The power of craft has touched every facet of design since the dawn of time. At the Harvard Graduate School of Design, students Annie Xing, Luke Fiorante, Joseph Fujinami, and Chi Zhang investigate the logic of making by hand—and whether the modalities of robotics can learn these distinctly human gestures. A portmanteau of two Japanese words––”hikari,” meaning light, and “kirigami,” the art of cutting and folding a single sheet into three-dimensional form––Hikarigami explores the intersection of digital code and physical force.

What begins as a flat aluminum sheet evolves into a volumetric luminaire composed of six formed panels, each contributing to a dynamic field of light. A function of both process and progress, the material is first laser-cut with a variable lattice pattern derived from computational simulations, then shaped through robotic incremental forming—transforming the planar into the spatial without the use of molds or conventional tooling.

Alike to chainmail, each motif follows a continuous logic, yet no two are identical. The lattice varies in density and geometry, guiding how the aluminum bends, resists, and ultimately refracts light. The result is a porous, light-refracting surface where structure, texture, and illumination emerge simultaneously from a single act of making.

A robotic arm—an ABB industrial model guided by Grasshopper and custom toolpath scripts—presses into the metal sheet with sub-millimeter precision, forming each panel point by point. This process, known as single-point incremental forming, borrows from aerospace and automotive manufacturing, yet is recontextualized here as a tool for design exploration. Each deformation is deliberate, yet responsive, producing subtle variations that make every panel—and every projection of light—distinct.

Seemingly similar yet with a modality all its own, Hikarigami’s magic comes from within. When illuminated, the six panels act as both diffuser and lens, casting caustic light patterns that shift across walls and floors. The experience is neither static nor singular; it evolves with movement, angle, and proximity, dissolving at times into atmosphere, and at others revealing a dense, almost textile-like surface language.

The raw, unfinished aluminum bears the marks of its own creation—subtle irregularities, directional grain, and residual tensions left by the robotic tool. These are not imperfections, but a visible record of process, allowing the object to carry its own romantic narrative of making. Over time, the material will continue to change, taking on a patina shaped by use and environment.

The Harvard graduate team is as follows: Annie Xing, who directed computational design and fabrication; Luke Fiorante, who specialized in robotic fabrication and toolpath programming; Joseph Fujinami, who led fabrication and structural assembly; and Chi Zhang, who contributed to robotic fabrication. Completed in 2025, the project delineates a new paradigm of manufacture—one where craft and automation are collaborators, and where variability and precision coexist within the same material language.

To learn more about the Hikarigami luminaire, please visit lukefiorante.com.

Photography by Annie Xing, Luke Fiorante, Joseph Fujinami, and Chi Zhang.

Since the dawn of the loom, all of humanity has experienced it. We’ve tried our best throughout the millennia, but there are some things that remain constant––that pile of clothing neither fully dirty nor completely clean. It exists in a liminal state somewhere between. Simone Giertz––designer, inventor and many other things––presents the Laundry Chair, an answer to an age-old problem. With a rotating secondary arm that is perfect for laying clothes that are worn, but not ready for the laundry basket, this chair turns what was once an eyesore into a beautiful and functional solution.

Upholstered in a smart, olive, low-pile cord, this chair is meant to stand alone, even without the laundry. Solutions must be equitable, beautiful, and do exactly what’s expected to be truly successful––and Giertz has done it again. The design is not meant to change human behavior, but to work within the parameters of how we already exist. In the case of laundry––a task that costs time, energy, and money––the unassuming chair alleviates the mental anguish of managing piles while better maintaining garments in the interim.

Various fashion cultures include slips or other undergarments to keep outer clothes clean, reducing the necessity of washing, as it still is an incredibly laborious task to complete by hand. Frequent washing is also not recommended for most fibers, much less purely natural ones. Denim purists seem to be the loudest in this regard. Either way, the smartest approach to doing less laundry is to create less in the first place, and the Laundry Chair makes that process easy. All your textiles can be lined up for visual and olfactory inspection.

“As a perfectionist… I think there’s something that I have to practice a lot, which is standing proud next to things that are imperfect, and loving them anyway,” shares Giertz. “I think it’s really about trying to focus on volume. It’s not volume in the sense that you make a bunch of content, or try out a bunch of things, but the worst position to be in is being stuck. Sharing something that’s half finished might be a great way of getting unstuck, or just keeping some sort of movement and pushing it forward”.

Not to be dramatic, but Simone Giertz may be one of the closest things to a modern-day Da Vinci that we’ve got going on. A problem-solver of novel, everyday frustrations, the smallest details are usually the ones that separate the good from great designs. Giertz turned her love of robots and engineering into a full-on obsession with invention, where common problems have the opportunity to become delightful solutions.

To learn more about the Laundry Chair by Simone Giertz, visit yetch.studio.

Photography by Yetch Studio.

