Toronto-based Reflect Architecture has a way with words – visually speaking – which pairs well with the asset management firm, NewGen, who is out to redefine the language of the office typology in their new downtown space. While returning to work in-person is a point of contention for some, the three friends and financiers behind the business argue it’s a matter of semantics.

Reception

Located in the near century-old Commerce Court North Tower, the site provides context clues that suggest an architectural space with a decorated résumé, but it does little to foreshadow the subversive experience upon reaching NewGen’s office. Employees and clients alike circulate through the historic halls and up 30 floors in an homage to decades of progress that allow for newer institutions, like theirs, to take up residence high above the stone expanses, vaulted volumes, and gold-coffered ceilings below.

Reception

Waiting area

Occupying an entire 3,000-square-foot space, this “clubhouse style” solution disperses a series of spatial vignettes around the U-shaped plan. A moody corridor – suggesting a speakeasy passageway – is finished with rough, textured concrete panels, herringbone patterned hardwood floors, and backlit vibrant blue-green arches. It delivers guests from a dense core into the bright, airy reception and waiting area. Light millwork and additional views framed by the arched metal panels echo the Art Deco stylings inherent to the building. The main programming includes a wing of individual office, kitchen, and conference spaces flanking the left, and collaborative office, lounge, and gym spaces flanking the right.

Conference

Conference

The suspended arched installations – marrying form and function to integrate light, hide unsightly services, and define distinct functions – are exemplary of Reflect Architecture’s command of surface and ability to contemporize classic forms while employing devices like technology, materiality, and color.

Conference

Kitchen and lounge

NewGen’s new digs are steeped in local vernacular yet self-aware, cognizant of the ways in which modern, professional decorum continues to evolve and the implications on traditional office requirements. “They’re there day and night. They hang out. They will leave, but then they often go back to do work. [The office] is their ‘all-in’ place, and a place where they need to feel really comfortable, sometimes casual, and always social,” principal architect Trevor Wallace says. His visual narrative masterfully splices a variety of inky hues and textural stories together from both the existing structure and aspirational spaces. “We looked at the New York Athletic Clubs, the St. Andrew’s Golf Club in Scotland, and the Aman Le Mélézin in Courchevel, to name several.”

Kitchen and lounge

Corridor

Wallace manages to make space for a new generation of financial minds with a progressive perspective of their own, expressed in an amalgam of finishes that echo intimate settings where the most critical business relationships are often formed. Its continued success rides the wave that results from broader tectonic shifts in workplace perceptions that address the role of the physical space in people’s lives.

Lounge

Workstation

Photography by Joel Esposito.

With professional degrees in architecture and journalism, Joseph has a desire to make living beautifully accessible. His work seeks to enrich the lives of others with visual communication and storytelling through design. A regular contributor to titles under the SANDOW Design Group, including Luxe and Metropolis, Joseph serves the Design Milk team as their Managing Editor. When not practicing, he teaches visual communication, theory, and design. The New York-based writer has also contributed to exhibitions hosted by the AIA New York’s Center for Architecture and Architectural Digest, and recently published essays and collage illustrations with Proseterity, a literary publication.

In this week’s Milkshake, we talk to the French-born, U.S.-raised designer about mastering his materials, and his creative ambitions. Djivan Schapira’s latest collection, titled Solar Sailor, seems to be plucked from a utopian future, idyllically Space Age, luxurious and grand. Schapira describes this body of work, now on view at the Todd Merrill Studio in TriBeCa, as “a love letter to the space race era of design [remixing] the production art of Tron, Daft Punk’s visionary costumes, [and] the Bauhaus revival of the 1970s.” The workshop from where these designs are launched is located in Union City, New Jersey, just across the Hudson River. “It’s similar to what designers in the automotive industry were doing during the ’60s. You’ll find a lot of soft curves, a lot of vibrant colors, and combinations of materials that together create this sleek and sexy body of work.”



