Situated in central Athens, Aristides Dallas Architects operates as a bridge between the raw landscapes of the Greek islands and the dense urban fabric of the city. Founded in 2014 on the island of Tinos, the studio laid its conceptual foundation there, but it was through its subsequent expansion in Athens that it evolved into a design powerhouse working across various scales, from Pnoes hotel, to Lap Pool House residence. Each project materializes through a unique approach that balances between a deep contextual sensitivity and the bold geometrical forms the studio is known for. ‘A building should feel like an extension of its surroundings rather than a foreign object placed on top of it,’ founder Aristides Dallas tells designboom as he welcomes us into his multi-level studio in the heart of Exarcheia.

Dallas embraces the contrasts between the studio’s dual presence in Athens and Tinos, drawing inspiration from wild Cycladic terrains as much as from the layered, ever-evolving history of the capital.‘Having one foot in each world constantly shifts my perspective,’ he explains. ‘The city is about negotiating with the built environment, while the islands are about negotiating with nature itself.’ It’s this fluidity between the two that defines the architectural approach of his firm, one that is deeply rooted in place yet unafraid of contemporary expression. Read on as we take a deep dive into the world of Aristides Dallas Architects, the studio’s design philosophy, creative process, and what lies ahead for the firm.

Villa V in Corfu | rendering © Katerina Iakovaki, image courtesy of Aristides Dallas Architects | read more about the project here

inspiration through observation

Aristides Dallas Architects is driven by the ambition to contribute meaningfully to the evolution of contemporary Greek architecture. Structured as a multidisciplinary team, the firm brings together engineers, material scientists, interior designers, stylists, and artists to create projects that are both technically and conceptually rigorous. For Aristides Dallas, inspiration often comes from the unfiltered elements of a place rather than existing architecture. ‘When I walk through Tinos, I see rocks scattered in the fields, stones that have been shaped by time and weather, and I think—how would it be if this became a building?’ he shares with designboom. One evening, while passing through the Tinos port, he noticed large concrete blocks stacked along the waterfront. That moment sparked a concept for a residential project in Crete. ‘You find ideas everywhere—sometimes in the wildness of nature, other times in the built environment.’

This constant oscillation between city and landscape pushes the firm’s design ethos forward. ‘It’s not about copying nature—it’s about understanding its principles and translating them into architecture,’ he reflects. ‘The structured city demands engagement with history and context, while the islands challenge you to respond to the natural terrain. The balance between the two is what makes our work unique.’ 

The Lap Pool House | image courtesy of Aristides Dallas Architects | read more about the project here

interview WITH FOUNDER Aristides Dallas

designboom (DB): Can you tell us more about your background, and when did you found Aristides Dallas Architects? How has the studio evolved since then?

Aristeides Dallas (AD): Architecture has been a central force in my life since my early years. Even during my studies, I was deeply committed to developing a personal voice in architecture, participating in international competitions and working long hours to support myself. I wasn’t waiting for the right moment to appear, I was actively shaping it. My creative foundation was laid during that demanding period, long before I ever opened an office. What later followed was the natural outcome of persistence and vision.

When I decided to establish AD Architects, it was not a matter of convenience—it was a matter of integrity. I moved to the island of Tinos in 2014, where I launched the practice with a clear direction: to undertake only projects I truly believed in. This deliberate selectiveness attracted clients from abroad, who recognized value in our approach. Our first design project, VOLAX, opened the way, followed soon by projects in Mykonos, particularly in the hospitality sector. But the true expansion began with our move to Athens in 2018. Casa Leone, our first project in the city, felt symbolically placed, as it happened to be on Tinos Street in Agia Paraskevi. Since then, we’ve grown steadily and now operate a fully integrated studio in Exarcheia, Athens. This is where our team, our processes, and our reach evolved on a national scale.

wood finishes complement the black and white tones | image by Mariana Bisti

DB: The studio has offices in both Athens and Tinos. How do these locations influence your work and creative process?

AD: Having a presence in both Athens and Tinos is a significant advantage, as it constantly shifts my references and sources of inspiration. Spending part of the year immersed in the Cycladic landscape completely changes my perspective. The contrast between Athens and Tinos is literally a creative engine. In the city, I engage with dense urban fabric, layered history, and evolving cultural expectations. On the islands, I’m in constant dialogue with nature, topography, and silence. It’s not about preferring one over the other, but about allowing each context to inform the other. This dual lens lets us approach each project without clichés. Athens sharpens our logic, while the islands refine our intuition. When walking through Tinos, the raw beauty of rocks, light, and wind patterns often spark abstract ideas that later return to the city as spatial strategies.

I remember one night, walking home from the office past the port, where large concrete blocks were stacked. That moment sparked the concept for a project in Crete. For me, inspiration often comes from the raw landscape, from the unfiltered elements of a place rather than its existing architecture. When designing in urban Athens, we must engage with the built environment, but on the islands, the only real context is nature. This duality, the structured city and the wild landscape, keeps our work dynamic.

displaying architecture books and models on warm wooden shelving | image by Kirill Samarits

DB: Given your high focus on residential and hospitality projects, can you tell us more about your philosophy on ‘living’ and ‘dwelling’, and how it shapes your designs?

AD: Designing a home is both one of the simplest and most complex challenges. Every client comes in with a strong vision of how their house should be. In some ways, it’s even more challenging than designing a hotel—hotels follow clear functional guidelines, while homes are deeply personal. Each house we design must be entirely unique because every person is different. This means we are constantly reinventing the wheel. Some clients say, ‘I have a lot of experience with houses, I’ve lived in them all my life.’ And they’re not wrong; they understand what makes them feel comfortable.

I often liken it to acting—slipping into character, understanding the emotional world of the person who will inhabit the space. It’s less about ‘solving a brief’ and more about narrating a life. Homes are always personal. Hotels, by contrast, operate with clarity of function—but we try to inject narrative even there. Designing in architecture is deeply psychological. It requires empathy, curiosity, and the ability to suspend one’s own habits to fully embody someone else’s experience. This is why I believe architecture isn’t just about creating forms, it’s about crafting experiences.

A Touch of New | image courtesy of Aristides Dallas Architects | read more about the project here

DB: Your projects are often characterized by distinct geometric forms, clear and bold material choices, and yet, somehow, a very organic and harmonious coexistence with their surrounding landscape. Where do you draw inspiration from when it comes to forms and shapes? How do you balance organic integration with bold geometry? What materials do you prefer to work with, and how do they contribute to the identity of your buildings?

AD: We always begin with the site. We study how light travels, how winds circulate, how the terrain flows. Every project begins with such an in-depth study of the landscape. Each location provides different clues that guide our design. Balancing bold geometry with organic integration comes down to three key elements: materials, scale, and placement. If a form is too assertive, we tune it back—not to hide it, but to ground it. Choosing materials that reflect the surrounding colors and textures also plays a crucial role. Throughout our projects we’ve found inspiration in everything from cracked mud to volcanic movement or even the momentary architecture of sand towers built by children.

For instance, in the project Tectonic Lodging, we were inspired by the way dried mud cracks, leading us to design a building that feels as if the earth has fractured open to create space. In Santorini, for the Monolithic Village hotel we studied how sand towers form when children play on the beach, which inspired us to experiment with a single material wrapping the entire structure. The inspiration came by observing the way volcanic lava spreads and used that to inform a monolithic design with a singular material palette. It’s not about replicating nature. It’s about understanding its principles, trying to read it, like a language, and interpret it into space.

Pnoes | image courtesy of Aristides Dallas Architects | read more about the project here

DB: Is there a unifying element, or series of elements, that define the identity of Aristides Dallas Architects?

AD: I don’t subscribe to a fixed architectural style that applies across different projects. Instead, our approach is about continuously rediscovering architecture through the unique demands of each site, program, and client. What ties our projects together is not a specific aesthetic but the process—how we engage with context, materials, and form. Each project is a synthesis of landscape, place, and people.

We analyze the topography, local history, climate, and how people will interact with the space. Some projects are inspired by the way wind carves rock formations, while others take clues from historical building techniques or the natural flow of movement. Rather than imposing a predefined aesthetic, we allow the site and its constraints to shape the form. The goal is not to create buildings that are immediately recognizable but to design architecture that feels inevitable, as if it has always belonged to the landscape. We ask: what makes sense here? What forms arise naturally from this place, not despite it? 

We aim for an architecture that feels like it belongs, as if it emerged rather than was placed. In that sense, our philosophy is to use architecture as a social instrument to shape places with empathy, clarity, and care. We believe that buildings must serve people first—and in doing so, they reveal their most honest beauty.

The Lap Pool House | image courtesy of Aristides Dallas Architects

DB: Given the special conditions and unique character of the places you are often designing for, do you engage in collaborations with local craftspeople to bring your projects to fruition? How important is collaboration for you, both within and outside of the studio?

AD: Absolutely. Collaboration is fundamental—not just within our office but throughout the entire construction process. Our studio brings together architects, engineers, material researchers, designers, and stylists. But just as importantly, we engage deeply with local craftspeople. We see artisanal knowledge as a living layer in our architecture. Whether it’s stone masonry, woodworking, or metal detailing, these collaborations enrich the project with depth and soul. We work closely with artisans skilled in traditional techniques, ensuring that each project respects and evolves from local craftsmanship.

Working with craftspeople who are truly passionate about their craft makes all the difference. A skilled artisan doesn’t just execute a design—they refine it, paying attention to every detail.

Terra Fracta | image courtesy of Aristides Dallas Architects | read more about the project here

DB: Can you walk us through the typical design process at Aristides Dallas Architects—from initial concept to final execution?