Anchored by the infamous Art Basel, Miami Design Week has long perfected the art of spectacle. It is a place where design and art operate as social currency as much as cultural production—where many collectors, curators, and the merely curious circulate with equal intent: to see and be seen. Booths gleam with pristine finishes and objects, often steeped in other-worldly design theories, carry an undercurrent of polish that signals their place within a rarefied ecosystem. It’s a stage set for cultural capital, where seriousness is often performed as much as it is practiced…Which is precisely what makes IKEA’s return feel so disarming.

With the debut of GREJSIMOJS, the Swedish giant steps into this atmosphere by loosening its collar entirely. Fur spills over familiar forms. Storage grins back with a set of teeth. Lamps take on personalities. In a setting where objects are often meant to be admired at a distance, IKEA invites touch, humor, and—perhaps most subversively—play.

At a fair synonymous with exclusivity, IKEA’s presence reads as an unlikely disruption. Yet GREJSIMOJS—loosely translated as “thingamajig”—doesn’t attempt to mimic the polished restraint of collectible design. It rejects it outright. The collection leans into a childlike logic: objects are not fixed in meaning, but fluid, emotional, and open-ended. A chair grows fur. A pouffe reveals a mouth. A lamp becomes a creature. Function dissolves into narrative.

This ethos is rooted in something deeper than aesthetics. The collection emerges from IKEA’s global Play Report, which reframes play as an essential human behavior rather than leisure. The in-depth research argues for the fostering of creativity, connection, and cognitive development well into adulthood. As collection designer Carl Öjerstam notes, play is not something we outgrow; it evolves with us, shaping how we imagine, compete, create, and ultimately move through the world.

In this context, GREJSIMOJS becomes less a children’s collection and more a manifesto. The objects invite participation rather than observation—a  significant departure from the conventions of collectible design, where things are often appreciated from distance or just meant for display. Here, tactility is everything. A furry MAMMUT chair cover transforms a familiar object into something alive––a friendly, fantasy creature––blurring the boundary between furniture and companion. The toothy storage pouffe turns cleanup into performance, its interior “mouth” quite literally consuming clutter with a playful bite.

At Art Basel, this philosophy scaled up. IKEA’s exhibition unfolded as a series of life-sized vignettes—rooms that operated less like staged interiors and more like immersive playgrounds. Visitors didn’t just view the objects; they engaged with them instinctively. Nearly everyone who passed by felt compelled to touch, pat, or interact with the pieces, regardless of age. The result was an environment that dissolved the typical barriers between adult and child, collector and participant.

This blurring is precisely where IKEA’s disruption takes hold. In a space defined by scarcity and authorship, GREJSIMOJS proposes a different kind of value system rooted in emotional resonance and shared experience. It suggests that collectibility need not be tethered to exclusivity, but can instead emerge from objects that invite ongoing interaction and reinterpretation.

Mammut Monster Chair with Faux Fur Cover

Giraffe Decorative Light

Color plays a critical role in this argument. While Pantone’s recent declaration of white as the color of the year gestures toward conceptual minimalism, IKEA moves in the opposite direction. Its own “Rebel Pink” asserts itself as a bold, exciting new neutral, replacing the passivity of white with something subtly expressive and alive. The choice feels intentional—almost cheeky. Where white recedes, pink insists. Where neutrality once meant absence, it now signals personality.

Pouffe Bench with Paws

Cactus Hanger

In GREJSIMOJS, color, texture, and form converge to challenge the quiet codes of contemporary design culture. The collection doesn’t whisper; it hums, squeaks, and occasionally roars. And in doing so, it reframes play as a serious design strategy capable of reshaping how we furnish our homes, but how we define value, authorship, and experience within the design world itself.

Cat Box Basket Storage

To shop the collection, visit ikea.com.

Photography courtesy of IKEA.

Stability – what a novel concept in this day and age. We search, create, and yearn for the balance of life to “just slow down a bit,” unwilling to admit that is in fact true of all moments in time, and probably those in the future. A wide stance is needed to maintain sustained strength, consistency one of our most silent but deadly weapons. The Settecento Chair by Leonardo Liendo creates space to sit among what could be considered chaos, a sign of welcome in the eye of the storm.

Taking inspiration from Gio Ponti’s 699 Superleggera, these familiar typologies are translated through the lens of steel rather than wood, creating unique vertices all their own. Two continuous curved tubes form both the legs and backrest, reducing the structure to its most essential gesture while maintaining a clear and recognizable silhouette. A perforated, CNC laser-cut seat lessens overall weight, yet adds a charming transparency as well—its openings offering ventilation and drainage, making the chair equally at home indoors or out.

Multiple powder-coated colors make this project modern and virtually indestructible. The four colors are as follows: Caffè, a deep brown; Terracotta, a warm brown; Pistacchio, a yellow-leaning green; and Metallo, a clear gloss lacquer that preserves the integrity of the steel while revealing its material honesty.

