In 2025, Pedrali marks a significant milestone, celebrating two decades since the establishment of its wooden furniture manufactory in Manzano, Italy. Located in the Friuli-Venezia Giulia Chair District, this facility quickly became a crucible where iconic designs like Frida, Malmö, and Nemea were brought to life. These creations solidified Pedrali’s dedication to Italian know-how, quality craftsmanship, and a forward-thinking approach to sustainable design. Marking its 20th anniversary, the brand also introduces Griante, its first wooden chair specifically crafted for outdoor use, designed by CMP Design. Griante reinterprets woven seating with a weather-resistant teak frame and a handwoven, fully recyclable polypropylene yarn belt, showcasing Pedrali’s commitment to material innovation and versatile design applications.

Griante blends durable teak with recyclable handwoven yarn | all images courtesy of Pedrali

PEDRALI CONTINUES FRIULI’S WOOD CRAFT AT MANZANO MANUFACTORY 

The Manzano manufactory perfectly exemplifies Pedrali’s philosophy of blending industrial design with outstanding quality, achieved through a fully managed, in-house production process. This approach, deeply integrated with a profound respect for natural resources and collaborative design, leads to products that are not only aesthetically compelling but also built for longevity and environmental responsibility – critical considerations for contemporary architectural and interior projects.

This dedication to quality and regional expertise stems from a clear vision articulated by the company‘s leadership. As Monica Pedrali, CEO of the company, explains, ‘Italy boasts some of the world’s best technologies for manufacturing wooden chairs, and a heritage of expert skills in raw material selection and complex processes that is hard to replicate elsewhere. As seating experts, we couldn’t afford to not have a wooden chair in our collection.’ Moreover, the choice of location was equally decisive. ‘The Friuli region has a tradition and manufacturing know-how of wooden chairs like nowhere else in the world. It is a classic example of an Italian industrial district where the collaboration of many craftsmen with specialised skills creates something unique. Since we decided to open a wooden manufactory, we had no choice but to come to this territory to find the best expertise.’

Pedrali blends Italian know-how and quality craftsmanship | image © Filippo Romano

SUSTAINABILITY AT THE CORE OF WOODWORKING 

Leveraging this regional expertise and collaborative spirit, the Manzano manufactory has been the birthplace of several iconic designs. The Frida chair, designed by Odo Fioravanti and awarded the ADI Compasso d’Oro in 2011, is a prime example. Featuring a three-dimensional curved plywood shell on a solid wood frame, its construction, demanding absolute precision in design and production, demonstrates Pedrali’s ability to push the boundaries in woodworking. Furthermore, numerous collections by CMP Design, such as Malmö, Nemea, and Nym, showcase a versatile design language rooted in thoughtful material application and structural ingenuity.

Frida chair by Odo Fioravanti exemplifies Manzano’s precision in wood processing | image © Piercarlo Quecchia, DSL Studio

All of Pedrali’s wooden products are FSC® C114358 certified, guaranteeing wood sourced from responsibly and adequately managed forests that align with strict environmental, social, and economic standards. This commitment is central to the brand’s deeply ingrained sustainability practice, further strengthened through its adoption of water-based coatings. Composed mostly of plant-derived resins, this choice significantly decreases chemical compounds found in traditional coatings, resulting in a healthier working environment, reduced air pollution, and substantial energy savings. It’s a challenging yet crucial innovation for the wooden seating sector, where solvent-based paints are typically used.

CMP Design’s Nemea chairs showcase a versatile design language rooted in thoughtful material application | image © Piercarlo Quecchia, DSL Studio

Beyond product design, Pedrali’s commitment to environmental responsibility extends to its operational footprint. The Manzano manufactory itself exemplifies this, having undergone a significant expansion in 2019 that included the installation of photovoltaic panels and a full conversion to LED lighting. These substantial upgrades directly contribute to reducing the company’s overall CO2 equivalent emissions, a commitment rigorously measured through its Corporate Carbon Footprint assessment. Additionally, a dedicated vacuum plant for wood waste separation ensures that both clean and treated wood chips are efficiently recycled and reused.