AD: Our process starts long before we draw the first line. We begin with immersive research: mapping the site, reading its wind flows, light patterns, emblematic views and orientation. But more than that, we try to decode its personality, what it wants to become. From there, we move to strategic modeling—combining 3D digital tools with physical maquettes—to simulate not only the form, but the atmosphere of the project. We always integrate topography, vegetation, and even human movement into these early simulations.

Materiality is never an afterthought. It is tested, not just imagined—sometimes through full-scale mockups built on-site, other times through live material boards that evolve with the design. What defines our process is not only technical rigor, but also emotional clarity: every choice must feel inevitable. It’s a collaborative exercise across disciplines—our architects, engineers, interior stylists, and external makers all contribute from the very first sketches.

Cubic Hotel | image courtesy of Aristides Dallas Architects

DB: What is one of the most challenging projects you’ve undertaken, and what lessons did you learn from it?

AD: A client once requested a ‘wow’ factor. At first, we leaned into that direction pursuing a dramatic design, but as the process evolved, midway through, we stepped back and asked ourselves: Is this the right kind of ‘wow’ for this place? This reflection led us to completely rethink the project, ultimately shifting toward a simpler design that was more in tune with the landscape. We realized that the ‘wow’ had to come from silence, not spectacle. We revised everything, choosing a design that revealed itself slowly through shadows, weight, and tactility. The lesson was clear, the most powerful architecture doesn’t demand attention; it blends in, revealing itself gradually and harmonizing with its surroundings.

The Cliffhanger | image courtesy of Aristides Dallas Architects

DB: If you could design a dream project with no constraints—site, budget, or regulations—what would it be, and why?

AD: I would love to design an entire village or community from scratch—a place where architecture doesn’t just shape individual buildings, but the relationships between them. Streets, courtyards, thresholds, voids, shared moments of shade or openness. That, to me, is the purest form of architecture: creating the framework for how people live together. And doing so in a way that feels timeless, rooted, and yet forward-looking. In some ways, we are already working in that direction—especially through our latest hospitality projects, where we apply these principles across multiple structures and collective environments. At the same time, our ambition is to expand our work internationally. We see design not as a regional dialect, but as a universal language—one that can adapt to different geographies, cultures, and needs without losing depth or specificity. Our method is adaptable as well as our values are transferrable.

We’ve already worked on projects in Cyprus, and we’re actively seeking opportunities to extend this dialogue across borders. We’re open to partnering with international clients and teams who are looking for context-sensitive architecture rooted in material intelligence, spatial storytelling, and strong conceptual clarity. No matter the scale or location, our deeper ambition remains the same: to create spaces that feel inevitable, necessary, and deeply human.

Tectonic Lodging in Rhodes, Greece | image courtesy of Aristides Dallas Architects

DB: Aside from residential and hospitality spaces, are there other typologies—such as cultural, public, or commercial projects—that you would be interested in undertaking?

AD: Our team is eager to take on projects that engage with collective memory, civic function, and social gathering—whether that’s a cultural center, a public plaza, or an educational facility. These programs are a natural extension of our values: they require sensitivity to both place and people. In Greece, public tenders are often structured in ways that make access difficult for local studios. But we are committed to overcoming those limitations—through partnerships, collaborations, or design competitions that open up space for meaningful impact.

Our approach is not bound to a specific typology. Whether it’s residential, public, or cultural, we apply the same intensity of research, contextual understanding, and formal clarity. We’re always seeking projects that challenge us to rethink conventions and expand the possibilities of what architecture can do.

VOLAX | image courtesy of Aristides Dallas Architects | read more about the project here

DB: What are you working on at the moment? Any exciting plans for the future you can share with us?

AD: Right now, we’re working on several hospitality and residential projects across Greece, including some delicate renovations and hybrid programs that challenge the boundaries between private and shared space. But more importantly, we feel that the studio is entering a phase of redefinition. We want to experiment further, expand our typological scope, and establish creative collaborations abroad. This is not just about scaling up—it’s about deepening our architectural language and applying it to new contexts.

Over the past few years, our work has quietly traveled—through exhibitions, award selections, and word of mouth—reaching audiences beyond Greece. These moments of recognition remind us that architecture has the power to speak many languages, as long as it listens first. They continue to affirm what we believe at our core: Architecture, when grounded in place but open in spirit, can resonate across cultures—wherever it is built. We remain committed to designing with clarity, empathy, and depth—wherever a project takes us. Because in the end, architecture is less about where it starts, and more about how far it can resonate.

Aristides Dallas in his studio | image by Teramok

the Athens-based Aristides Dallas Architects team | image by Kirill Samarits

project info: 

architect: Aristides Dallas Architects | @aristidesdallasarchitects
studio location: Exarcheia, Athens, Greece

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Fredrik Nielsen brings a new dimension to glassblowing, transforming the centuries-old craft into a raw, instinctual experience shaped by music, neon, graffiti, and the energy of his industrial studio in Årsta, southern Stockholm. For him, glassblowing is an act of performance rather than mere technique—molten glass twists, breaks, and reforms in an ongoing tension between control and chaos.

During Stockholm Design Week 2025, designboom visited Nielsen’s studio and had the opportunity to craft a piece alongside the artist in real time. The process incorporates chance, accident, and physicality, infusing the final sculptures with layers of embedded materials, hidden colors, and unexpected distortions. The artist’s works reshape perceptions of glass, encouraging viewers to see it from fresh perspectives, aiming to prove that it can be wild, rebellious, and alive. Nielsen’s pieces resist categorization, from large-scale sculptures to unconventional wine glasses—objects that incorporate art into everyday objects. His approach extends into public art, engaging audiences in unexpected ways. His sculptures often contain hidden elements—layers of color, embedded materials, or distortions that reveal themselves only upon closer inspection. ‘How I treat and work with glass is the framework for my style and who I am,’ he shares during our workshop. ‘Several of my art objects possess secret treasures hidden inside.’

outside the studio of Fredrik Nielsen | all images courtesy of Fredrik Nielsen, unless stated otherwise

turning glassblowing into raw performance

The studio space is an extension of Fredrik Nielsen’s work—hot, loud, and alive with the weight of heavy machinery. The glassblowing process includes furnaces roaring and tools clattering, with the glass itself seeming to vibrate with kinetic energy. For the Swedish artist, every piece is a challenge, a performance, and a reinvention of the material. ‘I want to create with my whole body and physically experience each part taking shape. Each new object is like its own competition, where the race can last several years before the art object reaches the finish line and has set new limits for what is possible to design with the material,’ he expresses.

Glass is deceptive—it glows orange from heat in its molten state, only to cool into a completely different palette. ‘It looks orange because of the heat,’ Nielsen says. ‘But then when it cools down, you can see blue, clear or yellow.’ His process embraces this unpredictability, pushing the boundaries of the form and durability of glass. ‘The thicker the glass, the longer the healing cycle,’ he describes, revealing that some pieces take up to 20 days to cool from 500 degrees Celsius.

transforming the centuries-old craft into a raw, instinctual experience shaped by music and graffiti

the swedish artist’s making process embraces chance

Trained at Orrefors in Sweden and Pilchuck Glass School in the USA, Fredrik Nielsen’s artistic philosophy resists the idea of glass as a fragile material. ‘The thickness makes it very durable,’ he explains. He also speaks of embedding history, power, and energy into his work, ensuring that even if a piece changes—if a kilo of glass falls off—it remains strong. ‘That could be this thing that I’m searching for. Not to destroy anything, but I love chance,’ he admits.

In one of his projects, the glass artist installed a neon sculpture featuring his phone number in a city street, inviting an unpredictable wave of responses. ‘I asked a couple of friends, “Is it crazy to put up my phone number in neon in the street?” And they’re like, “Yeah, that’s pretty wild.”‘ The result? A flood of late-night phone calls from strangers. ‘If I made a horse, they would be like, “Fuck that horse, it’s ugly.” But now they can call me, like, “I hate your number.” I can almost comfort them, like, “I know, but this is what I do,”‘ shares the artist.

the artist’s works reshape perceptions of glass | image by Julia Viklund

exploring the space between the object and what surrounds it

Fredrik Nielsen’s influence extends beyond the studio and exhibition halls. His work has been recognized internationally, with pieces housed in collections at Sweden’s Nationalmuseum, the Corning Museum of Glass in New York, and the Ariana Museum in Switzerland, among others. His impact on contemporary glass art has even been immortalized in Swedish postage stamps for 2025, carrying his work across the world. One of his most notable works, You’re Not the Only One (2019), has traveled globally, appearing in exhibitions from Stockholm to Seoul, Bornholm to Munich. First showcased in the Mixed Emotions exhibition in Stockholm, the piece later became part of the Loewe Foundation’s exhibition at the Seoul Museum of Craft before making its way to Belgium and Denmark. 

His unconventional wine glasses, now an iconic hallmark of his work, started as an exploration of the set table—an intersection of function and sculpture. Over time, they have become increasingly impractical, questioning the relationship between the object and its surroundings. ‘The artworks can be seen as expensive wine glasses or relatively cheap sculptures,’ Nielsen notes. In Stockholm, Persona restaurant serves drinks from his glasses at the end of the evening, transforming the act of drinking into an artistic experience.

For Nielsen, art is about experience, even when the meaning isn’t immediately clear. ‘To see a show doesn’t necessarily mean that you understand what you went through, but you know you went through something important,’ he observes. This is the space he operates in—a space of unpredictability, transformation, and raw material energy.

