Multidisciplinary artist and designer Aimée Wilder is mesmerizing our eyes with her latest tile collection, Frequency. Adapted from her Shadow Wilding series of large-format silk screen artworks, Frequency is made up of four tile designs that add pattern and color to today’s modern spaces. Wilder was inspired by various forms and theories, including tessellation, positive and negative space, mathematics, fractal dragon curves, and color relationships. “It was a wonderful artistic practice to adapt my Shadow Wildling series to a tile format meant for large area application,” shares the creative herself. “Along the way, I found ways to make the tile patterns practical – with up to four pattern options for each design and expanding our palette to introduce that meet the needs of commercial and residential projects alike.”

There are four patterns in the Frequency collection: Doozie, Snake, Ying, and Zen.

Doozie is a two-toned design that can be arranged in various ways to create different layouts, like Ticket which is reminiscent of a ticket stub, Ziggy is a fresh take on a zigzag pattern, and Wavelength is inspired by the mathematical measurement. The Doozie pattern comes in five tile colors: Fern, Wave, Deep, Nimbus, and Powder.

Like its namesake, Snake is a winding pattern with a sense of movement. There are four different square modules, but each tile connects seamlessly to its neighbor for an easy and creative application. The Snack pattern comes in three tile colors: Azure Brick, Cobalt Swan, and Mango Swan.

Ying, named after the latter of the yin-yang symbol, is part zen, part groovy. The positive/negative curves and dots reference the ancient symbol and the the tile, measuring at 16” x 8”, is the only rectangle in the Frequency collection. The Ying pattern comes in three tile colors: Tan Camel, Nimbus Night, and Verde Honeydew.

Finally, Zen plays with your eyes using negative space and creates the illusion of an undulating weave pattern. The Zen pattern comes in three tile colors: Spruce Gypsum, Brick Lotus, and Fir Moss.

For more information about the Frequency tile collection, visit aimeewilder.com.

As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She’s probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com.

In an announcement that may baffle some and invite the response, “Why? 2K?” ready-to-wear fashion label Coperni dropped over on Instagram what might be the ultimate symbol of the resurgence of all things aughts. The Coperni CD-PLAYER Swipe Bag combines the brand’s signature Swipe bag with what looks very much like a Sony Discman, a 3D-printed facsimile appealing to the small, but growing revival of compact discs.

Unsurprisingly, Coperni’s ode to the Y2K tech aesthetic isn’t merely for show, complementing releases such as their current collection of wide leg cargo pants and platform wedges, and their recent F/W 2023 collection show where the brand invited a small pack of robotic canines to join the label’s models.

The CD-PLAYER Swipe Bag apparently is an operable compact disc player, allowing wearers/users to revisit their (parent’s) CD collection complete with a plug-in headphone port, as shown off by Coperni Creative Director & Co-Founder Sebastien Meyer over on his IG.

The only visible tech update seems to be the inclusion of a USB-C rechargeable battery, which means you won’t have to carry an extra cable if you’ve recently upgraded to the new iPhone 15. And by the looks of the 77,000+ Likes the bag received on Instagram, it seems this flashback design is hitting all the right nostalgic notes.

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.

GREEN GRADS is a UK initiative founded and curated by design journalist, Barbara Chandler, to platform UK graduates who are engaging with environmental issues, such as climate change, the circular economy, and biodiversity. Barbara talks about the work she chooses to feature as “running the gamut from art to engineering” and Roberta Schreyer’s Dreamstones (above) are firmly in the former camp. Her soft sculptures draw attention to the climate crisis and our broken relationship with nature. “My work exhorts humans and nature to live in balance on a beautiful Earth,” she says.

Now in its third year, this fledging initiative has flown the nest taking over the entire floor third floor of the building that houses iconic British department store Heal’s, and showcasing more than 50 of the most innovative and important projects at the London Design Festival.

Christopher Fronebner presented “Fishing for Nets” to tackle “ghost gear” – dumped fishing equipment that comprises the majority of plastic pollution in the ocean. Working with experts and using his own first-hand experience, he has developed a tool that makes clearing old nets from beaches easy and fun. He is making it available on an open-source basis, and it can be 3D printed from filament made from discarded nets.

Jessica Kirkpatrick is seeking to establish the contribution textile designers can make to reducing the pollution and waste currently inherent in the printing process. “Sustainability and circularity are a constant in my work as I evolve my practice to support our planet’s growth rather than hinder it,” she says. Her detailed research involves experiments to extract the most vivid of colors from local plants in her home county of Lancashire.

Elena Branch presented The Climate Collection, a collection of illustrative designs for wallpaper and upholstery textiles inspired by Russian Constructivism that speak directly to the perils that face us if we don’t act. “I’m using illustration and prints to raise vital awareness of the current climate crisis,” she says.

Dùthchas is a Gaelic word that is difficult to translate directly, but Maisie Keery sees it as “the intersection between landscape, nature, culture, and community – a place of home” and chose it as the name for her collection. Inspired by her Shen (grandfather)’s village of Cromor in the Isle of Lewis, and traditional crofters’ wear. She collected wool off fences and hand-dyed it with materials collected from the village such as food waste. “A village once rich with textiles is now being slowly forgotten,” she says. ” As a statement, I worked in the same way my ancestors would have done.”

