Dezeen Showroom: design studio Formway worked with fellow New Zealand-based brand Noho to create Noho Move — an ergonomically sound dining chair that facilitates hours of sitting.
“Our brief was to bring ergonomic performance to the dining room — that isn’t really something anyone has done before,” said Formway design lead Paul Stevenson of the Noho chair.
The Noho Move was designed with ergonomic considerations in mind
Formway, a New Zealand studio that has previously created products for Knoll, channelled their knowledge of office chair design plus new research into how humans sit over hours at the dining table into the Noho Move to make it suitable for not just eating but work and leisure.
The chair supports movement such as shifting, fidgeting and stretching. When the sitter leans back, the Noho Move back flexes with them, and when they move forward to engage in conversation, it tilts forward.
It has a flexible shell seat with a forward tilt mechanism
Its recycled nylon shell is flexible so it moves with the body, while the open weave structure helps to regulate body temperature, further helping to increase comfort.
Manufactured in New Zealand using renewable energy, the Noho Move chair is available in two colours – Ironsand Black and Cloud White – with optional interchangeable upholstery toppers made from sustainably sourced New Zealand wool.
US-based Dezeen readers can save $100 when purchasing a pair of Noho Move chairs by using DEZEEN100 at checkout.
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These natural indigo-dyed cashmere socks (78% cashmere, 21% nylon and 1% spandex) are hand-dyed, and each sock celebrates a unique shibori pattern. Knit in North Carolina and dyed in Lancaster, PA, they come in a special gift box.
This Suzuki Go! concept, unveiled at the currently-running Japan Mobility Show, is a mobility scooter aimed at seniors.
Shaped like a letter “G” in profile, the wraparound shape is meant to convey a sense of security to the passenger.
The control is a lone joystick, which you can just barely make out in the photo below, on the right side of the interior, ringed in white.
The space beneath the seat is for holding small items, though access looks to be awkward.
From an aesthetic perspective, it’s a damn sight better-looking than the American mobility scooters I see some people using at the Walmart. Those always strike me as the first prototype the company made; I can’t believe they’re the production version.
At press time Suzuki had not announced production plans.
Nowadays almost everything is being 3D printed, so why should architecture be an exception? Many architectural firms have adopted 3D printing as their preferred technique for building structures. And 3D-printed architecture has truly gained a lot of popularity and momentum. It has paved a path for itself in modern architecture. And I mean, no wonder, it has a ton of benefits! It’s a simple, efficient, and innovative technique that lowers the risks of errors, and also manages to save time. 3D printing eradicates a lot of tedious steps during the construction process and simplifies it. And cement company Progreso teamed up with COBOD to build Guatemala’s first 3D-printed building.
Guatemala’s first 3D-printed building was recently completed to withstand local seismic activity, allowing it to be earthquake-resistant. The structure was built by merging modern 3D-printing construction techniques with traditional local craftsmanship, for example, the thatched roof. The house was built using COBOD’s BOD2 printer, and the 3D printer extruded a cement-like mixture in multiple layers to from the structure’s shell, according to a pre-planned blueprint.
Quite interestingly the entire printing and building process took only a little over 24 hours. 26 hours were spread over seven days to build the structure which involved completing the concrete shell, and then adding wiring, plumbing, and windows with the help of laborers. The roof of the home is the traditional roof seen all over the region, and it is made from palm thatching. Wooden slats were also added to the building, to promote natural ventilation and create a spacious and airy environment. The building is designed to withstand a severe and strong earthquake!
“The project has successfully taken steps to validate the structural viability of 3D construction printing in a seismic-prone region,” said the press release. “Due to the use of 3D printing, the house features highly organic-shaped walls that would otherwise be extremely expensive, even unfeasible to complete with concrete blocks, the region’s predominant building material. The 3D-printed concrete walls are complemented by a ‘Rancho’ type palm leaves roof. This roof type has been used for generations in Latin America, as it is inexpensive, provides thermal comfort, and is well-suited for seismic regions due to the flexible and lightweight material.”
The structure occupies 527 square feet and is a compact home that can withstand extreme seismic activity while operating as a fully functional and equipped house.
Chinese architecture studio MAD has unveiled its plans for The Ark, a project involving the renovation and extension of a warehouse at an old cement factory in Shanghai, China.