Double bars on the back distribute weight more evenly than a singular bar, a subtle nod to Ponti’s iconic design language. Placed closer together, they offer a more controlled leverage when handling the chair, allowing for greater ease and accessibility in use. The result is an object that feels intuitive in the hand as much as it does stable beneath the body—where interaction becomes second nature rather than effort.

Designed and produced entirely in Argentina, the chair balances industrial precision with a hands-on sensibility. Each component is bent, welded, and assembled with care, reinforcing a dialogue between machine process and human touch.

Leonardo Liendo, based in Córdoba, Argentina, balances a highly experimental process with meticulous sensitivity to form and function. Clear logic follows his work, pieces immediately expressing their purpose with distinction. The Settecento Chair platforms familiar shapes that bridge a warmth of tradition and the freshness of modernity—an object that feels both remembered and newly resolved.

To learn more about the Settocento Chair by Leonardo Liendo, visit leonardoliendo.com.

Photography by Sofia Quiroga.

The most infinitesimal elements of our interiors are getting noticed these days. With nothing being left to chance in the outfit of our homes, workspaces, restaurants, stores, and shared civic environments, hardware is finally gaining the attention it deserves. These small—heavily used—components are central to our everyday lives; essential to the function of our kitchens, wardrobes, and the doors that separate these spaces but are ultimately taken for granted. Why shouldn’t our handles, knobs, and pulls be celebrated as a vital home design typology; treated with the same formal and aesthetic rigor as a chair.

A growing crop of boutique producers and design practices foraying into product development have begun to take hold of the application and push the limits of what can be considered functional; the extent of which the human hand can grab, lift, and tug a sculptural form. The possibilities seem endless and experimenting in this small format is less risky. But as with any fresh proposition, a degree of recognition remains critical for viability and wide-spread adoption. A handful of intrepid brands, a number of which hail from Australia, have picked up the mantle.

Take Lo & Co Interiors’ recent collaboration with celebrated Melbourne-based interiors practice Studio Tali Roth: a cleverly conceptualized collection harnessing the surprisingly conducive formal qualities of myriad traditional Italian pasta forms.

Hand-forged in pewter, oil-rubbed bronze, polished nickel, and polished brass, the aptly named Al Dente Collection turns star-shaped pastina into a knob; lasagna into a lateral handle; orecchiette into a thumb-print pull; and the olive—a complementary ingredient central to pasta—into yet another knob.

This ingenious yet playful, whimsical yet sophisticated offering stems from an unexpected adjacency—when too unlikely ideas or things are thrown together. What would happen if an inherently sculptural food like pasta were turned into a furnishing. It’s been done before but often with a gimmicky, far less resolute, outcome.

It makes particular sense in the context of the kitchen, where this collection could take on a semiotic quality, indicating where the foodstuff is stored. Move over Michael Graves and your whistling bird-topped 9093 Tea Kettle.

“For me, the kitchen has always been the most intimate space—where life happens, and memories simmer…and pasta is shared with family,” says studio principal Tali Roth. “I wanted to create whimsical accessories—sophisticated but not too serious. Sculptural pieces that echo the folds of handmade pasta, each offering its own personality.”

To stay in the know regarding Al Dente’s launch, visit loandcointeriors.com.

Photography courtesy of Liam West.

With a halo of kaleidoscopic colors, the debut lamp from Montreal-based studio Juba feels almost otherworldly—like the surface of some alien planet or bacteria blooming under a microscope. What began as an exploration of LED and cradle-to-cradle manufacturing at Concordia University resulted in a sculptural table lamp with a distinctly cosmic aura and soft, yet striking, silhouette. Enter: the TL-1 Lamp, which made its trade show debut at IDS Toronto this past January.

“The purpose of the project was to explore circular manufacturing, and because acetate is such a hard material to get your hands on, I used acrylic for that first prototype,” explains Juba founder Nick Trudel about the early prototype. “So, I thought, ‘This is going to be an eco-friendly product one day, but right now, it is made with normal materials that I can buy locally.’”

Years later, his design has come full circle. Made of hand formed cellulose acetate, machined aluminum, and a cast mineral-composite base, TL-1 boasts high-quality materials sourced locally or fabricated nearby. The rounded reflector is made from a plant-based composite–wood pulp and cotton–that is processed in Montreal, and the cast stone base is poured in the studio. Built to order in their facility, each lamp is one-of-a-kind, bearing unique gradients and tonal variations.

“Sustainable processes are really important,” adds Trudel. “They aren’t the driving factor, but they’re like hygiene. I wouldn’t feel good making anything that couldn’t be repaired or that uses materials that don’t biodegrade in a reasonable amount of time.”

In light of this, all LED bulbs used for the TL-1 are replaceable. Plus, a textured dimmer knob produces a soft, low-level glare that mimics the slow entry and departure of sunlight—or even, the warm fading light of a classic incandescent bulb. Designed to emit a subtle, indirect light on both sides, the lamp offers an atmospheric experience emitting soft halos–one faint and one bright.

