Originally designed in 1972 by Argentine designer Ricardo Blanco, the Plaka Chair, or Silla Plaka, is a folding chair developed with a strong emphasis on functionality and compactness. The chair was conceived to fold into an extremely slim profile, optimizing it for portability and storage. Its form also allows it to be hung on a wall, emphasizing its graphic and sculptural qualities beyond mere utility.

The Plaka Chair is recognized as a significant piece in the history of Argentine design. It is held in the permanent collections of both the Museum of Modern Art (MoMA) in New York and the Los Angeles County Museum of Art (LACMA), reflecting its historical and design relevance. Ricardo Blanco’s Plaka Chair has been reedited by Holder Objects, an editorial platform, design store, and gallery dedicated to contemporary and collectible Latin American design. 

all images by Najtlix Studio

Plaka Chair joins Holder Objects’ curated selection of furniture

Founded by designer Trinidad Davanzo and architect Camilo Palma, Holder Objects platform presents a curated selection of furniture and art-led objects that explore connections between design, geography, and cultural identity within the region. Holder’s approach includes research-based curatorial work focused on uncovering historically important but lesser-known works, an effort referred to as ‘design archaeology.’ This methodology aims to preserve and reintroduce Latin American design heritage to a wider audience, especially in Europe, fostering cultural dialogue and collaboration.

The Plaka Chair joins Holder’s growing catalog, which also includes pieces such as the Puzzle Chair (1975) by Chilean designer Juan Baixas, another design held in the MoMA collection, alongside works from a range of contemporary Latin American designers. Holder Objects is set to give a talk at 3daysofdesign 2025, representing Latin American design.

the Plaka Chair, designed by Ricardo Blanco in 1972, emphasizes functionality and compactness

a folding chair reduced to its most minimal profile

clean geometry and foldable structure define its visual character

Holder’s reedition brings renewed attention to Ricardo Blanco’s design

designed for portability, stored like artwork

a landmark of 20th-century Argentine design

a folding chair that functions as both seat and statement

the Plaka Chair reflects a considered approach to material use and movement

fabrication

fabrication

fabrication

fabrication

sketches

project info:

name: Silla Plaka – Plaka Chair (Slab Chair)
designer: Ricardo Blanco

furniture company: Holder Objects | @holder.objects

photographer & videographer: Najt Lix Studio

concept & research: Najt Lix Studio | @najtlixstudio

director: Matías Lix | @lix_klett

original music: Camilo Palma | @ap_ducal

special thanks: Ana Scotto, Roberto Busnelli, Guillermo Ferrari, Pablo Diez, Fundación Ida | @fundacionida, Estudio Ovalle | @estudioovalle

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post holder objects reintroduces iconic argentinian plaka chair by ricardo blanco appeared first on designboom | architecture & design magazine.

At NIKE’s World Headquarters outside Portland, Oregon, the LeBron James Innovation Center houses the company’s Sport Research Lab, one of its most advanced design environments. This month, designboom visited the state-of-the-art space to preview the Breaking4 Speed Kit being developed for Faith Kipyegon, the three-time Olympic champion who will attempt to become the first woman to run a sub-four-minute mile. The challenge, titled Breaking4: Faith Kipyegon vs. the 4-Minute Mile, represents a collaboration between the athlete and a cross-functional design team whose focus spans footwear, apparel, and performance research.

The lab occupies the fourth floor of the Olson Kundig Architects-designed building, where physical and cognitive testing converge. Motion capture cameras, treadmills outfitted with sensors, and climate-controlled chambers allow NIKE’s teams to simulate race-day conditions. The goal is to understand how the body performs under pressure, and how design interventions can help optimize that performance.

Faith will make the attempt on June 26th, 2025 at Stade Charléty in Paris. NIKE will invite supporters across the world to tune in to a livestream broadcast, which can be viewed here!

the Olson Kundig-designed LeBron James Innovation Center at NIKE World HQ | image © designboom

the NIKE design team collaborates with faith kipyegon

For Brett Kirby, who leads performance research within the Advanced Innovation team at NIKE, the process of designing the Breaking4 Speed Kit begins before the first sketch or sample. His role is to define the structure of the challenge itself. ‘We are aiming toward the mile in four minutes,’ he explains during our visit to the lab. ‘What are the elements that we could start to think about? What’s the homework we need to do to understand this problem?‘

Kirby’s team gathers information not just through data collection but through close listening. His approach involves watching how athletes move, how they adjust their gear without thinking, and what sensory conditions help them settle into focus. ‘We want to take that and create a good observational portfolio of how they are communicating in all ways,’ he says. This kind of introspective, adaptive, and responsive design research sets the foundation for the physical pieces that follow.

inside the NIKE Sport Research Lab | image © designboom

the aerodynamic ‘system of speed’

Once the team’s goal has been structured, NIKE’s footwear and apparel teams begin develop possible solutions. For Faith Kipyegon’s attempt at the sub-four minute mile, those solutions took form as a fully customized NIKE Victory Elite FK spike, a performance FlyWeb Bra, and the aerodynamically tuned NIKE Fly Suit, each built with attention to functionality and sensory experience together.