The 20-year milestone of the Manzano production site is not merely an endpoint but a powerful motivation for Pedrali to continue its journey of constant growth and renewal. It stands as a testament to the enduring values of tradition, innovation, and sustainability, driven by the perseverance, passion, and dedication that define Pedrali’s approach to furniture design.

Pedrali’s water-based coatings, derived from plants, reduce chemical compounds and environmental impact | image © Piercarlo Quecchia, DSL Studio

a fully managed in-house production process ensures quality and precise control over every stage | image © Piercarlo Quecchia, DSL Studio

located in the Friuli-Venezia Giulia Chair District, this facility quickly became a crucible for iconic designs

decreasing chemical compounds found in traditional coatings results in a healthier working environment | image © Filippo Romano

Pedrali’s wooden products are FSC® certified, guaranteeing responsible sourcing from adequately managed forests | image © Piercarlo Quecchia, DSL Studio

project info:

brand: Pedrali | @pedralispa

location: Manzano (Udine), Friuli-Venezia Giulia Chair District

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The Molten Chair is a flat-pack seating design that explores user interaction and material responsiveness. Created by Isabel Vera Cornejo, an industrial design student at Parsons and originally from Mexico City, the project focuses on the relationship between the user and the object through physical engagement.

The design allows the chair to visually and physically adapt as someone sits, giving the impression that the wooden structure melts around the body. This interaction highlights both movement and material behavior as key aspects of the chair’s design language.

all images courtesy of Isabel Vera Cornejo

Isabel Vera Cornejo crafts Molten Chair from cherry hardwood

Addressing urban living conditions such as limited storage space, particularly relevant in cities like New York, the chair was developed as a flat-pack product for ease of storage and transport. Designer Isabel Vera Cornejo prioritized durability and quality throughout the production process.

The Molten Chair is constructed from cherry hardwood, with its components produced through CNC machining and assembled using traditional handmade joinery techniques. This combination of digital fabrication and manual craftsmanship supports both precision and material integrity. The resulting form introduces a dynamic seating experience within a compact and functional framework.

Molten Chair explores user interaction through adaptable design

material responsiveness shapes both form and function

the chair’s structure appears to melt around the seated body

movement and material behavior define the chair’s design language

made from cherry hardwood for strength and visual warmth

components can be disassembled for easy transport and storage

the chair offers a tactile and spatially efficient seating experience

project info:

name: Molten Chair
designer: Isabel Vera Cornejo

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

edited by: christina vergopoulou | designboom

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Sati, designed by Cheer Manlekha as part of the MA Industrial Design program at Central Saint Martins, University of the Arts London, is a handcrafted wooden chair made from a fallen street tree in Brent, London. The project explores themes of presence, impermanence, and material life cycles through an everyday object.

The term ‘Sati’ derives from the Thai language, meaning ‘to remember,’ ‘to recollect,’ or ‘to bear in mind.’ The design draws influence from Zen meditation practices, particularly the concept of ‘just sitting’ without specific objective or outcome. ‘The project, beyond a chair, is also a profoundly personal exploration on existentialism, fears of death, and the process of letting go of things which lie beyond our control. It is a record of a fragment of time spent here in this life and a pursuit to come to terms with death through a design object carefully hand-crafted by natural elements as a contemplative means to reflect the smallness of human existence within the vast, continuous cycle of life in the simplest form of a mundane everyday object; a chair,’ shares the designer.

all images courtesy of Cheer Manlekha

a flat back and curved front base characterize Sati timber chair

Structurally, Sati is a non-traditional rocking chair characterized by its flat back and a curved front base. This configuration requires the user to engage their legs for balance and stabilization, encouraging physical awareness and grounding in the present moment, leaving all unnecessary scattered thoughts behind. The chair’s deliberate unevenness invites active participation from the user, fostering bodily engagement rather than passive sitting.