Available in two colourways, Heaven is a light-pink conch shell color (shown here) and Earth features deep greens and yellows.

“You’re meant to be able to stare into it and feel calm and relaxed and contemplative—like putting on a record at the end of a long day,” explains Trudel.

For the designer, Juba has even deeper roots. Named after the moniker he gave his daughter, the brand is deeply personal, rebelling against a commonly taught idea that designers don’t design for themselves. “My heart and soul are fully behind this,” says Trudel. And it shows.

Although his previous experience lies in architectural lighting–Trudel credits the launch of his practice in part to Bennett Dobni of Montreal-based lighting studio Lambert et Fils–he has plans to expand his scope into other mediums with the hopes of realizing a full product line. Look out for his work at ICFF in New York in May, and at Salon Index-Design, the central trade show forming Montreal’s first ever city-wide design week at the end of April.

To learn more about the studio, visit juba.world.

Photography courtesy of Nick Trudel.

The concept of home can mean many different things – the concept of comfort as well. The home is a sanctuary, a safe space of creativity, flourishing, and family. Arya and Michael, founders of Studio OSKLO, treat their abode as such, and inspire us to do the same. Named after the Trousdale Estates neighborhood of Beverly Hills, the Trousdale Collection embodies the familiar streets well–1960s architectural silhouettes outlined against mountainous panoramas, city views filtered through mature pines, all drenched in golden California sun.

An ode to a specific place at a specific time, the Trousdale Collection is a culmination of synergy between founders Michael and Arya, and their most personal collection to date. Developed within their own residence—the OSKLO House, originally designed by George Varnum in collaboration with Benton & Parks—the pieces act as both functional objects and vessels of lived experience. While this marks their third furniture line, it is the first to fully center their own domestic landscape as both inspiration and stage.

However direct, each piece has clear historical ties. Studio OSKLO’s work consistently threads past and present, pairing original designs with museum-quality vintage works. The slight pitch of the top of the Bloom Nightstand, for instance, ties us to a time of careful craftsmanship, where materiality is at the center of creation, its whimsical floral reference subtly embedded in its form and bronze hardware detailing.

The De Gaulle Chair creates sloping, organic lines that flow their way down to the ground as they envelop the seat. Its rounded, French mid-century silhouette is further refined through tailored piping and offered in richly tactile mohair, balancing sculptural presence with softness.

The Lady Bird Console features a generously curved top, three evenly spaced drawers, and a rich satin finish in stained oak. The elongated form reads as both architectural and approachable, allowing a certain amount of texture to shine through while maintaining a cohesive, grounded hue.

This S.C.A.L. daybed daybed by Jean Prouvé features true-to-era upholstery paired with its original 1950 metal frame, restored to museum-quality condition. Masters of preservation, Studio OSKLO seamlessly integrates brilliantly-restored pieces into contemporary interiors as anchors of design lineage.

Here, the Hillcrest Dining Table is paired with eight matching Dining Chairs, creating a stately surface for elegant gathering. The table’s monumental presence is grounded by fluted walnut pedestal legs, while the chairs reinterpret traditional French forms with abbreviated arms and extended backs, upholstered in sumptuous Italian cotton velvet. Together, they create a setting that feels equally suited for intimate dinners or more theatrical moments of gathering.

Last, but certainly not least, these twin Monaco Barstools continue the celebration of organic form, even at last call. Rounded, woolly seats sit atop freeform oak bases, evoking soft, slightly whimsical silhouettes while maintaining structural clarity.

Far from an exhaustive list, remaining pieces in the collection span from playful to monumental–and always grounded–echoing the studio’s dialogue between material richness and sculptural intent. The pair continue to push the bounds of materiality and making.

“When Arya and I met; we almost immediately began working together. Our 7-year relationship coincided with the beginning of OSKLO, at the time we were both working on separate real estate design projects and each excelling in different areas than the other,” says Michael. “Together, we immediately felt like we made a more formidable team,” shares Arya. “And of course who doesn’t want to spend every moment together when first meeting?”

To learn more about the Trousdale Collection from Studio OSKLO, visit studioosklo.com.

Photography courtesy of Studio OSKLO.

How drab the palettes of today have become. We knew the moment grey was being advertised to children—who have yet to fully develop their rods and cones—that we were on a distinctly more boring path. Color reflects the brilliance of our natural world, and has even been shown to make us happier overall, certain hues lifting our mood simply by entering our field of vision. Memphis Milano, established in the eighties in Italy, signaled a release from Modernist conventions and was both revered and reviled by critics and the public. Memphis Style has been described as “a shotgun wedding between Bauhaus and Fisher-Price.”