Lisa Gibson oversees apparel development at NIKE, and described the suit as one of the most aerodynamic systems the brand has created. ‘We learned that Faith wanted to feel like she was running free,’ Gibson emphasizes. That simple idea, freedom of movement, became a central design thread. From there her team sourced materials that were both slick and elastic, then developed construction techniques that placed seams away from the front of the body to reduce drag. Every detail was calibrated through a combination of physical modeling, wind tunnel testing, and environmental simulations.

Integrated into the suit are textured surfaces known as Aeronodes. These small, raised geometries are tuned to generate controlled turbulence, helping the air stay closer to the body and minimizing the wake behind the runner. ‘By creating this controlled turbulence ahead of where larger turbulence would normally occur,‘ Gibson continues, ‘you end up having a smoother flow downstream.’ The result is reduced aerodynamic drag without the need to alter the runner’s natural form.

a running track threads through the colossal interior | image © designboom

a bespoke spike built from the ground up

Footwear innovation for the project is led by Carrie Dimoff, whose team approached the design of Faith’s Victory Elite FK spike as a ground-up reconstruction. Rather than modifying an existing shoe, they began by reviewing the demands of middle-distance racing and drawing insights from Nike’s experience with both marathon and sprint events. ‘We opened the aperture and looked at a lot of different ingredients,’ Dimoff tells us. ‘Then we thought about, ultimately, what’s the best in terms of weight reduction and performance return.’

The final spike includes a Flyknit upper constructed from precision-engineered yarns that deliver strength with minimal weight. Dimoff noted that one component of the upper weighs just three grams. Underfoot, a newly designed Air Zoom unit stores and returns energy, supported by a reengineered carbon plate embedded with six 3D-printed titanium pins for traction. Prototypes were assembled and revised on-site at the LeBron James Building in Oregon, allowing the team to respond to feedback from Kipyegon in real time.

testing chambers measure sweat, body temperatures, and aerodynamics | image © designboom

Throughout the process, Kipyegon remained central to every decision. The design team traveled to Kenya to observe her training firsthand and make in-the-moment adjustments. Lisa Gibson recalled watching for what she called ‘unconscious feedback’ — the way an athlete might subtly adjust a seam or pull at a strap. ‘If Faith is tugging on the leg or adjusting the shoulder, that’s telling us something,’ she explains. ‘We dive into that and figure out what’s going on.’

Carrie Dimoff echoes this attentiveness. There were instances, she said, when internal lab data showed no significant difference between two prototypes, but Kipyegon could feel one worked better for her. ‘She is so attuned to her body as a system,’ Dimoff says. ‘If it meant she could run more confidently in it, that was equally as important to us.’

Carrie Dimoff shows Faith Kipyegon’s Breaking4 spike | image © designboom

While the gear developed for Faith Kipyegon’s Breaking4 attempt is entirely bespoke, the innovations produced through the project are already being evaluated for broader application. Elements such as the taller Air Zoom unit, 3D-printed pin systems, and even the textile learnings from the bra design are under review for integration into future footwear and apparel lines. ‘There were lots of things left on the table that didn’t make it into this spike,’ says Dimoff. ‘But we’re really fascinated to dig into them.’

What emerges from Nike’s collaboration with Kipyegon is at once a portrait of a singular athlete at the edge of possibility, and a case study in how design can be shaped by data, environment, sensation, and trust. The effort unfolds through textile calibration, surface tuning, and structured observation. In the end, the system is built from listening and innovation together.

the performance bra is made from Nike FlyWeb, a 3D-printed TPU material | image © designboom

Lisa Gibson details the Aeronodes | image © designboom

the System of Speed is designed in collaboration with Faith Kipyegon | image © designboom

a carbon plate is embedded with six 3D-printed titanium pins | image © designboom

project info:

challenge: Breaking4: Faith Kipyegon vs. the 4-Minute Mile

company: NIKE

Breaking4 attempt: June 26th, 2025 at Stade Charléty, Paris (stream here)

The post inside NIKE’s sport research lab, faith kipyegon’s four-minute mile attempt takes shape appeared first on designboom | architecture & design magazine.

