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      Eight homes punctuated by dramatic circular openings

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      For our latest lookbook, we’ve gathered eight home interiors and exteriors that are crowned by circular openings and skylights.

      While often used to draw daylight into interior spaces, openings may also provide unexpected visual connections between a home’s spaces or – as shown in a project below – offer a structural frame through which trees can grow.
      Breaking free from the often rectilinear layout of a home, circular openings can add a sense of intrigue to an interior, while also casting dramatic rounded shadows across a space.
      Included among this list of projects is a holiday home in Tulum where a round window provides views of a swimming pool above and a series of homes in Puerto Escondido featuring circular openings cut into their slanted concrete roofs.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring interiors that are stepped up by the addition of ladders, eclectic self-designed homes by architects and designers and living rooms characterised by bold statement rugs.

      Photo courtesy of 2305studioPink House, Vietnam, by 23o5studio
      Pink pebble-wash walls, geometric openings and planted patios define this home in Long Xuyen, Vietnam, by 2305studio.
      A large circular opening filters light over the ground-floor swimming pool and is topped with a planted balcony.
      Find out more about Pink House ›
      Photo by Asita YuliaJae Haala, Indonesia, by Wiyoga Nurdiansyah Architects
      This holiday home designed by Wiyoga Nurdiansyah Architects in a forested valley in Indonesia features an angular form made from dark-coloured concrete.
      The home’s living space is a covered garden, which is filled with plants and topped with a circular void that draws in natural light.
      Find out more about Jae Haala ›
      Photo by Rory GardinerPuerto Escondido, Mexico, by Ludwig Godefroy
      Architect Ludwig Godefroy cut circular openings into the slanted, concrete ceilings of a series of homes in Puerto Escondido.
      The openings create cave-like interiors with partially exposed pools and gardens that remain open to the elements throughout the year.
      Find out more about Puerto Escondido ›
      Photo by César BéjarVilla Cava, Mexico, by Espacio 18 Arquitectura
      A circular window reveals views of an above swimming pool within this holiday home designed by Espacio 18 Arquitectura.
      Located in Tulum, the concrete Villa Cava draws on brutalist architecture and is encased by the area’s surrounding greenery.
      Find out more about Villa Cava ›
      Photo by AndreaswidiHalo House, Indonesia, by Tamara Wibowo Architects
      Local studio Tamara Wibowo Architects integrated a series of circular voids and skylights into this home in Semarang, Indonesia.
      Large cutouts in the home’s flat concrete roof provide spaces for trees to grow through the structure, while thinner circular skylights provide lighting on the interior.
      Find out more about Halo House ›
      Photo by Adam RouseRound House, US, by Feldman Architecture
      American firm Feldman Architecture took a respectful approach while overhauling this 1960s circular house perched on a hillside near Silicon Valley.
      Modifications made to the floor plan included replacing an internal courtyard with a circular kitchen, which is lit by a round skylight above.
      Find out more about Round House ›
      Photo by David ZarzosoLa Casa de los Olivos, Spain, by Balzar Arquitectos
      Red-hued lime mortar coats La Casa de los Olivos, which Spanish studio Balzar Arquitectos added to an olive grove in Valencia, Spain.
      The home’s living area connects to a porch, which is sheltered by an overhang punctuated by a circular skylight.
      Find out more about La Casa de los Olivos ›
      Photo by Olmo PeetersSofie, Belgium, by Madam Architectuur
      A green-tiled extension built on a green-hued concrete base was added to this home renovation in Dilbeek, Belgium.
      Completed by Madam Architectuur, the extension is complemented by an external terrace, which is sheltered by a roof with a circular opening.
      Find out more about Sofie ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring interiors that are stepped up by the addition of ladders, eclectic self-designed homes by architects and designers and living rooms characterised by bold statement rugs..

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      Laurence Bonnel creates tactile restaurant interior informed by Japanese archipelago

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      Artworks are dotted throughout the interior of restaurant L’Abysse Monte Carlo in Monaco, for which its designers Laurence Bonnel and Rowin Atelier took cues from the Seto Inland Sea archipelago.