Materiality plays an important role in the project narrative by designer Cheer Manlekha. By using timber from a naturally fallen tree in Brent, London, the design foregrounds memories of the time spent on Earth and a message that something once dead can find a new purpose again. Like any living being, the chair ages over time, gaining scars and marks that reflect a life lived, lessons learned, and the beauty of being alive. This approach reflects an acceptance of natural aging processes, both in materials and in human life, normalizing death as an inseparable part of life that all beings must one day come to face with. The design process of ‘Sati’ reflects an interest in existential themes, with the chair acting as a tool for contemplation and reflection on temporality. Its form and balance encourage moments of stillness, aligning with the broader objective of fostering awareness of one’s body and surroundings. 

the chair draws influence from Zen meditation practices, encouraging moments of stillness and awareness

the form of the armrest and the backrest mimics the organic sprouting of plants from the ground

a flat back and a curved front base define the chair’s non-traditional rocking form

the structural configuration encourages users to engage their legs for balance and stability

raw wood parts as a reminder that the chair is crafted from a living thing that once stood, grew, and fell

visible imperfections reflect the chair’s origins and its previous life as part of an urban tree

the structural configuration encourages users to engage their legs for balance and stability

the project uses a single everyday object—the chair, to frame themes of temporality and letting go

natural material aging is integrated into the design intent, embracing impermanence

Sati acts as both a functional object and a contemplative tool for spatial and existential reflection

project info:

name: Sati: A Chair of Existentialism and Fears of Death
designer: Cheer Manlekha

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

edited by: christina vergopoulou | designboom

The post handcrafted from a fallen tree, sati rocking chair reflects on life, death and impermanence appeared first on designboom | architecture & design magazine.

Engineered to intuitively mirror the way the body shifts throughout the day, Omni by Libernovo is less of a chair and more of a biomechanical extension, smartly designed to keep the user aligned, supported, and at ease. At first glance, it presents as a minimal, sculpted ergonomic chair, but in use, it reveals something far more compelling: a dynamic system that feels alive, constantly responding to posture, movement, and micro-adjustments in real time. For Omni, LiberNovo combines intelligent motorized lumbar support, synchronized motion across all contact points, and adaptive cushioning to deliver continuous, responsive comfort throughout long work sessions. On top of that, built with aerospace-grade tension panels, multi-zone foam, and stretch textiles, the chair intuitively adjusts to posture changes, promoting natural movement and spinal alignment without interrupting focus.

Libernovo presents Omni chair | all images courtesy of Libernovo

libernovo makes biomechanical science meet industrial design

LiberNovo approaches ergonomic design with the rigour of an engineering studio and the sensitivity of a design atelier. Rewarded with the iF Design Award and Red Dot Design Award, the company has staked its reputation on rethinking how the body relates to furniture, particularly in environments where users are seated, focused, and motionless for hours on end. Rather than designing for one perfect posture, LiberNovo sees ergonomics as a constantly shifting experience — one that should adapt seamlessly to motion and pressure rather than forcing stillness.

With the Omni chair, the studio brings together its full suite of research: dynamic lumbar support powered by an internal motor, synchronized motion across the frame, precision-contoured cushioning, and integrated modes tailored to different work rhythms and recovery moments.

Omni stands out for its intelligent motorized lumbar support and synchronized motion across all contact points

omni supports motion, not just position

Traditional ergonomic chairs often promise support, but only deliver it when the user sits in a very specific way. The moment you lean forward to reach a pen or shift to glance at another screen, that support disappears. Omni rethinks this limitation entirely. Its Bionic FlexFit Backrest features a built-in electric motor that subtly reshapes itself in real time, hugging the spine’s natural S-curve as posture changes. There’s no clunky feedback, no loud motors, just an unmistakable sensation that the chair is ‘listening’ to how one moves and offering silent, responsive assistance.

Specifically, this system pairs with the SyncroLink Mechanism, which connects the seat, backrest, headrest, and armrests into a unified choreography. When reclining back into one of the four preset modes, every element moves in harmony. The headrest lifts to keep your gaze level with the screen. The armrests glide with your elbows so your shoulders don’t tense. The seat tilts gently, maintaining pressure balance. Not once does the body lose alignment — whether leaning forward in focus or dropping into a deep recline for a reset.