Since its launch in 2014, designboom’s competition platform has served as a launchpad for creatives across disciplines, offering designers, architects, and artists the chance to share their open calls with a worldwide audience of over 3,5 million monthly readers.

All it takes is to fill in the self-submission form with key details such as jury members, awards, prizes, jury members, awards, prizes, a link to the official call-for-entry pages. Include a curated selection of images and our editorial team will take it from there. Once published, our duty is to help the competition gain premium visibility through a dedicated billboard banner on our competition homepage, reaching an international network of readers.

From microhome and pavilion challenges to eco-conscious furniture, digital fabrication, and illustration contests, designboom supports a wide spectrum of ideas. By connecting competitions with a vibrant creative community, we extend their reach while encouraging our readers to engage, submit, and turn bold concepts into award-winning realities.

eight more designboom competitions currently running

Why wait? Discover eight designboom competitions currently open for entries and submit your idea to join the global creative conversation.

MICROHOME / Edition #10 by Buildner

Organization: Buildner
Competition name: MICROHOME / Edition #10
Last minute registration: July 18 – September 25
Submission deadline: October 29, 2025

The 10th edition of MICROHOME marks a special milestone in Buildner’s ongoing effort to explore the future of compact, sustainable living. This edition is presented in collaboration with Kingspan, a global leader in high-performance building solutions, and Hapi Homes, a company transforming the way homes are designed and built through technology, sustainability, and prefabrication. Together, they invite architects and designers from around the world to take on the challenge of shaping the next generation of micro-living.

BODEGAS VINIVAL by Terraviva

Organization: Terraviva
Competition name: BODEGAS VINIVAL

Early Registration: June 3 – August 08, 2025
Submission deadline: November 07, 2025

Location: Valencia, Spain

Terraviva launches BODEGAS VINIVAL, a new architecture competition inviting participants to reimagine an iconic industrial space as a dynamic cultural hub dedicated to the spirit of Las Fallas de Valencia. The competition invites a transformative design that revitalizes the Antiguas Bodegas Vinival, a mid-20th-century wine production complex, into a vibrant space for community, culture, and creativity. Participants are encouraged to celebrate the memory of the building while embodying the energy, irreverence, and ritual of Las Fallas – Valencia’s iconic festival of fire and renewal.

(Prime) Chair 11th International Industrial Design Competition by The Festival of Wood

Organization: The Festival of Wood
Competition name: (Prime)Chair

Submission deadline: August 26, 2025
Location: Kočevska, Slovenia

Recognizing wood’s renewed importance in the ‘green transition’ alongside modern knowledge, design, and traditional craftsmanship, the Kočevje Grammar and Secondary School launched the Festival of Wood in 2013. This initiative aims to highlight wood’s value, raise environmental awareness, foster connections with entrepreneurs and scientists, and ultimately transform attitudes towards forests and wood for greater economic value. As part of this broader effort, the Festival of Wood is hosting an international (Prime)Chair design competition for individuals 18 and older, where a professional jury will select two winning chair designs to be prototyped and showcased at the 2025 Festival of Wood Awards Ceremony, along with honorable mentions.

Digi Fab Award 2025 by KOKUYO×VUILD

Organization: KOKUYO×VUILD
Competition name: Digi Fab Award 2025

Submission deadline: July 31, 2025

KOKUYO and VUILD are hosting international design competition Digi Fab Award 2025, exploring the boundaries of architecture and furniture through digital fabrication. Timed to coincide with the 2025 Venice Biennale, the competition seeks innovative ideas from talented architects and creative practitioners worldwide, aiming to explore a new future shaped by digital fabrication. The Grand Prize-winning design will be fabricated during the Biennale period and exhibited both at the European Cultural Centre – Palazzo Mora and at THE CAMPUS—KOKUYO’s ‘open to the public’ workplace in Tokyo.

Concrete Pavilion by Buildner

Organization: Buildner
Competition name: Concrete Pavilion
Last Minute Registration: September 18 – November 27
Submission deadline: November 27, 2025

This Buildner’s Material Studies series challenges participants to design a Concrete Pavilion, a space that not only showcases the versatility and raw beauty of concrete, but also educates the public about its evolving applications. The pavilion should be designed as either a temporary or permanent structure, with a total area not exceeding 50 m². Participants are free to choose the site location, but are encouraged to consider contexts where the pavilion could generate a meaningful dialogue between material and place.

