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.

An immersive architectural installation designed by the architecture and design firm opng is staged inside the former Chase Manhattan banking hall, a 1961 structure by SOM. House of Craft x Dior is a show of haute couture works from the fashion house’s archives. Presented by UBS and Dior, and curated by fashion icon Carine Roitfeld, the clothing and accessories are  brought to life in this historic setting. The exhibition orbits around Isamu Noguchi’s 1964 Sunken Garden, a serene, geometric landscape of basalt stones, water, and abstracted nature. opng’s design uses the site’s tranquility, creating a mirrored, “maze-like” architecture that visually connects the haute couture on display with Noguchi’s own sculptural language. The exhibition spans 30,000 square feet, wrapping visitors in a network of 10-foot mirrored walls. These surfaces reflect and multiply Dior gowns, accessories, process sketches, and photographs.  The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations. (Naho Kubota/Courtesy opng) House of Craft x Dior pays tribute to all seven of Dior’s creative directors—Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri—as well as menswear designer Kim Jones. Each director’s vision is represented through silhouettes, displayed alongside behind-the-scenes materials that offer insight into the meticulousness of couture. The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations. A 24-foot worktable is surrounded by videos of couturiers from Dior’s Haute Couture House describing the construction process of making Dior’s most recognizable garments. Noguchi’s Sunken Garden makes for a historic setting for the fashion exhibition (Naho Kubota/Courtesy opng) Commissioned by Chase in 1961, Noguchi’s Sunken Garden embodies a midcentury belief in art’s ability to humanize the urban landscape. By placing Dior’s intricate couture into this minimalist, tranquil site, UBS and opng initiates a conversation between eras, disciplines, and design philosophies. opng’s exhibition design includes tables and rectangular vitrines that can be hung on the walls. (Naho Kubota/Courtesy opng) The exhibition is part of UBS’s ongoing House of Craft initiative, which launched in 2024. House of Craft x Dior on view from June 6 to June 8.

The turing test in reverse Real TikTokers are pretending to be Veo 3 AI creations for fun, attention From music videos to "Are you a prompt?" stunts, "real" videos are presenting as AI Kyle Orland – May 31, 2025 7:08 am | 13 Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Since Google released its Veo 3 AI model last week, social media users have been having fun with its ability to quickly generate highly realistic eight-second clips complete with sound and lip-synced dialogue. TikTok's algorithm has been serving me plenty of Veo-generated videos featuring impossible challenges, fake news reports, and even surreal short narrative films, to name just a few popular archetypes. However, among all the AI-generated video experiments spreading around, I've also noticed a surprising counter-trend on my TikTok feed. Amid all the videos of Veo-generated avatars pretending to be real people, there are now also a bunch of videos of real people pretending to be Veo-generated avatars. “This has to be real. There’s no way it's AI.” I stumbled on this trend when the TikTok algorithm fed me this video topped with the extra-large caption "Google VEO 3 THIS IS 100% AI." As I watched and listened to the purported AI-generated band that appeared to be playing in the crowded corner of someone's living room, I read the caption containing the supposed prompt that had generated the clip: "a band of brothers with beards playing rock music in 6/8 with an accordion." @kongosmusicWe are so cooked. This took 3 mins to generate. Simple prompt: “a band of brothers playing rock music in 6/8 with an accordion”♬ original sound - KONGOS After a few seconds of taking those captions at face value, something started to feel a little off. After a few more seconds, I finally noticed the video was posted by Kongos, an indie band that you might recognize from their minor 2012 hit "Come With Me Now." And after a little digging, I discovered the band in the video was actually just Kongos, and the tune was a 9-year-old song that the band had dressed up as an AI creation to get attention. Here's the sad thing: It worked! Without the "Look what Veo 3 did!" hook, I might have quickly scrolled by this video before I took the time to listen to the (pretty good!) song. The novel AI angle made me stop just long enough to pay attention to a Kongos song for the first time in over a decade. Kongos isn't the only musical act trying to grab attention by claiming their real performances are AI creations. Darden Bela posted that Veo 3 had "created a realistic AI music video" over a clip from what is actually a 2-year-old music video with some unremarkable special effects. Rapper GameBoi Pat dressed up an 11-month-old song with a new TikTok clip captioned "Google's Veo 3 created a realistic sounding rapper... This has to be real. There's no way it's AI" (that last part is true, at least). I could go on, but you get the idea. @gameboi_pat This has got to be real. There’s