Lucianne Canavan (above) describes herself as a multi-disciplinary artist-designer not wanting to be pinned down to a single material or approach, and it’s to her a credit. She collaborated with Lucy Ralph (below) to create a Repair Hub offering live mends throughout GREEN GRADS as well as showcasing her own work – for which she combines traditional repair techniques with her own unique combinations of patching, darning, and felting.

Lucy Ralph, aka “Lucy Trousers,” is the other half of this dynamic duo and her work explores the idea that we often discard clothes, not because they are damaged, but simply because we have grown tired of them. Her bold brand of visible mending seeks to both bring a sense of newness back to older garments and to communicate how long clothes can – and should – last.

Irish-born, London-based Royal College of Art graduate Joanne Lamb specializes in creating almost impossibly delicate woven baskets that represent the seasons, with the aim of inspiring people to appreciate nature more and to create “using their human instincts or drawing on their own cultural heritage.” The Imbolc Collection, her first, is named for the ancient Celtic holiday celebrating the earliest stirrings of spring. “I’m sharing my everyday urban experiences, bringing together art, nature and joy and pointing the way to a fairer and greener world,” she says, and has further collections inspired by summer, fall, and winter planned.

“It’s firewood at best” were the words Brighton University design and craft graduate Sholto Murray wanted to challenge. “We should be using timber that is otherwise wasted,” he says. He has sourced discarded wood from across Sussex to make vessels that retain their imperfections and irregularities. “Using local timber, felled to increase biodiversity or decrease the spread of disease, I will continue developing a style of my own. I’ll use What3Words to help increase the traceability of my material and engage the public with my craft.”

A textile artist who specializes in working with offcuts and waste fabric, Isabel Fletcher recently returned to university to study for a Master’s in textiles at the Royal College of Art. “For me, the way something was made leaves traces on otherwise disregarded offcuts,” she says. “Waste is often an extension of skilled hands and old craft. Let us value it, learn its stories, and see its beauty.”

“Industrial Offcut Studies: Hard and Soft” (above) is a series of sculptural pieces Isabel created especially for GREEN GRADS using the waste from the show’s sponsors, Benchmark, Naturalmat, and SCP. These sort of pieces would usually emerge as part of her research and development process – “thinking in three dimensions” – and this is the first time she has shared anything like these as finished objects in their own right.

Interdisciplinary designer and algal research artist, Emma Money, has come up with Cyanoskin – a “living paint” that transforms buildings into carbon-absorbing structures, in collaboration with biologist Holly Souza-Newman and business expert Antionette Nothomb with support from Carbon 13, Barclays Eagle Labs, and UKGBC. It needs care and maintenance once painted, but for as long as it stays alive, a detached house covered in the paint could absorb as much CO2 as 95 mature trees.

Henry Davison’s Frond is a leather-like material made from kelp – an incredibly fast-growing seaweed that absorbs more CO2 than trees – he found a way to stop it from rotting and has made a wallet as well as the seat and back of this chair (above) to demonstrate its strength and durability. He won the Design Council award when he exhibited at New Designers this summer.

Linnéa Duckworth grew up in rural Dartmoor in the southwest of the UK and has a background as a dancer – now, inspired by her childhood, she creates naturally dyed and pleated fabrics, designed to fade and unfold over time. “I focus on the beauty and joy of the natural world as a catalyst for change, inviting a reawakening in the body and an emotional connection with the environment,” she says.

Photography by Katie Treggiden.

Katie Treggiden is a purpose-driven journalist, author and, podcaster championing a circular approach to design – because Planet Earth needs better stories. She is also the founder and director of Making Design Circular, a program and membership community for designer-makers who want to join the circular economy. With 20 years’ experience in the creative industries, she regularly contributes to publications such as The Guardian, Crafts Magazine and Monocle24 – as well as being Editor at Large for Design Milk. She is currently exploring the question ‘can craft save the world?’ through an emerging body of work that includes her fifth book, Wasted: When Trash Becomes Treasure (Ludion, 2020), and a podcast, Circular with Katie Treggiden.

Modular furniture has been popular since the late 70s and early 80s, but it’s  experienced a resurgence in the last few years that doesn’t include orange velour. No longer is its inherent versatility relegated to sofas. Designers and brands are thinking outside the box to create compelling work while also disrupting the furniture industry. The latest introduction to this revolution is Hoek’s newest product – FLEX. Launching today on Kickstarter, the unique modular piece of furniture can fit many of your needs: coffee table, shoe rack, lap desk, side table, pull-up sofa table, and more. The only limitations are those that you impose.

Conor Coghlan, Co-Founder and CEO of Hoek Home, shared the backstory: “The idea for FLEX began as a gift for a friend of ours who was pregnant. We wanted to create a simple and elegant piece of furniture that she would love, but also wanted it to be as useful around the house as possible.”

Innovative and minimal, FLEX is deceptively simple, designed using two interlocking U-shaped pieces that are proportioned for a variety of uses. It’s the Hoek product that most fully embodies the business’s mission, to create “the best, for the most, for the least,” as pioneered by Charles and Ray Eames.