“Art on Climate” International Illustration Competition by Fingertips Company Limited

Organization: Fingertips Company Limited

Support: Allianz Global Investors
Competition name: Art on Climate
Submission deadline: July 31, 2025

Launched in Spain in 2019, the ‘Art on Climate’ competition has grown into a global movement over the past six years. What began as a regional initiative now attracts thousands of artists worldwide, with the 2024 competition receiving over 3,000 artworks from over 2,400 illustrators in more than 100 locations. This year, the Competition continues its mission across the Asia-Pacific region, uniting professional artists and emerging talents to harness creativity in raising climate awareness and driving action.

Khalil Design Competition by Khalil

Organization: Khalil
Competition name: Khalil Design Competition 
Submission deadline: 25 July, 2025

The Khalil Design Contest is a prestigious platform dedicated to fostering innovation and creativity among young designers in automotive luxury, particularly in Color, Material, and Finish (CMF). Hosted by Khalil, renowned for over 40 years of excellence in vehicle refinement, the contest targets talented design students eager to make their mark in the luxury automotive world.

2025 Big International Design Competition – Public Space Design Project 2

Organization: Busan Metropolitan City and Design Council Busan
Competition name: 2025 Big International Design Competition – Public Space Design Project 2
Submission deadline: June 30, 2025

Location: South Korea

The 2025 Big International Design Competition – Public Space Design Project 2 is hosted by Busan Metropolitan City and Design Council Busan. This two-stage international competition aims to discover and promote outstanding public designs that contribute to the creation of an attractive and sustainable Global Hub City, Busan. Under the theme ‘A Pause by the River’, the competition invites innovative design proposals for one site within the (tentatively named) Busan Design Special District, a 2km stretch spanning from the Busan Museum of Art to the Suyeonggang Human Bridge. Participants are expected to submit integrated proposals that encompass both Place Making and Public Goods Design, reflecting user behavior, site context, and urban connectivity.

The post from tiny homes to concrete pavilions, which designboom competition will you join this year? appeared first on designboom | architecture & design magazine.

Vondom’s Madison collection, designed by Eugeni Quitllet, draws inspiration from the dynamic and evolving character of New York. Reflecting the city’s vital attitude, a place where deep-rooted traditions mingle with the modern pulse, the collection integrates this duality directly into its design, offering a versatile range of chairs. It embodies a ‘changing spirit’ that combines modern aesthetics with classic lines, all stemming from a singular structure capable of manifesting four distinct personalities. This adaptability, according to designer Eugeni Quitllet, captures the very essence of his vision:

‘The essence of a Manhattan street that still retains its energy and has been able to adapt to the passage of time to remain a reference of both architectural style and the New Yorker way of living… I wanted my Madison chair to reflect this changing spirit, modern and classic at the same time and to offer all the possibilities of use with its multiple finishes, noble and hospitality. A design for everyone, from New York City!’ says Quitllet, elaborating on his inspiration behind the Madison collection.

the Madison collection by Eugeni Quitllet captures New York’s vital attitude | all images courtesy of Vondom

MADISON DEEPENS COMPLICITY BETWEEN VONDOM AND QUITLLET

After several collections, including furniture lines like Ibiza, Africa and Tulum, Madison further deepens the strong and creative complicity between Vondom and Eugeni Quitllet. With roots in Valencia, the Spanish brand has long been known for its mission to create outdoor furniture, characterized by distinctive forms and refined materials. Quitllet, a Catalan designer, approaches design with a unique vocabulary, often unveiling inherent shapes from within the material.

Madison stands as a testament to Vondom and Eugeni Quitllet’s creative complicity

ONE DESIGN BLOSSOMS INTO FOUR DISTINCT LOOKS

At the heart of the Madison collection lies a singular core structure, yet it blossoms into four distinct personalities through an array of different compositions, mixing materials and finishes. Each version is crafted to evoke a specific mood and aesthetic. One iteration stands out with its resin slats, offering a contemporary appeal that defines a clean, structural aesthetic. Another design radiates unburdened lightness, distinguished by its airy appearance. For those seeking a cozier embrace, there’s a more enveloping, tactile option, providing a soft touch. Finally, the last version evokes the warmth and aesthetic of wood, adding a natural and inviting element. All these variations share a wide chromatic range, ensuring effortless adaptation to both indoor and outdoor spaces.

Madison offers a versatile range of pieces, stemming from a singular structure with four distinct aesthetics

each iteration within the collection evokes a specific mood, from a clean aesthetic to radiating unburdened lightness

with its wide chromatic range, the Madison collection ensures effortless adaptation

project info:

name: Madison

company: Vondom | @vondomslu

designer: Eugeni Quitllet | @eugeniquitllet

The post vondom and quitllet’s madison collection transforms one design into four distinct looks appeared first on designboom | architecture & design magazine.