The Ark will be distinguished by a futuristic, curved metal extension positioned at roof level and designed to resemble a floating ship – giving the project its name.
MAD has unveiled its plans for The Ark
MAD‘s ambition is to preserve the industrial aesthetic of the ageing warehouse on the banks of Chuanyang River while contrasting it with the contemporary addition.
Once complete in 2026, it is hoped to become a “multifunctional public waterfront space” catering for a mix of creative, cultural and catering businesses, MAD said.
The project will involve the renovation and extension of an old warehouse
“Industrial heritage is preserved and utilised not only because of the historical memories it carries, but more importantly because it gives the future a sense of history,” said MAD founder Ma Yansong.
“So we don’t need to celebrate and consolidate industrial aesthetics here, but rather focus on the spirit of the contemporary and the future,” continued Ma.
The extension is designed to contrast the old building
The industrial site, officially named Shanghai Zhangjiang Cement Factory, was once one of largest cement factories in Shanghai, the studio said. It ceased operations in 2013.
MAD’s intervention focuses specifically on the Wanmicang warehouse, which occupies the south side of the site. Its transformation forms part of a wider project involving the overhaul of the site to create a complex for various types of business.
A curtain wall will replace one of the factory’s old elevations
Once complete, the old and new structures at The Ark will be separated by a glass curtain wall.
A glass elevation will also be added in place of the warehouse’s west facade, overlooking a “24-hour urban public space” on the waterfront, while others will be repaired and retained.
Visible through the west-facing glass wall, the factory interior will be long and tall and home to what MAD has described as a “multi-functional urban living room”.
Here, a metal ladder will lead up to the rooftop extension, which will be clad in stainless steel that is slightly reflective. The eaves of the Ark will be tilted to help minimise its visual impact.
A staircase will lead up into the extension
Visitors to the rooftop extension will be greeted by glass-lined rooms and a public terrace affording panoramic views of the industrial site and the adjacent Chuanyang River.
Dotted throughout the project will be areas of planting, including a “tiered garden” that steps up alongside the metal ladder to the roof. It will be naturally lit via the curtain wall that separates the extension and factory walls.
As part of the project, MAD will construct a bridge connecting the two sides of the river, improving access to the site and its public spaces.
Norwegian studio Snøhetta drew on textiles and tailoring for its design of the Airside skyscraper, which has opened at the old Kai Tak Airport in Hong Kong.
The project is formed of five interconnected glazed buildings in a stepped arrangement, with the lowest volumes located next to the Kai Tak river.
Airside is composed of five interconnected volumes
These lower volumes form Airside’s base and merge with two towers, the tallest measuring 213 metres.
Snøhetta also designed landscaped plazas and a riverside promenade for Airside, which sit above the Kai Tak MTR station in the district that formerly held Kai Tak, Hong Kong’s international airport from 1925 to 1998.
It also features landscaped spaces
Inside, the lower buildings house 60,000 square metres of retail space, while the tower holds 100,000 square metres of office space.
The project’s design is informed by Hong Kong’s legacy of textile manufacturing and draws on different aspects of tailoring.
Its shape is informed by textile design
Airside’s shape is formed of chamfered edges in reference to textile cutting, while the fluted glass that covers part of the facade is a nod to fabric draping.
“The building negotiates scales ranging from the urban to the human,” said Snøhetta partner Robert Greenwood.
“It shapes a meaningful, inviting, and vibrant public realm for the thousands of people that will pass through it each day while bringing a new icon to the skyline and a focal point for the district,” Greenwood continued.
Airside has received a LEED Platinum certificate and is the first private development in Hong Kong to receive five of the highest green building certifications, according to Snøhetta.
Undulating spaces and plazas are located inside
Inside, a retail atrium has spandrels decorated with a custom-designed woven textile that was made from upcycled plastic bottles.
Snøhetta aimed to create “inviting pedestrian landscapes” by using undulating and folding shapes throughout the interior, which features sloping walkways and multiple plazas.
Airside has water features to help cool the landscape
Airside, which opened in September, has more than 1,350 square metres of photovoltaic panels on its roof and also links to the Kai Tak District Cooling System, which uses chilled seawater from a central plant for climate control.
It also features urban farms and a landscape design with a focus on native species, as well as water features that help against the urban heat-island effect.