Nielsen’s pieces resist categorization | image by Julia Viklund

even if a piece changes it remains strong | image by Julia Viklund

every piece is a challenge, a performance, and a reinvention of the material

his unconventional wine glasses are an iconic hallmark of his work

Fredrik Nielsen’s contemporary glass art has even been immortalized in Swedish postage stamps

the artist’s phone number covers the walls of the studio in graffiti and neon form | image © designboom

we had the opportunity to craft a piece alongside the artist in real time | image © designboom

for Nielsen, art is about experience, even when the meaning isn’t immediately clear | image © designboom

his artistic philosophy resists the idea of glass as a fragile material | image by Julia Viklund

project info:

artist: Fredrik Nielsen | @fredriknielsen_

location: Årsta, Stockholm, Sweden

The post inside fredrik nielsen’s stockholm studio, where glass resists fragility and embraces chance appeared first on designboom | architecture & design magazine.

Inside the RDM Innovation Dock in Rotterdam, the Netherlands, Studio RAP is reimagining the boundaries of architecture through a fusion of computational design and digital fabrication. In a workspace filled with robots, prototypes, and intricate models, founders Lucas ter Hall and Wessel van Beerendonk lead a team of architects dedicated to exploring innovative design possibilities. Drawing on influences from natural forms, historical ornamentation, and advanced material experimentation, Studio RAP creates architectural pieces that balance artisanal craftsmanship with cutting-edge robotics. From flowing organic facades to bold interiors and sculptural 3D printed pieces of furniture, their work reflects a forward-thinking approach to design, merging storytelling, technology, and sustainability. ‘In every project, we want to tell a story with different kinds of ingredients,’ Lucas ter Hall shares with designboom.  To uncover the origins of Studio RAP, their design philosophy, and what lies ahead, designboom visited the Rotterdam-based studio, and spoke to with Lucas ter Hall. Read on to discover the story of the Dutch multidisciplinary practice.

Studio RAP can be found inside the RDM Innovation Dock in Rotterdam | image © designboom

Exploring the Future of Design Through Craft and Robotics

Studio RAP operates at the crossroads of progress and tradition, where advanced technologies like computational design, robotic fabrication, and 3D printing are integrated into their architectural practice. Their multidisciplinary team—comprising architects, programmers, roboticists, and researchers—takes a hands-on approach to exploring new ways of designing and constructing the built environment. This ethos is vividly demonstrated in the Ceramic House (see designboom’s coverage here), a project that transforms architectural surfaces into a canvas for creativity. By combining bespoke 3D printed ceramic tiles with algorithmic design and artisanal glazing, the Dutch studio crafted a facade that adds a modern yet textural narrative to a historic shopping street. Inspired by the intricacies of knitting, the tiles weave tradition and technology into an entirely new architectural language. Another standout project, New Delft Blue (see designboom’s coverage here), exemplifies the studio’s ability to reinterpret historical craftsmanship through a contemporary lens. Drawing from the world-famous Delft Blue porcelain, this project combines 3D clay printing with computational design and traditional glazing to reimagine ceramic ornamentation for modern architecture. The result is both a homage to Dutch heritage and a step forward in exploring how ceramics can redefine architectural expression in the 21st century.

‘Each project has its own design language that isn’t replicable,’ says Lucas ter Hall, emphasizing the unique approach Studio RAP takes in creating distinct and original work. Through projects like these, the practice demonstrates their commitment to innovation, creating work that challenges conventions while respecting the cultural and material narratives of architecture. These are not merely buildings or facades; they are experiments in reshaping the architectural profession itself. Dive into the full interview with Lucas ter Hall to uncover more about Studio RAP’s creative philosophy, process, and future aspirations.

the practice is reimagining the boundaries of architecture | image © designboom

Interview with Lucas ter Hall

designboom (DB): How did the idea of creating studio RAP start? How would you describe its identity?

Lucas ter Hall (LH): Wessel van Beerendonk and I met during our studies. We shared the same vision of architecture and a passion for realizing complex shapes. We also shared the same opinion about the gap between academia and the real world. In academia, you can conceive the craziest and most interesting shapes through algorithmic and computational design, but they’re quite difficult to realize.

That’s why we started Studio RAP—to bridge this gap between creating computational shapes and the techniques used to bring these bespoke shapes into the real world. In the last couple of years, we have tried different fabrication techniques. We experimented with brick stacking, wood cutting, and clay printing. In our latest projects, we incorporate 3D printed clay elements, and we find this a great method to translate these complex digital shapes into a real-world architectural language.

a workspace filled with robots, prototypes, and intricate models | image © designboom

DB: The studio comprises many professionals—architects, designers, and robotics experts. How would you describe your team and how you collaborate to realize each project?

LH: During the years we have had quite different employees with various backgrounds and a great passion for making. All our employees know how to control the robotic arm, print clay, and program. So our base is mostly architects, but their skills combine robotics or programming. There’s a niche inside architecture with people all over the world interested in robotics, programming, and architecture who know where to find us.

Studio RAP operates at the crossroads of progress and tradition | image © designboom

DB: Where do you draw inspiration from for your unique shapes?

LH: In every project, we want to tell a story with different kinds of ingredients. It depends on the client, what they want, and the context. These ingredients make every design contextual and unique. Our bespoke ceramic designs are a great way to tell a story through architectural ornamentation. We take inspiration from nature, but also from buildings and their history from the past. In the past, facades served as powerful storytelling mediums, embedding buildings with cultural narratives and symbolic resonance. Reviving this tradition in contemporary architecture would inject much-needed depth and meaning, transforming buildings from mere structures into cultural touchstones within the urban landscape.

combining bespoke 3D printed ceramic tiles with algorithmic design and artisanal glazing | image © designboom

DB: How does the process go? Do you start by sketching on paper, or is it all digital?

LH: We sketch by hand to communicate to our team which direction to follow, and then we use a library of specific patterns or special programs that translate that inspiration into shape. For example, in the New Delft Blue project, we were inspired by a decorative frame inspired by nature on old Delft ceramic plates. So we started by sketching on paper, then found some nice references, and simultaneously started looking for algorithms that can translate these shapes into form, into a geometry inspired by nature. It can be a desert landscape, ocean waves, or maybe a pattern from a specific client’s branding that we transform into a unique display.

‘all our employees know how to control the robotic arm,’ says Lucas ter Hall | image © designboom

DB: When does the robotic arm come into play?

LH: Quite early, actually. This process is also challenging because we want the result to be astonishing and unique, and translating this at an early stage is difficult. From sketches, you might get the idea, but it’s impossible to predict the final result. It’s also a challenge to convince the client that each panel is unique and will present this overwhelming shape. Plus, you can’t design something just to look nice without thinking about the fact that it has to be built eventually. So, we return to what we talked about earlier—realizing complex shapes using digital manufacturing techniques.

In the sketch phase, we sometimes show the client a tile prototype. We want to test the idea, also working closely with the robot, to see if it’s possible to achieve such an overhang or such an expression in the tile, and then experiment with the glazing color. By presenting the tile with the sketch, we try to convince the client that this design is unique. Even if the whole design isn’t finished yet, since it takes quite some time, they can still feel the tile and see what the vision is.

the studio draws influence from natural forms and historical ornamentation | image © designboom

DB: Since you are working with digitalization and robotics, to what extent does this process limit the architecture, aesthetics, and function of the final result?

LH: The shape of the ceramic tiles is a bit limiting; we have to divide the design into smaller pieces to make it manageable. Otherwise, it becomes too heavy, or the printer ends up working too much. There are also cost limitations, so we need to print quickly while still focusing on details and expressiveness. You can’t print everything either—certain features, like overhangs, come with constraints and need separate attention. In collaboration with the client, we create a specific family of tiles to suit each project. For example, with the New Delft Blue project, the budget was quite tight, so we needed to print each tile within 15 minutes to keep the project feasible. For the ceramic house, some tiles had more detail, so we allowed 45 minutes per tile.

‘we want to tell a story with different kinds of ingredients,’ shares says Lucas ter Hall | image © designboom

DB: Is there any other material you would like to experiment with in the future, apart from ceramic tiles?

LH: We like working with ceramics, but we believe there’s still room to improve on sustainability. We’re testing more sustainable clay ingredients. Right now, we don’t have any ambition to print with another material. I think clay is great for architectural ornamentation, and it looks amazing with the glaze. If you printed in concrete, for example, you’d get more questions about maintenance, and it wouldn’t feel as good to the touch. With ceramics, you don’t get those questions—everyone likes it immediately, so we don’t need to convince them on the durability and the maintenance part.

each tile is interesting on its own, and together they tell the story of the project | image © designboom

DB: Of all the projects that you have worked on, is there a specific one that stands out for you?

LH: The New Delft Blue and the Ceramic House really stand out for me. The New Delft Blue project, in particular, is striking because you can see each unique tile individually, covered in this beautiful glaze. We developed an algorithm that generated the pattern and the overall shape of the structure. We didn’t design each panel individually, which resulted in some quite interesting and sometimes surprising panels. Occasionally, they even turn out a bit weird, but there’s a beauty in those weird panels too. It’s not how we would design it ourselves, but because it was created by the computer, each panel becomes interesting in its own way. Together, all the panels form these shapes that resemble leaves growing from one side to the other. I think that’s a really nice feature of the New Delft Blue project.

It’s the same with the Ceramic House project. Each tile is interesting on its own, and together they tell the story of the project. That’s what I like about these projects—they’re also quite different. Using the same technique, we can tell many stories, but each one has its own design language. Each project has a unique design language that isn’t replicable. We’re also building a database of what’s possible and what isn’t, based on what we try in each project. The technique remains the same, but it gets refined with every new project.

studio RAP’s work challenges conventions while respecting the cultural narratives of architecture | image © designboom

DB: Does Studio RAP have a dream project that they hope to complete at some point in the future?