Schapira was six when he came to the U.S. from France, and he studied architecture at the Parsons School of Design. Now, he works primarily with resin, color, and light. “Resin is very temperamental – you need to be in complete control of your work environment to yield the best results,” he says. “When we’re working with resin, there’s always a final coat, and that final coat always needs to be pristine. You need to be sure that your environment is, first of all, adequately temperatured, and where the moisture levels are just right, but also clean in the sense that there’s not floating particles that could then land in your piece. When you’re working on a large-scale piece, that can be tricky – one of the more challenging things is just making sure you don’t have to re-pour a piece because a fly flew into it or something.”

Schapira also showed us a furnishing he sees as indicative of where he’ll head in 2024, a small breakfast table produced for a private client. “This piece actually carries a bronze wire that’s embedded, which is something that you’ll see in a lot of my work – what’s a little newer is how these pieces feature translucent resin,” he says. “The fact that the resin is transparent allows light to carry through the piece, which adds a certain dimension that I haven’t experimented with too much. That’s definitely something I’m going to be doing more of, letting the subtleties of the colors shine through the resin, while letting light really do its thing.” For more, tune in!

Diana Ostrom, who has written for Wallpaper, Interior Design, ID, The Wall Street Journal, and other outlets, is also the author of Faraway Places, a newsletter about travel.

Milkshake, DMTV’s (Design Milk TV) first regular series, shakes up the traditional interview format by asking designers, creatives, educators, and industry professionals to select interview questions at random from their favorite bowl or vessel. During their candid discussions, you’ll not only gain a peek into their personal homeware collections, but also valuable insights into their work, life, and passions.

Released nearly two decades ago and well ahead of the era of streaming, the original Tivoli Audio SongBook was a portable 1.75lbs AM/FM radio outfitted with a lone speaker and telescoping antenna – a compact travel radio reflective of a different time and listening habits. Tivoli has recently revived the SongBook with the announcement of not just one new speaker, but two Bluetooth sound systems featuring the melodious moniker, each designed to evoke the stylings of the past while delivering the music streaming features expected of today.

Designer and CEO of Tivoli Audio, Paul DePasquale says the new SongBook was inspired by industrial designs from the 1970s and 1990s – everything from kitchen appliances, consumer electronics, and of course, home audio. And it shows, with a simple approach to listening.

“I wanted the product to feel like something I would have loved to have growing up in the 90s,” DePasquale explains. “Adding the analog approach to the equalizer, power functions, and sources brought to life a familiar joy in user experience, which is simple and fun.”

The Tivoli Audio SongBook’s retro design is invitingly tactile, featuring a power toggle switch, line/amp toggle, source knob, volume knob, and Lo / Mid / Hi EQ adjustment sliders with nary a screen in sight.

It may look like a boombox of yesteryear, but Tivoli has outfitted the SoundBook with modern specs, including two 20-watt amps output, Bluetooth 5.3 wireless connectivity, one 3.5″ full-range driver with a 3.5” woofer, fast power delivery recharging, and even splash resistant IPX 4 rating.

The resulting “newly evolved” SongBook’s aesthetic is indeed a tactile reinterpretation of the original radio, and one strongly evocative of the most beloved and nostalgic audio designs: the radio boombox.

Available now in two sizes, the first SongBook weighs 6.7lbs and measures 12″ x 9″ x 5″ – roughly the size of the boombox stereo some of us remember from our analog youth. Instead of popping in cassette tapes or CDs, the retro-styled speaker now connects to sources both wirelessly via Bluetooth 5.3, Wi-Fi, AirPlay 2, and Chromecast, or directly using a 1⁄4”/ 6.35mm auxiliary input.

You won’t ever have to worry about changing out enormous D size batteries to power this portable speaker as it’s equipped with an internal fast charging battery that ekes up to 10 hours of battery life per charge.

Tivoli also offers a second SongBook MAX, a larger iteration equipped with a beefier 4″ subwoofer for the bump in the trunk low end, 4″ midrange driver, small .75″ tweeter positioned in the center, and two 50-watt amps. Weighing 11.5lbs and measuring 15″ x 11″ x 6″, the MAX edition is more to lug around, but offers a bigger sound with its size. There’s also an FM radio tuner if you like to “stream” music the old fashioned way, with the option to program up to 5 station presets.