      Bonnel, who led the design and is the founder of Paris art gallery Scene Ouverte, also drew on the food served at the restaurant when creating the design.
      Headed up by chef Yannick Alléno and sushi connoisseur Yasunari Okazak, L’Abysse Monte Carlo mixes French cuisine with Japanese culinary traditions.
      L’Abysse Monte Carlo has an interior filled with artwork”The design has been inspired by the atmosphere Yannick Alléno wanted for the Abysse – precious and warm, a French vision of the way you feel in Japan,” Bonnel told Dezeen.
      “The sea, as it is a sushi restaurant, has also inspired the design,” she added.

      “Monte Carlo’s unique blend of French Riviera chic and international flair also influenced the design. I also wanted to create a sense of clarity, so upon entering, one feels immediately transported, as if stepping away from the world.”
      Pale pink chairs contrast against a dark blue rugBonnel has mixed materials including marble, travertine, wood, ceramics and velvet for the interior of the 90-square-metre restaurant, which is located inside the Hôtel Hermitage in Monte Carlo, Monaco.
      “I worked with ceramic and porcelain for their connection to Japanese ‘savoir-faire’, and the special soul they bring to a space – I’m an absolute lover of ceramics,” Bonnel explained.
      “The Versylis marble has a light grey tone with a hint of pink  – I went to choose the panels myself and it is reminiscent of a Japanese mountain drawing inside the stone,” she added. “I chose velvet fabric to bring the softness and warmth.”
      The Coral Wall installation adds texture to the spaceL’Abysse Monte Carlo’s interior also features artworks that evoke the sea, including artist William Coggin’s Coral Wall installation.
      “Art always enhances an interior, it gives life and soul to a space,” Bonnel said. “It also gives a special, sweet, warm atmosphere with a spectacular effect: you feel to be in a special place while feeling very comfortable.”
      The white ceramic wall decorations feature 3D forms that rise from the surface and resemble coral reefs, sand dunes and ocean waves.
      “The coral colour of William’s ceramic wall was the first choice, followed by the very light wood of the bar, which led me to the Versylis marble,” Bonnel said.
      An indigo rug fills the floor at L’Abysse Monte CarloBonnel worked with Rowin Atelier on a large indigo rug that covers the restaurant floor and nods to the indigo dye Ao blue, which is traditionally produced on the island of Shikoku near the Seto Sea and used for prints.
      “I wanted to retain the dark blue from the Paris location [of the hotel], so I collaborated with Rowin Atelier to incorporate this colour into the rug, creating a wave-like effect,” Bonnel explained.

      ORA utilises LA’s fallen street trees inside Uchi West Hollywood restaurant

      “The sofas, also dark blue, are part of this wave,” she added. “I chose the soft pink seats to complement the Versylis marble and add warmth.”
      The restaurant also features pieces by artists Célia Bertrand, Silver Sentimenti and Caroline Désile.
      Designer Laurence Bonnel drew on influences from France and JapanThe decision to base the restaurant on the Seto Inland Sea archipelago came about as it has a recognisable geography, which is often depicted on the Japanese prints made with dye from the Shikoku island.
      “The Seto Inland Sea, with its thousands of islands and jagged coastline, served as our inspiration,” Rowin Atelier told Dezeen.
      “Our aesthetic desire was based on Japanese prints (Ukiyo-e) and the indigo colour, combined with the region’s distinctive geography,” the studio added.
      “It is also an idea of the shore where the waves run aground. The Shikoku island is the traditional island of indigo culture.”
      Soft pink seats were chosen to add warmth to the spaceOther Japanese restaurants recently featured on Dezeen include one in Los Angeles decorated with fallen street trees and another in Paris with an interior informed by architect Frank Lloyd Wright’s designs.
      The photography is by Sébastien Veronese.

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      Linda Boronkay selects bold shapes and colours for The Sessile

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      Former Soho House design director Linda Boronkay drew on her experience of members’ clubs when creating communal spaces at The Sessile, a rentable apartment block in north London.

      Created by contemporary rental brand Way of Life, The Sessile is a 310-apartment building in Tottenham Hale.
      Linda Boronkay has created the communal spaces at The Sessile in Tottenham HaleBoronkay designed the interiors for the building’s communal areas, which include a rooftop orangery and a private dining area as well as a gym, a yoga studio and a dedicated vinyl listening room.
      “We opted for bold colours and pieces with lots of personality,” said the interior designer, who founded her own practice in 2020.
      The rooftop orangery opens onto wide terraces”We also integrated vintage finds like we always do, so the ingredients and our approach were very similar to how we would work on a members’ club design,” she told Dezeen.