LH: We see a lot of potential in high-rises, like skyscrapers—not for the entire facade, but specifically for the plinth, the entrance area. For example, in New York City, many office buildings are being transformed into residential towers. These buildings often lack a familiar, homey feel; they’re a bit cold or missing a sense of identity. It would be really interesting for us to use our technique to give these towers a strong identity at and around the entrance.

‘I think clay is great for architectural ornamentation,’ notes Lucas ter Hall | image © designboom

in collaboration with the client, the studio creates a specific family of tiles to suit each project | image © designboom

studio RAP’s bespoke ceramic designs seek to tell a story | image © designboom

the ceramic tile design must be divided into smaller pieces to be manageable | image © designboom

right now, the studio doesn’t have any ambition to work with another material, besides clay | image © designboom

project info: 

architect: Studio RAP | @studio.rap
studio location: Rotterdam, The Netherlands 

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Oru Kayak, renowned for its origami-inspired designs, has received the highest honor of the  iF DESIGN AWARD 2024  for its Lake model—the world’s lightest, most compact, and easiest-to-assemble rigid kayak. Winning an iF Gold award, globally recognized for celebrating the best in design excellence, marks a significant achievement for the company, which has continuously reshaped the world of watercraft with their foldable designs. As part of designboom’s studio visit interview series with iF DESIGN, the trip to Oru Kayak’s studio in Emeryville, California, offered insights into their award-winning design and an opportunity to interview Forrest Harvey, Director of Product Design, about their design philosophy and principles.

‘The founding statement of Oru Kayak is to transform how people connect to the outdoors. That mission drives all of our work and products,’ begins Forrest Harvey, Director of Product Design at Oru Kayak. ‘The idea for the company began when our founder, living in a small apartment with no space for a kayak, was inspired by an article about origami—and the rest is history.’

Apply for the iF DESIGN AWARD 2025 by November 6th, 2024 – here.

designboom visited Oru Kayak’s workspace in Emeryville, California, as part of a studio visit series with iF DESIGN AWARD 2024 winners | images © designboom

STORY BEHIND ORIGAMI-INSPIRED KAYAKS

Oru Kayak’s design philosophy emphasizes simplicity, portability, and the joy of exploration. Since its founding in 2012, the brand has continually reimagined what a kayak can be, drawing inspiration from origami—a paper-folding practice that perfectly marries art and functionality. Their studio is a hub of creative energy, where engineers and designers collaborate to refine and reimagine each product. Prototypes are made, tested, and adjusted in a tireless pursuit of perfection. This commitment to continuous improvement has propelled Oru Kayak to the forefront of the industry, leading to creations like the Lake model—currently the world’s lightest and most compact rigid kayak—as well as new ventures like camp furniture.

‘We’ve been making kayaks since 2012, offering models that range from ultra-recreational to ocean-going closed cockpit kayaks. In 2023, we began expanding into adjacent categories, like camp furniture with our Oru campline, which  includes lounge chairs, side tables, and convertible picnic tables with integrated storage. We applied the same design principles and materials from our kayaks to these new product lines,’ says Harvey.

founded in 2012, the brand’s story began by reimaging a kayak using origami – a paper-folding practice

‘LAKE’S STANDOUT FEATURE IS THAT IT ONLY HAS ONE LOOSE COMPONENT’

The Lake model, winner of iF DESIGN AWARD 2024, embodies Oru Kayak’s design philosophy in its purest form. Its minimalist approach eliminates unnecessary components, leaving only what’s essential for a seamless kayaking experience. As the lightest and most portable rigid kayak on the market, it features just one loose component—making it simpler to use than their other models like the Bay, Coast, or Haven. This design caters to both experienced paddlers and beginners, turning kayaking into an accessible adventure.

‘The standout feature of the Lake is that it only has one loose component. Our other kayaks have bulkheads, floorboards, loose seats, and many straps, designed for more rigorous settings like ocean use,’ comments the Director of Product Design. ‘With the Lake, we integrated everything possible, so users don’t have to assemble multiple parts. It’s essentially just the kayak hull and the floorboard with the seat, and you’re ready to go.’

the company has continuously shapeshifted the form of foldable watercraft, producing many different types of kayaks including the iF DESIGN AWARD-winning Lake

Oru Kayak’s commitment to innovation was internationally recognized when the Lake won Gold in the iF DESIGN AWARD 2024 – the highest honor in one of the world’s most respected design competitions. This achievement solidifies the company’s standing in the design community, particularly for creating accessible, high-performance products that address common barriers to kayak ownership, such as weight, storage, and transport. 

‘When you spend so much time tweaking and refining a product, it’s always interesting to see how it’s received by a jury of your peers. Winning the iF Gold Award validates the time and effort we put in and shows that our product resonates with people—even those unfamiliar with our brand,’ explains Forrest. ‘Entering award competitions challenges us in ways we might not consider during product development and provides valuable feedback from fresh perspectives.’

the Lake embodies the studio’s minimalist philosophy in its purest form

Thanks to owning its manufacturing facility, Oru Kayak has the ability to quickly adapt and refine its products, allowing the company to meet evolving customer needs. By addressing the entry-level market with the Lake, Oru Kayak has made kayaking more accessible to new users previously deterred by the high price points of earlier models. This approach keeps the brand relevant to both enthusiasts and newcomers, and nimble enough to diversify into other outdoor product lines like camp furniture.

‘The Lake kayak was a big opportunity for us to reach the entry-level market. As a premium brand, we realized that new paddlers who didn’t want to spend much, struggled to connect with us. The Lake helped bridge that gap. Having our own manufacturing facility also lets us innovate quickly, adjusting designs based on customer feedback and continuous testing,’ concludes Forrest Harvey, Oru Kayak’s Director of Product Design.

Apply for the iF DESIGN AWARD 2025 by November 6th, 2024 – here.

engineers and designers work closely in the studio to refine and reimagine each product

the kayaks’ origami-style construction allows users to transport, assemble, reassemble, and store with ease

prototypes are made, tested, and tweaked relentlessly

the brand has the ability to rapidly adapt and refine its products thanks to owning its manufacturing facility

their manufacturing capabilities enables Oru Kayak to adapt to continuously meet customer needs

Forrest Harvey, Director of Product Design at Oru Kayak, talked to designboom as part of a studio visit interview series to celebrate iF DESIGN AWARD 2024 winners

Oru Kayak’s Lake won the prestigious iF GOLD DESIGN AWARD 2024

Since its founding over 70 years ago, iF Design has been renowned for celebrating the highest levels of excellence and impact in design. This year, designboom and iF Design are honoring winners of the iF DESIGN AWARD 2024, by visiting some award-winning studios in the United States. In these visits, we learn about the creative philosophy of each practice, their designs, and the benefits of entering the prestigious design competition.

iF Design opened its first North American office in New York City last year, with a focus on bringing more American designers into the organization’s global community. Register by November 4th  to showcase your best creative projects in the iF DESIGN AWARD 2025.

Interested to learn more? The iF DESIGN AWARD is now open for 2025 entries, encouraging designers and studios worldwide to showcase their best creative visions and executions.

project info:

name: Oru Lake Foldable Kayak

design/manufacturing: Oru Kayak

award: iF GOLD DESIGN AWARD 2024 | @ifdesign
design category: Outdoor

date of launch: 2022

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Receiving an iF DESIGN AWARD is a testament to a design’s excellence in innovation, functionality, and aesthetic impact. Bould Design’s 2024 accolade for their smart chicken coop reflects the studio’s deep commitment to these principles. designboom visited Bould Design’s workspace in San Mateo, California, to explore their dedication to simplicity, quality, and character—core tenets that drive every project at the studio. During our conversation, Fred Bould, Principal Partner and Design Director, shared that the iF DESIGN AWARD win goes beyond the prize itself, serving as a validation of the studio’s mission and commitment to their clients’ success.

‘COOP’s win of an iF DESIGN AWARD was deeply gratifying. It was a joyful project from start to finish, thanks to our fantastic client, AJ Forsythe, and the incredible collaboration within our studio. Many people here had a hand in shaping and influencing the design, so receiving recognition for it felt like a great reward for the entire team’s effort and passion,’ begins Fred Bould, Principal Partner and Design Director of Bould Design, in designboom’s studio visit interview series celebrating iF DESIGN AWARD 2024 winners. 

Apply for the iF DESIGN AWARD 2025 by November 6th, 2024 – here.

designboom visited Bould Design’s workspace in San Mateo, California, as part of a studio visit series with iF DESIGN AWARD 2024 winners | images © designboom

DIVING INTO THE PHILOSOPHY OF THE BOULD DESIGN TEAM

Fred explains that Bould Design’s success stems from a clear and disciplined design philosophy, centered on four guiding principles: function, simplicity, quality, and character. Every project of the industrial design studio begins by identifying the core function of a product, followed by simplifying the design to ensure ease of use. This approach, honed through years of collaboration with industry leaders, results in products that are practical, user-friendly, and of the highest quality. The final layer is character, which ensures that each product resonates with both users and manufacturers, reflecting the values of everyone involved.

‘We start with function because, ultimately, if a product doesn’t work well, nothing else matters. We spend a fair amount of time figuring out what is its core function: How does it work really well? What are the nuances? What are the things that are going to make users go “Oh My Gosh, whoever did this, they get me”. From there, we focus on simplicity—boiling the design down to its essence so that people understand and adopt the product. This understanding leads to wider adoption, which supports our clients’ success. Next is quality, ensuring that the product looks and feels great from day one and for years later. We’ve learned a lot about quality by working with companies like Nest, Hunter Douglas, and Roku. Lastly, character is crucial. The product should reflect the values of the user, the company making it, and us as designers,’ he adds.