Unlike the smaller SoundBook, the MAX edition features a small digital status display, but otherwise retains the same tactile user controls.

Musicians take note, both of the new SongBooks feature a built-in pre-amp, which allows connection and output from a turntable or a guitar.

Both Tivoli Audio SongBook editions are available adorned in a cream/brown combo or a glossy green finish, with the SongBook priced at $449.99 and the SongBook MAX for $599.99.

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

In my mind’s eye I can see each of these lamps living in specific rooms of my home, with a similar feel but also worlds apart. The Folk and Flora Collection, designed by artist and vintage curator Carmen Nash of Loft and Thought for Troy Lighting, is earthy elegance embodied. The series is a reimagining of Nash’s favorite folk art stories paired with her own belief that storytelling connects us to the objects we love. Similar to how stories can play off of one another, the collection’s lamp designs differ while also forming a cohesive group that feels related, all thanks to tones and textures.

The Folk and Flora Collection includes eight lamps made from a mix of natural materials such as abaca and terracotta. “In my world of design, palm fronds become lampshades, and lighting is rendered through the visual retelling of my favorite passages from novelists such as Zora Neale Hurston and Toni Morrison. I hope that showing lighting through my lens evokes joy and thought,” Nash shares.

The designer’s path hasn’t been a straight line, she was first exposed to luxury design via her degree in resort and hospitality management. From there, Nash began curating and purveying vintage furniture on her own through Instagram. Soon enough, she was selling to high profile clients and being featured in magazines, like Vogue, Milieu, and Domino. People were quickly noticing her great taste and sharp eye for design.

Nash says her design perspective is derived from her spirituality and a heritage rooted in experiences as a Black southern artist. Each piece is turned into a visual narrative through her work, evoking beauty, emotion, and thought – whether that’s expressed through Nash’s curation or in her own design practice. The Folk and Flora Collection is a triumph with several standout pieces, and here we’re sharing four of our favorites.

Morri Table Lamp

Morri, a tribute to novelist Toni Morrison, features a charred wood lamp base with a twisting neck and woven natural Abaca string shade. The smooth black body paired with the textured lamp shade feel unexpectedly welcome.

Morri Table Lamp

Morri Table Lamp

Seyla Table Lamp

Seyla embraces wabi-sabi and the imperfect. With the weighty, hand-sculpted feel of the Ancient Terracotta body, the woven natural Abaca shade provides a balance of material and aesthetics.

Seyla Table Lamp

Seyla Table Lamp

Pecola Table Lamp

Folk art may define Pecola more than any of the other lamp designs. Graphic etchings, curves, and a large ash ceramic base make it feel like a found treasure. Countering these materials are Patina Brass metalwork details and a tapering linen shade.

Pecola Table Lamp

Pecola Table Lamp

Soloma Table Lamp

A personal favorite from the collection is Soloma, borrowing it’s name from Toni Morrison’s novel “Song of Solomon.” Inspired by the color white and crafted entirely from Artisan White ceramic, Soloma’s sculptural form somehow manages to remain distinct and diverse. The irregular edge of the dome-shaped shade feels a bit like a crown when illuminated.

Carmen Nash

To learn more about The Folk and Flora Lighting Collection, visit hvlgroup.com.

Lifestyle photography by Jeanne Canto.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

Few things feel as safe as being wrapped up in something cozy, and that’s exactly how Paola Lenti’s new seating series, Pod, plans to indulge you. Oversized cushions and knitted upholstery beckon you to relax while redefining the pastime with modern comfort and style, challenging convention, and staying close to the brand’s roots of designing with an open and curious mind. Pod’s low seating offers an informal aesthetic, checking off yet another of Lenti’s commitments – create casual comfort. You’ll find two pieces within the Pod series: a lounge chair, and what’s referred to as a “platform,” or large flat seat cushion.