Architect: Snøhetta Executive architect: Ronald Lu & Partners (Hong Kong) Limited Structural, geotechnical and civil engineer: Ove Arup & Partners Hong Kong Limited Building services engineer: Ove Arup & Partners Hong Kong Limited / J. Roger Preston Limited Executive landscape architect: Urbis Limited Quantity surveyor: Arcadis Hong Kong Limited Building sustainability engineer: Ove Arup & Partners Hong Kong Limited Facade & BMU engineer: Ove Arup & Partners Hong Kong Limited Lighting designer: Lighting Planners Associates (HK) Limited Main contractor: Hip Hing Construction Company Limited
Indian practice Studio Hinge has completed Forest of Knowledge, a library in Mumbai that sits beneath a tree-like canopy of latticed wood.
The library was designed for the Cricket Club of India, a member’s club dating back to the 1930s that is housed in an art deco building in southern Mumbai.
Columns were created to resemble tree trunks
Adapting the third floor of this building, Studio Hinge looked to recreate the feeling of “sitting under a tree with a book” by reimagining the structure’s concrete columns as tree trunks.
Alongside, a former Zumba studio has been updated to be used as a flexible space for book clubs, film screenings and workshops.
Circular bookshelves sit underneath the “canopy”
“India experienced one of the harshest and most sudden covid lockdowns in the world, and a lot of the design of the library was developed during this time, during which it was clear that people were yearning to meet and share ideas in person again,” explained the studio.
“On a conceptual level, the design draws from nature, in particular the notion of sitting under a tree with a book, and also borrows from the beautiful canopy formed by the ficus and gulmohar trees to be found in the adjacent street,” it continued.
The shelves are connected by plank-covered steel frames
A steel frame covered with small wooden planks lines each of the concrete columns.
This integrates shelving and extends upwards to create arched forms across the ceiling that are then connected in areas with a wooden lattice.
Curving bookshelves have been organised in a circle at the base of each column, with seating areas at the edges of the floor plate creating a variety of different conditions and atmospheres for visitors.
On the library’s floor, custom terrazzo tiles feature a pattern of green “leaves” with a circle of wooden flooring used at the base of each column.
The floor was decorated with a leaf pattern
“Care has been taken to ensure no bookshelf in the open space is taller than 1.2m,” explained Studio Hinge.
“This allows maximum natural light to permeate deep into the plan and for most adults to have an unobstructed view whilst standing, while creating sheltered semi-private nooks to sit and read in,” it added.
“It also provides a very different perception of the library for children, from whose vantage the space between the circular bookshelves is playful, almost labyrinthine in nature.”
A ceiling of timber planks adds interest to the multipurpose room
In the multipurpose room, the ceiling has been finished with an undulating pattern of timber planks and the walls lined with cabinets to maximise storage.
Amidst the extensive art world landscape of New York City, The Art Show (running this 2-5 November) has established itself as one of the most inspiring yet intimate annual events. Presented by the Art Dealers Association of America (ADAA), The Art Show’s distinct blend of contemporary and historical works from member galleries—coupled with a navigable layout inside of the iconic Park Avenue Armory—provides attendees access into a survey of the art world’s most impressive voices. This year, the fair will host booths from 78 ADAA member galleries, with 57 of those being exhibitions dedicated to one artist. And, as with every previous iteration, all ticket sales from the entire event (not just the opening night preview gala) will benefit Henry Street Settlement, a social service, arts and health care organization in New York.
Courtesy of Andy Ryan
The Art Show is unlike any other art fair in NYC—and that’s thanks to the ADAA. “The ADAA was founded over 60 years ago,” Maureen Bray, ADAA/The Art Show’s Executive Director, tells COOL HUNTING. “It’s a membership-based trade association of over 200 of the country’s best art galleries and art dealers. Our job is to be a voice in the industry—for the contributions that those dealers make to the community as a whole—and to act as an advocate for them in Washington DC and in local and state legislature. We also provide our member galleries access to expertise and resources to help their small businesses thrive.”