      The 10th-floor rooftop orangery is the largest of the spaces, opening onto planted terraces with sweeping views of the surrounding area.
      Marble and dark timber feature in the private dining roomBlack terrazzo flooring was paired with gleaming green and crimson tiles, which line the windowsills and a tall central fireplace. Boronkay chose a trio of spindly, ornate chandeliers to contrast with these colour-blocked accents.
      Large skylights illuminate an open kitchen and various seating areas encircled by textured armchairs. Bespoke rugs decorated with bright patterns add “a layer of art and graphic design” to the space, said Boronkay.
      Boronkay selected lighter hues for the yoga studioThe private dining room is more intimate, with sliding timber joinery that allows a graphic, coloured tapestry to give way to a concealed television.
      “Joinery, artwork and drapery allow residents to instantly change the function or ambiance of a room,” explained Boronkay.
      The gym is illuminated by sculptural lampsTranslucent glass discs were clustered together to create a chunky overhead lamp, while burnt orange curtains and veiny marble sideboards add a touch of luxury.
      Lighter hues were chosen for the yoga studio, finished with “natural” earthy colours on the floors, walls and ceilings. Muted tones also evoke a sense of calm in the gym, complete with sculptural sandy pendant lamps.
      The vinyl listening room was created as a “private nook”A squiggly neon ceiling light features in the vinyl listening room, designed as a “private nook for reflection”. The space is characterised by open blood-red shelving displaying stacks of records.
      “We were conscious about coming up with a new colour scheme and new identity for each room,” said the designer.

      Careers guide: Linda Boronkay explains what it’s like to be design director for Soho House

      Boronkay also included a ping-pong table in the room that can be used or stowed away depending on residents’ preferences.
      “We aren’t very used to designing in new build architecture,” reflected Boronkay.
      Terrazzo flooring was included in the interior design”Most of our projects are in historical heritage buildings and their story and style is an important building block in our design and narrative. At The Sessile, we had to almost ignore the architecture and create a world of our own that you experience as soon as you step inside,” added the designer.
      Elsewhere in London, local firm Studio Est referenced the industrial heritage of Battersea Power Station when creating the interiors for an apartment inside the redeveloped landmark. Archmongers studio recently renovated a home inside North Kensington’s Trellick Tower.
      The photography is courtesy of Way of Life.

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      Under One Roof exhibition celebrates Scotland’s “vibrant” emerging design scene

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      Design platform Slancha has curated Under One Roof, a furniture and homeware exhibition in Glasgow that spotlights 14 up-and-coming Scottish designers.

      The inaugural exhibition from Slancha, which is run by designers Findlay MacDonald and Harvey Everson, presented a hand-picked selection of furniture, ceramics and lighting pieces united by an emphasis on materiality and form.
      Under One Roof is the inaugural exhibition by SlanchaMacDonald and Everson were prompted to curate the exhibition after visiting Milan design week and observing Scotland’s comparative lack of a cohesive design community, despite the exceptional work being produced by local makers.
      “The more exhibitions and shows like this that happen in Scotland, the more people will start to see the vibrant design scene emerging here,” MacDonald told Dezeen. “We’re excited to be part of that movement.”
      Nicholas Davis’s Fireside Chair is made from African sapele woodAmong the pieces on display as part of Under One Roof was Nicholas Davis’s Fireside Chair, crafted using African sapele timber.

      The chair features a durable structure and bold graphic silhouette, informed by the designer’s background studying graphic design at the Glasgow School of Art before pivoting to furniture.
      “The Fireside Chair is a great example of contemporary design in Scotland, with a distinctive Scandi-Scot influence,” MacDonald said, adding that Davis’s practice exemplifies “exceptional craftsmanship and eye-catching forms”.
      Oliver Spendley (left) and Richard Goldsworthy (right) explored raw natural materialsOliver Spendley utilised locally sourced materials from his base in Durness – a small village on the north coast of Scotland – to create his Endless Orbit collection.
      The totemic sculptures are made using discs of Scottish timber, fitted onto Lewisian gneiss stones to suggest a celestial object and its orbit.
      SHY Design’s vases are crafted from scagolia plaster”Each timber base is hand-finished with precision, alternating between sleek and textured surfaces,” said MacDonald.
      “This careful attention to detail reflects the natural textures found in our environment, from the undulating ripples of rivers to the layered patterns of tidal sands.”

