Founded by Jim Schatz and Peter Souza, Maine-based ceramics brand J Schatz’s latest lighting collection packs a powerful (and colorful) punch. Designed for desks and workspaces, but really for any environment that needs a bit of illumination, the Spot On Desk Lamps are a whimsical and vibrant way to add color and light to where you need it most. The fixture is composed of three handcrafted stoneware shapes: a platform base, an off-centered tube, and a spherical shade. Each part is a different color and the light opening accommodates a 5-watt LED bulb. Available in eight colorways or made to order in J Schatz’s 17 signature colors, the Spot On Desk Lamp can fulfill both a color-loving maximalist’s light fixture dreams or a minimalist’s need for a playful yet neutral lamp.

For more information or to purchase the Spot On Desk Lamps, visit jschatz.com.

As the Lifestyle 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.

Rolling up into any campground with the aerodynamic and futuristic Lightship L1 in tow would likely result in some serious curiosity amongst fellow RV enthusiasts. As a “clean-sheet approach to building an all-electric recreational vehicle,” the battery-powered, purpose-built L1’s minimalist design is merely half the story, with some crafty engineering within allowing for the L1’s self-propulsion to be towed with nary a mile of range or fuel efficiency lost.

The Lightspeed L1 is 27 feet long, 8 feet and 6 inches wide, with 6 feet 9 inches head space while in road mode (10 feet when set up in camp mode), and weighs 7,500-lbs when fully decked out.

Aimed at the Tesla, Rivian, Ford Lightning, and other electrified utility vehicles with towing capacity (but also traditional gas powered vehicles), the Lightship L1 presents itself as an entirely reimagined approach to roughing it, with a streamlined shape offering a huge improvement from yesterday’s boxy recreational vehicle designs aesthetically, in efficiency, and in regards to all of the modern accoutrements that would make for a happy camper.

Unsurprisingly, Lightship’s wedge-like trailer is three times more aerodynamic than a traditional equivalent. In use, this aerodynamic shape aided by a 80 kWh battery powered electric powertrain means a 300-mile range EV or internal combustion engine vehicle towing the L1 would not lose a single mile of range.

Lightship Co-Founder and CEO Ben Parker cites a dearth of innovation within the RV industry as the impetus for setting out to accomplish what Tesla has done with EVs. “Inefficient, unreliable product designs and a power experience that relies on smelly, noisy, gas or propane generators fundamentally hinder the amazing experience of traveling in the outdoors.”

The L1’s battery system capacity is good for a week of off-grid power use without charging. Connected to a 3 kW solar power roof and awnings and you’re doing even better in the clean energy department.

The well appointed modern interior is the result of a team of designers with experience in creating spaces within the aeronautics industry, an analogous industry where designers are challenged to create the feeling of spaciousness with limited space and the necessity to consider durability.

The Lightship L1 is outfitted with all-electric appliances, connectivity features, and can sleep four to six inhabitants. Details like a pull-out cook worktop and moving the cooling/heating system to the front of the trailer reflect the company’s efforts to appeal to customers already used to contemporary solutions in comforts and efficiency.

Production is expected to begin in late 2024 with deliveries aiming for the start of 2025, with the Lightship L1 starting at $125,000 (or $118,400 minus an available tax credit), with reservations being accepted online over at lightshiprv.com/reserve.

Gregory Han is the Managing Editor of 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.

Exploring work in between design, architecture, and art, East London-based Issi Nanabeyin defies genres. He searches within the university and beyond, carving space for larger perspectives, underrepresented voices, and diasporic identities. Issi digs deep to create spaces, objects, and artworks that tap into cultural narratives through the concepts of liminality, migration, and hybridity – while also always striving to apply a lens that is joyful, fun, and creative.

“The first time I saw the work of Austrian sculptor Walter Pichler was the first moment I saw how an architectural lens can be used to create work that danced between sculpture art and design,” Issi shared. “One of Pichler’s first works was a collaboration with Hans Hollein, whom together wanted to “liberate” architecture from the constraints of building in the 1960s and to detach sculpture from the constraints of abstraction. I saw similarities in how I wanted to detach the idea of architecture from both the idea of ‘building’ but ideas of ‘white’.”