Prism Stack Glasses

Prism Stack Glasses

Forever fans of nonconformity, the Cedric Mitchell x JOOPITER collaboration embodies the spirit of these trailblazers, yet filters it through a distinctly contemporary lens. Released as part of JOOPITER Marketplace—an always-on, buy-it-now platform offering direct access to the personal collections and archives of influential cultural figures—the collection situates Mitchell’s work within a broader ecosystem of cultural artifacts, where provenance and narrative carry equal weight to form. Texture, color, and transparency all play major roles here, with high-gloss and satin finishes lending a frozen, almost suspended quality to frosted surfaces. Ideals of contrast and constraint emerge to define a new Memphis, where color is not merely decorative, but declarative.

Modern Funk Jacket II

Each piece brings its own unique flavor. Mitchell’s practice—operating at the intersection of craft, utility, and visual culture—draws from a wide spectrum of references including ‘90s hip-hop and retro streetwear to graffiti and childhood iconography. Color, in this context, becomes emotional currency, triggering responses that feel at once nostalgic and immediate. Thick, hand-blown glass cylinders transition gracefully into seating and sculptural forms, emphasizing tactility and the push-pull of saturated tones. Totemic silhouettes emerge throughout, their stacked geometries lending the objects an almost anthropomorphic presence—creatures of color that mirror our enduring fascination with the natural and the constructed alike.

Modern Funk Jacket I

Continue reading to get a glimpse of Mitchell’s world as saccharine hues stack, bend, and spill into various forms. What you’ll see is a cast of colorful characters–playful, a little off-balance, and entirely alive—each one speaking fluently in the language of Modern Funk…

Primary Portal I

Primary Portal I
Primary Portal I opens a threshold. Bold geometric framing surrounds a mirrored center, pulling the surrounding space into the work itself. It’s furniture, object, and environment all at once—always shifting with light and reflection.

Playhaus Perch Chair

Playhaus Perch Chair
The Playhaus Perch Chair brings Mitchell’s language into the realm of sitting. Lacquered geometry meets soft lambskin upholstery, turning a chair into a sculptural experience. It invites use, but never loses its presence.

Art Deco Diaspora

Diaspora Deco Chair
Diaspora Deco Chair bridges eras. Glossy, architectural forms meet plush lambskin, reinterpreting Art Deco through a Modern Funk lens. It’s grounded yet expressive, where history and experimentation sit side by side.

Plonko

Plonko
A quiet detour, Plonko trades gloss for a fully sandblasted finish, letting form do the talking. Soft volumes intersect at subtle angles, holding motion in suspension like a paused gesture. It’s restrained, tactile, and just a little mysterious—a study in what happens when Mitchell turns the volume down.

Petal Stack

Petal Stack
Petal Stack rises like a bloom mid-thought, each hand-blown element stacking into a rhythmic ascent. A chartreuse base anchors the piece before lavender and deep pink nodes lead to a soft, petal-like bowl. Equal parts vessel and sculpture, it softens geometry with a floral exhale.

Play Loud

Play Loud
As the name suggests, Play Loud doesn’t whisper. A lapis dome, electric rings, and a saucer crown collide in a glossy, saturated stack that feels both retro and futuristic. It’s a totem of joy—bold, buoyant, and impossible to ignore.

Verdant Oracle

Verdant Oracle
Verdant Oracle reads like a prophecy in color. A striped green base grounds the piece while a violet sphere and magenta ring give way to an asymmetrical teal rise. Pattern, gloss, and proportion work together to create something that feels both ancient and electric.

Zestrel

Zestrel
Zestrel is a balancing act in full color. Teal, chartreuse, orange, and turquoise stack into a tower that feels both precise and playful. Its glossy surface sharpens every hue, turning structure into spectacle.

Groovy Sprout

Groovy Sprout
With its matte finish and pastel palette, Groovy Sprout softens the tempo. A chartreuse dome anchors frosted violet and translucent blue forms, punctuated by a ring with a circular void. It’s light, architectural, and just a little dreamy.

Bubble Funk

Bubble Funk
Bubble Funk leans into contrast—rigid meets fluid, polished meets playful. A lapis cylinder grounds a pink ring dotted with blue nubs, while a red twisting form rises like a gesture mid-dance. It’s kinetic, cheeky, and full of attitude.

Primary Assembly I

Primary Assembly I
A study in structure, Primary Assembly I builds from intersecting planes and rounded forms. Its lacquered yellow finish amplifies the clarity of composition, turning geometry into a bold spatial statement. It’s furniture, yes—but it behaves like sculpture.

Moonstruck

Moonstruck
Moonstruck tilts toward the unexpected. A lapis base and chartreuse sphere give way to a turquoise spiral and an off-axis blue vessel with a glowing amber interior. The imbalance is deliberate, lending the piece a quiet, cosmic energy.

Triovo

Triovo
Triovo plays with expectation. A flared teal base supports magenta forms and a vivid orange sphere before an angular wedge breaks symmetry at the top. It’s precise, but never rigid—always just slightly off.