Omni’s Bionic FlexFit Backrest features a built-in electric motor that subtly reshapes itself in real time

Each of Omni’s angles feels tailored, not generic. The 105° Deep Focus Mode was a clear favorite during extended editing sessions—it reduced muscle fatigue without making the body feel slack. At 120°, the chair opens up slightly, encouraging creative flow and breath expansion, especially useful during brainstorming. The 135° Soft Recline cut down fatigue during long meetings and content reviews, and the 160° Spine Flow Mode surprised with how effective it felt – this wasn’t just lounging; it was functional recovery.

In Spine Flow, the seat lifts slightly and the backrest stretches upward, gently decompressing the lower spine. The sensation mirrors assisted spinal decompression or restorative yoga poses—but here it’s delivered by a single button, within the structure of a chair. The 5-minute massage function works in this same mode, using the motorized backrest to apply a lifting stretch rather than rolling pressure. After trying it at the end of a long day, the lower back felt noticeably lighter, and there was a surprising clarity in the head, likely thanks to pressure release along the spine.

each of Omni’s angles feels tailored, spanning from 105° to 160°

It’s one thing for a chair to feel ergonomic when used on its own, but most fall apart when placed in front of a monitor or desk, where the angle of the screen or the height of the arms disrupts ideal posture. Designed in context though, when tested with a standard sit-stand desk setup, its dynamic components kept the user’s posture intact at every angle. The 20mm thick foam armrests aligned perfectly with the desk after a few easy tweaks with the headrest following the tilt of the spine, making sure the eyes stayed on the upper third of the monitor exactly as recommended in ergonomic guidelines. 

Material-wise, the backrest incorporates a skin-friendly stretch textile that conforms to movement without slipping. Beneath that, a sponge-wrap layer adds softness, while eight aerospace-grade tension panels create structure and bounce. Meanwhile, the seat uses multi-zone foam: denser at the back for support, softer at the front to avoid cutting off circulation behind the knees. This combination proved especially effective during a full 8-hour session with no stiffness, numbness, or heat buildup.

a sponge-wrap layer adds softness, while eight aerospace-grade tension panels create structure and bounce.

Unboxing the Omni underscores LiberNovo’s attention to detail. The chair arrives in a compact 70 x 70 cm box, with each component carefully wrapped and securely nested — efficient without feeling cramped. Not only that, but assembly is unexpectedly straightforward: just three screws, a supplied screwdriver, and a set of printed instructions that are clear and well laid-out. For added guidance, a QR code links to a concise step-by-step video walkthrough.

Each piece clicks into place with satisfying precision, eliminating the trial-and-error frustration that often comes with self-assembly furniture. Even for those who don’t typically enjoy building things, the process feels more like snapping together a design object than ‘assembling a chair.’ From unboxing to full setup, it takes about 15 minutes—quiet, smooth, and entirely self-explanatory.

the 20mm thick foam armrests are aligned perfectly with the desk after a few easy tweaks

The embedded electronics are charged in about three and a half hours, and battery performance held strong through weeks of testing – nearly matching the 30-day claim for massage and motor usage. The chair passed certifications including UL962, FCC SDoC, BIFMA X5.1, and CA Prop 65, and felt solid throughout with no squeaks nor loose shifts. The frame is backed by a five-year warranty, with two years on electronic components.

To better understand how the Omni chair interacts with the body during extended use, LiberNovo’s proprietary pressure mapping vest was used. The setup measured contact area, pressure distribution, and lumbar engagement across different modes, including deep focus and spine flow. The results showed a consistently high real-time support area, especially in the lower back and shoulders, with pressure per unit area remaining low, indicating well-balanced, even support. While the exact readings may vary between users, the test confirmed Omni’s ability to maintain full-body alignment and minimize pressure peaks, particularly during recline and recovery modes.

the backrest incorporates a skin-friendly stretch textile that conforms to movement without slipping

in Spine Flow, the seat lifts slightly and the backrest stretches upward, gently decompressing the lower spine

the seat uses multi-zone foam that is denser at the back for support and softer at the front to avoid cutting off circulation behind the knees

Omni adds a relieving clarity in the head, likely thanks to pressure release along the spine

project info:

name: Omni Chair

company: LiberNovo | @libernovo_official

The post libernovo’s omni chair engineers motorized lumbar, adjustable armrests & massage function appeared first on designboom | architecture & design magazine.