An Architecture Between Cultures is Issi’s graduate project for the Bartlett School of Architecture, where he now teaches. Within it he inverted dominant colonial models by reimagining the Scottish Highlands under the African gaze, winning him the Bartlett Architecture Medal and earning him a place in Wallpaper*s roundup of next-generation talents in 2021. This was followed in 2022 with the Samuel Ross Black British Artist Grant and holding his first solo show. Three in the Field at Shoreditch’s FILET gallery meditated on the meeting of Black and British identities. Next was an appearance at the RAA’s Summer Exhibition, where his collaboration with THISS Works, A Resilient Monument, proposed a new, impermanent, and organic memorial structure that needs ongoing care to survive. Continuing his passion for critically revisiting historical contexts, Issi works as a researcher at the African Futures Institute.

“Going from finishing a Masters in Architecture to working towards something else, I have found that along the way I have worked with a broad spectrum of mediums, from grass straw objects to aluminum sculptures, charcoal drawings to film, attempting to find a creative language that ‘clicks’,” Issi says of his creativity. “A moment that I remember where I felt everything was clicking – setting up my first solo exhibition in 2022. It was the first time I saw my drawings and sculptures sit together in the same space, having the same conversation within different mediums. For me it was a big clicking point, as I saw this is the type of creative work, which combines both form and drawing, where I feel like my language exists at its best. Since then I have continued to develop pieces of work that are part sculpture part drawing.”

Today, Issi Nanabeyin joins us for Friday Five!

Photo: White Cube

1. Samuel Ross

The British designer and artist is known for founding menswear fashion label A-COLD-WALL*, industrial design studio SR_A, and his work with the late Virgil Abloh (1980–2021). To me, Samuel Ross is a great example of a polymath, whose practice doesn’t circumscribe to any one creative discipline, yet manages to coherently speak of the same conversations. Visiting his opening for this exhibition, titled LAND, Ross merges a series of abstract works, which use imagery of collapsed landscapes and supine bodies to explore the subject of the Black experience. I like that Ross manages to always finds a creative output for the Black experience beyond the political narrative and towards something that feels like it’s on the horizon, somewhere in the near future.

Photo: Issi Nanabeyin

2. Miriam Cahn

I encountered Miriam Cahn’s work for the first time through her exhibition Ma Pensee serielle at Palais de Tokyo earlier this year. The work itself was incredible, but it was the setting up video previewed as you entered the exhibition which will remain with me for a while. Watching Miriam work purposefully with the technicians, and not the curators, was a strong reminder to trust the crudeness of the work, to allow the ‘primitive’ elements of drawings or sculptures, whether that is tape, marks, staples, clips, or accidental bends to remain and exist in the work as it brings a story to the artwork that is sometimes lost when cleaned up, trimmed, and framed.

Photo: GalleriesNow

3. Theaster Gates: A Clay Sermon at Whitechapel Gallery

Theaster Gates: A Clay Sermon at Whitechapel Gallery opened the same year I was starting to explore sculptural pieces. I will not forget seeing the sculpture, Power Figure, 2019 and its negative form. Gates was my first sculpture teacher, in the way of watching how one can create spaces and objects claiming a conversation with the Black identity. Gates also showed me how to transform critical research and processes into a series of Afro Mingei sculptures that explore craft, labor, performance, and racial identity.

Photo: Eisenmen Architects

4. Peter Eisenman

Architect Peter Eisenman created a series of jewelry for Cleto Munari. Mimetic of neither human form nor human proportion, each piece feels less decorative and more like scaled pieces of architecture. As always, Eisenman was one of the first architects I discovered that created architecture outside the realm of buildings, and so his work is key to much of my own practice.

Photo: Issi Nanabeyin

5. Kaneshie Market

Kaneshie Market is a two minute walk from my family home in Accra, Ghana. The last time I went, in November 2022, was with the AFI (African Futures Institute). As we meandered through, a friend described it to me as a kind of “wunderkammer” – a living cabinet of curiosities. Places such as these have always been a great reference point for what it looks like juxtaposing varied presences of produce, products, cultures, and systems of hierarchy that are left to develop and present hybrid modes of living.