The more FLEXs you have, the more modular they become. Join two to create a media console for your record collection or a display for your plants. Connect even more for a modular shelving system with timeless curved wood details. Sold as individual units or in bundles of two, three, or four, FLEX does not require any tools or hardware and can be easily set up or changed with zero experience.

To learn more about FLEX, visit the Kickstarter fund at kickstarter.com/projects/hoek/flex-furniture.

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.

In the heart of the Galapagos Islands, SULA, a prefabricated A-frame cabin designed by Diana Salvador defies convention. Built with a blend of wood, stone, metal, glass, and PVC, SULA is not just a house – it’s a testament to human ingenuity and environmental consciousness. Imagine designing and constructing a house in continental Ecuador, only to transport it in thousands of pieces to the remote Galapagos Islands for assembly. SULA’s two-month design build in Quito, Ecuador, resulted in approximately 2,000 custom-made components, held together by over 17,000 screws and pins. These meticulously crafted elements were then bundled into two containers, braving a voyage across the sea to Santa Cruz Island.

The assembly of SULA was a collaborative effort, involving four plant technicians and six floating employees who traveled from the mainland. Their specialized skills transformed all the bits and pieces into an architectural marvel over the span of four weeks.

SULA was custom designed for Catalina and her family, Galapagos residents for over four decades. The design focused on creating a harmonious living space that respects both its users and the environment.

SULA is more than just a cool modern cabin – it’s a symbol of environmental responsibility and innovation. It demonstrates that a high-quality, sustainable infrastructure can be created without having a negative impact on the environment.

While maybe not a traditional A-frame with a tall, triangular roof, SULA has a flat top that resembles an “A” in a different font without a cap.

What sets SULA apart is its scalability, transportation flexibility, and adaptability to different environments. The house can be disassembled and relocated, making it a true architectural puzzle. The use of gabions as foundations minimizes the use of concrete and ensures that the ground and soil are unaffected during installation or removal.

The cabin seamlessly integrates five key materials – wood, stone, metal, glass, and PVC – in an environmentally balanced manner. Each material was carefully chosen for its efficiency and flexibility. Plywood plays a pivotal role in the home’s structure, interior walls, and furniture, while PVC sheets act as waterproof covers.

The interior feels larger and more open thanks to windows on either end of the cabin and two narrow windows on the sides. The light colored wood bounces natural light around the double-height space.

A black metal ladder staircase can be pressed against the window to open up the floor space or slid into the middle of the room to provide access to the second floor.

A simple kitchen separates the open living room from the bedroom for extra privacy.

An upstairs loft provides additional space that can be another bedroom, office, or yoga studio.

Photography by Jag Studio.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

In the annals of automotive history, the BMW 2000 remains a heralded classic amongst enthusiasts and automotive design buffs for its elegant simplicity and engaging drive demeanor. Those cars jettisoned adornments for the visceral thrill of driving, and in the process created a defining design language many of us still associate with the three letter moniker of BMW. The compact sports sedan – one of several original Neue Klasse sedans and coupes produced by the German automaker between 1962 and 1972 credited for rebuilding BMW’s reputation – are openly acknowledged as the spiritual predecessors of automaker’s latest concept, the BMW Vision Neue Klasse, a sedan with ambitions to repeat and rewrite history.

Consider the retro-futuristic BMW Vision Neue Klasse the automotive equivalent of a teaser revealed ahead of an eagerly awaited blockbuster, a glimpse of the German automaker’s plans to steer toward an electrified future emphasizing technology, efficiency, and understated luxury with confidence rather than bravado.

The Neue Klasse is intended to represent more than a singular model, an EV platform with impressive improvements, including 30% more range, 30% faster charging, and 25% increased efficiency produced by the brand’s sixth-generation BMW eDrive.

Refreshed with a design language referencing both the brand’s storied past and their technologically-motivated aspirations, this new concept arrives as a striking departure from the divisive bold stylings that have characterized BMW over the last few years. Unveiled at the IAA Mobility auto show in BMW’s hometown of Munich, Germany, the Vision Neue Klasse’s 4-door sedan silhouette succeeds in communicating its BMW heritage while jettisoning most of extraneous detailing associated with aforementioned BMW models that have subjectively distanced some of the brand’s loyalists.

A lot of the success can be attributed to the concept’s 3D-printed, 3-dimensional front kidney grille and LED lighting assembly, a handsome winged visage paired with a flatter rear end counterpart, that shines “BMW” rather than shouts it out. The impression of a minimalist monolith on four wheels is also accentuated by the flattening effect of the pearl white exterior selected by BMW to showcase the vehicle’s exterior styling.

Sized in proportions within the ballpark of a 3 Series model, the Vision Neue Klasse has all the hallmarks of becoming the template for the German automakers’ stable of vehicles from 2025 on forward. While similar to the color-changing BMW i Vision Dee concept, the Vision Neue Klasse’s slanted shark nose front, tapered midriff, and open-air cabin is realized to an extent that it’s safe to forecast many of these details will find themselves in a newer “new class” of BMW models.

A detail which we think will (unfortunately) remain relegated to this concept is the Vision Neue Klasse’s snazzy yellow-mustard corduroy upholstered seats, a hue with a sunny disposition that accentuates the amount of natural light invited by the glass-wrapped cabin. With an industry-wide detour away from leather, we expect BMW to follow suit in some shape or form, but likely in more muted fashion.