Orbolo

Orbolo
Texture takes center stage in Orbolo. A cratered violet base, dotted sphere, and ribbed stem build into a tactile, matte composition that invites touch. Its totemic form feels grounded, even as it lifts visually.

Halo Study

Halo Study
Halo Study is a vertical meditation on form. A lapis cone rises into a spiral, sphere, and disc, each element articulating a clear progression. Balanced yet animated, it’s as crisp as it is playful.

Badu Bloom

Bada Bloom
Bada Bloom grows upward in a rhythmic burst of color. From a grounded teal base, dotted and ringed forms lead into a swelling pink column crowned with a dome. It’s symmetrical, but never static—always in bloom.

Counterweight

Counterweight
Counterweight finds equilibrium in contrast. A warm orange base meets a violet hinge and teal lift, culminating in a tilted chartreuse bowl. The off-axis top keeps the piece alive, always in gentle tension.

Bendrix

Bendrix
Bendrix curves with intention. An amber column arcs upward from a green base, punctuated by red rings and a translucent collar before opening into a flared cup. It’s fluid, off-center, and quietly dynamic.

Ettore’s Echo

Ettore’s Echo
A nod with a twist, Ettore’s Echo channels postmodern lineage through a slender, stacked form. A lapis shaft rises through a spiral and sphere before ending in a tilted violet vessel. It honors the past, but refuses to sit still.

Primary Pivot

Primary Pivot
Primary Pivot turns balance into a question. A chartreuse base, red joint, and blue cylinder stack into a composition that feels both stable and on the verge of motion. Functional as a vessel, it reads as something more sculptural—almost architectural.

To learn more about the Cedric Mitchell x JOOPITER collaboration or shop the drop, visit joopiter.com.

Photography by Julie Dickinson.

Although they work with different media, Camilla Iliefski and Eva Zethraeus have had a simpatico career. For the past two decades, these two alumni of the HDK School of Design and Crafts in Gothenburg have evolved alongside each other, both producing work focused on detail, process and craft. And now, the exhibition Shimmering Real: Perception and the Spaces Between at HB381, on view until April 18, positions their pieces in thoughtful dialogue, with Iliefski’s soft, vibrant rugs a backdrop to Zethraeus’s sculptures that resemble hard yet friendly sea creatures.

With a background in graphic design, Iliefksi uses color as the dominant language in her fiber pieces, where hues in various gradients and intensities blend into and bounce off of each other with gusto.

Her rugs are akin to vivid paintings (the exhibition’s curators make comparisons to Kandinsky, among others), with their irregular borders and undulating pile heights and depths. The latter result in bulbous, organic compositions that feel like surreal odes to clouds, plant-life, and all things organic and thriving. Iliefksi often uses nature as a point of departure — landscapes, vegetation and the surfaces of the sea and sky.

Zethraeus also looks to the natural world for inspiration. Her pieces appear as if they’ve been rescued — in pristine shape — from some magical ocean floor. She counts marine life, Buddhist gardens and viruses as catalysts for her ideas, which take wondrous form in porcelain.

She works meticulously on each sculpture, whose every component is hand thrown, the composition assembled and then treated with numerous glazings and firings. The resulting works feel both natural and artificial, striking a balance between the familiar and altogether new.

To see more work by the respective designers, visit camillailiefski.com and evazethraeus.se.

Photography by Joe Kramm, courtesy of HB381.

The beauty in humanity’s love for athletics is hard to quantify. The rivalry, the adrenaline, and the joy of play are all things fans travel across borders to witness, spending thousands for just one seat in the stands. The Seu Bench, designed by Antoni Pallejà Office (studio A.P.O.) for RS Barcelona, embraces the art of spectation, forgoing ornament in favor of a sustained, almost radical simplicity.

Crafted in 100% aluminum, the bench comes in five sizes—45cm, 130cm, 150cm, 180cm, and 225cm—offered in a broad spectrum of powder-coated finishes. Comfortable everywhere outside of the spotlight, the Seu Bench feels no need to shout, assuming a sleek, supporting role while quietly inviting people to sit, pause, and stay awhile.

Five sizes simply wasn’t enough. RS Barcelona expands the offering into 21 powder coat colors, from vibrant hues like Traffic Red and Cool Blue to familiar tonals like Silk Grey and Green Beige. Perfect for an entryway, transitional space, terrace, or even courtside, the aluminum construction keeps the seating lightweight and adaptable. A subtle slit down the middle allows rainwater to pass through effortlessly, reinforcing its suitability for outdoor environments while eliminating the need for constant upkeep.

Now—for the seat. The Seu Bench embodies a clear invitation: solid, secure, and quietly ergonomic, with a subtly curved surface that supports the body without calling attention to itself. There’s nothing quite like sitting down for a moment and letting time stretch, observing the world as it unfolds. In an era defined by optimization—where productivity, movement, even rest are measured—the act of stopping has become almost subversive. The Seu Bench leans into that tension, positioning itself not just as an object, but as a place where conversations arise naturally, without planning, and where time can slow down.