Friedman Benda in New York is currently presenting Formation, the first US gallery exhibition by Italian design studio Formafantasma. Opened to the public on June 6th and running until August 1st, the show signals an entry into the American gallery landscape for Andrea Trimarchi and Simone Farresin, whose studio has built a reputation for research-driven work grounded in material and cultural investigations.

Comprising tables, chairs, and lighting made primarily from Cherry wood and brushed aluminum, Formation centers on the idea of the archetype, specifically the typical pieces that make up the language of the home. ‘One of the words that kept on emerging from our conversation with the gallery was the idea of the archetype,’ Farresin explains at the show’s opening in New York. ‘There is an element in this group of works, which is the plank. That’s the most basic archetype where you construct furniture. And that’s where the collection originated.’

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

formation: friedman benda becomes a living space

The works by Formafantasma are composed within Friedman Benda’s gallery to recall a living space, though it is intentionally reduced in language. The designers note that Formation makes no attempt at theatricality. Instead, there is an attentiveness to proportion and placement. Each element draws from the familiar forms of chairs, shelving, and tables without directly reproducing historical models. ‘We wanted to address the domestic environment.’

The lighting pieces serve as an especially pointed reflection on how archetypes evolve. Made with flat LED panels encased in wood and metal, they mirror the ratio and glow of laptops and mobile devices. ‘Instead of the bulb, the new archetype of lighting is actually the panel,’ Farresin notes, describing our changing archetypes. ‘The iPhone, the laptop. That is the lighting that affects most of our lives.’

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

Material conversations and cultural inheritance

The choice of Cherry wood is central to Formation. Sourced from a lineage of American cabinetmaking, the material speaks to a larger cultural inheritance. Trimarchi and Farresin reference the Shaker tradition, Frank Lloyd Wright, and George Nakashima, not just for their aesthetics but for the clarity of their values and their dedication to material truth. ‘The decision to work with Cherry wood is also a reference and an homage to a lot of American designers we love,’ he says. ‘The work has been informed by the fact that we are here in the United States, showing our work.’

Against the warmth of the Cherry wood, brushed aluminum appears cool and precise. More than formal, this contrast speaks to Formafantasma’s interest in how older materials might coexist with the language of digital culture. The two materials remain distinct, yet they are in constant dialogue across each object.

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

textiles in the domestic environment

Subtle textile elements appear throughout the exhibition as acknowledgements of domestic labor and memory. ‘A lot of textile work is often overlooked in the domestic environment,’ the designer continues. ‘I’m thinking about table linen. And white is very subtle. We thought it was beautiful to include that. It made us think about the work of the many women that informed our life.’

The inclusion of these textiles introduces a softer, slower register to the space. They draw attention to touch and surface, but also to the social histories embedded in fabric which have long defined the heritage of furniture-making.

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

installation view courtesy Friedman Benda and Formafantasma | photo by Izzy Leung

project info:

exhibition: Formation

design: Formafantasma | @formafantasma

gallery: Friedman Benda | @friedman_benda

location: 515 W 26th St 1st Floor, New York, NY

on view: June 6th — August 1st, 2025

photography: © Izzy Leung, courtesy Friedman Benda and Formafantasma

The post formafantasma reflects on american domestic furniture archetypes at friedman benda NYC appeared first on designboom | architecture & design magazine.

Developed by artist and designer April Soetarman, The Unfinished Projects Release Form is a printed slip that provides a structured approach to letting go of incomplete creative works. The form is intended as a tool for acknowledging the effort and time invested in a project that can no longer be continued, whether due to shifting priorities, limited resources, or changing personal context.

all images by Alison Luntz

creative interruption as a natural part of the creative process

The product takes the form of a two-part carbonless slip, measuring approximately 5.5″ x 8.5″. Each booklet contains 10 identical forms. Users are invited to complete the form by documenting the nature of their unfinished project and their reasons for discontinuation. Designed by artist April Soetarman, this process aims to create a moment of intentional reflection while providing a simple ritual for resolution. Once filled out, the top white copy is destroyed, while the yellow copy is retained. The release form is produced under Soetarman’s Weird Side Projects label.

the Unfinished Projects Release Form walks you through the process of letting go of your unfinished project

the project aims to acknowledge that creative work and effort matters, even if it stays unfinished

the two-part carbonless form copies handwritten information twice, on both the white and yellow sheets

the release form comes in packs of 3 if you have a lot of projects to release

each form documents the story of a creative project left incomplete

INSTRUCTIONS: After filling out the form, destroy the top white copy. Keep the bottom yellow copy. You are now free.

approximately 5.5″ x 8.5″, each booklet includes 10 identical forms

project info:

name: The Unfinished Projects Release Form

writer and designer: April Soetarman | @AprilSoetarman – WeirdSideProjects | @weirdsideprojects
product photographer: Alison Luntz | @alisonluntz

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post april soetarman releases a permission slip for letting go of unfinished creative projects appeared first on designboom | architecture & design magazine.