© Paola Lenti srl Photo: Sergio Chimenti

© Paola Lenti srl Photo: Sergio Chimenti

The Pod lounge chair consists of a seat and back cushion upholstered in two-color Costa Inglese knit fabric, a new Paola Lenti exclusive material for outdoor use that accentuates its distinctive ribbed pattern. Furthering the brand’s commitment to sustainability, the chair’s padding is made using recyclable expanded polyethylene mixed with Aerelle® blue polyester fiber, while the fixed foam covering is waterproofed polyester. The Pod lounge chair is framed with steel and accompanied by four short plastic feet to keep it off of the ground.

© Paola Lenti srl Photo: Sergio Chimenti

Aerelle® blue fiber polyester is derived from disposable plastic that’s collected before it has the chance to reach a body of water. The material goes through a certified industrial process, marked with the EU Ecolabel. Additionally, the process is verified for traceability according to the Global Recycled Standard (GRS).

© Paola Lenti srl Photo: Sergio Chimenti

© Paola Lenti srl Photo: Sergio Chimenti

© Paola Lenti srl Photo: Sergio Chimenti

The Pod platform is a single large seat cushion with a stainless steel matte-varnished base and feet in Paola Lenti’s graphite hue. The padding of the Pod platform is shaped to hide the base, leaving only part of the feet visible. Adjustable plastic spacers are provided to help you find your sweet spot.

© Paola Lenti srl Photo: Sergio Chimenti

Like the Pod lounge chair, the piece is padded in recyclable expanded polyethylene mixed with Aerelle® blue polyester fiber with a fixed foam covering in waterproofed polyester.  A removable upholstery cover is available in Maglia Rasata or Tao chenille, exclusive outdoor fabrics by Paola Lenti. Constructed using Rope, a recyclable technical yarn, the fabrics offer protection against water, UV rays, mold, and bacteria.

© Paola Lenti srl Photo: Sergio Chimenti

While the Pod series was created for use outdoors, it can transition indoors easily. Simply pair the lounge chair and platform with backrest cushions to create a spacious sofa.

© Paola Lenti srl Photo: Sergio Chimenti

© Paola Lenti srl Photo: Sergio Chimenti

To learn more about Pod seating, visit paolalenti.it.

Photography by Sergio Chimenti.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

What happened to the rich vernacular of the American suburb? While the answer is one of complexity, the term conjures a clear image of rows upon rows of vaguely colonial, builder-grade homes. The commercial architecture machine would have home buyers believe that the “McMansion” or “contemporary farmhouse” is aspirational. But with the help of Duravit, Studio 804 adds the Pinkney Neighborhood House to its extensive portfolio of unique, new local builds that buck the conventional, marrying modern with local language. Helmed by architect and educator Dan Rockhill, not-for-profit Studio 804 bridges the gap between formal studies and professional practice for University of Kansas architectural graduate students – operating for nearly three decades – with Duravit playing a significant role since 2017.

Team Work

Each year, and over the course of the nine months, the design-build practice shepherds roughly 30 students through almost every aspect of the construction process from inception to full realization – sparing no misadventure in an effort to strengthen their constitution as working professionals. “I had noticed that students were suffering from what I’ve described as this sort of deprived youth, and began doing just a little bit of building with them,” Rockhill says. “And they were just drunk on the potency of that experience. I couldn’t believe it. And they just wanted to get out of the classroom.” This modality begins where traditional studio learning ends, at pencil on paper, and extends from the school into the community to engage residents and local businesses now vested in Studio 804’s mission – a reminder that the neighborhood is among the greatest assets and amenities.

Street facing entrance of the 2023 Pinkney Neighborhood Dwelling(s)

Driveway and facade of the primary dwelling along the entry deck

View from the entry deck toward the driveway

The structure’s inception coincides with the fall semester’s start time and search for a viable lot, which could take several weeks, followed by another month of design work. The aspiring architects swiftly move through drafting construction documents, permitting, and initial construction with the goal to build out the framework and get the exterior insulated before unsavory weather sets in. Come spring is the implementation of finishes, appliances, and sanitary ware. “The partnership of Studio 804 and Duravit made me a better builder and a more experienced designer, especially when having to consider waterproofing in a real scenario for the first time,” Thomas Padgett, an architecture student, shares. Within nine months, and a range of similar hands-on experiences, the finished building is turnkey for the client.