Work by Issi Nanabeyin:

Elementaire Elementaire was a live exhibition in Galerie du Petit Atelier, Bordeaux, France. Curated by Jules Duplantier and Jérémy Aterchane in 2022, Elementaire was an exhibition finding representation of the diasporic self between pencil and paper. The exhibition is a 96 hour performance showing the processes of how Issi draws, cuts, paints, and finds new representations. Elementaire invites people to see the process of drawing as a way to view our process of self identification. To see that no matter an individual piece of work or person, their final representation is found through continuous tensions, anxieties, (re)thinking, sketches, more sketches, errors, corrections, redos, pauses, and constant reworking. To see Issi’s search for his own identity in his search for new drawings, is to see that both an individual drawing or identity is never finished, but always active and continually rearticulated. Photo: Margaux Rodrigues

Elementaire Elementaire was a live exhibition in Galerie du Petit Atelier, Bordeaux, France. Curated by Jules Duplantier and Jérémy Aterchane in 2022, Elementaire was an exhibition finding representation of the diasporic self between pencil and paper. The exhibition is a 96 hour performance showing the processes of how Issi draws, cuts, paints, and finds new representations. Elementaire invites people to see the process of drawing as a way to view our process of self identification. To see that no matter an individual piece of work or person, their final representation is found through continuous tensions, anxieties, (re)thinking, sketches, more sketches, errors, corrections, redos, pauses, and constant reworking. To see Issi’s search for his own identity in his search for new drawings, is to see that both an individual drawing or identity is never finished, but always active and continually rearticulated. Photo: Margaux Rodrigues

Three in the Field Three in the Field was Issi’s first solo exhibition in 2022 in Filet Gallery, London. Refusing to accept architecture as singular or stagnant, It was a recognition and a manifestation of the fluidity in which diasporic life has been built into the spatial structures around us. Illustrated by a coming together of Issi’s architectural, ancestral, and digital practice to tell stories of and for the diaspora. The stories explore visual streams of representation that live within the contemporary experience and embodiment of ‘Black’ identities, meeting ‘British’ ones. Photo: Thomas Moen

When Statues Fall, What can Rise This project is a new research-led sculpture documenting and connecting public spatial practices and forms that represent the rituals, restrictions, and relationships of the Black Experience and the diasporic manifestations existing in Britain. In many ways this project is a progression of what a sculpture, statue, or public realm may look like for a diasporic people. Photo: Issi Nanabeyin

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

Hidden deep within the woods in the eastern part of the Netherlands, a striking C-shaped retreat has recently been completed. GetAway Projects has designed the innovative residence, named the C House, as a recreational escape for up to six people to enjoy. Paying homage to its name, the half-hexagonal structure blends functionality, aesthetics, and sustainability, all within its 100-square-meter (approx. 1076-square-foot) design.

The design is arranged into five sections, seamlessly blending the living, dining, and sleeping quarters. The raised kitchen makes up the center section, with the dining room and living room flanking it at a slightly lower level. Both ends house the bedrooms and bathrooms, elevated above the connecting rooms.

One of the most notable features of the C House is its unheated natural swimming pool that spans 12 meters (approx. 40 feet), allowing residents and guests to immerse themselves in the tranquil water. A helophyte filter, with lava stones and yellow irises, ensures the purity of the water, creating an oasis amidst the green forest.

Clad with Corten steel, the house boasts a rusty red hue that evolves over time, creating a striking contrast against the lush green surroundings.

Untreated Fraké wood, renowned for its thermal modification properties, graces the window sills, accentuating the natural aesthetic. Once inside, you’ll spot the same warmth and texture, as the Fraké wood continues through the interior finishes.

A wooden deck surrounds a brick patio used for dining and gatherings. A raised platform adjacent to the brick creates an outdoor bar that connects to the kitchen via open windows.

The raised outdoor bar is set up to serve guests drinks and snacks while maintaining connection and conversation.

Windows and sliding glass doors run along the inner and outer part of the “C” shape making the narrow footprint appear more open.

The C House resides in a private, 5,500-square-meter (approx. 60,000-square-foot) majestic forest within a larger forest, allowing guests to fully immerse themselves into nature.

Photos by Kirsten Bos (Where She Goes).