no way it’s AI 😩 #google #veo3 #googleveo3 #AI #prompts #areweprompts? ♬ original sound - GameBoi_pat I know it's tough to get noticed on TikTok, and that creators will go to great lengths to gain attention from the fickle algorithm. Still, there's something more than a little off-putting about flesh-and-blood musicians pretending to be AI creations just to make social media users pause their scrolling for a few extra seconds before they catch on to the joke (or don't, based on some of the comments). The whole thing evokes last year's stunt where a couple of podcast hosts released a posthumous "AI-generated" George Carlin routine before admitting that it had been written by a human after legal threats started flying. As an attention-grabbing stunt, the conceit still works. You want AI-generated content? I can pretend to be that! Are we just prompts? Some of the most existentially troubling Veo-generated videos floating around TikTok these days center around a gag known as "the prompt theory." These clips focus on various AI-generated people reacting to the idea that they are "just prompts" with various levels of skepticism, fear, or even conspiratorial paranoia. On the other side of that gag, some humans are making joke videos playing off the idea that they're merely prompts. RedondoKid used the conceit in a basketball trick shot video, saying "of course I'm going to make this. This is AI, you put that I'm going to make this in the prompt." User thisisamurica thanked his faux prompters for putting him in "a world with such delicious food" before theatrically choking on a forkful of meat. And comedian Drake Cummings developed TikTok skits pretending that it was actually AI video prompts forcing him to indulge in vices like shots of alcohol or online gambling ("Goolgle’s [sic] New A.I. Veo 3 is at it again!! When will the prompts end?!" Cummings jokes in the caption). @justdrakenaround Goolgle’s New A.I. Veo 3 is at it again!! When will the prompts end?! #veo3 #google #ai #aivideo #skit ♬ original sound - Drake Cummings Beyond the obvious jokes, though, I've also seen a growing trend of TikTok creators approaching friends or strangers and asking them to react to the idea that "we're all just prompts." The reactions run the gamut from "get the fuck away from me" to "I blame that [prompter], I now have to pay taxes" to solipsistic philosophical musings from convenience store employees. I'm loath to call this a full-blown TikTok trend based on a few stray examples. Still, these attempts to exploit the confusion between real and AI-generated video are interesting to see. As one commenter on an "Are you a prompt?" ambush video put it: "New trend: Do normal videos and write 'Google Veo 3' on top of the video." Which one is real? The best Veo-related TikTok engagement hack I've stumbled on so far, though, might be the videos that show multiple short clips and ask the viewer to decide which are real and which are fake. One video I stumbled on shows an increasing number of "Veo 3 Goth Girls" across four clips, challenging in the caption that "one of these videos is real... can you guess which one?" In another example, two similar sets of kids are shown hanging out in cars while the caption asks, "Are you able to identify which scene is real and which one is from veo3?" @spongibobbu2 One of these videos is real… can you guess which one? #veo3 ♬ original sound - Jett After watching both of these videos on loop a few times, I'm relatively (but not entirely) convinced that every single clip in them is a Veo creation. The fact that I watched these videos multiple times shows how effective the "Real or Veo" challenge framing is at grabbing my attention. Additionally, I'm still not 100 percent confident in my assessments, which is a testament to just how good Google's new model is at creating convincing videos. There are still some telltale signs for distinguishing a real video from a Veo creation, though. For one, Veo clips are still limited to just eight seconds, so any video that runs longer (without an apparent change in camera angle) is almost certainly not generated by Google's AI. Looking back at a creator's other videos can also provide some clues—if the same person was appearing in "normal" videos two weeks ago, it's unlikely they would be appearing in Veo creations suddenly. There's also a subtle but distinctive style to most Veo creations that can distinguish them from the kind of candid handheld smartphone videos that usually fill TikTok. The lighting in a Veo video tends to be too bright, the camera movements a bit too smooth, and the edges of people and objects a little too polished. After you watch enough "genuine" Veo creations, you can start to pick out the patterns. Regardless, TikTokers trying to pass off real videos as fakes—even as a joke or engagement hack—is a recognition that video sites are now deep in the "deep doubt" era, where you have to be extra skeptical of even legitimate-looking video footage. And the mere existence of convincing AI fakes makes it easier than ever to claim real events captured on video didn't really happen, a problem that political scientists call the liar's dividend. We saw this when then-candidate Trump accused Democratic nominee Kamala Harris of "A.I.'d" crowds in real photos of her Detroit airport rally. For now, TikTokers of all stripes are having fun playing with that idea to gain social media attention. In the long term, though, the implications for discerning truth from reality are more troubling. Kyle Orland Senior Gaming Editor Kyle Orland Senior Gaming Editor Kyle Orland has been the Senior Gaming Editor at Ars Technica since 2012, writing primarily about the business, tech, and culture behind video games. He has journalism and computer science degrees from University of Maryland. He once wrote a whole book about Minesweeper. 13 Comments