“Slow Dance” (2022) by Liza Lou, courtesy of Lehman Maupin
The Art Show’s experiential environment sets it apart. “For the 35 years of its history, which is one of the longest continuously running art fairs in the US, The Art Show has been held at the Park Avenue Armory,” Bray continues. “Being there allows for a unique, intimate experience with our members’ booth presentations. This means that it moves at a slower pace. It gives you time to do some serious looking. That’s helpful especially because sometimes a fair environment can be loud or distracting.” In an age of art fatigue from large-scale events, The Art Show aims to welcome but not overwhelm.
Courtesy of Scott Rudd
“There’s also a vetting process that’s slightly different than other fairs,” Bray continues. “Every member of the ADAA is invited to apply to The Art Show. 50% of all of the exhibitors at The Art Show are accepted into the fair that year by a vote of everyone who submitted a proposal. The other 50% is determined by an art show committee that is also made up of our members. It’s about the peers coming together to bring each year’s presentations together.” This year, The Art Show will feature several prestigious new members, from Perrotin to Shulamit Nazarian, Nicelle Beauchene and Eric Firestone Gallery.
“Leaf Goddess” by Faith Wilding, courtesy of Anat Ebgi Gallery
The show’s interwoven nature allows for focused thematic presentations—some of which are composed of historic works, while others are contemporary. An exchange occurs between it all. This year will see presentations by Kiki Smith with Pace Gallery, Faith Wilding with Anat Ebgi Gallery, Tom Wesselmann with Almine Rech, Roy Lichtenstein with Castelli Gallery, Tavares Strachan with Marian Goodman Gallery, Sheila Hicks with Sikkema Jenkins & Co and so much more. “I’d recommend that you allow yourself to walk down the aisles,” Bray says. “The floor plan is very simple. Allow for all of the surprises to happen as you move along. Because it is more intimately scaled, you have the opportunity to look down an aisle and see centuries worth of work in dialogue.”
“Ondine” (2022-23) by Sheila Hicks, courtesy of Sikkema Jenkins & Co.
“From the very beginning of the fair’s founding, there has been a collaborative partnership with our charitable partner, Henry Street Settlement,” Bray notes, of arguably the fair’s most important attribute. “All of the ticket proceeds throughout the entire run of show go to Henry Street. 100%. That’s very important to us. They’re our partner in every sense of the word.” Henry Street provides more than 50 programs to people of all ages—from Meals on Wheels delivery to mental health counseling, job-readiness training and even theater performances. Their efforts directly support some 50,000 New Yorkers.
Courtesy of Scott Rudd
“I hope people take away how fantastic our member galleries are and how serious they are about their dedication and loyalty to their artists and providing a context for their artists, whether historical or contemporary,” Bray says. “This allows the work to shine and either expands on or establishes scholarship for that particular artist. Our members are fantastic at that. What we hope to do is to provide an environment within the fair that allows our members to do the jobs they do so well.” As The Art Show continues to thrive, ADAA members benefit—and so do attendees in search of something spectacular.
Design graduate Juliane Kühr has presented a set of sex toys for self-insemination at Dutch Design Week, which were devised to be used during sex to help pleasure take its rightful place in the assisted conception process.
The Vruit kit comes with a Fleshlight-style masturbator for sperm donation, plus a choice of two insemination devices – a vibrator or a small silicone cervical cup for those who prefer to forego penetration.
Vruit is a set of sex toys for self-insemination
Although the product can be used by anyone hoping to conceive, Kühr designed the set particularly to meet the needs of queer people and singles hoping to start their own family without a partner.
She says these groups often have to shoulder the steep costs of fertility treatments themselves, as health insurance coverage in many countries can depend on relationship status and sexual orientation.
The kit includes a masturbator for sperm donation and two insemination devices
As a result, many end up reaching for DIY at-home solutions, according to conversations that Kühr had with a queer feminist midwife collective and other members of the community.
“The problem is that there are barely any products designed for self-insemination and the few that exist are very technical and clinical,” she told Dezeen.
“Often people have to misappropriate products like a menstrual cup or syringe. And because the ejaculate is so sensitive, things have to happen very very quickly and it’s very difficult to have a sensual, relaxed experience.”
One option is a vibrator finished in a gender-neutral shade of green
Vruit was designed to accompany users throughout the entire process, from sperm donation to insemination, in a bid to make self-insemination outside of the traditional IVF system “as easy as conception through heteronormative sex”.
Currently, Kühr says there are no dedicated products to help people with semen donation, although this is a crucial step of the process.