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.

Designer Weonrhee, also known as Jongwon Lee, has released a new sustainable project with a focus on the material that’s based upon his own cultural and historical background and the material’s origin story. Primitive Structures, is a series of small tables and stools that resemble “dolmen,” or a type of single-chamber megalithic tomb, usually consisting of two or more upright megaliths supporting a large flat horizontal capstone. Over time, moss grows to cover these structures. One piece of research cites South Korea as having 70% of the world’s dolmen, and so it became the overall architectural motif used throughout by Weonrhee.

Sustainability was of particular importance to Weonrhee throughout the project. PSL is a down-cycled material, meaning it’s recycled in such a way that the resulting product is of a lower value than the original item. It’s part of a family of structural composite lumber (SCL) made using dried and graded wood veneers. Strands or flakes are layered upon one another before being bonded together with a moisture-resistant adhesive. The resulting material evokes a primitive feeling through its texture and pattern.

The engineered wood beams used to create Primitive Structures employ waste materials from plywood and LVL production, and commonly include Douglas-fir, pine, and western hemlock among others. PSL is also commonly used in architecture frames, carrying the architectural motif further throughout the project. By using PSL, Weonrhee in turn created a valuable object through what was initially considered garbage.

PSL turned out to be perfect for creating the polygonal shapes that mimick dolmen. During the manufacturing process, the material develops divots in its surface, but the designer had a solution to achieve “visual completeness” and safety – by repeatedly placing fallen pieces of PSL back into these holes over and over again, until only a smooth surface remains.

The final step is adding color. “In terms of color, I was inspired by the moss on the surface of the dolmen. The moss on the surface of the stone was formed over a long period of time and had pearl and parakeet green colors, and this part also showed [as] primitive,” Weonrhee said.

To learn more about Primitive Structures, visit weonrhee.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

The Faroe Islands in the the South Norwegian Sea exist as the definition of a “far-off land.” Located over 600 miles off the northwest coast of Denmark, the ragged mountainous isles emerge from the sea with a primordial splendor – an untouched realm of remote beauty tempting the adventurous, but a place that demands studied planning and proper equipment when explored. Its a fitting landscape of inspiration for Copenhagen-based outdoors clothier Norse Project’s latest SS23 collaboration with adidas, one epitomizing an ethos striving to be “Good for All Seasons.”

The Terrex Skychaser 2 is the more functional and performance-oriented shoe of the two models released, a technical hiking shoe expressed in a deep navy and moody Ash Black shade reminiscent of the glassy black rocks lining the Faroe Island shoreline.

A two-way stretch woven nylon upper resting on adidas’ thermoplastic polyurethane closed-cell cushioned Boost sole results in a comfortable and responsive alternative to heavier hiking boots.

Adidas has a great track record for designing adventuring footwear lighter than a boot, yet properly rough-hewn enough to endure the abuse of rocks, shale, water, and a myriad of other footwear-detrimental detritus encountered while hiking trails shaped by the violence of volcanoes (and anything less demanding).

Meanwhile, the Campus is the Skychaser’s more casual kick back brethren, sneakers crafted with an English calf leather upper and adorned with recycled elements for shoe’s emblematic three stripes and heel overlay. The dark green colorway draws its hue from the hills and dwellings of Saksun, a small Faroe village dotted with turf-roofed structures designed to endure the elements. It should be obvious these sneakers are intended more for traversing the sidewalks of central København or pedaling along Nørrebrogade than adventuring across the archipelago’s numerous volcanic outcroppings – shoes to slip into for a bit of rest and relaxation, post-hike.

Together, the adidas x Norse Projects Terrex Skychaser and Campus shoes represent two sides of the same coin and the duality of the modern adventurer, one who may call the city home, but is always seeking to answer the call of outdoor adventure.

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 the Managing Editor of 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.

The dual-branded Moxy and AC Hotel Downtown Los Angeles, brought to life by Gensler and design studio Yabu Pushelberg, is a 37-story, L-shaped tower – one side allocated for Moxy, the other for AC Hotel – positioned atop an eight-story podium. Yabu Pushelberg sought inspiration from the exploratory ethos of California, resulting in a distinctly characterized design for each hotel while maintaining a unified aesthetic.