Fiandre (Iris Ceramica Group) lifts the curtain on Tribute100 – a collection that revisits a classic and reinvents it with sculptural intent. Tribute100 marks the revival of Serie 100, the brand’s cult 2010 collection that broke new ground by integrating recycled content into ceramic design. More than a retrospective, Tribute100 is a forward-facing homage, reinterpreting eco-consciousness through tactile surfaces and light-responsive geometry. This collection affirms that ceramic surfaces can transcend decoration. 

Fiandre presents Tribute100, the collection that plays with colours, three-dimensionality and reflected light, offering versatility and spectacular decorative potential | all images courtesy of Fiandre

fiandre’s refined choreography of recycled material

Fiandre, under the umbrella of the Iris Ceramica Group, is globally recognized for its pioneering role in high-performance, sustainable porcelain. Collections such as PULSAR and Marmi Maximum reflect this legacy, each transforming raw material into an expressive architectural language. Tribute100 resonates with this same philosophical depth, drawing from its heritage to establish a meaningful material narrative that is both emotive and precise.

Tribute100 takes a different approach—offering a refined choreography of recycled material, structured finishes, and illuminated textures, creating a deliberate and poetic interpretation of light, sustainability, and design history.

the collection pays homage to a product launched in 2010, which went on to become a cult: Serie 100

Rooted in the original Serie 100, Tribute100 revives the pioneering spirit of recycled ceramics with a renewed sensibility for form and feeling. The collection unfolds through three distinct surface designs—Net, Fold, and Paint—each engaging light and texture in unique ways. Net features a woven aesthetic, reminiscent of fine textiles or metallic grids. Fold offers the softened structure of pleated paper, subtle yet architectural in its rhythm. Paint, by contrast, captures the fluid spontaneity of a brushstroke mid-motion, infusing the surface with energy and a sense of transformation.

These surfaces aren’t passive, they shift and shimmer depending on the environment, making each installation a dynamic experience. They engage with light not just as reflection, but as part of the material’s expression, blurring the line between architecture and art.

Tribute100 recovers the sinuous movement and changing three-dimensionality of the Serie 100

The Tribute100 palette is refined and atmospheric, encompassing a spectrum of tones that lend versatility and depth. Pearl is luminous and expansive, casting light across surfaces and opening up the space it inhabits. Shark, a deep, sophisticated grey, fluctuates between solidity and movement, while Mink offers a warm, earthy elegance. Titanium stands at the intersection of warmth and coolness, a balanced neutral that adapts to its context with ease. Each shade is offered across all three textures and comes in modular formats of 120×60, 60×60, and 60×30 cm, supporting recombinable, flexible design strategies that adapt effortlessly to any project scale.

Complementing the tactile designs is a breakthrough in finish: metallic glazes that introduce a soft sheen, elevating the surface without overwhelming its natural form. These metallic accents, paired with subtle 3D reliefs, create a layered effect of matte and gloss, shadow and reflection. The result is a surface that feels alive—one that evolves throughout the day with changing light, offering a sensory experience that’s as visual as it is physical.

the collection comes in four colours – Shark, Mink, Pearl, Titanium

Tribute100 stays grounded in cultural memory, yet equally futuristic in its approach, reflecting Fiandre’s dedication to materials that are sustainable in composition and conceptual longevity. The collection proves that sustainability can be quiet, sophisticated, and deeply emotional.

This spirit is fully embodied at FAB, where Tribute100 is displayed for formal architectural settings as well as through playful, sensory installations – like a ‘grab & go’ concept inspired by food retail, where samples are packaged like gourmet items. It’s a tactile, joyful way to engage with materiality, reflecting Fiandre’s vision of ceramics as both a craft and an experience.

Tribute100 offers a ange of versatile formats, 120×60, 60×60, 60×30 cm, along with different colour-design combinations

the collection is crossed by 3D filigree patterns just waiting to meet the light to add a unique changeability to the ceramic surface

combined with a lightly 3D surface, the ceramic surfaces are given a living, changing appearance

three textures play on the surfaces with thicknesses, incisions and reflected light

the unique light and shine of these surfaces comes from the use of metallic glazes

project info:

name: TRIBUTE100

company: Fiandre | @fiandre_surfaces

colors: Shark, Mink, Pearl, Titanium

finish: Structured

sizes: 120×60, 60×60, 60×30 cm

The post fiandre lifts the curtain on tribute100 ceramic collection composed of recycled fragments appeared first on designboom | architecture & design magazine.