Bould Design’s philosophy is centered on four guiding principles: function, simplicity, quality, and character

These values are evident in the iF DESIGN AWARD-winning COOP. The project brought a sense of joy and creativity to the Bould Design team. From the moment they were approached to design the project, they embraced the challenge with enthusiasm. With its gabled roof and smart features, COOP offers a modern approach to backyard farming. The studio  worked closely with COOP’s founders to create a product that balances the needs of both chickens and their owners, while also integrating elements of sustainability and convenience. Their ability to rethink a traditional product while making it smart and effective, demonstrates the innovative thinking that defines Bould Design’s approach to industrial design.

‘COOP was such a fun project for us. When we were  first approached to design it, we couldn’t stop smiling. It’s not every day that you get asked to design a chicken coop! After exploring various form factors, we settled on the iconic gabled roof design,’ explains Fred. ‘This motif worked well because it’s a familiar architectural style across the U.S., which made people feel comfortable. It also worked functionally—providing natural spots for the chicken’s door, windows for sunlight (crucial for their daily rhythms), and other design elements like the egg box. It just felt right.’

the iF DESIGN AWARD-winning COOP reimagined a traditional product with smart and functional innovations

From concept to completion, the design process was filled with exploration, allowing the team to create a product that stands out in both function and aesthetics. One of the most exciting aspects of the project was designing the compostable litter tray, which turned a mundane task into something more engaging. This sense of creativity and playfulness helped bring unique features to COOP, elevating it beyond traditional designs.

‘One of the standout features I really love is the compostable litter tray. Let’s face it—no one likes dealing with bird poop. But with this design, you can fold the tray over on itself, contain the mess, and easily dispose of it in the compost. It turns an unpleasant task into something manageable. Plus, chicken poop is great for compost, so it turns a yucky chore into something useful,’ furthers the Design Director.

exploration in the design process enables standard features to be analyzed and improved, as seen in the compostable litter tray in COOP

‘THE RECOGNITION FROM IF DESIGN CAN BE A POWERFUL BOOST’

According to the studio, participating in the iF DESIGN AWARD has proven to be an invaluable experience. The organization’s support and thoughtful approach throughout the process have been pivotal in highlighting their innovative work. For Bould Design, the iF DESIGN AWARD not only provided prestigious recognition but also reinforced their commitment to exceptional design, offering a significant boost to their visibility and credibility within the industry. The process challenged them to reflect on their choices and solidified their reputation as leaders in industrial design. COOP stood out amidst fierce competition, winning not only for its diverse features but also for embodying the studio’s design principles. 

‘I would highly encourage design firms to enter the iF DESIGN AWARD. The organization is top-notch, and they provide excellent support throughout the process. Lisa Gralnek, the U.S. Managing Director, does an outstanding job of ensuring designers feel connected and supported. It’s a rewarding experience, and the recognition can be a powerful boost for your studio. I believe that entering design awards like this pushes you to grow as a designer. It makes you step back and critically evaluate your work, which is always a valuable exercise,’ ’ concludes Bould Design’s Principal Partner and Design Director.

Apply for the iF DESIGN AWARD 2025 by November 6th, 2024 – here.

Bould Design’s sense of creativity, playfulness, and prototyping helped bring unique features to COOP

quick prototyping enables the team to model and test ideas efficiently

modeling allows the designers to simplify products to ensure ease of use

every project of the design studio aims to hone in on the core function of a product, hence the importance in modeling

the COOP brought a sense of joy and creativity to the team at Bould Design

Fred, Bould, Principal Partner and Design Director of Bould Design, talked to designboom as part of a studio visit interview series to celebrate iF DESIGN AWARD 2024 winners

the excellence of Bould Design’s COOP won an iF DESIGN AWARD 2024

Since its founding over 70 years ago, iF Design has been renowned for celebrating the highest levels of excellence and impact in design. This year,  design boom and iF Design are honoring winners of the iF DESIGN AWARD 2024, by visiting some award-winning studios in the United States. In these visits, we learn about the creative philosophy of each practice, their designs, and the benefits of entering the prestigious design competition.

iF Design opened its first North American office in New York City last year, with a focus on bringing more American designers into the organization’s global community. Register by November 4th  to showcase your best creative projects in the iF DESIGN AWARD 2025.

Interested to learn more? The iF DESIGN AWARD is now open for 2025 entries, encouraging designers and studios worldwide to showcase their best creative visions and executions.

project info:

 name: COOP

design/manufacturing: Bould Design | @bould_design

partner/client: Coop | @thesmartcoop
design team: Fred Bould, Jamie Perin, Sam Lavoie, Anson Cheung, Damian Hernandez

award: iF Design Award 2024 | @ifdesign
design category: Garden

date of launch: 2023

The post iF DESIGN AWARD 2024 winner series: Bould Design studio visit and interview appeared first on designboom | architecture & design magazine.

Pedrali opened its doors of its production facilities and Headquarters in Bergamo, Italy, offering a glimpse into the Italian furniture company’s design journey. Housed under the now permanent Pedrali Pavilion by Michele de Lucchi (ADML), a design talk between curator and architect Luca Molinari and French designer Patrick Jouin kickstarted the day, followed by an insightful tour of the company’s offices, designed by Milanese architectural firm Park Associati. Our walk progressed from Pedrali’s 3D modelling processes to its cutting-edge production line, including a visit to the ‘Fili d’Erba’, the fully automated warehouse designed by CZA – Cino Zucchi Architetti. The robots, skytrains, and self-steering shuttles coupled with the hands-on attention to quality emanates Pedrali’s ethos and dedication to traditional craftsmanship, sustainability, and adaptability.

under the now permanent pavilion, Pedrali hosts ‘Talking about Design’ with Italian architect and curator Luca Molinari, and French designer Patrick jouin | all images courtesy of Pedrali, © Filippo Romano

Talking about design 2024: Luca Molinari with Patrick jouin

As part of Pedrali’s ‘Talking about Design’ initiative, Luca Molinari, Italian architect and curator, hosted a conversation with Patrick Jouin, delving into the French designer‘s story. Born in 1967 in Nantes, France, Patrick graduated from the École Nationale Supérieure de Création Industrielle/ENSCI-les Ateliers in Paris in 1992. Early in his career, he worked under the artistic direction of Philippe Starck at Thomson multimedia. His big break came in 1998, after being discovered at SaloneSatellite, a historic event curated and founded by Marva Griffin, which launched the young designer’s successful journey. Not long after, Patrick Jouin’s path with Pedrali began when he met Monica and Giuseppe Pedrali, giving rise to a long-term collaboration with the first project being the Ester armchair (2013) for Alain Ducasse’s restaurant in London.

During the design talk, Marva Griffin, founder of SaloneSatellite, reflected on her early connection with Patrick: ‘I remember meeting Patrick Jouin in 1998, when he was still working for Philippe Starck. That was the year I started SaloneSatellite and this Parisian boy was one of the first young talents I reached out to. I remember he told me he drove from Paris to Milan and slept in his little FIAT for three days – and look at Patrick now! He’s an acclaimed worldwide-known designer/architect. The main objective of SaloneSatellite was to create a platform where the entire design industry, from furniture manufacturers to lighting producers, and from foreigners to Italians, would walk in, see this immense creativity and start relationships. I’m so grateful to people like Monica and Giuseppe (Pedrali) that recognize up-and-coming talent and embrace it with so much passion.’

Marva Griffin, founder of SaloneSatellite, reflecting on her early connection with Patrick during the design talk between the French designer and Italian architect and curator Luca Molinari

ester gets its lounge version in 2024

Patrick Jouin has established himself as a global design force, working across industrial design and the decorative arts. His collaboration with Pedrali is rooted in a shared commitment to innovation, leading to complete furniture collections of chairs, tables, stools, sofas, and armchairs, including Ester, Social, Reva, Elliot, Héra, and Ila – so far! His works compliment Pedrali’s dream-like environments, pastel-palette surfaces, and highly expressive designs.

‘The Ester armchair marked the beginning of my collaboration with the family business in 2013. After meeting with Monica and Giuseppe (Pedrali), we started thinking about creating a seat for Alain Ducasse’s Michelin-starred Dorchester restaurant in London – hence the name Ester. Thanks to Monica and Giuseppe’s support and their incredible foresight, the armchair evolved into a full collection, including a chair, stool, pouf, and, in 2024, the lounge version,’ explained French designer and architect, Patrick Jouin.

Patrick Jouin’s Ester armchair that marked the start of his collaboration with Pedrali

‘pedrali’s suggestions INSPIRE ENTIRELY NEW PRODUCTS’

Among Patrick’s collections, the Reva line stands out for its smooth lines and elegant frames, featuring a three-seater sofa and lounge armchair with removable cushions. Reva grows and ‘twists’ in 2022 with its characteristic polypropylene chords that wrap around the steel back and armrests. Additionally, designed in three die-cast aluminium legs and three-lobed extruded aluminium column, the Elliot table balances functionality, versatility and an elegant appearance. Materiality shifts from metal and polypropylene to a woven cellulose cording and ash structure for the Héra Straw chair. Familiar to the qualities of wood, Patrick Jouin creates a seat with oval-shaped legs that are fully integrated into the backrest, to visually recall a wooden sculpture.

‘I don’t begin sketching without first knowing the material; materials influence my designs deeply. Coming from a family of carpenters, I learned the value of quality craftsmanship from my grandfather, who passed down the knowledge through generations. What I admire about Pedrali is that they share this appreciation for materials, often offering suggestions that inspire entirely new products,’ expressed the designer, touching on Pedrali’s approach to materiality.