Those devoted to physical controls may be disappointed to note the BMW Vision Neue Klasse’s cabin is primarily a digital affair, with most physical buttons limited to the steering wheel. BMW Panoramic Vision, the automaker’s new iDrive Operating System, projects relevant driving and informational graphics across the entire lower expanse of the windshield inside an otherwise austere dash dominated by a steering wheel and large touchscreen infotainment display.

Look carefully and you’ll notice a small horizontal band drawn across the driver and passenger side windows; the band is an E Ink display designed to communicate where the driver should place their hand to open the doors by placement/gesture in lieu of physical handles.

The BMW Vision Neue Klasse aspires to deliver on its “New Class” moniker powered by its minimalist lines, improved battery cell technology, new technological amenities and safety features, and a sustainable approach to the vehicle’s life cycle. And all signs communicated by the Vision concept harbors promise the German automaker can deliver.

Back in 1968 one auto writer described the then newly revealed BMW 2002 as a “neat little 2-door sedan,” a car that “does everything it’s supposed to do… with ingenuity, style, and verve.” BMW is hoping to reproduce that defining all-encompassing spirit again as it veers headlong into the age of the electric vehicle. The BMW Vision Neue Klasse concept is a promising preview of that hope coming to fruition.

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.

Some of our favorite collections are of the collaborative sort, and we have a great one to share today – Stillmade’s Collaborative Series. The Brooklyn-based manufacturer and designer has been a leader in the American furniture manufacturing industry for the past decade. Along the way they’ve consistently provided small, emerging designers access to production that’s generally reserved for big brand names and large manufacturers.

For the Collaborative Series, the brand is tapping into these relationships and flexing their own creative skills in tandem with ceramicists, industrial designers, and artists. The inaugural edition features furniture made with Danny Kaplan, Pat Kim, Michele Quan, and Stillmade’s founder and creative director Paul Mignogna’s own design practice, Mignogna Studio. This edition of the project includes a sofa, credenza, hutch, side table, and two coffee tables that combine each collaborator’s aesthetic with Stillmade’s design and manufacturing capabilities. The four furniture collections also embody the qualities the brand holds close: a reverence for artisan craftsmanship and an understated, modern aesthetic.

Celebrated industrial designer and artist Pat Kim introduced a playful, sculptural approach to Stillmade’s design process. Both the coffee table and side table feature bases with very organic shapes finished in hand-troweled lime-based plaster. Sculpted wood arm hold up each circular table top, adding an element of natural warmth.

Kim Coffee Table, Pat Kim

Kim Coffee Table, Pat Kim

Kim Side Table, Pat Kim

Kim Side Table, Pat Kim

Painted Credenza, Michele Quan

This is the first time ceramicist Michele Quan’s work is being presented as furniture. For the series, her signature celestial ceramic half-moon shaped sculptures are reinterpreted as functional cabinet pulls on two large scale cabinets.

Painted Credenza, Michele Quan

Painted Credenza, Michele Quan

Painted Hutch, Michele Quan

Painted Hutch, Michele Quan

Jane Coffee Table, Danny Kaplan

Danny Kaplan’s coffee table was inspired by Roger Capron’s ceramic inlay tables. Kaplan designed a set of tiles that sit atop Stillmade’s minimal solid wood table base, adding an organic geometry and texture to the base’s clean aesthetic. The juxtaposition of the table’s angles paired for the rounded and oval-shaped tiles create a beautiful visual.

Jane Coffee Table, Danny Kaplan

Clifton Sofa, Mignona Studio

Mignogna Studio, that of Stillmade’s founder Paul Mignogna, brought the Clifton Sofa to the series. The furniture piece prioritizes comfort and lounging, while featuring a sleek, minimal design that highlight’s the brand’s manufacturing expertise through an exposed wooden frame and joinery.

Clifton Sofa, Mignona Studio

Clifton Sofa, Mignona Studio

To learn more about Stillmade’s first edition Collaborative Series, visit stillmade.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.

Shaw Contract is once again celebrating the optimism of design and its ability to positively impact our communities and our planet. Now in its 18th year, the Shaw Contract Design Awards take a closer look at spaces that are inspiring new ways of working, learning, healing, and thriving. By sharing the work of international designers who have the same commitment to creating a positive impact on interiors as the brand, Shaw Contract continues to highlight how design can transform interior spaces and enrich lives. From innovative healthcare facilities that promote healing and well-being to workplaces fostering creativity and collaboration, all the projects submitted have been inspiring to us all.

The 2023 Shaw Contract Design Awards were judged by a panel of international luminaries, who considered overall design intent alongside the brand’s four People Together Planet Forever ambitions: Material Health, Circular Economy, Carbon Impact and Diversity, and Equity & Inclusion. Over 650 submissions from 40 countries gave them a lot to consider, with only 39 projects emerging as Best of Region Winners. These winners were then eligible for the next round of judging – Best of the Globe.

A smaller jury was responsible for choosing the best of the best. Each Best of Globe Winner is awarded a $2,000 USD charitable donation in their studio’s name to the organization of their choice, as well as a trophy designed and hand-made by Singapore-based crochet artist Kelly Limerick using Eco Solution Q yarn.