The back deck of the primary dwelling

Indoor passage along the entry deck leading to the primary dwelling’s living space

Primary dwelling first floor bedroom

Site Specific

This year’s residence, in the City of Lawrence, Indiana, is the 18th LEED Platinum Certified project completed by the firm and another example of an architectural solution rich in detail informed by context. The site’s initial state echoed prior development in its overgrowth, the suggestion of a former foundation, and an existing scale within which the homes operate. In addition, an adjacent flood zone encroaches on the buildable area resulting in an extended, forested backyard unlike the other Pinkney properties. However, this green wall allows for built masses to be juxtaposed against the wooded landscape with enough seclusion from the bustling downtown just a few blocks away.

En suite for first floor bedroom in primary dwelling

View from primary dwelling first floor bedroom into passageway

First floor powder room in primary dwelling

Comprising the final scheme are two gabled forms that contemporize local visual language with their reflective, black, Nichiha-clad facades – a solution particularly avant-garde for the area. “It’s nice to hear passersby stand out in front and say, ‘God, that’s gorgeous,’ because it’s something they’ve never seen before,” Rockhill says. “So that’s a milestone for me, when people say that to us, because years ago that would not have happened. Now, we have up to 1,200 people come to our open house.”

A look back down the indoor passage along the entry deck leading to the primary dwelling’s living space

Living, cooking, and dining space for the primary dwelling

Living, cooking, and dining space for the primary dwelling

The larger of the two builds is the primary dwelling whose contrasting slatted treatment along the entryway invites guests in where they’ll find an open living, kitchen, and dining area. A hallway to the backdoor, across from the garage, is lined with storage, laundry, a mechanical room, guest powder room, and mudroom. An en suite bedroom and walk-in closet are located where the hallway terminates. And the bedroom opens to the east to celebrate the green landscape. Visitors may continue up the living room staircase to find a flex space with built-in storage before continuing to a second suite.

Open concept kitchen in the primary dwelling

Dining space with custom built-ins for the primary dwelling

View from the open kitchen spilling through dining space and out onto the entry deck

Across the way is a small self-sufficient accessory dwelling unit on the second floor above the detached one-car garage. Accessible through a private exterior entry, this space allows additional flexibility for the homeowner with implications to mitigate urban sprawl through its use as a rental property increasing residential density in the heart of town. This solution is anticipatory of homeowner needs, satisfies a variety of lifestyles, and aligns with the city’s long-term mission to support sustainable development and ultimately communities.

Cooking and dining space for the primary dwelling

Main stair in the primary dwelling leading up to a flex space

Flex space in the primary dwelling that overlooks open plan below

Sustainability

The true value of Rockhill’s elegant solution lies in achievements measured with a LEED Platinum certification. The exterior skin features a rainscreen ventilated facade that improves thermal performance, encourages efficient water drainage, and can be recycled to extend use beyond its current life. Air, vapor, and water barriers create an envelope so tight that an energy recovery ventilator is required to introduce fresh air and exhaust stale air simultaneously, which dramatically reduces the stress on HVAC systems. Other exterior attributes include 16 solar panels, lighting that is Dark Sky approved, and a driveway designed to minimize stormwater runoff through drainage that replenishes the water table.

Flex space in the primary dwelling with custom storage and desk

Second story bedroom in primary dwelling

Second story bathroom in primary dwelling

Louvers on the facade mitigate direct solar heat gain in the summer while permitting winter sun to warm the concrete floors. Operable windows assist with the passive heating and cooling. And all finishes are low VOC emitting – with material consideration extending into the bathrooms. Deceptively simple in aesthetic, Duravit’s products are sculpted from minimal amounts of material to maximize performance while incorporating an average of 30% recycled matter.