Reva Cocoon by Patrick Jouin | art direction Studio FM; photo by Andrea Garuti; styling Studio Salaris

The design talk was followed by a visit to the company’s Headquarters, designed and led by Milanese architectural firm Park Associati. From the very name – Pedrali Collaborative Space – it is clear that the guiding principle behind the design was to create a contemporary, dynamic and flexible workspace, developed through the modulation of a layout that focuses on the comfort of the people. The result is a mix of functional areas that serve as a setting for Pedrali products which are displayed and used in perfect harmony with the architectural volume thanks to the refined selection of models, fabrics and colours. Divided into three main areas – the contemporary workspace with multiple workstations, the meeting areas and the breakout rooms – the office highlights the versatility of its designs, from the Polar chair with its moving lumbar support, designed by Jorge Pensi, to the modular Toa table by Robin Rizzini.

Pedrali’s Headquarter offices in Bergamo by Milanese architectural firm Park Associati | image © Ottavio Tomasini

The tour concluded with a visit to the fully automated warehouse, ‘Fili d’Erba,’ designed by CZA – Cino Zucchi Architetti in 2016. The state-of-the-art facility can store 16,880 pallets of finished and semi-finished products, featuring endless corridors of shelves and advanced machinery where traditional Italian craftsmanship meets automated welding, steel bending, and precision pressure testing. Throughout the process, workers oversee quality checks to ensure that every product meets Pedrali’s high standards. From the outside, this huge machine is masked behind a playful series of aluminum extrusions in three shades of green – a prominent color in the factory throughout. The profiles, reminiscent of gigantic ‘grass blades,’ create a natural connection between the building and the surrounding landscape. The main façade faces south, opposite Pedrali’s main entrance, reacting to sunlight and adding an element of dynamic beauty to the warehouse’s design.

‘Fili d’Erba’ designed by CZA – Cino Zucchi Architetti for Pedrali | © Filippo Romano

the state-of-the-art facility can store 16,880 pallets of finished and semi-finished products.

inside the company’s automated warehouse

project info:

company: Pedrali | @pedralispa

design talk: ‘Talking about Design 2024′ with Luca Molinari and Patrick Jouin

pedrali pavilion design: AMDL CIRCLE and Michele De Lucchi | @micheledelucchi

pedrali collaborative space design: Park Associati | @park_associati

fili d’erba warehouse design:  CZA – Cino Zucchi Architetti 

location: Bergamo, Italy

The post design dialogues with patrick jouin at pedrali’s automated warehouse in bergamo, italy appeared first on designboom | architecture & design magazine.

Meet Aristotelis Barakos, an award-winning product designer based in Athens. Thoughtful and dedicated, he works across scales with a hands-on approach to creative problem-solving and strategic design methodologies. Aristotelis spent his early years in Munich, raised in a family of tailors, before moving to the Greek capital at the age of ten, where he assimilated to different cultural influences and eventually majored in the sciences. ‘I initially studied Physics at the University of Athens. However, my aptitude for making things made me realize that design was my true calling,’ he tells designboom during our visit to his studio. From there, he began developing his penchant for prototyping and materials, collaborating with a growing network of artisans and experts to create lighting pieces, furniture, and more. 

product designer Aristotelis Barakos at his Athens studio | image © Ioanna Jejoumi

a thoughtful product designer with a wide reach

Aristotelis Barakos (see more here) designs a wide range of products, from decorative items, lights and everyday objects to state-of-the-art tech devices and systems. Constantly embracing new challenges, his collaborations span Greek and international companies, as well as start-ups. In 2019, he established his very own studio with a vision to create honest, functional, and good designs that bring a smile to people’s faces. Exemplifying that vision are his whimsical Théros lamps and a recent collaboration with Aumorfia, which brought to life a collection of leather-wrapped lighting pieces. designboom spoke with Aristotelis, who walked us through his unexpected journey into product design, his studio’s latest collections, his inspiration, and much more. Read our full interview below. 

Théros – lighting collection | image © Giorgos Vitsaropoulos

interview with Aristotelis Barakos

designboom (DB): Tell us about your background. How did you get into product design? When did you open your studio and what were you doing before?

Aristotelis Barakos (AB): I initially studied Physics at the University of Athens. However, my aptitude for making things made me realize that design was my true calling. To pursue this new path, I worked as a technician for a studio that specialized in special constructions for the film industry. This role helped me gain valuable experience in prototyping and creative problem-solving. My passion for envisioning and creating, together with my curiosity to constantly learn about production techniques and experiment with materials, led me to study Industrial Design. One year after my graduation, I worked for a technology startup based in San Francisco, where I designed a technology gadget that gained significant attention from media and backers in the US. During this project, I had the opportunity to travel to China and stay there for six months. I worked on the product’s development process, oversaw mechanical engineering and production preparations, visited large factory facilities, and learned a great deal about mass manufacturing.

image © Ioanna Jejoumi

Afterwards, I worked in-house for about two years at a biotechnology startup named Pnoe Analytics. This role lasted until the end of 2018 when the idea of creating an independent design studio in Athens was born. I opened my first studio workshop in one of the most central parts of Athens at the beginning of 2020 – in a half-empty office building. Just three years later, in 2023, we moved our studio to a bright, sunny ground floor space, also in the center of the capital. The new location combines everything we need: an office space, a workshop, and a showcase area where we meet with clients and partners.

Hecate – lighting collection made of leather | image © Giorgos Vitsaropoulos

DB: You have a way of linking each of your designs with a special story. How does your design process evolve? Do you find inspiration in stories and myths of the past and then move onto the design, or is it the other way around? What inspires you?

AB: The inspiration process is not linear for me. Sometimes, a design idea comes first, and as I work on it, I discover a story that fits perfectly with the visual elements I’m developing. Other times, a story ignites the entire design process from the start. Research is a crucial step in my process. I delve into the historical and cultural context of the story to ensure authenticity and depth in my design. Besides stories and myths, I find inspiration in nature, art, architecture, and everyday life experiences. The key is to remain open and curious, constantly observing and seeking connections between the world around us and the narratives we hold dear.

inside Barakos’ workspace | image © Studio Aristotelis Barakos

DB: How did the idea of the Théros lighting collection come about? How has the collection evolved? 

AB: While growing up in Munich, Germany, I used to visit Greece, my paternal homeland, with my family for the holidays. Flashbacks and sensations from that period of my life associated with these trips, like the dazzling sun and the heat of Athens, still bring memories and drive inspiration. The remainder of the strong gush of hot air as we exited the airplane, the dry grass lining the country roads, and the blinding Mediterranean light made me squint for days and, to this day, brought comfort. The Théros project evokes these sensations through objects and experiences, coming from the surprise and comfort I felt as a child during my summer holidays.

image © Giorgos Vitsaropoulos

The Théros collection consists of a series of tabletop lamps, each a poetic design gesture that combines a clean-cut, balanced form with a personal, heartfelt story. The lamps’ adorable figures evoke in all their simplicity the image of a person in the sun, narrating a timeless story of peaceful holidays basking in soothing, milky sunlight. Part of the lamps’ attractiveness is their strong personality, which is elegant and understated yet at the same time playful, lovable, and cheerful. Each lamp’s body is made of marble, its head an opaque glass sphere, and the lampshade a handmade straw hat. The hat whimsically rests on the glass sphere and can move freely in any direction, creating different lighting conditions. The tilt and position of the hat change the mood of the lamp completely. The marble bases and straw lampshades are made locally in collaboration with small workshops, focusing on Greek craftsmanship and strengthening the objects’ sense of origin.

Théros – marble body with opaque glass sphere and handmade straw ‘hat’ | image © Giorgos Vitsaropoulos

In 2021, I was invited to participate in KERAMIKO DESIGN, a ceramics exhibition, for which I commissioned a friend, ceramicist Giannis Zois, to reinterpret the lighting objects using materials and techniques of his own craft. The deep red color of the ceramic bases is a reference to terracotta, a material widespread around the Mediterranean and, therefore, a natural addition to the project. Théros is a project that will be evolving constantly, based on a methodology of collaboration and a vision to reveal the potential of small local workshops and artisans. I am already working on exploring different materials and crafts that are characteristic in the Mediterranean for future collaborations.

image © Ioanna Jejoumi

DB: How important are collaborations for you? How do you choose your collaborators?

AB: Collaborations are incredibly important to me as a designer. They bring fresh perspectives, new skills, introduce me to materials I am not familiar with, and innovative ideas that can significantly enhance the creative process and the final design. Creating with others urges a dynamic exchange of thoughts and expertise, which often leads to groundbreaking and unique outcomes that are difficult to achieve on my own. From my point of view, collaborations are about the personality of the artist I’m working with. It’s essential to have a smooth and more cohesive collaboration. I always seek collaborators with whom I share values and have the passion and willingness to push boundaries.

image © Giorgos Vitsaropoulos

DB: Tell us about Hecate, your most recent project. What was your experience in working with leather?

AB: Hecate is the result of my collaboration with the founder of Aumorfia, leather designer Theano Ravazoula-Potamianou. Theano approached me in order to work and create together and introduced me to a totally new but fascinating world: the craft of leather. Leather’s rich texture ability, which is able to transform and elevate even the simplest designs into luxurious pieces, is what inspired me most. The idea behind the design is to use the materials’ strength and flexibility. Inspired by symmetrical geometric principles, Hecate’s collection design is a visual and structural expression of equilibrium. A tabletop, floor, and pendant lamp are meticulously handcrafted from pieces of sumptuous leather and stitched along the edges to form a modern interpretation of a tripod with a radiant sphere suspended within. Three curved leather pieces circumscribe three circles and cradle an illuminated opaline sphere at their centre.