      Webb Yates creates structural stone frame for Royal Academy summer exhibition

      Other pieces in the exhibition that pay homage to nature include the Vessel IX vases from SHY Design, a Glasgow-based studio exploring the emotional connection between user and object.
      Crafted from scagolia – a plaster typically used for surface decoration – the vases feature expressive forms with craggy rock-like surfaces.
      “SHY nod to material origins, first building their pieces into strong simple architectural forms before unexpectedly carving into and destructing the surfaces to create new forms and reveal the patterns laced below,” MacDonald said.
      Charles Myatt (left) and Frances Ross (right) contributed sculptural screensFluid Screen by ceramicist Frances Ross is a divider comprised of 72 translucent Parian porcelain tiles set within an ash frame, which diffuse light and shift in colour to resemble flowing liquid.
      And Greenlaw-based Richard Goldsworthy, whose work celebrates the inherent beauty of the natural world, contributed a sculpture crafted from charred walnut and pewter.
      Kiko was informed by graffitiAlso included in the exhibition was furnituremaker Laurence Veitch’s piece Kiko, designed in collaboration with architect Dafni Michalaki, which features a vernacular form inspired by graffiti.
      Similar themes lie in the work of Glasgow-based Charles Myatt, including his Lichen Stone assemblage crafted from lime, silica and cement that takes cues from urbanism and the materiality of cities.
      Ruth Mae Martin creates colourful ceramicsThe exhibition also presented works by Rory Middleton, Neal Cameron, Calum Bettison, Ruth Mae Martin, James Grossman, Ruth Elizabeth Jones and an oak and aluminium table by the Slancha founders.
      MacDonald and Everson hope that Under One Roof can help the Scottish design movement continue to grow.
      Under One Roof also showcased work by Ruth Elizabeth Jones”This event has brought such an energy to the designers and the local design scene,” MacDonald said. “We’ve had so many people express a desire for more events like this, which really highlights there’s a strong appetite for design in Scotland.”
      “Our hope is to keep building on this collective energy, maintaining the momentum while inspiring more people to design and create here in Scotland.”
      Under One Roof took place at Stallan Brand’s gallery space in Glasgow from 6th July to 16th August 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Tabitha Isobel completes “warm and inviting” Regent Street store for Carl Friedrik

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      Interiors studio Tabitha Isobel has designed a gallery-like store in central London for luxury luggage brand Carl Friedrik, featuring a rich and inviting palette comprising dark wood, metal and draped fabrics.

      Carl Friedrik approached studio founder Tabitha Organ to design the company’s first physical store, located in a Grade-II listed building on Regent Street just off Piccadilly Circus.
      Tabitha Isobel has designed Carl Friedrik’s Regent Street storeOrgan and her team developed a scheme for the 65-square-metre space that references the pared-back look and materiality of the company’s products, which combine heritage details with modern styling.
      “The brand style of Carl Friedrik is quite minimalistic and they wanted that to come across in the interiors,” Organ told Dezeen.
      Drapes provide a theatrical backdrop for the products”The brief was to design a space that emulated an art gallery and concept store whilst also being practical, warm and inviting – a space where the products could take centre stage, be admired and have space to breathe,” she added.

      The building’s listed status meant that only minor alterations could be made to the existing interior, which retained several of its original features including ornate cornicing and rich Versailles oak flooring.
      Lamps by &tradition and display trays by Tiger Nicholson introduce a metallic touchThe previous tenants had painted the walls a cold shade of grey and the space featured shelving in a traditional style that didn’t reflect Carl Friedrik’s more contemporary values.
      Organ chose a lighter, warmer shade for the walls that makes the most of daylight entering through windows on two sides. She also used calico fabric throughout the interior to soften the overall aesthetic and give it a more welcoming feel.
      Due to the short-term nature of the lease on this space, everything in the store was designed to be easily dismantled and reused in an alternative venue if required.