Hallway leading to stairs for additional dwelling unit

Second story bedroom in ADU

Second story bedroom in ADU with kitchenette

Second story bathroom in ADU

A Path Forward

Rockhill employs a modernist style with unexpected material use for a cheeky take on the traditional roof structure residents are accustomed to seeing. What’s more is his subversion of the cookie-cutter, postwar suburbia seared into American consciousness. With a great deal of gumption, Studio 804 demonstrates the architect’s role in building as a liaison between aspiring designers, construction companies, local communities, and manufacturers. If more firms took this approach perhaps neighborhoods could reclaim their unique local styles. “Most people think that surely, in an architect’s education, it’s got to include some connectedness with building. And it never did,” he continues. “So that’s why I started it. And we’ve grown to have an international reputation because it’s so unique.”

Photography by Corey Gaffer.

With professional degrees in architecture and journalism, Joseph has a desire to make living beautifully accessible. His work seeks to enrich the lives of others with visual communication and storytelling through design. A regular contributor to titles under the SANDOW Design Group, including Luxe and Metropolis, Joseph serves the Design Milk team as their Managing Editor. When not practicing, he teaches visual communication, theory, and design. The New York-based writer has also contributed to exhibitions hosted by the AIA New York’s Center for Architecture and Architectural Digest, and recently published essays and collage illustrations with Proseterity, a literary publication.

January is the month most often associated with the pursuit of organization, be it in our homes or our new year intentions. With my current focus on family health, meal planning, zero-waste, and the tidiness of my refrigerator, I found it fitting to highlight three products that are all examples of compartmentalization, and the universal and timeless urge to bring order to your kitchen.

First on the list is Lea Lorenz’s TONY®, a contemporary reinterpretation of the clay jug cooling concept, leveraging evaporative cooling techniques to keep food “refrigerated” without electricity.

TONY® Photo: Courtesy of Lea Lorenz

The individual clay coolers are available in three different stackable sizes, each consisting of a water tank, a food container, and a lid. This means that each clay cooler works separately.

TONY® Photo: Courtesy of Lea Lorenz

The porous raku-clay absorbs water from the tank, and as it evaporates on the container walls, it cools the interior to an optimal 13°C to 17°C. This creates ideal storage conditions for fruits, vegetables, and baked goods. It is precisely these foods that make up the majority of avoidable food waste.

Clay surface experiments for TONY® Photo: Courtesy of Lea Lorenz

Clay column experiments with different types of clay for TONY® Photo: Courtesy of Lea Lorenz

The robust construction of the clay jug cooler ensures longevity. Should the cooler become compromised, its components can be recycled by grinding them into fireclay, reintegrating them into clay masses to produce new coolers.

Vorkoster Photo: Frangipani Beatt

Next, we’ll explore Berlin-based designer Kimia Amir-Moazam’s container system, Vorkoster. Rather than discarding perfectly good food based on expiration dates, Amir-Moazam developed a biochemical food lid that changes color to indicate when refrigerated food is about to spoil. With food waste contributing significantly to carbon emissions, the Vorkoster Lid offers a breath of fresh air.

Vorkoster Photo: Courtesy of Kimia Amir-Moazam

In 2021, the Vorkoster Lid made its mark at Dutch Design Week championing design as a force for good. “I wanted to create something that can help people to save food, either for sustainability or financial reasons.” The first working prototype of Vorkoster was developed with the help of Sany Chea, a chemistry scientist Amir-Moazami met during a residency at the Fraunhofer Institute for Applied Polymer Research. Since then, the pair have been developing the concept with a plan to launch Vorkoster as a commercial product. They believe the product could hit the shelves in the next two years.

Vorkoster – pH sensitive film changes color indicating food is expiring Photo: Anouk Moerman

The Vorkoster Lid, equipped with pH functionality, directly responds to a food item’s freshness, relying on natural senses similar to recognizing the browning of a banana peel or the smell of sour milk. Made from algae coated in a specially developed indicator dye, the film changes color from pale green to bright purple when spoiled food releases ammonia gas, providing an accurate indication of food freshness and reducing reliance on generic expiration dates.

Amir-Moazam drew inspiration from the common practice of using a plate to cover food in the fridge. The Vorkster Lid, a chameleon after-market accessory designed to fit any bowl, ensures flexibility and compatibility with various containers.