Bonbon armchair | image © Giorgos Vitsaropoulos

The result is a mesmerizing abstraction that evokes both the mystical symbolism of the three-faced ancient Greek goddess Hecate and the celestial dance of the moon. In order to achieve this, we did numerous tests to find the right type of leather with both the strength and flexibility to create this form. Each piece is handcrafted in Athens – from the leather tanning process all the way to the final piece. We work with local leather artisans and craftsmen to convey our common vision of combining contemporary aesthetics and to maintain an artisanal spirit. One remarkable insight I found during this collaboration is that the small industrial area in Athens, where our tanner is based, hosted a thriving community of more than 100 factories in the 1950s. Today, only 25 of them still operate. That is both distressing but also an inspiration and a motive to create.

image © Ioanna Jejoumi

DB: Beyond lighting design, what are some of your favorite projects you have worked on over the years?

AB: One of my favorites is the Bonbon, a collection of three seats: a sofa, an armchair, and an ottoman. I created this collection with a small upholstering workshop in Athens with bold, uniform colours and an emphasis on texture and construction details. The idea here was to create different seats that offer comfort and pleasure and are almost addictive to touch, based on the philosophical theory of cuteness (Kindchenschema) by the Austrian ethologist Konrad Lorenz. This theory states that there are particular proportions and features that create positive emotions in humans. Our collaboration with Gousdovas Upholstery Workshop was from creating the concept to developing the inner structure and upholstering techniques.

image © Studio Aristotelis Barakos

Another beautiful project is the design of the ceramic bottle for Dia Elis, an award-winning extra-virgin olive oil (EVOO) produced in the historic region of Elis in western Peloponnese. Ms. Dimitra, the olives groves owner, a biology high school teacher, came in contact with me to design the bottle for the exquisite olive oil she produces at a family-owned olive tree farm. Aiming for simplicity and elegance, we created a minimal, sculptural bottle inspired by the ancient Doric columns found at Elis’s formidable temples and gymnasia. G Design Studio, an Athens-based consultancy completed the project through visual identity and packaging.

ceramic EVOOO packaging for Dia Elis | image © Giorgos Vitsaropoulos

DB: What are you working on at the moment?

AB: Currently, we are immersed in several exciting projects that are almost breaking the borders of our creative and design capabilities. First and foremost I’m focusing on developing my brand even further, working diligently to expand our studio editions to more categories. We ensure each piece maintains the brand’s aesthetic signature and quality while creating synergies and partnerships into new and exciting projects. Another significant project we are working on is the bespoke design for a lamp to be placed in the suites of an upcoming 5-star resort in Southern Greece. 

image © Studio Aristotelis Barakos

That is an inspiring collaboration with the resort owner to create unique pieces, not only functional but also pieces of art, using locally collected materials to support regional craftsmanship. We are also engaged in the creative process of a premium marble furniture brand, yet it is still not presented publicly. That includes assembling a team of exceptional professionals who are developing a cohesive visual language and brand identity reflecting the luxury and sophistication of the marble manufacturer. Of course, I have several new collections designed exclusively for them.

Taco de Luz Grande – lighting collection | image © Giorgos Vitsaropoulos

image © Giorgos Vitsaropoulos

Taco de Luz – lighting collection | image © Giorgos Vitsaropoulos

image © Studio Aristotelis Barakos

Sermon – candle holder | image © Giorgos Vitsaropoulos

project info:

designer: Aristotelis Barakos | @studio_aristotelis_barakos

studio location: Athens, Greece

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Step into Andrew Iacobucci’s studio

Housed in a converted garage of a former auto repair shop, Italian artist Andrew Iacobucci opens the doors of his Rome studio, guiding readers into his creative space and artistic process. A descending ramp leads to an outdoor painting area, while the interior features a minimalistic kitchen block, a collected dove-colored sofa, and nearly invisible bookshelves. The intentional division of spaces with tubular structures supporting curtains creates a distinction between living and working areas, with high walls and neon lighting in the latter providing a focused environment. The artist places a strong emphasis on order and cleanliness within the studio to facilitate a conducive thinking process. Fabrics and thread spools are integral to his embroidered compositions, reflecting consideration for form and color. ‘Working primarily on the floor without the constraints of physical supports or easels, I can arrange my works freely on the ground and engage with them physically,’ Iacobucci explained. ‘This tactile experience creates a closer connection to the artwork, emphasizing its conceptual yet still grounded nature.’

all images by Andrew Iacobucci

Language-inspired Canvases

Andrew Iacobucci (see more here) describes his interest in language as a vast resource, comparing it to Pangea or an expansive Google, from which he draws abstract forms and discovers novel configurations. His recent collection, displayed in Hong Kong, features works embroidered with industrial machines, incorporating designs derived from creations of yet non-literate children. The vectorization of these drawings and their reproduction on vibrant canvases reflects a deliberate intent to explore mark-making before assigning specific meaning.‘My fascination lies in the exploration of language—its boundaries and possibilities. Rooted in my background as an architect, I’ve been trained to understand the significance of lines, the act of defining spaces, and the opening of surfaces,’ he described. ‘This inclination is reflected across various series and mediums,’ he added. 

exploring the boundaries of language

For Iacobucci, delving into the margins of language is akin to participating in the moment when language first develops, similar to understanding the foundation of a complex architectural site. He draws parallels with the work of a paleontologist studying fossils to comprehend evolutionary laws, connecting the creative process with scientific exploration.

Iacobucci’s studio is a space where abstract forms come to life

Iacobucci explores mark-making on vibrant canvases

detail of ‘and do not, whatever you do, eat the heart’

close-up of an embroidered canvas from Iacobucci’s collection

detail of ‘New Jerusalem from the Prayer Room’

summer homework 2022 90 x 85 cm embroidery on outdoor fabric

portrait of Andrew Iacobucci

project info:

name: notes on the studio
artist: Andrew Iacobucci

studio location: Rome

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Saint of Athens is a greek creative studio that focuses on branding, design, and communication. Based in central Athens, the agency was founded in 2017 and works across a diverse range of multidisciplinary projects, from immersive retail and hospitality interiors, to packaging and object design. Whether by crafting a swimming pool-like jewelry store or a boutique that resembles a white marble quarry, Saint of Athens has managed to carve a unique niche within their field through an interdisciplinary modus operandi that has brought in clients like Reebok, Nespresso, Four Seasons, and Gavello.

designboom visited Saint of Athens in Kolonaki and caught up with its three co-founders, Nikos Paleologos, Timis Kokkinopoulos, and Vassilis Paleologos, to find out more about the studio’s origins and its creative identity. ‘The studio’s style is characterized by our global design knowledge, shaped by the experiences gained during our travels,’ says Nikos Paleologos. ‘Additionally, art plays a significant role in our work. There is not a single project in which we haven’t engaged with an artist while creating the key visual.’ This philosophy underscores the agency’s commitment to a fusion of worldly influences and artistic collaboration, resulting in a distinctive and globally informed design perspective.

the entrance hall of the Saint of Athens studio | image © designboom

THE ORIGINS OF THE GREEK CREATIVE agency

Prior to establishing Saint of Athens, creative director Nikos Paleologos worked in the advertising industry. Exhausted by the nature of the industry and driven by his passion for design, envisioned a new path — a creative studio with a fresh marketing approach. This vision propelled his decision to step away from his former job and embark on an extended journey to Canada. ‘During a train ride between Montreal and Toronto, I made the decision to create the office,’ he recalls.

The studio’s name draws inspiration from Yves Saint Laurent, who democratized design through the concept of prêt-à-porter clothing. Additionally, the name is influenced by the film Saint, where the character exemplifies honesty and solves cases without deception. Thus, the inclusion of ‘Saint’ in the name symbolizes a blend of creativity and morality. The term ‘Athens’ was chosen because the team believes that if their work is to resonate globally, the city of Athens should be acknowledged as part of its roots.

Saint of Athens co-founders (from left to right), Vassilis Paleologos, Nikos Paleologos and Timis Kokkinopoulos | image © designboom

A STUDIO THAT LETS THE WORK SPEAK FOR ITSELF

As Saint of Athens’ team and clientele expanded, a unique policy emerged: refraining from participating in design competitions. The studio’s belief lies in letting their work speak for itself, showcasing their creativity and innovation without the need for external validation. Despite this unconventional approach, Saint of Athens’ reputation soared, attracting a diverse array of clients. ‘One client brought the next one. I can’t pinpoint the exact reason, but it might be attributed to our distinctive style,’ Paleologos remarks. ‘We’ve established a recognizable identity that resonates with luxury and niche brands.’

‘People encounter our work and recognize it. However, this doesn’t mean that each project is a replica of the other. We’ve always considered ourselves a studio, unafraid to experiment with and explore diverse aesthetics. Despite this creative diversity, there’s a common thread that ties all our projects and marks them as our own,’ he adds.

every corner is adorned with books and posters, many of which designed by the studio itself | image © designboom

Approaching architectural projects as non-architects

While Nikos Paleologos doesn’t have a conventional architectural background, the team confidently tackles interior architecture projects, spanning from retail to hospitality spaces. Their foray into this field began when they were tasked with creating a client’s visual identity. This led to the opportunity to evaluate a proposed space design by another professional team. Noticing a disconnect between the space and the visual identity, the studio decided to step in and propose a new design. ‘We felt the space didn’t quite align with the identity,’ Paleologos explains. ‘So, our client asked us to come up with a new idea. We started experimenting and creating 3D renderings of our interior design. In the end, our proposal was approved.’