As it celebrates three decades in design, B&T opens a new chapter in London. The Istanbul-based brand is marking its 30th anniversary with the inauguration of its latest showroom in Clerkenwell, London’s beating heart of creativity, which opened during Clerkenwell Design Week 2025. The launch aligned with Clerkenwell Design Week, one of the UK’s most anticipated events in the architecture and design calendar. Alongside the showroom debut, B&T introduces two seating collections: the sculptural Pod series by acclaimed Japanese designer Jin Kuramoto, and the modular, expressive Metric by B&T’s own Design Director, Alp Nuhoğlu. This expansion signals the brand’s growing international footprint and reaffirms its commitment to spaces that unite design with emotion, craft, and culture.

Celebrating its 30th anniversary, B&T adds two designs to its collection, and simultaneously opens its new showroom in London Clerkenwell | all images © Creafilm London; courtesy of B&T

A new space in clerkenwell, two new stories

Founded in Istanbul, B&T has grown over three decades into a global voice in contemporary furniture, creating designs that traverse aesthetics and performance. With a philosophy rooted in interaction and creative synergy, the company continues to evolve, celebrating its 30th year by extending its reach into London with a new showroom in Clerkenwell. Known for curating shared environments that foster dialogue between disciplines, B&T’s latest showroom mirrors the ethos of its Istanbul-based B&T House— a design hub launched in 2022. The Clerkenwell location is both a destination and a canvas, hosting the brand’s latest work while inviting engagement across industries and cultures.

At the centre of B&T’s Clerkenwell debut are two compelling new releases. From Jin Kuramoto comes the Pod family’s latest additions: Quad and Tri— geometric seating designs that investigate the harmony between light, form, and space. In contrast, Metric, designed by Alp Nuhoğlu, offers a modular solution with a rhythmic visual identity, ideal for both private and public interiors. Unveiled together during Clerkenwell Design Week and housed in the brand’s new showroom, these collections are a testament to B&T’s approach: sculptural yet functional, personal yet universal.

during London’s Clerkenwell Design Week, B&T exhibited Pod by Japanese designer Jin Kuramoto and Metric by B&T’s own Design Director, Alp Nuhoğlu

b&t reveals pod by Kuramoto and metric by Nuhoğlu

Kuramoto’s Pod series is a study in purity and proportion. Quad and Tri, shaped after the square and triangle, combine a cylindrical outer frame with generous, voluminous cushioning, resulting in seating that floats slightly above the floor. Made with high-resilience foam over a wooden core, the pieces appear soft yet structured, delivering tactile comfort while projecting architectural clarity. The thoughtful inclusion of piping details along the upholstery elevates their presence, whether in monochrome palettes or playful color contrasts. The designs respond to spatial dynamics: they scale with grace in airy interiors and create intimate focal points in tighter spaces. Light interacts effortlessly with the forms, activating both shadow and surface, turning each seat into a sculptural object.

The design narrative behind Pod also stretches beyond form. Kuramoto’s process was shaped during a creative retreat in Istanbul— a journey documented by B&T in a visual campaign titled 3 Days of Discovery. Through filmed diary entries and reflective storytelling, the campaign reveals how the textures, moments, and rhythms of Istanbul translated into the lines and atmosphere of Quad and Tri. The approach exemplifies B&T’s belief that inspiration is rooted in place, and that good design is an exchange between memory and material.

Kuramoto’s Pod series includes Quad and Tri, shaped after the square and triangle

In contrast, Nuhoğlu’s Metric carves out a language of contrast and cadence. With vertical carriers in alternating heights and seamless backrest cushions, the system offers modular seating that defines the character of a room. Each configuration introduces rhythm—almost musical in its repetition—while maintaining the comfort and durability expected of B&T’s work. The optional side table module adds a layer of tactility and utility, making Metric equally suited to hotel lobbies, offices, or residential lounges.