Join Design Milk in celebrating the accolades of Eckenhoff Saunders, HOK, Tatsuro Sasaki Architects, SWOT Design Group, and Rezen Studio! Keep reading to learn more about each of their standout projects.

Featured Product: Community Collection
Location: Subiaco, Australia
Photos: Jack Lovel

As the world’s leading gold miner, Newmont is widely recognized for its environmental, social, and governance practices. The workplace reflects its culture and aspirations, and is a functional, flexible, forward-looking tenancy for a future that supports a remote first approach.

It’s an example of the evolving office, which can respond to rapid changes in business operations. Completed during the pandemic, the hybrid workspace has plenty of social spaces for informal interactions, as well as generous meeting rooms for more traditional collaboration. A “work club” approach to the floor plan provides settings that support productive interaction, whether casual or planned.

Newmont by Rezen Studio

Sustainability principles were observed throughout the project, particularly through the reuse of existing furniture. “The innovative reuse of furniture added an intriguing layer of complexity to the design,” said Lima. “It’s quite commendable how seamlessly they integrated reused furniture into the overall aesthetic. From my perspective, this is a noteworthy achievement.”

Newmont by Rezen Studio

The project also includes a selection of Cradle to Cradle certified flooring by Shaw Contract. Low VOC paint and acoustic panels made from recycled materials are also featured in the design. Daylight from the perimeter glazing has been maximized through spatial planning to reduce the need for electric lighting.

Newmont by Rezen Studio

“What stands out the most to me is the incredible comfort and coziness it exudes. What truly sets this apart from the ordinary office environment is the thoughtful allocation of social spaces,” shared Wong. “I appreciate the design aesthetics; it’s not overly polished but rather smart and functional. I believe this is precisely why I’m so drawn to this project; truly a hybrid work club for an agile workforce.”

345 North Michigan by Eckenhoff Saunders

Featured Product: Forum Collection Custom Rugs
Location: Chicago, Illinois, United States
Photos: Kendall McCaugherty, Hall + Merrick + McCaugherty Photographers

345 North Morgan is an 11-story, ground-up, Class A commercial office building in Chicago’s Fulton Market. Located adjacent to the metro tracks, the design by Eckenhoff Saunders drew inspiration from the neighborhood’s industrial history along with the scale and luxury of classic railway stations. The lobby is entered through a stately two-story barrel arch – a motif repeated throughout the interior and mirrored on the floors with custom area rugs by Shaw Contract. The commissioned artwork in the lobby was woven with textile scraps, some of which were repurposed from upholstery in the building.

345 North Michigan by Eckenhoff Saunders

“What truly captivated me, particularly in the lobby, was the ingenious repurposing of upholstery fabric from the building to fashion a striking central feature that harmonizes beautifully with the soaring ceilings,” said jury member Karen Wong, Design Director & Partner at ArchitectureFARM. “This project showcases a masterful utilization of raw materials, striking a balance between an industrial aesthetic and contemporary modernity.”

The building’s footprint prioritizes flexibility and equitable access to daylight on 23,000-square-foot office floors, which feature 13-foot ceilings and near floor-to-ceiling windows. Each level also includes a large private outdoor terrace with city views. Finishes and materials are raw and durable with exposed concrete floors, walls, and ceilings, while soft textiles and area rugs provide warmth and comfort.

345 North Michigan by Eckenhoff Saunders

The amenity spaces promote health and wellness by offering opportunities for social connection, retreat, and physical activity in the fitness center. Meanwhile, the flexible conference space doubles as a coworking library with booths. Perhaps best of all, the plant-filled glass box Conservatory provides a year-round connection to sunlight and nature with access to the wraparound terrace in warmer months.

345 North Michigan by Eckenhoff Saunders

Jury member Amanda Moore, Associate Principal Interior Design at Wardle shared, “This project exemplifies the direction workplaces should strive for. It encapsulates a profound sense of tranquility and well-being, emphasizing human-centric design rather than solely relying on cutting-edge technology. It signifies a shift away from the conventional task-driven office environment towards a more holistic approach.”

Boston Consulting Group Canadian Headquarters by HOK

Featured Product: Community & Suited Collections
Location: Toronto, Canada
Photos: Joel Klassen

Boston Consulting Group (BCG) is a global firm helping leaders in business and society address their most pressing issues. The firm’s Toronto team sought a new Canadian headquarters to connect clients and staff while highlighting their history, their environmental, social, and governance (ESG) values, and to foster an environment where employees can do their best work. The HOK team designed a space where you can immediately understand that BCG is part of the community of leaders shaping Canada’s future, with sustainability at the forefront.

The building the headquarters is located within has earned a WELL Health-Safety Rating, it will also attain LEED Platinum core and shell certification and WELL Platinum Certification. The space supports BCG’s commitment to climate change in its client work and its own operations.

Boston Consulting Group Canadian Headquarters by HOK

Another goal was to create a work environment that gives back to workers, with employee health and wellness being as important as environmental impact. Upgrades were implemented to increase fresh airflow, while low-flow fixtures and circadian lighting cut down on energy costs. And with open spaces placed along the perimeter, daylight can come in and filter through the space.