Kubus Photo: Courtesy of Sotheby’s

Lastly, I’ve long admired Bauhaus designer Wilhelm Wagenfeld for his ingenious and unrivaled Kubus design. Manufactured by VLG (Vereinigte Lausitzer Glaswerke), the German storage containers remain relevant today, nearly a century after their debut in 1935.

Comprising seven stackable units of variable sizes with interchangeable lids, the design is exceptionally versatile. Constructed from thermal shock-resistant borosilicate, these pieces can withstand extreme heat changes, transitioning seamlessly from refrigerator to oven. The modular system allows for use together or individually, offering maximum flexibility in the pantry or tableside.

Kubus Photo: Courtesy of MoMA

Moreover, the eco-friendly industrial glass is easy-to-clean, store, and efficiently showcases contents, akin to a Mondrian color block stack of meal-prepped ingredients ready to cook for dinner.

In my search, the current modular stackable designs feature plastic or silicone snap-on lids, restricting their use from fridge to oven. While food-grade silicone is marketed as less harmful than plastic, some still argue the research remains inconclusive.

Honestly, I wish there was an all-glass product like Kubus currently on the market. It would be the solution to our plastic container curse.

Corningware, Duralex, Pyrex, are you listening?

TJ Girard is a sought-after food designer and creative consultant, celebrated for staging theatrical, interactive food + beverage experiences. She now resides in California where her creativity is solar powered! TJ writes the Design Milk column called Taste.

There’s no doubt composting is beneficial to all, but the space (and time) required to tend to it manually has primarily existed in the realm of suburban or rural households – until now. In the last few years, at-home composting machines that speed up the process have allowed smaller households and apartment dwellers in urban environments the option to turn common kitchen scraps into nutrient-rich soil to add to balcony gardens, household plants, and planter boxes. The Reencle Gravity is one of these newly announced kitchen appliances designed to deliver composting into every household with respect to space and interior design.

The term “circular design” has increasingly become a buzzword amongst designers, a philosophy and practice where every stage of a product’s lifecycle is carefully considered to ensure zero waste – from sourcing to manufacturing, all the way to the eventual “disposal” of a product when it goes kaput. The age-old practice of composting could be deemed the ultimate example of circular design, turning daily food waste into nutrient rich soil that can be used to grow more food. One hurdle beyond space is the learning curve for composting. Throwing out food scraps to allow microorganisms to work their digestive magic is convenient outdoors, but indoors can introduce a malodorous bouquet that might turn you off from the practice. The Reencle Gravity is designed as a beginner-friendly kitchen appliance addressing this issue.

It’s best to imagine the Reencle Gravity roughly as a robotic stomach, one that most likely can consume a lot more than you (thankfully)! Just like our own gut, the device hosts a community of self-replicating microorganisms chosen to break down food waste thrown into its bin. It does so using a brushless direct current motor to turn and churn food into digestible particles, creating optimal conditions for microorganisms to convert solid matter into material beneficial to many plants and trees (just don’t add compost to your cactus and succulents, a category of plants that prefer fast draining and nutrient poor soils).

The Gravity is actually the brand’s third compost machine, improving on their previous Prime model with a larger daily processing capacity of 3.3lbs. This third iteration is now quieter, operating at 24dB compared to the previous model’s 28dB performance, and utilizes roughly 47W of electricity per month when plugged in 24/7.

Reencle has also added a useful weight sensor, allowing users to track how much they’ve added into the machine via an app, which helps to control the rate of composting. Just like us, microorganisms need sufficient time to digest, and by not overburdening the process, you reduce the possibility of odors. Properly loaded, the Gravity turns food into compost in just 24 hours, and does so in a form factor no larger than a typical kitchen waste bin.

As the owner of the previous Prime model, I can report the machine occasionally makes “digestive” sounds when new food items are added, but mostly remains silent throughout the day. It’s also deeply satisfying when emptying the canister into the garden rather than throwing scraps into the trash. The Prime and Gravity both require a portion of the microorganism starter material to continue maintaining the digestive community within.

Compost appliances, like the Reencle Gravity, allow everyone to integrate circular daily habits into their lives conveniently, and arguably with more evident and personal satisfaction when compared to established habits such as recycling. The just announced Reencle Gravity will retail for $649, and is available in either Silver, Beige, and Green.