Nuhoğlu’s Metric carves out a language of contrast and cadence

Clerkenwell Design Week’s setting, an intersection of architectural heritage and cutting-edge design, provided a fitting platform for B&T’s next chapter. The new showroom, much like the Istanbul B&T House, is envisioned not just as a retail destination, but a collaborative environment for designers, architects, and clients. By positioning its latest collections within this context, B&T signals a direction that is outward-looking yet deeply personal, rooted in discovery, and guided by a clear design philosophy.

With a presence in one of Europe’s most influential design districts, B&T strengthens its global dialogue. The anniversary, the London launch, and the new designs together echo the brand’s forward-looking ethos: celebrating the past not by standing still, but by continuing to move, boldly and creatively, into the future.

B&T also proudly presents its new showroom, envisioned not just as a display space, but as a collaborative environment for designers, architects, and clients

by positioning its latest collections within this context, B&T signals a direction that is outward-looking yet deeply personal

the 30-year anniversary, the London launch, and the new designs together echo the brand’s forward-looking ethos (Pod Series)

B&T’s approach exemplifies the company’s blief f that inspiration is rooted in place, and that good design is an exchange between memory and material

this furniture expansion signals the brand’s growing international footprint (Metric)

discover the showroom on 116-120 Goswell Rd. London EC1V 7DP

project info:

brand: B&T | @btdesignglobal

products: Pod; Metric

showroom location: 116-120 Goswell Rd. London EC1V 7DP

The post seating furniture pod and metric lead B&T’s evolution with new showroom in clerkenwell appeared first on designboom | architecture & design magazine.

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

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

all images by Najtlix Studio

Plaka Chair joins Holder Objects’ curated selection of furniture

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

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

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

a folding chair reduced to its most minimal profile

clean geometry and foldable structure define its visual character

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

designed for portability, stored like artwork

a landmark of 20th-century Argentine design

a folding chair that functions as both seat and statement

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

fabrication

fabrication

fabrication

fabrication

sketches

project info:

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

furniture company: Holder Objects | @holder.objects

photographer & videographer: Najt Lix Studio

concept & research: Najt Lix Studio | @najtlixstudio

director: Matías Lix | @lix_klett

original music: Camilo Palma | @ap_ducal

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

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

edited by: christina vergopoulou | designboom

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

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

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

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

MADISON DEEPENS COMPLICITY BETWEEN VONDOM AND QUITLLET

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

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

ONE DESIGN BLOSSOMS INTO FOUR DISTINCT LOOKS

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

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

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

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

project info:

name: Madison

company: Vondom | @vondomslu

designer: Eugeni Quitllet | @eugeniquitllet

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

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

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

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

formation: friedman benda becomes a living space

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

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

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

Material conversations and cultural inheritance

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

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

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

textiles in the domestic environment

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

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

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

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

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

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

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

project info:

exhibition: Formation

design: Formafantasma | @formafantasma

gallery: Friedman Benda | @friedman_benda

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

on view: June 6th — August 1st, 2025

photography: © Izzy Leung, courtesy Friedman Benda and Formafantasma

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David Lynch artifacts, from movie props and unfinished scripts to his very own cameras, musical instruments, furniture designs, and even a custom director’s chair, head to auction. On June 18th, 2025, starting at 10am Pacific Time in Los Angeles, the David Lynch collection auction event by Julien’s Auctions and Turner Classic Movies takes place. It is part of the auction company’s and network’s Hollywood Legends series of archival collections from the industry’s revered figures. For the David Lynch collection auction, the event presents over 450 items that come directly from the filmmaker’s home and personal possessions.

The sale hopes to offer a look at his creative life through the personal artifacts he used to use and work with in his everyday and cinematic life.  The items originate from his film projects, his personal woodshop, and his art studio, so much so that they include props, art supplies, furniture he designed and built, and equipment from his music recording studio. In fact, the handmade coffee table, one-of-one conference table, and homemade wheeled cabinet the filmmaker designed are in the auction event. Other items connect to his other films and personal interests, such as a set of four prop menus from the Winkie’s diner location in the film Mulholland Drive. There is also a boomerang-style sofa of the same model seen in the 1997 film Lost Highway.