RS Barcelona reminds us that a bench is as much a social tool as it is a piece of furniture. It operates within the lineage of what sociologist Ray Oldenburg defined as the “third place”—those informal environments that exist between home and work, where connection happens freely and without agenda. Whether in a courtyard, a café edge, or a workplace looking to soften its rhythms, the Seu Bench creates space for that kind of encounter. In this way, design becomes something more potent: a signal of belonging, and a quiet infrastructure for community.

Since 1975, RS Barcelona has understood the power of play—not just as competition, but as a shared experience. The brand’s portfolio, spanning game tables to contemporary furniture, reflects a commitment to creating pieces that bring people together, encouraging interaction over isolation. With Seu, that philosophy distills into its simplest form. Far from redefining luxury through excess, the bench suggests something subtler: that having the space—and the time—to sit together might be the most meaningful luxury of all.

To learn more about the Seu Bench designed by Studio A.P.O. for RS Barcelona, visit rsbarcelona.com.

Photography courtesy of RS Barcelona.

Nature is our oldest and most creative designer. Those in the business take structures, materiality, even morality from the organic rhythms of the earth, weaving their way through the mire and magic of creation. True sustainability requires that we understand and work within these parameters, using recycled and recyclable materials in tandem. In Tierra, Mar, y Aire, a new lighting collection from Héctor Serrano and presented by Faro Barcelona, the barriers between interior and exterior melt, a metabolization of materiality.

The project starts and ends with materiality at it’s core, mirroring the cycles of our natural world. The properties of each element relate to the composition that is used. For Tierra, a bioplastic formed from PLA and cellulose was utilized, which is both biodegradeable and compostable. Mar is composed of polypropylene derived from recycled fishing nets, and Aire from 100% recycled PETG, the most commonly recycled plastic in the world.

Serrano explains, “Circularity must be embedded throughout our entire consumption system; it is no use using sustainable materials if we then continue to live in a throwaway culture. We must rethink the way we produce, transport, consume and recycle our products, and this is where 3D printing offers an alternative, with on-demand, compact and automated production.” Indeed, true circularity involves not just a change of system, but a change of heart. If we are to participate in sustainability that lasts, our relationships with convenience must adapt.

This concept of “digital craftsmanship” comes into view: wherein the power of manufacturing is returning to the individual. Not directly into their hands, surely, but under their control. The traditional, top-down approach to design is being upended through additive manufacturing, allowing technical infrastructure to be created with surprising speed, in compact spaces. Here, the traditional ‘factory settings’ we know are now reset for modern ideals. In a broader effort to democratize large-scale 3D printing, more demand creates more widespread use, which is precisely what the technology needs to succeed. In this way, 3D printing gets, cheaper, easier, and more accessible, empowering anyone with a printer to join the conversation.

Not to be restrained by process, Tierra, Mar, y Aire reflects the structures we recognize in nature – hive structures, bubble-like volumes, and marine references dot the collection. These forms are familiar, emotional bonds ignited among our synapses. Millions of years have been spent perfecting the designs we see around us. As we look to our natural world, there is no waste, a perfect balance of flora and fauna. How can we embody these characteristics and make them real, within the parameters of our mortal minds? Serrano paints a new vision of the future, one where we ensure harmony in process and practice.

To learn more about Tierra, Mar, y Aire by Héctor Serrano for Faro Barcelona, visit hectorserrano.com.

Photography by Javier Márquez.

Jason Roskey grew up in Texas in a middle class, blue-collar family, but even at a young age he was inspired by art and architecture. When he was in elementary school and went on field trips to the Kimbell Art Museum in Fort Worth, he was one of the few students interested in the Louis Kahn-designed building and the works inside it.

Roskey later went to college and envisioned a more traditional path for himself. “I didn’t know I could pursue a creative life and career,” he says. “I spent years doing business-type things to make a living. It wasn’t until I moved to New York that I really began discovering furniture and interiors.”

Photo: Maggie Goudsmit

A self-taught woodworker, Roskey built custom pieces by hand in Brooklyn. His practice evolved, and he founded Fern in 2009. Today he operates the company from a studio and workshop in Hudson, New York, continuing the region’s long tradition of quality furniture production. Roskey first designs each item, which is then fabricated in-house by a team of skilled makers.

The studio now offers lighting, which is a natural complement to the sculptural tables and chairs. Fiberglass and hand-laced goat parchment on select fixtures are paired with bases of cast aluminum, blackened steel, and sand-cast bronze. This inaugural collection is now on view alongside signature furnishings in Junctions, the debut show at the Assembly Line Annex in Tribeca, a new exhibition space by General Assembly.