Recent designs have switched from using colors in their identities and branding to looking more modern and minimalist with monochromatic hues. On June 9th, 2025, Apple unveiled the Liquid Glass UI, which turns all the apps, buttons, and controls on iOS 26 transparent. Users have weighed in on the update on our Instagram post, and among the comments, Ray Casa Cirett’s says, ‘if you want colors back, you will have to pay for them.’ It opens the discussion of brands and companies recently leaning more towards more modern and minimalist logos and identities. This means they’ve lessened the use of vibrant colors. Google, for example, has turned their name in some of their apps into grayscale and just put the colors in their logos. Burger King used to have three color schemes, with a blue ring around the logo. Now, it’s the company’s name in red sandwiched in two orange buns.

Automotive and aviation industries have shifted to using fewer colors in their designs and identities, too. One of the recent ones is Korean Air. From having a bright blue backdrop and a swirling, circular pattern in red and blue, its logo has become a single, rippled line in dark blue. Cadillac, too, used to have an emblem filled with red and gold color blocks and the script-written name of the car manufacturer under it. Today, it has the same emblem design, but just in black on a white background. BMW’s communications logo predominantly had the black ring, which allowed the blue and white blocks in the middle to stand out. That was until 2019 because in 2020, the black ring was replaced by a transparent background, making it hollow. The circle and company name are colored white.

graph showing changes in the color of objects over time | image courtesy of Science Museum Group | study here

Brands have shifted their identities to ‘simpler’ designs

The minimalist designs and colors aren’t just a trend for some brands and companies. They’re part of their design strategy. Some studies have documented that losing colors from brand identities or making them more minimalist helps consumers understand them clearly because they’re easy to look at. They also look ‘harmonious,’ which can create a sense of trust between the design, brand, and consumers. Their message is clear too because there is less ‘noise’ in the graphics. Another reason companies shift their identities to fewer colors and more minimalist designs is because these styles are more adaptable to modern devices.  

Technically speaking, websites need adjustable branding for different screen sizes, so having simple colors and word styles works well in digital platforms. These designs help brands be seen clearly on modern devices, too. The less-is-more design strategy is also a way to filter out too much digital information happening at once. The burst of colors in brand identities can ‘confuse’ the users as to what they are. Simple designs use clear shapes, few colors, and easy-to-understand words, so this combination makes it easy for them to remember the brand. Fewer colors and minimalist designs then stand out because they’re not messy; they’re easier to recognize and understand.

Google goes monochrome for some of their brands | logo images courtesy of Google LLC

Price to pay when changing designs

Having fewer colors in designs can also mean cheaper production and printing. There’s no need, then, for different inks and sizing when producing merchandise. In case brands, and in return the consumers, want to bring back the vivid colors and not the minimalist design, they’d have to pay for them. Reports have mentioned that branding changes can cost around 50,000 USD, and it depends on how big the brand or company is. Small changes alone, including adding a splash of hues to the logo or text, can already cost around a thousand and up from different agencies. Even users who want to toy around with apps to add hues to their designs may need to pay, too.

When buying refurbished gadgets, the prices vary depending on the devices’ color and condition. Usually, brighter ones like gold, silver, blue, and pink are less affordable compared to black, gray, and white ones. While it’s cheaper for the brands and companies to use minimalism and monochromatic or fewer colors in their designs, it also means less ‘life.’ It advocates the less-is-more philosophy, and it’s being related to ‘quiet’ luxury. The future of design is starting to look bleak, then. It doesn’t have to be, but only if companies see the worth in, or start, bringing the colors back. In the meantime, the number of brands adopting this style keeps on growing.

Burger King’s new identity removes blue color | image courtesy of Burger King

Korean Air’s branding switches to a singular, dark blue color | image courtesy of Korean Air

Cadillac also removes the red and gold colors from the blocks in its updated logo | image courtesy of Cadillac

Apple’s Liquid Glass UI makes the buttons transparent | image courtesy of Apple | read more here

BMW’s communications logo removes the black filling around the emblem | image courtesy of BMW

project info:

brands: Apple, Google, Burger King, Korean Air, Cadillac, BMW | @apple, @google, @burgerking, @koreanairworld, @cadillac, @bmw

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AIR-0 is a pair of inflatable work boots for astronauts who work outside of a spaceship when they’re out of Earth. Designers Gert Duvenhage, Orr Kalati, Yuying Lin, and Jacob Payne develop the techy footwear at MIT, keeping in mind the astronauts floating around the Low Earth Orbit, or LEO. Since there’s no gravity in LEO, it’s hard for the space cadets to stay in one place. It’s also challenging for them to push and pull objects. The designers say that their inflatable work boots for astronauts can help with this issue.