For Moxy Downtown LA, Yabu Pushelberg rejected the typical palm trees and sunsets theme associated with Southern California, opting instead for a more iconoclastic interpretation rooted in the adventurous spirit of the California desert. The hotel’s interior design is infused with elements of biker culture, desert wildlife, and the open road’s raw romance, drawing partial inspiration from the 1969 cult film Easy Rider.

In contrast, Yabu Pushelberg designed the AC Hotel Downtown LA’s interior to reflect an artist’s loft, marrying the Spanish roots of the AC Hotel brand with Los Angeles’ Latin heritage. The public spaces are warm and modern, while the guest rooms offer a serene retreat. The 34th floor Sky Lobby channels the charm of a Spanish hacienda, complete with textured plaster walls, a redwood reception table, and captivating artwork.

“We always think hard about the sociology and strategy around design, how it affects people and how it makes them feel connected to something,” says Glenn Pushelberg, founding partner of Yabu Pushelberg along with George Yabu. “Moxy and AC are different brands, but both appeal to travelers who don’t want to stay in a conventional hotel. They’re both for adventurous, bold, curious tastemakers — so the design can’t be generic.”

Moxy Downtown LA

Moxy Downtown LA

Moxy Downtown LA

AC Hotel Downtown LA

AC Hotel Downtown LA

AC Hotel Downtown LA

AC Hotel Downtown LA

Photography by Michael Kleinberg.

Leo Lei translates his passion for minimalism into his daily-updated blog Leibal. In addition, you can find uniquely designed minimalist objects and furniture at the Leibal Store.

After a two-decade journey spanning the realms of Asia and Oceania, a client enlisted NOA to redesign an attic apartment in Innsbruck, Austria that captures the spirit of her faraway travels. Having previous experience blending alpine charm with the allure of distant lands, they transformed this top-floor flat – named Omarama – in Innsbruck’s city center into a light-filled retreat with the Alps in clear view.

NOA’s team embarked on the project by thoroughly analyzing the floor plan of the 135-square-meter space. The quadrangular layout, with a central service area and a staircase leading to a roof terrace, offered immense possibilities. Leveraging the apartment’s three-sided exposure to natural light, they meticulously organized the different living areas to follow the trajectory of the sun.

“Each of our designs unfolds a story. In this work, an additional personal aspect was brought into play, namely the memories of a life that the client carried with her. Paintings, statues, and handcrafted objects that needed to be displayed in an enhancing setting,” explains NOA founder, Lukas Rungger.

Moving along the sunlit path, a modern sectional sofa – the Tufty-Time by B&B Italia – takes center stage in the living area. The seamless integration of design elements from diverse cultures will forever evoke memories, while also creating a cozy sanctuary for relaxation.

The dramatic design, with its minimalist color palette of black and white, punctuated by touches of saffron yellow, pays homage to the essence of light. The apartment’s name, Omarama, which means ‘space of light’ in Māori, was inspired by the client’s connection to New Zealand’s indigenous population. The use of dark tones, including black quartzite, painted oak, and metal, turns the spaces into a backdrop ensuring that eyes are directed towards the breathtaking Alps and the owner’s curated selection of treasures.

To the east, the entryway and home office benefit from the strong morning light. Between the staircase and office, the designers create clever uses of space with a triangular bookshelf and a staircase shelf used to hold select potted plants.

Under the dramatically slopped walls and windows, two black islands delineate the kitchen space and allow the homeowner to cook and prepare food while enjoying guests on both sides.

On two of the slanted walls, and a wall in the dining space, black slats placed perpendicularly add a linear pattern to once bare walls.

Above each Island, white Paper Pendant rice paper lamps from Vipp hang above in contrast of the surrounding black.

Photography by Alex Filz.

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.

Have you ever heard of this trick to keep fresh cut flowers alive longer? Just plop a pre-1992 1 or 2 pence coin from The Royal Mint, or a pre-1982 penny from the U.S. Treasury, into a vase of water. The copper is a natural antimicrobial that kills bacteria build-up in the water, allowing flowers to thrive longer. Or, you could grab your own POTR Letterbox Vase, whose design was inspired by the centuries-old hack that was used as early as the 1600s.