Peace Garden at UNESCO | © INFGM Located within the headquarters of UNESCO in Paris, the Peace Garden by Isamu Noguchi emerges not merely as a landscape installation but as a profound meditation on postwar diplomacy and cultural synthesis. Commissioned in the mid-1950s, the garden symbolizes the United Nations’ commitment to peace through mutual understanding and cultural dialogue. Peace Garden at UNESCO Technical Information Artist1-2: Isamu Noguchi Location: 7 Place de Fontenoy, 75352 Paris, France Client: Marcel Breuer / UNESCO Area: 2,400 m2 | 25,800 Sq. Ft. Project Year: 1958 Photographs: © INFGM and Flick Users, See Caption Details It should be a quiet, moving place. – Isamu Noguchi 3 Peace Garden at UNESCO Photographs © INFGM © INFGM © INFGM © INFGM © INFGM © INFGM © bbonthebrink, Flickr User © Patrice Todisco © bbonthebrink, Flickr User © bbonthebrink, Flickr User © Dalbera, Flckr user © Dalbera, Flckr user Park View Park View Context and Commission Noguchi, a Japanese-American sculptor and designer, was a poignant choice for the task. His biography embodies a convergence of East and West, as well as a lifelong engagement with public space as a vehicle for social commentary. By the time of his UNESCO commission, Noguchi had already engaged with landscape-scale sculptures, memorials, and playgrounds. The Peace Garden offered an opportunity to distill these threads into a singular work situated at the crossroads of global diplomacy. His selection was shaped by the broader architectural ethos of the UNESCO campus, designed by an international team including Marcel Breuer, Pier Luigi Nervi, and Bernard Zehrfuss. The ensemble called for a complementary but ideologically rich intervention, a space that could resonate as much with symbolic gravitas as with formal clarity. This garden was Noguchi’s first realized landscape design, and its execution was made possible through a personal introduction from Marcel Breuer, the chief architect of the UNESCO headquarters. Breuer not only facilitated the commission but also supported Noguchi’s experimental vision, which would challenge prevailing notions of diplomatic landscaping. Notably, the garden was completed in 1958 and spans approximately 2,400 square meters. It was constructed by renowned Kyoto-based master gardener Sano Toemon, marking a cross-cultural collaboration between modernist sculpture and traditional Japanese craftsmanship. Design Philosophy and Symbolic Intent Noguchi approached the Peace Garden as both sculptor and spatial thinker. He resisted creating a traditional memorial or a didactic allegory of peace. Instead, he crafted a contemplative void, a space that, through its absence of overt narrative, invited personal reflection and multiple interpretations. Drawing on the vocabulary of Japanese rock gardens and Zen traditions, Noguchi created a space of abstract expression that nonetheless maintained universal accessibility. The garden is composed of roughly hewn granite stones, a central water basin, and minimal vegetation. Each element is carefully positioned, creating an orchestrated tension between natural materiality and deliberate composition. This spatial language evokes notions of impermanence, balance, and introspection. The garden does not dictate how peace should be understood; rather, it sets a stage for experiencing peace as a spatial and emotional condition. In Noguchi’s words, the garden was to be “a quiet, moving place” rather than a monument. While inspired by Japanese garden typologies, particularly the stroll garden (池泉回遊式), Noguchi chose not to replicate tradition. Instead, he abstracted and reinterpreted elements such as Mt. Horai rock formations, stepping stones, and a crouching basin. These forms subtly allude to symbolic motifs without prescribing a singular reading. Noguchi negotiated directly with the Japanese government to secure donations of ten tons of stone and plant materials including camellias, maples, cherry trees, and bamboo. This act itself underscored the garden’s role as a diplomatic gesture, embedding it with botanical references to Japanese identity while maintaining a universal design language. Material and Spatial Composition Set at the base of the UNESCO building, the Peace Garden establishes a counterpoint to the architectural massing surrounding it. Its recessed layout forms a kind of spatial cloister, shielding visitors from the city’s rhythm and inviting a slower, more inward pace. The materials, chiefly unpolished granite, gravel, and water, speak to both permanence and mutability. The granite stones, irregular yet intentional in placement, recall tectonic forms and ancient spiritual