“The strategic harnessing of natural light, coupled with the creation of purposeful spaces around it, elevates this area into an exceptional office environment. Not only is it a visually stunning space, but it’s also executed with utmost excellence,” shared juror Rachita Khanna, Associate Director, Design at SWBI Architects.

Boston Consulting Group Canadian Headquarters by HOK

A state-of-the-art gym and bike storage – transportation that doesn’t emit greenhouse gases – encourage movement and physical fitness. Nourishment stations stocked with healthy snacks, coffee, and kombucha taps provide easy access to healthy foods and drinks. Elsewhere, wellness rooms include shower facilities with towel service, a mother’s room, therapy rooms, and sound therapy rooms. The prayer room is equipped with a space where mental health counselors can meet with staff to provide services.

The new office also includes amenities to meet the needs of the neurodiverse population. Design features include sustainable elements, circadian lighting temperatures, acoustical treatments that provide buzz-y and quiet spaces, music, and furniture that promotes movement and posture changes.

Boston Consulting Group Canadian Headquarters by HOK

The curated art, objects, and greenery within the space come from Canadian artists and vendors. Materials and furniture were chosen to bring in the comforts of home with ergonomics in mind, including layered wood tones, hand-troweled plaster, textured brick veneer, and leather wrapped pulls.

“The continuity in design elements is remarkable, evident in the subtle curves of the sofas mirroring the workstation layouts and lighting fixtures echoing the same round-cornered motif seen in the double-height spaces. This consistent design language is reflected in even the smallest details, particularly the lighting fixtures,” said juror Carina Lima, Design Director at Swiss Bureau Interior Design Company, Dubai. “Additionally, the judicious choice of materials introduces a touch of residential luxury to the workplace, featuring textured fabrics, hints of gold, and touches of leather strategically placed to elevate the space without deviating from its core identity.”

OMO5 Kumamoto by Hoshino Resorts by Tatsuro Sasaki Architects

Featured Product: Shifting Fields Collection
Location: Kumamoto City, Japan
Photos: Atsushi Nakamichi

OMO5 Kumamoto is centrally located overlooking Kumamoto Castle, the symbol of Kumamoto City. Built on Mt. Chausu and surrounded by nature, pulling the scenery of the castle and the bustle of the city into the hotel was a must.

“One aspect that stood out significantly to me was the project’s unwavering commitment to sustainability,” shared juror Fernando Zabala, Design Director at Gensler LATAM. “However, what sets this project apart is its exceptional connection to a specific historic site across the street. The deliberate selection of materials, textures, and shapes seamlessly integrates with the site’s context.”

OMO5 Kumamoto by Hoshino Resorts by Tatsuro Sasaki Architects

Zabala continued, “A unique selection of elements consistently permeates the entire building. It’s not just about a single space; it’s a holistic approach. The clever vertical layout, seamlessly connecting the street and elevating the experience, left a lasting impression, especially the flooring design, which exudes intricate details throughout.”

OMO5 Kumamoto by Hoshino Resorts by Tatsuro Sasaki Architects

The public space has a deck terrace connecting the inside and outside, a “topography” to connect the city and Kumamoto Castle with the hotel. On the uneven terrace there are various places to enjoy: a sofa to relax, a cafe space to enjoy conversation and meals, and a gathering space for groups.

OMO5 Kumamoto by Hoshino Resorts by Tatsuro Sasaki Architects

The materials and colors of the earth created by Kumamoto have also been included. Brick tile walls with an image of red soil, stone pavements of castles, tiles of Kumamoto Castle turned into rubble by an earthquake, and red gradation carpets/shifting fields that are unique to the region all make their mark. Each choice expresses the locality through resources unique to the area.

“What sets this project apart is its ingenious utilization of materials, clever play with lighting, and a profound connection to its locale,” Khanna said. “Despite what I strongly suspect were budget constraints, what impressed me the most was their remarkable sensitivity to material selection and their brilliant execution of these materials in a coherent narrative.”

Naelofar Office by SWOT Design Group

Featured Product: Shifting Fields Collection & Composed COREtec
Location: Petaling Jaya, Malaysia
Photos: SWOT Design Group

Naelofar, a brand known for Muslim modest wear, has grown exponentially in the recent past. The move to an office space of over 7,000 square feet and a bright façade provides a welcoming environment for staff and better conveys the brand.

Inspired by the ideology that connection is a crucial component in building a productive and efficient workplace, SWOT Design Group aimed to capture the essence of nurturing relationships with a polished and creative space, while also conveying the brand’s professional and personalized approach.

Naelofar Office by SWOT Design Group

The office offers a sleek look but is also functional and flexible. Using an open plan, exposed ceilings created height and were combined with carpet and vinyl flooring for a modern yet timeless feel. A featured front-of-house area with a waiting space that can be reconfigured for training sessions or work functions, flexible work zones that include a boardroom, client-facing meeting rooms, and a pantry area all built on the experience.

Naelofar Office by SWOT Design Group

“I found this project to be particularly impressive despite its relatively compact size. The layout forgoes a conventional reception area and instead transforms the front space into a versatile multi-function area. What’s striking is that this space can be viewed from virtually anywhere within the office, thanks to its thoughtful furniture design,” said Wong. “It’s remarkable how they’ve managed to maximize functionality and aesthetics in such a small space.”