Quick to capture concepts as they come to him, Roskey continues to refine his initial models. “I am always sketching and designing in multiple ways,” he notes. “Often when I have a very pressing idea I will design directly on the bench, working through templates for different shapes.”

Today, Jason Roskey joins us for Friday Five!

Photo: Courtesy of Fern

1. Camper Van

In 2023 our studio needed a van to move furniture parts, upholstery and other things between fabrication partners. We ordered this 2024 Sprinter Van that splits time between shop duties and as a camping rig. It’s outfitted for a bunk bed, wifi, and a lightweight canoe stores on top.

Photo: Courtesy of Fern

2. John Porritt Welsh Chair

My favorite kind of chairs are vernacular chairs found throughout the world like the farm Windsors of England, Alpine tavern chairs and the Welsh Stick Chair. The Welsh Stick Chair is really the everyman’s Windsor – much less ornate, and often made from local green woods and material from hedgerows. All parts of the chair are made using different hand tools and no parts are turned on a lathe. Because the chairs were historically made by amateur woodworkers or village craftspeople, they each have a unique character. John Porritt is based in Spencertown, New York. A native of the U.K. John has been making this simple style of chair for decades. His are the most refined (and comfortable) that I have come across. While John’s chairs share the simplicity of prior Welsh stick chairs, they are of modern proportions. Visiting John for tea in his old Dutch barn workshop to discuss all things woodworking is a treat. His chairs are among my favorite being made in the country. He is using wood he sources entirely from around his Hudson Valley home that he dries next to his shop’s wood stove. I commissioned John a few years ago to build me this 8-stick Welsh chair. Often his chairs are expertly finished to appear vintage, but he painted this one black to naturally gain a patina over time.

Photo: Courtesy of Fern

3. Secret Catskills Creek

My favorite way to spend time alone is fly fishing. Standing in a river waving a stick to fool a trout into eating a fly – and then releasing it – might seem silly to some, but it’s my favorite way to unwind. The Catskills region has a variety of types of rivers, and the fishing I do in these parts can be relaxing dry fly fishing using traditional flies but mostly it is long hikes and wading in boulder-strewn streams. The woods, river, geological forms and wildlife inform so much of the work I do.

Photo: Courtesy of Fern

4. Baja Sur

I haven’t explored a lot of Mexico, but I’ve seen enough to know I love it. In college, we would make trips to the border towns – places that are no longer safe to visit. It felt like such an adventure in those days. My family and I try to make it to Baja Sur every few years. The area is made up of my favorite types of landscapes – a collision of mountains, the desert and the ocean within a close proximity.

Photo: Courtesy of Fern

5. Paris, Texas Poster

The film “Paris, Texas” by Wim Wenders made such an impact on me when I saw it while attending college in West Texas. Here was this film that kind of wasn’t really about Texas at all, but also it was. Wenders portrayal of American alienation resonated with me, a kid from a small town who didn’t really have a clue where he was going or how to get there. Of course there is the hauntingly beautiful Ry Cooder soundtrack, too.

Works by Fern’s Jason Roskey:

Photo: courtesy of Fern

Tulia Dining Table
Inspired by the rock formations of Texas’ Palo Duro Canyon, the Tulia Dining Table features monumental sized base components constructed from laminated hardwoods.

Photo: courtesy of Fern

Torre Table Lamp
Torre series of lamps reference Brutalist architecture forms, Casa Luis Barragán, using refined wood and metal working techniques.

Photo: courtesy of William Jess Laird

Junctions Exhibition at Assembly Line Annex
Junctions by Jason Roskey of Fern is a new collection of lighting and furniture crafted entirely in the Hudson Valley. Working with parchment, fiberglass, metal, and wood, the pieces investigate the interplay of weight and lightness.

Photo: courtesy of Fern

Ridge Bed
The Ridge Bed is a solid hardwood platform bed featuring a solid headboard with an upholstered pad that utilizes leather and darkened or white bronze hardware. The bed has two floating cabinets with cast bronze pulls, and cord management through the rear of side tables. Platform base available in plinth or standard styles.

Photo: courtesy of Fern

Elwha Cabinet
Influenced by natural valleys and extreme river environments, a deep ravine is carved into the case surround of the Elwha Cabinet. Doors are accessed with sand casted white bronze that reflect a warm silver tone.

Photo: courtesy of Fern

Sheffield Sectional, Ned Floor Lamp, Clois Daybed
Referencing middle 20th century forms, the Sheffield upholstery collection features exposed wood arm and panel components. The Ned Floor Lamp is our first foray into sculptural lighting that is an extension of the laminated wood pieces we have been exploring. Ned features a built-up hardwood base, a hand cast fiberglass & wood shade, and custom steel armature. And the Clois Daybed is a monumental-sized piece featuring hardwood construction with classic joinery details including wedged and carved wood tenons and faceted leg details. The mattress features a weighted, removable bolster, and a down filled pillow sized to match the bolster.