The other is a small silicone cap reminiscent of a menstrual cup
“It’s important to include the semen donation because sperm banks are legally not allowed to post to private households,” she told Dezeen.
“That means you always need a private sperm donation. And the ejaculate is very delicate so it has to be protected from environmental impacts.”
Kühr’s home insemination kit solves this issue with the help of a masturbator with a dedicated cavity at the front, into which the vibrator cap or the silicone cup can be placed to collect the semen.
Post-ejaculation, the cap is slotted back onto the vibrator and the cup is secured with a lid before being placed into an insulated transport box that is passed on to the aspiring parent.
This helps to keep the sperm at body temperature for two to three hours and protects it from other environmental factors, while also functioning as an induction charging station for the accompanying sex toy.
Those using the vibrator can press a button at the bottom of the device during orgasm to release the sperm into the cervix. Afterwards, the silicone cup can be inserted and worn for up to 24 hours to prevent the ejaculate from leaking out.
The kit comes in an insulated transport box
The non-penetrative route simply involves inserting the cup with the sperm, with the option of using the vibrator to provide external stimulation.
“Because it is lightly flattened, it also assists clitoral stimulation,” Kühr said. “And an orgasm is important because it causes the uterus to contract and the ejaculate is transported upwards.”
The Vruit kit also comes with a dedicated booklet, which guides users through what Kühr calls the insemination “choreography” and provides them with crucial information on associated legal and physiological questions.
Ejaculate can be released by pressing a button at the bottom of the vibrator
“[Such as] when are my fertile days, how does my cycle work, how do I get high-quality ejaculate,” she explained. “But also legal topics, like how do you adopt a stepchild when the sperm donor doesn’t take on the role of a legal parent.”
“It’s about ensuring more self-determination and making the topic more visible because it’s not that easy to get all this information collected in one place.”
Save for the silicone elements, Kühr’s working prototype was entirely 3D-printed from PLA bioplastic in a gender-neutral shade of green, designed to stand out from conventional sex toys.
The silicone cup can be worn for up to 24 hours
Supported by six months worth of research funding from her university, Germany’s Saar Academy of Fine Arts, the designer is now working to evolve the product and asses its commercial viability.
Developed by UK startup Bea Fertility, the system involves placing a small cap of semen at the cervix using an applicator.
An accompanying manual explains the insemination “choreography”
At Dutch Design Week, Vruit was on show as part of the German Design Graduates exhibition, introducing work from 25 young designers from across the country selected by curators Jana Scholze and Amelie Klein.
This interview was conducted in German and has been translated into English by the author.
Vruit was on display as part of Dutch Design Week 2023 from 21 to 29 October. See Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.
Step into the future of home technology with The Frame, a pinnacle creation for Kocom, the renowned Korean smart home appliance company. Crafted with precision and elegance, this wall pad is designed to redefine the smart home experience with absolute convenience and comfort.
Measuring an impressive 13.3 inches, The Frame boasts a full-screen touch system, setting it apart as a sophisticated and user-friendly centerpiece on the wall of any living space. What distinguishes The Frame isn’t just its functionality but the impeccable design as well. Wrapped in a quiet yet charismatic color palette and adorned with the soft fabric of Kvadrat, the Frame strikes the perfect balance between technology and aesthetics.
Designer: Dive Design, Kyumin Hwang and Minki Kim
Imagine controlling your entire home’s IoT equipment and front door with a simple touch on this smart wall pad. Installed in apartments, The Frame seamlessly integrates into the most sophisticated living spaces, offering a new level of control and convenience making it more than just a device; a statement piece in your lifestyle!
The magic mirror display of The Frame not only offers a glimpse into the future but also seamlessly merges with high-end furniture, creating an illusion of it being a natural part of the interior. It is thus designed to break away from the mundane, The Frame’s unique presence defies the ordinary trend of ubiquitous white-boxed devices, so its minimalistic but luxurious colors and attention to detail set it apart as a design masterwork.
In a world flooded with smart home gadgets, The Frame stands out as an embodiment of elegance, and technological advancement. It’s a seamless integration of technology and artistry, elevating the very essence of what a smart home device can be. With its fusion of Korean sophistication, the Frame is little about what it does, but how it becomes an integral part of your modern living space!
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