To find out more, visit Reencle.co.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Every December, we look forward to Pantone’s ongoing Color of the Year (COTY) announcement, an initiative dating back to 2000. Each hue decided upon considers various global factors and is meant to encompass what the overall feeling of the coming year may be.

In his BIG COLOR art print series, Nate Nettleton pairs each Color of the Year selection with its exact opposite on the color wheel in a radial gradient. The prints take into consideration the power of color, how we associate with it, and the influence that takes place within the world of color itself – in an effort to portray endless possibilities.

Nettleton’s COTY print series begins with 2000’s Cerulean and ends with 2024’s Peach Fuzz. The edition number of each print correlates to the release year. For example, 2000 is edition one, since it marks the first color of the year, 2001 is edition two, and so on.

Clockwise from upper left: Cerulean, 2000; Fuchsia Rose, 2001; True Red, 2002; Aqua Sky, 2003

Clockwise from upper left: Tiger Lily, 2004; Blue Turquoise, 2005; Sand Dollar, 2006; Chili Pepper, 2007

Clockwise from upper left: Blue Iris, 2008; Mimosa, 2009; Turquoise, 2010; Honeysuckle, 2011

Clockwise from upper left: Tangerine Tango, 2012; Emerald, 2013; Radiant Orchid, 2014; Marsala, 2015

Clockwise from upper left: Rose Quartz, 2016; Serenity, 2016; Greenery, 2017; Ultra Violet, 2018

Clockwise from upper left: Living Coral, 2019; Classic Blue, 2020; Illuminating, 2021; Ultimate Grey, 2021

Left to right: Veri Peri, 2022; Viva Magenta, 2023

Peach Fuzz, 2024

Nate Nettleton

To learn more about BIG COLOR, visit natenettletonart.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

We’re just going to come out and say it: Twelve South’s new ButterFly 2-in-1 MagSafe Charger is our favorite travel accessory from 2023. As someone who uses both an iPhone and Apple Watch, but regularly leaves the latter at home while traveling to avoid cable/charger clutter, Twelve South’s compact charger allows for a no-compromise approach. It’s a pragmatically compact, yet elegantly designed dual charging accessory that also transforms into a display stand for iPhone or charging pedestal for the Apple Watch.

Designed as a circular clamshell form no larger than an Apple AirPods Pro case, the ButterFly folds out to reveal dual MagSafe charging pads, one equipped to recharge the iPhone or AirPods and the other to recharge the Apple Watch simultaneously.

The MagSafe Charger on the left is rated for 15W charging while the Apple Watch Fast Charger on the right is equipped for 5W charging. A 30W Power Adapter with four international Plug Adapters, 1 meter USB-C power cord, and small velvet satchel is also included.

The device’s anodized aluminum exterior shell feels great in the palm of your hand, with an interior surface lined in a vegan leather to prevent scratching. And because it folds down to a mere 2.25″ by 1″, the puck charger is the definition of pocketable design.

The clamshell form can also be flipped inside out to charge the Apple Watch or iPhone in a vertical display configuration, giving clear sight of either device when placed near a bedside table – a very welcome option while traveling overseas in a different time zone when your device is especially important for waking up on time.

Twelve South’s dual charger is engineered to be compatible with every Apple Watch and iPhone, from the 12 through the most recent iPhone 15 (including the mini/Pro/Max iterations). Additionally, Twelve South’s travel accessory can top off the 1st & 2nd generation AirPods Pro, 3rd gen AirPods, and AirPods with Wireless Charging Case.

At $129 the Twelve South ButterFly 2-in-1 MagSafe Charger is by no means an affordable travel accessory. But its dual charging capabilities paired with a sleek, pocketable, and ergonomic design stands out as an exemplary solution for seasoned travelers seeking to pack as efficiently as possible – creating a butterfly effect across what makes it onto your travel gear list.

For more information on Twelve South’s ButterFly 2-in-1 MagSafe Charger, visit twelvesouth.com.

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Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.