      Tabitha Isobel gives London townhouse a “surprising and bold” makeover

      Drapes hung in front of two of the walls conceal the existing cabinetry and provide a theatrical backdrop for smaller bags and items displayed on aluminium shelves.
      Fabric suspended from the ceiling also surrounds a central column, helping to partition the large space and create a layered effect that draws the customer’s eye through the room.
      Bespoke plinths designed to display larger luggage items are finished in a consistent minimal and monolithic style to ensure attention is focused on the products.
      Midcentury armchairs and a marble coffee table form a small lounge areaThe plinths were made in the north of England by fabricator Studio Tuesday using stained oak or wood lacquered in Carl Friedrik’s brand colour.
      Throughout the store, Tabitha Isobel used aluminium and chrome to introduce reflective accents that catch the eye. The plinths are set on recessed aluminium bases that lighten their visual mass and create a floating effect.
      Brushed aluminium was also used for the base of a custom-made display table featuring an inset panel made from the same chocolate-coloured leather as some of the brand’s products. There are no tills in the store as all orders are taken using handheld devices.
      A Philippi bowl adds further metallic detailsA corner of the space is designated as a cosy lounge area organised around an existing fireplace. It features a woven bench positioned opposite a pair of mid-century armchairs and a marble coffee table chosen to complement the scheme’s material palette.
      Portable lamps by Danish brand &tradition and a bowl by German firm Philippi add further metallic details, while the display trays positioned around the store are made by Organ’s brother Tiger Nicholson, a stonemason based in Henley-on-Thames.
      To enhance the gallery-like feel, artworks including photographs by Daniëlle Siobhán and paintings by Melanie Anne Haynes provide focal points on some of the walls.
      Decorative flowers provide a pop of colourCarl Friedrik’s longer-term vision is to open additional stores that will utilise the same minimalistic style and rich material palette as the Regent Street store.
      Tabitha Organ established her studio in 2023 after a decade of working in the industry for studios including Conran and Partners and Tatjana von Stein.
      The Carl Friedrik store is her first retail project after working predominantly on residences including a London townhouse that combines natural materials with futuristic details.
      The photography is by Daniëlle Siobhán.

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      Insulation made of discarded sheep wool used for Argentina guest house

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      Local studio DUB Arquitectura has created a metal-clad house called Casa La Escocesa, which features “insulating blankets” made of sheep wool that otherwise would have been incinerated.

      The 150-square-metre project is located on a farm in Argentina’s subtropical Pampas region, which consists of agricultural fields that stretch over flat plains. The building site is surrounded by crops, sheep and polo horses.
      DUB Arquitectura has designed a metal-clad house with insulation made of sheep’s woolLong and rectangular in plan, the building sits atop a platform and is covered with a gabled roof. The house was designed by DUB Arquitectura, a studio based in Buenos Aires, to follow the site conditions and to allow for future expansion.
      The interior is divided into four main areas: a kitchen and dining room, a bedroom, a bathroom, and a multi-purpose attic space. A breezeway lies at the centre of the plan.
      Plywood was used abundantly within the house”The central patio serves as an outdoor distribution hall and a space for meeting and contemplation of the surrounding and eternal landscape,” the team said.

      When choosing the building’s materials, the team opted for low- or no-maintenance options, to minimise the project’s operational energy.
      The insulation thickness varies around the houseFacades are clad in corrugated metal sheets, and plywood was used abundantly within the house.
      Discarded sheep wool was used for insulation, making use of a local product. The team said 4,000 tons of sheep wool are discarded yearly in the province of Buenos Aries.
      Solar panels line the gabled roofThe insulation thickness varies around the house, depending upon the orientation to the sun.
      “The house was used as a case study to implement the first insulating blankets made from discarded wool from this particular region, which is usually burnt,” the team said.