Introducing greenery was also important, as plants can enhance the aesthetic of a space while improving the physiological and physical well-being of employees. Placed indoors they can also absorb noise to help create a more focused, relaxed environment. Here, plants are placed around discussion areas and the perimeter of workspaces. Another element embraces the incoming sunlight – perforated mesh – to further emphasize a sense of openness, sharing beautiful vistas, and connecting beyond the building.

Naelofar Office by SWOT Design Group

“I find this design to be absolutely captivating due to its seamless connection with the exterior. Everything on the interior is thoughtfully designed to recede into the background, allowing the natural view to take center stage. Incorporating green elements further strengthens the connection to the beautiful surroundings, striking a delightful balance,” said juror Anthony Orasi, Partner at iN STUDIO. “The overall ambiance exudes a sense of tranquility and functionality, and despite the inclusion of traditional features, it maintains a welcoming and comfortable atmosphere.”

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.

Kyoto is not lacking for serene inns within the city’s historical neighborhoods, in sum emphasizing the city’s eminence as a crafts, arts, and design capital. Walking around Kyoto’s historic Shinmonzen Street in the Gion arts district, it’s easy to believe time passes with a more leisurely gait here along the area’s beautifully preserved buildings. The Shinmonzen distinguishes itself from the numerous traditionally designed machiya townhouses and ryokan inns lining the gentle flow of the Shirakawa River. Not openly so, as the hotel’s front facing architecture of dark latticed timber and kawara tile roofline presents a distinguished weathered simplicity. But inside is harbored the architectural imprint of architect Tadao Ando and interior designer Rémi Tessier, sure to delight the design-minded in its contrast.

The luxury boutique hotel takes its name from ‘Shinmonzen-dori,’ or The Street of the Artists, Fine Arts and Antique shops, situated in a picturesque section of Gion Shirakawa and Shinmonzen Street where weeping willows and cherry trees draw sakura aficionados every spring to admire the blooms against the backdrop of traditional narrow fronted merchant houses.

Despite its aged outer appearance, The Shinmonzen is a contemporary creation inside and out. The passion project of Paddy McKillen, the Irish hotelier was able to convince Ando to reintepret the ryokan, or traditional Japanese inn, into a harmonious balance between yesterday and today, Japanese and European, austerity and comfort. Thus, Ando’s exterior blends into the surrounding architectural landscape with convincing detail, with its contemporary nature only revealed on closer inspection, and more visibly noticeable upon entry.

A rotating collection of contemporary artworks are displayed with dramatic placement within corridors and also embellishing guest rooms, reflecting The Shinmonzen’s owner “Paddy-san’s” love of contemporary and architecture.

The hotel’s nine suites are each unique, each accented by a different material endemic to Japan, and furnished with an amalgamation of items sourced from the local vernacular paired with contemporary European designs.

Tatami floors underfoot and capacious cypress soaking tubs reference traditional Japanese interiors, contrasted by spans of marble counters and handwoven carpets of European styling.

Tranquility is further enhanced by the integration of “toko-no-ma” – literally “empty space,” a defining architectural trait of traditional Japanese sitting rooms.

Rooms range in size from the 430-square-foot WASHI suite with king-sized bed to the 860-square-foot KINU furnished with side-by-side twin size futons, marble double vanity bathroom, and an enormous walk-in closet.

A serene simplicity runs through each of the suite’s organically expressed interiors, all quietly occupied by Toan Nguyen’s curving armchairs and softened by Japanese textile maker Kawashima Selkon’s hand-woven carpets.

Balconies overlooking the Shirakawa River afford guests an intimate, yet semi-private place of their own to take in the sights and sounds of Gionʼs buzzing alleys and cobbled streets.

French, American, and Asian farm-to-table dining is served daily within the hotel’s restaurant, Jean Georges at the Shinmonzen, including a Japanese-style breakfast punctuated by Kyoto-sourced heirloom vegetables, a vegetarian menu, alongside an omnivore’s delightful 8-course meal.

“During our design process, the goal was to create a space that accommodates the desires of the modern traveler while respecting the tradition and legacy of Kyoto,” says Tadao Ando. “This hotel represents a nuanced fusion of the past, the present, and the future. I believe that it will embody the essence of Kyoto while still appealing to cosmopolitan sensibilities. I hope that everyone who visits will discover the new charm of an age-old city.”

What: The Shinmonzen
Where: 235 Nishino-cho, Shinmonzen-dori, Higashiyama-ku, Kyoto 605 0088
How much: Starting from US $1,916/night
Highlights: Tadao Ando’s light hand allows the architecture to quietly complement what the architect describes as “the most beautiful body of water in all of Kyoto.” And with each room assigned its own private balcony, guests are welcome to watch the flow of water and foot traffic in equal comfort.
Design draw: The Shinmonzen’s art collection includes ceramic vessels by Takayuki Watanabe, contemporary artworks by the likes of Damian Hirst, Gerhard Richter, and Louise Bourgeois, with rooms curated by interior designer Rémi Tessier. A 19-minute walk will take you to the Kyoto Museum of Crafts and Design, KYOCERA Museum of Art, and the The National Museum of Modern Art.
Book it: The Shinmonzen

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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.

