might argue, however, that a digital restoration printed out or displayed on a screen doesn’t quite compare to seeing the original painting in its full glory. That’s where Kachkine, who is also an art collector and amateur conservator, comes in. The MIT student has developed a way to apply digital restorations onto a damaged painting. In short, the approach involves using pre-existing A.I. tools to create a digital version of what the freshly painted artwork would have looked like. Based on this reconstruction, Kachkine’s new software assembles a map of the retouches, and their exact colors, necessary to fill the gaps present in the painting today. The map is then printed onto two layers of thin, transparent polymer film—one with colored retouches and one with the same pattern in white—that attach to the painting with conventional varnish. This “mask” aligns the retouches with the gaps while leaving the rest of the artwork visible. “In order to fully reproduce color, you need both white and color ink to get the full spectrum,” Kachkine explains in an MIT statement. “If those two layers are misaligned, that’s very easy to see. So, I also developed a few computational tools, based on what we know of human color perception, to determine how small of a region we can practically align and restore.” The method’s magic lies in the fact that the mask is removable, and the digital file provides a record of the modifications for future conservators to study. Kachkine demonstrated the approach on a 15th-century oil painting in dire need of restoration, by a Dutch artist whose name is now unknown. The retouches were generated by matching the surrounding color, replicating similar patterns visible elsewhere in the painting or copying the artist’s style in other paintings, per Nature News and Views. Overall, the painting’s 5,612 damaged regions were filled with 57,314 different colors in 3.5 hours—66 hours faster than traditional methods would have likely taken. Overview of Physically-Applied Digital Restoration Watch on “It followed years of effort to try to get the method working,” Kachkine tells the Guardian’s Ian Sample. “There was a fair bit of relief that finally this method was able to reconstruct and stitch together the surviving parts of the painting.” The new process still poses ethical considerations, such as whether the applied film disrupts the viewing experience or whether A.I.-generated corrections to the painting are accurate. Additionally, Kutzke writes for Nature News and Views that the effect of the varnish on the painting should be studied more deeply. Still, Kachkine says this technique could help address the large number of damaged artworks that live in storage rooms. “This approach grants greatly increased foresight and flexibility to conservators,” per the study, “enabling the restoration of countless damaged paintings deemed unworthy of high conservation budgets.” Get the latest stories in your inbox every weekday.

Here's what we looked at this week:Objets d'esign: Lexon is releasing speaker and lamp versions of Jeff Koons' Balloon Dog sculpture. Volvo's new Multi-Adaptive Safety Belt compensates for different sizes, shapes and crash severities.Dometic's designey coolers use a different manufacturing method. Wandercraft's Eve, the world's first self-balancing exoskeleton, allows people to walk again.U.C. Berkeley's tiny pogo robot has a unique locomotion style.BARE designs a better—and less expensive—Dutch oven featuring a host of UX improvements.Clever materials use: How to clear standing water on a flat roof using rope.Architecture that works with challenging terrain, not against it: The Zig-Zag Resort, by JA Joubert and UNS Architects.Industrial design firm APE creates the Echo Pro, a perfect-fitting bike helmet with a novel adjustment mechanism.The Splay Max: A folding portable 35" monitor.Industrial Design student work: Dashiell Schaeffer's Curvesse rocking chair, made from a single sheet of plywood.These unusual, "anti-ligature" doorknobs are designed with a grim functional purpose.Designey tool kits: A trend with legs.BareBag's unusual design approach: Bags that serve as hanging points for other bags.From Germany, the NOHRD SlimBeam is a handcrafted, attractive piece of home exercise equipment.Why America's streetlights have been turning purple.When industrial design is subject to aftermarket modifications: BoxPlates to undo the PlayStation 5's look.This ShowerClear design fixes the mold problem all showerheads have.Industrial design case study: Curve ID tackles industrial kitchen equipment for JAVAR.

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.

“Pillars” (2024), oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style June 4, 2025 Kate Mothes In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history. Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens. “The Patron Saint of Urban Farming” (2025), oil on linen, 72 x 48 inches In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes. The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present. An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War. Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations. “Watermelon Man” (2025), oil on linen, 51 1/2 x 42 inches Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride. For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community. For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says. Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram. “International Detroit Playa: Sheefy” (2022), oil on linen, 108 x 96 inches “These Are Not Yams But They Are Damn Good” (2025), oil on linen, 51 1/2 x 42 inches “Creation of a Revolutionary (Helen Moore)” (2023), oil on linen, 76 x 52 inches “Black” (2023), oil on linen, 48 x 48 inches “Garland of Resilience” (2025), oil on linen, 51 1/2 x 42 inches “Birth of Cool” (2023), oil on linen, 72 x 48 inches Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit Previous articleNext article