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      “Now, the house is measured every season to test the evolution of the material, which is showing great performance.”
      Glazing was minimised in certain areas, yet the home remains filled with natural light. Above the bathroom and the main corridor, the team introduced skylights to reduce reliance on artificial light.
      Special vents provide ventilation in the atticAll rooms feature cross-ventilation and sun protection on windows, including the attic, where special vents provide ventilation during warm months.
      Other projects involving sheep wool include an English sauna by Architects Holiday that has red shingles and insulation made of recycled plastic and wool, and a Chilean house by Team Citic that consists of three gabled volumes with sheep wool insulation.
      The photography is by Fernando Schapochnik.
      Project credits:
      Architect: DUB ArquitecturaArchitect in charge: Angie DubCollaborators: Belén Butler, Tabatha Walter

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      Loewe store in Seoul designed as “art collector’s home”

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      Spanish fashion house Loewe paid homage to its own craft history in this Seoul store, which features artwork including a multi-level bamboo sculpture and a basket woven entirely from horse hair.

      The store is located in Seoul’s Gangnam district and is the first Casa Loewe branch in South Korea.
      Loewe has opened a new shop in Seoul’s Gangnam districtA gleaming monolithic facade characterises the exterior, covered in handmade ceramic tiles in a verdant shade of green.
      “With tiles crafted in Spain, the facade is a bold volume of colour and texture that sits in dialogue with the store’s urban context and surrounding greenery,” said Loewe.
      Tile-clad plinths and shelving features insideThe interior spans three floors and also features a selection of brown, green and blue tiles, which clad blocky plinths and shelves displaying garments, bags and footwear.

      By incorporating art throughout the store, Loewe aimed to reference its origins as a leather-making collective in the 19th century, as well as nodding to its annual craft prize.
      Eclectic artwork characterises the storeThe collection of pieces includes a multi-level bamboo sculpture by Japanese artist Tanabe Chikuunsai IV. The bamboo was used to form a duo of cylinders resembling tree trunks, which stretch from the ground floor’s central atrium up onto the first floor, where they intertwine.
      Among the other artwork on show is a delicate vessel by 2022 Craft Prize winner Dahye Jeong, who wove an intricate basket out of wispy strands of horse hair.
      The collection includes a multi-level bamboo sculpture by Tanabe Chikuunsai IVAccording to Loewe, the brand conceived the store as “a place where a blend of fashion, art, craft and design furniture creates the eclectic feel of an art collector’s home”.
      Furniture pieces are finished in a selection of materials ranging from custom felt to black walnut and canvas.

      Loewe presents 24 lamps characterised by “unexpected interactions” with light

      Bespoke Loewe leather benches provide seating for trying on shoes, while black terrazzo and burnt wood were used to create tables and podiums respectively.
      Artisanal wool carpets were patterned with abstract interpretations of tapestries by British textile artist John Allen that depict expansive landscapes.
      Wool carpets were finished with abstract interpretations of tapestries by John AllenThe rest of the interior is defined by swathes of concrete that contrast with the eclectic artworks on display, as well as oak, brass and marble accents.
      This May, Mexican ceramicist Andrés Anza was named the seventh winner of the Loewe Foundation Craft Prize for her “arresting” human-sized ceramic sculpture. Elsewhere in East Asia, the fashion house recently opened a store in Osaka, Japan, specifically dedicated to the repair and preservation of Loewe leather goods.
      The photography is courtesy of Loewe. 

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      R & Company highlights seven “archetypes” of American collectible design

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      New York gallery R & Company has curated collectible design work by 55 contemporary artists and designers based throughout the United States.

      The exhibition Objects: USA 2024 is the second instalment in a series of triannual exhibits by the gallery surveying the current state of collectible design practices in the country.
      The show touches on topics such as revived craft traditions, material experimentation, political instability, environmental degradation, and cultural re-appropriation.
      R & Company has showcased 55 designers and artists from across the United States. Works by Dee Clements, Justin Favela, Luam Melake, and Coulter FussellDesigners that represent different generations and backgrounds are on show, including Minjae Kim, Chen Chen and Kai Williams, Roberto Lugo, Katie Stout, and Hugh Hayden.
      “In recent years, collectible design has increasingly entered popular consciousness, in part, thanks to the diversity of individuals embracing handmade processes and propelling them in new directions,” R & Company said.