To bring these projects to life, the studio relies on close collaboration with external partners: architects, engineers, and other specialized professionals. ‘This job has taught me that you can create anything you can dream up if you have the right team by your side.’

the studio is also decorated with pop culture references, like this Astro Boy sculpture | image © designboom

gavello jewelry store in mykonos

One of Saint of Athens’ most eye-catching projects is the revamp of the Gavello jewelry store interior in Mykonos, Greece. Marking one of the studio’s most recognizable works, this daring transformation transformed the store’s traditional Cycladic facade into an enchanting indoor oasis, resembling an actual swimming pool. Stepping inside feels like diving into a world of carefree summer memories, with light blue tiles lining the walls and floor, beach balls floating amidst striped bolsters, lockers lining the walls, and a pool ladder attached to the wall. The result is an immersive experience that perfectly captures the essence of Gavello’s brand and the spirit of Mykonos.

the swimming pool interior of Gavello nel blu in Mykonos | image by Gavriil Papadiotis

The idea came from Elisabetta Gavello, the owner of the brand, who wanted to make a bold comeback. ‘She didn’t want a store like all the others in Mykonos. So, she said to us: Why don’t we create a pool?’ shares Paleologos. ‘We took this idea, enriched it with references from Edward Hopper, Wes Anderson, and even Slim Aarons’ photography, and started setting up this pool interior,’ he adds.

The interior is adorned with 10 x 10 tiles, adhering to a thoughtfully crafted scheme where every element is purposefully designed as multiples of 10. This commitment to uniformity not only enhances the visual coherence of the space but also underscores the precision and intentionality behind the studio’s design philosophy.

Gavello: from interior design to brand packaging | image © designboom

Looking ahead

Saint of Athens extends its creative reach beyond traditional boundaries, showcasing versatility across various scales. Standout projects include the vibrant Nespresso on-the-go cups, featuring modernist art inspired by different Greek cities, capturing the essence of each locale. The studio also crafted an origami-like catalog for Avra Bar at Four Seasons Astir Palace Hotel Athens, transforming the ordinary into a captivating experience.

At Saint of Athens, creativity is a boundless frontier. The team believes that an idea can transcend traditional mediums. ‘For us, there is no limit to creativity,’ Paleologos states. ‘An idea can be applied not only to a card or a box, but also to a space, clothing, photography, etc. We are always looking for new ways to express ourselves, pushing the boundaries of design.’ The studio is committed to exploring new avenues for expression, both within Athens and beyond. ‘We would love to create Saint of London,’ Paleologos expressed. ‘Zurich also seems very interesting to us.’ The team’s aspiration is to expand their creative influence globally, bringing their unique perspective to a wider audience.

image © designboom

SAINT mural on the conference room wall | image © designboom

studio details | image © designboom

THE KION concrete side table, designed by Nikos Paleologos for Urbi et Orbi | image © designboom

Saint of Athens cabinet of curiosities | image © designboom

the agency’s creative branding for Nespresso on-the-go | image © designboom

visuals for Nespresso on-the-go, done in collaboration with artist Philippos Theodorides | image © designboom

the Nespresso visual identity featured on tote bags, posters and coffee cups | image © designboom

visuals for Maison Anemi | image © designboom

illustrated whimsical red details on blue and white plates for Maison Anemi | image © designboom

Maison Anemi visual identity | image © designboom

the team at Saint of Athens | image © designboom

project info:

studio: Saint of Athens | @saintofathens

location: Athens, Greece

The post studio visit at saint of athens, the greek creative agency blending design, branding & interiors appeared first on designboom | architecture & design magazine.

China’s influence on emerging design trends and innovations is growing. Designworks, the enigmatic yet consistently ground-breaking subsidiary of the BMW Group, opened its expanded studio in Shanghai. In an exclusive visit, designboom stepped into the secretive studio to understand its increasing impact on the automotive manufacturer, regional clients, and global user behaviors. Timed to coincide with the West Bund Art & Design fair in November 2023, the studio’s strategic location in the creative district underlines the team’s work as the proclaimed architects of the future, not only in mobility but also across spatial and service design.

Holger Hampf, Head of Designworks, gives designboom a tour of Designworks’ new Shanghai studio

Founded in 1972 and then fully acquired as part of the BMW Group since 1995, Designworks has always strived to develop new design ideas. It is key, though, that these ideas are diverse in fields and markets. With a portfolio of 300 projects annually from all across the globe, half are designed for the BMW Group while the remainder cater for a curated set of clients. The 130+ strong creative team are strategically spread across Shanghai, Munich, and Los Angeles, with the latter having relocated to a new site earlier in 2023. The locations are interconnected but give unique perspectives on design trends in their respective regions.

‘After 50 years, the founding principles of Designworks are very much still alive today: great people, great projects, and great fun. Our diverse team work together, integrate, share knowledge, and create collaborative projects across many disciplines. This is what really makes us a different kind of agency,’ begins Holger Hampf, Head of Designworks, to designboom at the opening of the new studio in Shanghai. ‘Designworks’ three locations are a no-brainer: China in Asia, Germany in Europe, and the West coast in the US. Our products need to be successful across many different markets and customers. They are all equally important. We observe users around the world, gain different perspectives, and feed this back to the BMW Group like an outside-in approach. It is very important.’

the agency has a 130+ strong creative team that are strategically spread across Shanghai, Munich, and Los Angeles

Designworks’ team has their fingers on the pulse, particularly noted in our visit in China. The new studio’s location in the heart of China’s economic hub, nested within Shanghai’s vibrant district for arts, culture, and business, surrounds its creatives in a melting point of rapid and innovative ideas. This proximity also aligns the studio with the BMW Group’s research and development center in the city, facilitating a swift exchange of design and development expertise to improve interdisciplinary creation throughout the design process, from conception through to production. The new home – the third-generation studio in Shanghai since 2012 – underscores the team’s expanding significance and size as they tailor designs to meet specific needs of customers in China and the broader Asian region.

‘Users in China are young, creative, disruptive, and less patient. They want progress even faster and even more visibly. This group of customers makes China valuable as not only an incubator but also pressure for our team to innovate. This, in turn, also challenges the BMW Group. The questions asked in Shanghai are then proposed to Germany and so on,’ adds Holger.

the studio’s location in china’s economic hub surrounds creatives in a melting point of rapid and innovative ideas

Designworks consistently questions how future customers will define premium quality, with Chinese users often at the forefront of shaping these standards. The dynamic nature of China’s market has led to evolving user behaviors, and the on-the-ground team has the ability and agility to comprehend the latest social- and design-related phenomena. This includes understanding people’s changing needs in terms of aesthetics, lifestyle, and technology at an accelerated pace, offering valuable insights into the country’s cultures and traditions. These insights are then translated into product ideas for both the local region and global stage.

‘There is a regular exchange between all our studios, through virtual tools. What we learn in one location can have a positive impact on a completely different project on the other side of the globe.‘ Holger continues to clarify, ‘it is a more useful experience to work, interaction, and share knowledge in-person. We have projects that utilize our personnel across different studios, such as when needing a US or Chinese perspective.’

sustainable materials are developed with an artistic approach, like Zhangrong Velvet, Song Brocade, and Lacquer

‘When we talk about cars and their interiors, we want to create a wow-factor. It is then important to create meaning. Using sustainable materials, there are benefits to the user and planet without any negatives,’ explains the Head of Designworks.

A prime example of this localized innovation is evident in the design of the new BMW 5 Series, significantly influenced by the Designworks team in Shanghai. The vehicle boasts a long wheelbase, unique proportions, and a more spacious rear compartment, tailored specifically for Chinese customers. Exclusive design elements add more luxury. This approach is expected to extend to future models of the BMW Neue Klasse.

the studio influenced the design of the new BMW 5 series with a China-specific long wheelbase version

Traditional Chinese craftsmanship is being reinterpreted as visionary, sustainable materials that maintain high quality. These materials include Zhangrong Velvet, Song Brocade, and Lacquer, creating a synthesis of highly optical and haptic experiences for users. This commitment to cultural sensitivity is also reflected globally in the BMW Group’s digital experience, featuring the visualization of BMW IPA (intelligent personal assistant), the MINI digital companion SPIKE, and special festival mode animations on control displays.

‘There is a false perception that China is not sustainable,‘ notes Holger Hampf, Head of Designworks. ‘The size of their cities present an even bigger challenge than elsewhere. Their market not only needs to be faster in developing alternative concepts of mobility, architecture and more, but at the same time, add more value to the customer. This takes on a more artistic application. It is important for individuals to have an emotional connection to their products, and so, our designers are trying to create this through sustainable materials, for example.’

the team designed the Skyworth BM Home Appliances Series, including an OLED TV, refrigerator, washing machine and more

Despite half of Designworks’ projects being exclusively related to the BMW Group and its brands, the other 50% are commissioned in parallel for a large, diverse number of global clients. This deliberate curation provides a distinctive outside-in perspective, fostering an exchange of knowledge and understanding of new trends that enrich BMW Group design. Collaborative ventures range from designing the exterior and interior of the new generation of high-speed trains for CRRC – the world’s largest rolling stock manufacturer – to shaping the positioning and product design for Chinese e-bike manufacturer Yadea. In a different sphere, the studio also crafted the end-to-end customer experience for Fotile, a luxury kitchen manufacturer specializing in smart-home household appliances.

As architects of the future, it is apt that Designworks’ influence extends beyond automotive design, shaping spatial and service innovations around the globe. This, as seen on designboom’s visit to the opening, is a testament to the new, expanded studio in the heart of Shanghai’s creative pulse.

external clients include designing the exterior and interior of the high-speed trains for CRRC

the new studio underscores the expanding significance and size of the team in China and the wider Asian region

Chinese users are often at the forefront of shaping design standards

the proclaimed architects of the future create not only in mobility but also across spatial and service design

studio info:

studio: Designworks

location: Shanghai, China

opening: November 2023

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