Designer Andrew Flynn, co-founder of Glasgow-based POTR Pots, learned from his grandmother. “I was in the kitchen with her one day when she was preparing a fresh bunch of flowers, cutting the stems, when I noticed she’d flicked a spare 2 pence coin into one of the vases. When I asked why she was seemingly throwing away her money, she explained the copper in the coin keeps the flowers alive for longer.”

The self-cleansing POTR Letterbox Vase harnesses the antimicrobial power of the material in its copper stem, reducing excess flower and water waste. The origami-inspired outer part of the vase is made from recycled polypropylene and high-grade silicone rubber, and the copper stem nestles in among the flower stems.

The vase has a flatpack design, ensuring it can be mailed and cutting the carbon footprint of delivery by more than 100 times. There’s no chance of it arriving smashed, it’s machine washable, and will bounce if it’s dropped on the floor. Able to hold a full flower bouquet and one liter of water, the POTR Letterbox Vase’s soft silicone rim even cushions flower stems to help prevent damage.

Flynn said: “A huge amount of energy is required to produce and then transport flowers in order to be sold in the UK and around the world. The majority of flowers sold in the UK are imported, often by air freight, meaning the carbon footprint associated with a bouquet of flowers can be relatively high. If not cared for properly, flowers will die prematurely, exacerbating the problem of wastage. At POTR, we understand the importance flowers can play in people’s lives – especially on special occasions – and therefore we want to ensure premature waste of flowers is kept to a minimum.”

The POTR Letterbox Vase is available in three colors. It’s flat-packed and ready to hold a bouquet of flowers as soon as it’s taken out of its recycled card envelope.

To learn more about the POTR Letterbox Vase, visit potrpots.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

If you were to categorize the two most vocal camps when it comes to televisions in the home, in simplest terms the two diametrically opposed camps could be categorized as “go big” or “go home.” Samsung’s new 98″ 4K QLED TV definitely caters to the former, an immersive wall-size television that delivers a picture at a scale deserving of the description: home theater.

There is no way around it: a television of this size is going to be very conspicuous and is really intended for larger living spaces. Prospective buyers should make sure they can really accommodate for a television this large, as Samsung recommends a viewing distance of around 10 feet to avoid the “sitting in the movie theater front row” effect.

But to Samsung’s credit they’ve been able to minimize the set’s physical presence – somewhat – with a barely there, three-bezel design to frame the the 4K 3,840 x 2,160 resolution screen. The UHD television displays at a 100Hz refresh rate for normal viewing, but can be boosted to 120Hz in a Motion Xcelerator Turbo+ setting for gamers or other fast action content.

Despite the svelte depth and slim bezels, Samsung has been able to squeeze in a 2.2 channel speaker system with Dolby Atmos and Object Tracking Sound Lite.

At this size you’ll definitely want to add a dedicated home theater audio system, or at least add a supplementary soundbar and sub combination, an addition that can be further optimized with the inclusion of Q-Symphony 3.0. The technology orchestrates the simultaneous output of the built-in speakers in harmony with a compatible soundbar for a fuller sound somewhat like the speakers that hide behind a movie theater screen.

Heejin Chae, TV Product Planning, Samsung Electronics, and Sangyeob Kim, standing next to the even higher 8K resolution 2023 98″ Neo QLED 8K television unveiled at the 2023 Consumer Electronics Show.

During the span of the pandemic when movie theaters closed, many households invested in upgrading home theater systems – most notably their televisions. Unsurprisingly, television viewing increased as people stayed at home, and in turn sparked sales of larger and smart-enabled televisions. Samsung’s own customer survey showed that 75% of consumers bought, on average, a TV 13″ larger than their previously purchased TV model. So, while moviegoers have returned to reopened theaters, manufacturers like Samsung recognize public sentiment in regards to entertainment at home continues to align similarly to opinions about work from home: it’s actually pretty darn great.

Samsung is throwing out several limited time incentives to tempt television shoppers toward this mammoth $7,999 set, including a free Q-series 5.1.2 ch. Wireless Dolby ATMOS soundbar, complementary in-home installation, and a $1,500 discount for pre-orders.

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 the Managing Editor of 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.