When it comes to goods and services, it’s commonly assumed you can expect cheap, fast, or good – perhaps two is a reasonable expectation, but expecting all three can be a fool’s notion. Yet, the Bruvi brewer is designed to deliver all three – to a varying subjective degree which we’ll go further into detail below – brewing beverages conveniently quick, for a relatively affordable price per cup, and from a selection of acclaimed roasters. It also might have solved pod-based coffee’s biggest dilemma: plastic waste.

Bruvi is a pod-based beverage brewing appliance, but was obviously designed with additional forethought compared to its competition about how it might look once occupying a kitchen counter. With a soft cream exterior embellished with light wood accents around its base, handle, and covering of its 70 oz water tank, the Bruvi could be deemed the equivalent of a Tesla Model 3: a tech-optimized vehicle of convenience wrapped in a benignly modern design that blends in easily with everything around it.

Beyond the aforementioned wood accents, Bruvi’s construction is primarily limited to plastic; some parts like its removable tray and top handle feel a little lighter than we’d prefer, and we worry the veneer of wood might eventually stain during overzealous preparation. But overall the sum of Bruvi’s components piece together satisfyingly and clean up easily.

Like every other pod-based coffee machine, Bruvi is engineered to simplify preparing everything from a regular cup of coffee, espresso, Americano, cold brew, iced coffee, tea, infused coffee, and even a matcha latte. Operating the Bruvi out of the box is extremely simple: you pull open the top cover lever, drop in a B-Pod, pull down the lever to puncture the pod, select from a variety of options on its icon-based touchscreen menu, and in a minute you’re enjoying a cup. The machine automatically optimizes 7 different parameters – brewing temperature, brew time, pre-infusion, water bypass, water bypass temperature, contact time – making these adjustments by scanning each pod and also adapting to your preferences.

If you’re someone who just wants coffee fast and now, Bruvi does that with aplomb requiring a scant 5 seconds to heat up. You’ll quickly gain the muscle memory to drop-and-pop B-Pods with frightening efficiency if you’re a multi-cup drinker.

The Bruvi invites this sort of fine tuning to dial-in preferences to your liking via its illuminated touchscreen display. Availability of options change according to the type of pod dropped into the maker.

But for those who tend to sip their morning drink rather than kick back cups in rapid fire, there are a myriad of additional options Bruvi opens up via its choose your own adventure menu system. These additional options illuminate specific to your choice in beverage, with Bruvi automatically identifying whether you’ve dropped in an espresso pod, medium roast coffee, or an infused roast. During my few weeks testing the Bruvi I came to most enjoy LAMILL’s signature Black Onyx pods – a roast I’m already well acquainted with, as I used to live just around the corner from the roaster’s Silver Lake location and have had their barista prepared pour-overs on numerous occasions.

Because of the warm late summer, early autumn weather here in Los Angeles, I was inclined to choose the iced coffee or cold brew option. Bruvi did a commendably consistent job of preparing cups revealing a nuanced spectrum of flavors that would differ according to roast choice, strength, and brew preparation. The LAMILL roast didn’t exhibit the burnt nor bitter flavors many capsule machines tend to churn out, reflective of the quality of Bruvi’s partner alongside the brewing adjustments the machine uses to fine tune each cup. It’s no surprise to taste dark chocolate notes from a South American dark roast, but subtler toffee notes aren’t always there to discern, and Bruvi coaxed the aroma and flavors to a surprising degree.

When it comes to pod-based single serving brewing systems, there’s always the elephant in the room about plastic waste. This issue led Bruvi to collaborate with material engineers to develop a plastic-degrading, enzyme-infused pod technology. Formulated to accelerate plastic degradation, these enzymes jumpstart an organic fermentation process optimized to operate within the anaerobic – oxygen deficient – environment of landfills. The microorganisms eat away the plastic, preventing the creation of microplastics already shown to be leaching into every corner of the globe. Bruvi claims the entire B-Pod (outer cup, inner filter, cap, and lid) shows 84% biodegradation within an anaerobic environment in 534 days; compare that to untreated polypropylene plastic’s 2% rate and multiply that to scale, and you get the picture.

If true, bio-enzyme should improve the environmental footprint of single-serving plastics and metals associated with preparing pod-based coffee. The global $12 billion dollar coffee capsule market reveals the growing popularity of capsules fueled by caffeine and convenience is only going to grow, so it will become increasingly essential for the coffee capsule market – and food and beverage companies as a whole – to integrate similar innovations.

So do I think the Bruvi will replace my Chemex or Aeropress, alongside my burr grinder, and a carefully measured dose of my favorite beans ground fresh to my preference? I don’t think so, as the ritual of preparation is baked into my appreciation of the drink, and it’s still more environmentally friendly to prepare coffee yourself from whole beans, regardless of how efficient those enzymes may be. But it must be said, in the span of sampling a box of Black Onyx Bruvi B-Pods, I found myself reaching toward the Bruvi surprisingly more often than expected, recognizing the machine does a fine job of making some surprisingly damn good coffee.

The Bruvi BV-01 Brewer is available starting at $338, with 20 B-Pod packs starting at $18.40.

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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.