Twin Peaks – The Return Screen-Matched Nuclear Bomb Framed Photo from Gordon Cole’s Office behind David Lynch | all images courtesy of Julien’s Auctions

From film prints to custom director’s chair

Several items in the David Lynch collection auction relate directly to the filmmaker, artist, and musician’s work as a director. One lot features his very own custom director’s chair he used during productions (it even has his name on the back). Another item is David Lynch’s personal 35mm film print of his first feature film, Eraserhead. This print of the 1977 film is significant because Eraserhead launched his career.

It achieved a cult status, playing as a midnight movie for years in cities and establishing his signature filmmaking style. The auction also includes many items connected to his series Twin Peaks. One lot contains a red curtain and a black-and-white zig-zag rug from Lynch’s home. These pieces match the design of the Black Lodge, an important and otherworldly location in the show. Another item is a large, framed photograph of a nuclear bomb explosion. This photo appeared in the office of Gordon Cole, the character David Lynch played in Twin Peaks: The Return.

Art Studio Chair and Stool of David Lynch as part of the collection auction

Objects include original finished and unfinished scripts

The David Lynch collection auction shows his life outside of film as well. Take the espresso machines and bean grinders, which hint at the filmmaker’s appreciation for coffee. The auction features several musical instruments, including a Parker Fly electric guitar he used on his solo albums. Another instrument is a custom five-neck console steel guitar that was designed by David Lynch and built by luthier Danny Ferrington. Some of the presented objects are his original finished and unfinished scripts, including Mulholland Drive, Ronnie Rocket, The Dream of the Bovine, The Straight Story, Wild at Heart, Lost Highway, and Twin Peaks: Fire Walk With Me.

The David Lynch collection auction allows the filmmaker’s fans a chance to own the objects, designs, scripts, artworks, cameras, musical instruments, and more from many areas of the artist’s life. He is a remembered filmmaker, artist, and musician. His body of work includes films and series such as Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, and Mulholland Drive. His work across different media has influenced film and television for decades. This auction presents an opportunity for the public to acquire items he owned and used, and Julien’s Auctions accepts bids in person, by telephone, or online on June 18th, 2025, starting at 10am Pacific Time.

the filmmaker’s Art Studio Stool also heads to bidding

Personalized Director’s Chair of David Lynch

Dune Production Office Vintage Telephone

the event presents over 450 items that come directly from the filmmaker’s home and personal possessions

Eraserhead Memorabilia Group with Lynch Signed CDs

Homemade Wheeled Cabinet by David Lynch

Conference Table Designed and Built by David Lynch with Twelve Chairs

Eraserhead Behind-The-Scenes Photo Prints

Montana Luxus Snakeskin Camera

Lost Highway Luna Lounge Prop Matchbooks

project info:

name: The David Lynch Collection 

companies: Julien’s Auctions, Turner Classic Movies | @juliens_auctions, @tcm

auction date and time: June 18th, 2025, starting at 10am Pacific Time

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Uma by Boss Design embodies a new standard in leadership seating, merging sculptural elegance with tangible sustainability. Drawing from nature, its organic form and tactility present a softer vision of authority – one rooted in ergonomic integrity and material responsibility. At a glance, the Uma chair appears poised, but beneath its elegant exterior lies a sophisticated fusion of material science and design engineering. The chair’s posture belies its low-impact footprint, made possible by the integration of BioPUR® foam – a revolutionary bio-based alternative that reduces embodied carbon by up to 75% when compared to traditional polyurethane. With Uma, Boss Design stands as a refined expression of how circular thinking can reshape timeless workplace icons.

Boss Design introduces Uma | all images courtesy of Boss Design

boss design in championing transparency through sustainability 

Boss Design, headquartered in High Point, North Carolina, merges artisanal craftsmanship with forward-thinking European design. Known for creating destination furniture for commercial and hospitality spaces, the brand is deeply rooted in material integrity and environmental accountability. Their latest release, Uma, extends this philosophy – a chair born from customer demand and brought to life through sculptural refinement, functional excellence, and a transparent life cycle approach.