The footwear has two main parts. One part is a lock, while the other part is air support. The bottom of the shoes is 3D printed soles that can rotate. The footwear also has transparent tubes attached to them to inflate the airbags before putting them on. As soon as the bags balloon, the astronauts can step out of the spaceship and feel as if they were standing firmly even if they were actually floating in space.

all images courtesy of Gert Duvenhage, Orr Kalati, Yuying Lin, Jacob Payne

two soft airbags fill with air around the ankle

The work boots for astronauts are inflatable, built at MIT as part of the Space Architecture Studio. When the boot locks, two soft airbags fill with air around the ankle. These bags are called pneumatic cushions, and when the air filling is complete, they become firm. This gives support to the ankle, which helps the astronauts find their footing. They use it when they need to move tools or build things outside a space shop. The designers say that the footwear is made from different materials. Some parts are 3D printed hard plastic, while others come from soft plastic. 

There’s no light foam and soft cloth inside the inflatable work boots for astronauts to cushion their feet. The airbags are more than enough to do so. The designers also make the airbags from TPU, and they bear parts that let the air in and out. These valves allow the user to fill and expel the air from the footwear. AIR-0 is a design example that can support researchers in space when they need to maintain their vessels or help them carry out tasks outside of the spaceship. So far, there’s no news yet on the availability of the inflatable work boots for astronauts.

AIR-0 is a pair of inflatable work boots for astronauts who work outside of a spaceship

these boots have 3D printing rotating soles

the footwear has two main parts: one is a lock, while the other part is air support

the shoes connect to a part on the outside of the spaceship

video of the air filling the bags around the footwear

the shoes have a transparent tube attached the astronauts’ life support system

when the air filling is complete, the footwear becomes firm

there’s also light foam and soft cloth inside the shoes

the designers  make the airbags from TPU plastic

project info:

name: AIR-0

design: Gert Duvenhage, Orr Kalati, Yuying Lin, Jacob Payne | @gpjduvenhage, @orrkalati, @yuying.l.i.n,  @cjacobpayne

institution: MIT | @mit

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As timber becomes increasingly standardized in global construction, its material richness and irregularities are often stripped away. Japanese designer Takuto Ohta’s Asymptotic Wood series responds to this flattening of material character with a set of sculptural interventions that reawaken the expressive potential of wood — specifically cedar, a species abundant in Japan and commonly used in traditional architecture, yet largely overlooked in modern building.

At the center of each piece, the wood is treated as an asymptote, a mathematical curve that approaches a limit but never quite touches it. A deep cut is carved into the timber to represent this limit, forming an incision that sways inward at a 45° angle, as if being pulled into the core of the material. The result is a striking visual tension: the standardized timber appears to fold or rupture under invisible pressure, drawing attention to what lies beneath its surface uniformity.

all images courtesy of Takuto Ohta

takuto ohta revitalizes locally-ready natural materials

For all the pieces in the Asymptotic Wood series, Takuto Ohta uses raw cedar as the primary material. While globally many regions face wood shortages, Japan faces a paradoxical surplus of cedar despite its historic importance. Soft and flexible, cedar was once essential in the construction of homes, shrines, and public buildings. But with the rise of urbanization, apartment living, and industrialized building methods, it has fallen out of favor in contemporary practice. The increasing use of engineered wood products like MDF and plywood has also contributed to a disconnect between people and the materiality of solid wood.

‘In a society where globalization is accelerating, the standardization of information is inevitable,’ Ohta reflects. ‘But the connection to the materials and land that are physically related is inseparable.’ In response to this, the designer calls for a renewed relationship between people and place — an ethos of ‘local production for local consumption’ — urging people to reengage with the raw and irregular, the local and overlooked. ‘I shaped such a connection into a thorn and took a photo. I also painted the edges black to emphasize them,’ he shares.

Takuto Ohta completes the Asymptotic Wood series

the sculptural interventions reawaken the expressive potential of wood

made from cedar, abundant in Japan yet largely overlooked in modern architecture

at the center of each piece, the wood is treated as an asymptote, a mathematical curve

interlocked volumes

the project follows the ethos of ‘local production for local consumption’

the Japanese designer calls for a renewed relationship between people, materials, and place

project info:

name: Asymptotic Wood
designer: Takuto Ohta | @ohtatakuto

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

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