markers. The central water feature introduces subtle movement and sound, enhancing the sensory richness of the space. The garden’s compositional core is its sculptural use of stone, each placement a spatial decision echoing both tectonic memory and sculptural intentionality. Noguchi collaborated on-site with Sano Toemon, whose craftsmanship adapted in real-time to the artist’s rapidly evolving vision. According to Sano, it was only after intense on-site dialogue and shared experience that he could fully comprehend and execute Noguchi’s aesthetic strategy, a testament to the garden’s improvisational and relational genesis. Spatially, the garden is organized not around pathways but around moments. There is no linear procession or axial symmetry; instead, it offers a field of relationships. Voids and solids, shadows and reflections, horizontality and vertical interruptions all work together to create a space that must be experienced slowly and from multiple vantage points. The absence of overt hierarchy in the layout allows users to construct their own narratives. It is a non-prescriptive space in which silence, texture, and light become the principal mediums of meaning. Peace Garden at UNESCO Plans Floor Plan | © Isamu Noguchi Floor Plan | © Isamu Noguchi Peace Garden at UNESCO Image Gallery About Isamu Noguchi Isamu Noguchi (1904–1988) was a Japanese-American sculptor, landscape architect, and designer renowned for his fusion of Eastern and Western aesthetics. Trained under Constantin Brâncuși and deeply influenced by Japanese traditions, Noguchi’s work spanned sculpture, furniture, stage sets, and public spaces. His practice was rooted in a belief that art should be integrated into everyday life, often blurring the boundaries between art, architecture, and landscape. Notable for his minimal yet emotionally resonant forms, Noguchi’s legacy includes iconic works such as the Noguchi Table, the UNESCO Peace Garden in Paris, and the Isamu Noguchi Garden Museum in New York. Credits and Additional Notes Style: Stroll Garden, Contemporary Japanese Garden Main Contractor: Sano Toemon, in collaboration with Uetō Zōen Listening to Stone: The Art and Life of Isamu Noguchi by Hayden Herrera Torres, Ana Maria. Isamu Noguchi: Studies in Space. Tokyo: Marumo Publishing, 2000. pp. 96–109. Sasaki, Yōji. “What Isamu Noguchi Left Behind.” Japan Landscape, no. 16, Process Architecture, 1990, p. 87. Treib, Marc. Noguchi in Paris: The UNESCO Garden. San Francisco: William Stout Publishers and UNESCO Publishing, 2004. Overseas Japanese Gardens Database. “UNESCO Garden.” Accessed May 2025.

Say the name Isamu Noguchi and the designer-artist’s iconic lanterns spring to mind. Their flattering glow and unfussy shapes in washi paper and bamboo don’t define the cultural zeitgeist so much as thoughtfully accentuate it. (Just ask Michael Kors, who crowned the runway for his fall/winter 2025 collection with outsize Akari globes.)Courtesy Noguchi Museum ArchivesAn exhibition of Akari lanterns in 2018–19 at the Isamu Noguchi Museum in Astoria, Queens. The lamps are just one small part of the illustrious legacy of this Japanese-American creative who found acclaim in everything he did—from sculpture to furniture, and even landscape design. The Isamu Noguchi Foundation and Garden Museum in Astoria, Queens, which celebrates its 40th anniversary this month, is a testament to his vision. Its heart is a 27,000-square-foot red brick building that dates from 1929, when it was home to a photo-engraving supply company.Courtesy Noguchi Museum ArchivesAn interior of the building in 1974, just after it was purchased by NoguchiWhere there was once a gas station next door, there is now a concrete viewing pavilion. Inside, the former industrial workspaces, with exposed steel and wood beams, are now galleries that host revolving exhibitions, as well as displays of Noguchi’s organic sculpture in carved stone. The yearlong celebration will showcase works from Noguchi’s original installation, along with performances by the Martha Graham Dance Company. (The artist designed numerous sets for the legendary choreographer over the course of a friendship that spanned decades.)Courtesy Noguchi Museum ArchivesAn interior of the Isamu Noguchi Museum in Astoria, Queens.“The museum’s legacy is a testament to Noguchi’s visionary approach,” says its director, Amy Hau, “where art becomes an immersive experience that connects with both the mind and the spirit.”Courtesy Noguchi Museum ArchivesAnd exterior view of the building in 1931, when it was Demgen & Balletto Photo Engraver’s Supply Co.; the building’s façade today.This story originally appeared in the May 2025 issue of Elle Decor. SUBSCRIBESean SantiagoDeputy EditorSean Santiago is ELLE Decor's Deputy Editor, covering news, trends and talents in interior design, hospitality and travel, culture, and luxury shopping. Since starting his career at an interior design firm in 2011, he has gone on to cover the industry for Vogue, Architectural Digest, Sight Unseen, PIN-UP and Domino. He is the author of The Lonny Home (Weldon Owens, 2018), has produced scripted social content for brands including West Elm and Streeteasy, and is sometimes recognized on the street for his Instagram Reels series, #DanceToDecor