      “Objects: USA offers an incisive exploration of the formal innovations and conceptual motivations that shape the distinct and varied landscape of today’s object-making.”
      It was organised according to seven “archetypes”. Works by Trey Jones, Nicole McLaughlin, and Kim MupangilaïAccording to the gallery, many of the artists and designers defy easy categorisation and challenge the understood boundaries between art and design.
      The show was guest-curated by writers and historians Angelik Vizcarrondo-Laboy and Kellie Riggs, who chose to present works thematically through several “archetypes.”
      “After a long period of examining what we believe to be some of the most compelling work being made today, we took on the daunting but exciting task of finding the throughline between 55 unique practices,” Vizcarrondo-Laboy said.
      “What emerged were seven archetypes that provide a dynamic way to explore object-making, not only within this group but also in the future.”
      Designers and artists working across the United States were represented. Works at centre by Brian Oakes, Matthew Szösz, Carl D’Alvia, and Hugh HaydenThe groupings are organised under the headings Truthseekers, Codebreakers, Betatesters, Doomsdayers, Insiders, Keepers and Mediators.
      Showcasing talents that uphold and find new purpose for long-established handicrafts, the Truthseekers section includes pieces by Los Angeles wood artist Nik Gelormino and New Mexico-based ceramicist Lonnie Vigil.
      The exhibition was curated by Angelik Vizcarrondo-Laboy and Kellie Riggs. Works by Cammie Staros, Ryan Decker, Liam Lee, and Francesca DimattioThe Betatesters grouping presents artists and designers who experiment with these techniques and push the limits of material.
      On view as part of this “archetype” is Houston designer Joyce Lin’s Wood Chair concept, which was created using MDF, epoxy, and oil paint. It shows her ongoing exploration of how the lines between what people think of as natural and artificial can be blurred.
      The Doomsdayers section touches on how talents are addressing today’s political polarisation and dystopian angst.
      The work under this dystopian heading includes Brooklyn-based designer Ryan Decker, who creates graphical works out of materials like fibreglass, resin, and aluminium – like Leaky Bladder – to comment on the rise of technologies like VR and the role video games play in our lives.
      The groupings were chosen to showcase the wide scope of the collectible design world in the US. Works by Minjae Kim and Jolie NgoThe Insiders grouping explores how design can address domestic space and how that impacts the human experience, especially during the lockdowns during the Covid-19 pandemic. Designers in this category included Hugh Hayden who presents “unexpected interventions” into everyday objects such as cribs.
      Brooklyn-based Congolese-Belgian designer Kim Mupangilaï’s Bina daybed was grouped under the Codebreakers section. It demonstrates how designers incorporate distinct forms from different cultural sources.
      “[Mupangilaï’s] distinct body of furniture is imbued with personal narratives, embracing materials symbolic of her Congolese heritage and childhood in Europe,” R & Company said. “Her elegant, organic forms reveal historical and contemporary complexities of identity and experience as the viewer revels in the details.”
      The Keepers section includes one-off designs, sculptures, and installations by artists and designers that utilise these mediums to explore how people establish cultural and interpersonal connections.
      The Mediator “archetype” highlights designs used to help people negotiate with their surroundings and heritage – such as those by Chicago-based Norman Teague.
      “Norman Teague’s multi-faceted practice [architecture, installation, and object design] is inspired by his Chicago South Side neighbourhood and broader African aesthetics,” R & Company said.
      The works range from futuristic to traditional. Works by Misha Kahn, Venancio Aragon, and Ryan DeckerMade using ebony-finished basswood and leather as well as traditional carving and stitching techniques, the Africana Rocking Chair combines references to both his Western and African upbringings but Teague distils them in a contemporary form.
      Also exhibited as part of the Mediator section, Las Vegas-based artist Justin Favela re-appropriates the piñata as an important symbol of Latinx identity in both still-life paintings and painted life-size objects such as low-rider bikes.
      Bright colours were used for backdrops. Work by Nicki GreenAccording to Riggs, the idea was to use these groupings as a way of highlighting the full complexity of American collectible design and offer fresh insights on how conceptual and self-expressive objects fit in the larger cultural conversation; how these designs can be both functional and used to comment on different aspects of contemporary American society.
      The photography is by Logan Jackson.
      Objects: USA 2024 is on show from 6 September 2024 to 10 January 2025 in New York City. For more exhibitions, talks and fairs in architecture and design visit Dezeen Events Guide. 

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