Built in the USA with materials sourced from domestic suppliers, Boss Design emphasizes both regional manufacturing and reduced environmental impact. As part of the Boss Design Group, founded in the UK in 1983, the company has long upheld a design ethos where aesthetics, utility, and responsibility are treated as inseparable.

Uma has been designed for maximum comfort with every surface, line and detail honed

uma’s executive presence with modular application

While Uma was conceived with boardrooms in mind, its adaptability extends far beyond. Upholstered in premium leather, it commands attention in executive spaces; dressed in playful patterned textiles or two-tone fabrications, it becomes a casual and inviting piece for breakout areas, lounges, or touchdown spaces. With a gently sculpted form, high integrated back, and smoothly contoured armrests, Uma maintains a consistent design identity that harmonizes with the broader Boss portfolio, including collections like Paloma, Amelia, and Remi. Its tailored silhouette and subtle seam detailing allow for seamless visual continuity across workplace typologies, offering designers a flexible, cohesive solution.

Uma’s visual softness belies the structural intelligence beneath its surface. The seat’s generous cushioning is supported by an intelligently recessed plywood base that allows for an extra 15mm of foam without compromising profile or form. This not only enhances comfort but exemplifies Boss Design’s nuanced approach to ergonomic layering. The chair’s backrest—flowing naturally with the spine—includes an inset lumbar panel of lower-density BioPUR® foam that subtly boosts support exactly where it’s needed, especially during extended periods of sitting. Firm perimeter edges offer structure and definition, while the plush center seat cradles the body, producing a sensation more akin to lounge seating than typical task chairs.

Uma’s enticing form is more than justified by its generously cushioned seat, supportive back and tactile arms

At the heart of Uma is BioPUR®—Boss Design’s proprietary foam formulation developed to significantly cut emissions without compromising tactile performance. Made using bio-based content and cleaner chemistry, BioPUR® represents a major stride toward decarbonizing upholstered furniture. Its integration into Uma is not cosmetic but foundational: the foam is fully embedded within both the seat and backrest, delivering enveloping softness while maintaining ergonomic fidelity. More than just a material choice, BioPUR® is central to Boss Design’s commitment to measurable sustainability. Each Uma chair carries a carbon certificate based on third-party life cycle assessment methodologies aligned with the GHG Protocol and ISO 14067 standards.

Durability is another cornerstone of Uma’s sustainable design. Its internal skeleton features a robust steel frame, while the base, available in four- or five-star cast aluminium, is both lightweight and long-wearing. Functional enhancements such as height adjustment, a swivel mechanism, and a lockable tilt function make Uma suitable for daily use, whether as an executive desk chair or a dynamic conference seat. When it reaches the end of its first lifecycle, Uma can be easily reupholstered or refurbished thanks to its component-driven design. Every material – from foam and fabric to plywood and metal—has been chosen for its ability to be cleanly disassembled, reused, or recycled in alignment with circular economy principles.

the sleek form and high level of comfort are made possible by Boss Designs’ application of polyurethane injection molding processes

In a design landscape increasingly defined by greenwashing and vague claims, Boss Design takes a different approach – rooted in transparency, traceability, and third-party validation. The carbon footprint of each Uma chair is reported per product using Design Conformity’s Circular Design Certificate framework, based on openly published environmental product declarations and validated for a three-year period. This rigorous methodology ensures that sustainability is embedded not just in materials and manufacturing, but in how the product’s impact is communicated and understood.

With Uma, Boss Design presents a new archetype for what executive furniture can be: visually arresting, materially intelligent, and fully accountable. It’s a chair for leadership that doesn’t just look forward, but leads forward. 

the thick cushioning of Uma’s seat is supplemented by a recess in the plywood base allowing an extra 15mm of foam

the company’s molding know-how enables firm edges that keep their form while a soft center delivers an extremely comfortable sit

the Bio-PUR® foam that gives the chair its next-level comfort has a carbon footprint 75% lower than conventional PU foam

Uma can be reupholstered and refurbished for second life, and its foam, steel frame, plywood and aluminum components are easy to separate for reuse or recycling

project info:

name: Uma

company: Boss Design | @wearebossdesign

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