Design + Magazine

A concrete block, a steel rod, a sheet of plywood, and calico. Nothing hidden, nothing added. Dries Hamels assembled this floor lamp entirely through mechanical joints, the same construction logic as his furniture work applied now to light. The materials are what they are: raw, industrial, unfinished. The calico shade diffuses the light with the same honesty that the concrete base carries the weight. An object that looks like it was built on a workbench rather than designed at a screen. 📐 @dries.dries 📸 @anatole.melot #lightingdesign #floorlamp #industrialdesign #objectdesign #productdesign

From the outside, it looks like the ground. Then a mirrored window catches the light and everything changes. Kazemat Koningsweg is a holiday hideout on the Veluwe in the Netherlands, sunken into the ground and covered in the natural flora of the area. From a distance it disappears. Up close, the angular concrete bunker logic becomes visible, brutal and precise beneath the green. A metal door opens downward, descending into the earth until the space opens up into something entirely unexpected: a transparent, sloping interior that directs your view upward over the ground level and toward the treetops, heavy concrete columns holding the landscape above your head. The roof is alive. Native flora, birds, bats. A sloping column extends through the green roof as a dedicated habitat. Deer and foxes from the surrounding Veluwe park come close without knowing the building is there. A place designed to let the landscape happen on top of it, and to watch from below. 📌 @kazematkoningsweg 📐 @jcrarchitecten 📸 @svd_fotografie #archdaily #hiddenarchitecture #bunkerhouse #netherlandsarchitecture #holidayhouse

A place where architecture steps lightly into the mountain. Madriguera Eco Reserve Stays is the first hospitality project of the Glampeer initiative, a mountain‑travel concept that frames nature through design rather than against it. The site holds two cabins, Cabaña Conejos and Cabaña Liebre, each with its own scale and identity but speaking the same material language: wood, concrete, steel and glass. Perched on a gently sloping tract of land, they double as observation decks, facing a small valley and an imposing range of light‑colored rock that shifts from pink to purple at dawn and dusk. Cabaña Liebre reads like an elevated camping cabin, small enough to feel intimate yet equipped with a bathroom and an indoor kitchen. A concrete and steel structure carries exterior and interior wooden boards with insulation in between, while a concrete box for services sits inside the wooden shell, wrapped by a small perimeter terrace for a portable fireplace. Cabaña Conejos is larger, organised as a compact living environment with a queen bedroom, kitchen, dining and living area that can turn into an extra sleeping space when needed. Load‑bearing concrete block walls, lightweight concrete slabs and hollow brick, covered outside in black‑painted wood and inside in natural planks and black‑toned cement, define a calm, grounded interior, completed by a work area, balcony and a 360‑degree rooftop viewing deck. The abstract order of materials and details creates a quiet contrast with the surrounding forest and mountains. Rather than imitating the vernacular, Madriguera proposes a contemporary mountain refuge that changes the way you look at the landscape, not just at the cabin.  📐 @stacionarq 📸  @recording.architecture #ecotourism #mountainretreat #architecturaldigest #cabinporn #archdaily

A house that feels rooted in the land, yet light enough to hover above it. House in a Meadow, completed in 2024, sits along the shores of Little Traverse Lake in northern Michigan, shaped like a vernacular dwelling but sharpened by a few precise gestures. A split gable roof opens the sleeping loft to dramatic bands of daylight, while Douglas fir fins step through the exterior wall, tying the interior living space to the meadow beyond. Inside and out, the house reads as one continuous frame for the landscape, where structure and light meet the quiet rhythm of the water and the fields. 📐 @studio__bardo 📸 @coxchrisd 📐 @lindsaygiambattistacox 📌 @parcelfriends #interiorarchitecture #archdaily #cabinhouse #architecturaldigest #archilovers

The mechanism was inspired by an old Swedish woodworking clamp. Then it was tested on Axelsson's children. The IKEA PS 2026 Stool by Mikael Axelsson adjusts height through a deliberately analogue system: a wedge-shaped lever pulled upward loosens a bright blue lacquered latch, allowing the birchwood saw-tooth base to slot into a new position. No electronics, no hidden mechanism, no instructions needed. The Tvingman clamp, a workshop tool most people recognise immediately, was the reference. The exaggeration of the mechanism was intentional, an invitation to interact rather than a technical necessity. Axelsson designed it with the same principle that guides how he furnishes his own home: nothing you admire from a distance, everything you can live with fully. A stool that works, adjusts, and is completely fine with getting broken. @mikael_axelsson for @ikea 📸 @ikea #ikeaps #ikeadesign #stooldesign #productdesign #scandinaviandesign

Four wooden dowels pierce the surface. Where they emerge, a flower pattern forms. Hana is a collection of side tables and a sideboard by Tino Seubert, its name taken from the Japanese word for flower and earned through the geometry the joinery creates. The design draws on simple Japanese carpentry as its structural and visual logic, the dowels doing the work of both holding the piece together and giving it its identity. Born during lockdown, when people started asking Seubert to make furniture for their homes, the collection was first realised in oiled oak with denim blue Formica and oiled walnut with sunflower yellow laminate. Craft and colour, each one making the other more visible. 📐 @tinoseubert for an LA residential project by @meghan.eisenberg 📸 @kane_hulse_studio #furnituredesign #sidetable #woodworking #japanesedesign #objectdesign

A collection that refuses to take itself too seriously, without ever forgetting what furniture is for. IKEA PS returns for its tenth edition after nine years, with 44 pieces by 12 international designers under the banner of playful functionality. The brief stayed open. The result invites touch and curiosity into tight spaces. An inflatable easy chair finally nails a concept IKEA chased since the 1990s. Designer Mikael Axelsson hand welded 20 prototypes to perfect two air chambers in a textile cover over a chrome frame, with a foot pump for setup and flat packaging that still holds firm. Lex Pott sliced a steel cylinder at 45 degrees and found three lamps in one. Twist for spotlight, reading light or ceiling wash. Simple mechanism, outsized effect. Marta Krupińska's pine bench rocks gently, drawing from park gatherings. A year of engineering split and reglued wood beams with reversed grain for strength without metal, fully recyclable and impossible to forget. A ratchet stool shifts heights like a workshop tool. A trolley stacks and rolls. A chair folds flat to hang like art. A mirror's asymmetry came from a failed wooden prototype the team embraced. Cabinet doors weave untreated pine by hand. Prices run from dollars to just over seven hundred for a pocket spring sofa bed. Furniture that does not just sit there. It waits to be discovered. Photos: @ikea #ikea #ikeafurniture #ikeaps #playfuldesign #compactliving

A new bar in Kraków shaped by careful thought and quiet presence. @noww_studio has created a space that balances openness and intimacy. Materials, lighting, and spatial rhythm guide the experience without drawing attention to themselves. Every element is designed to feel intentional, yet effortless. A place that encourages pause, conversation, and presence. 📸 @moodauthors 📌 @bar_krakow #contemporarydesign #interiorarchitecture #interiordesign #hospitalitydesign #restaurantdesign

A Wrocław classic, reborn. Hubertus has been part of the city for over four decades, a familiar meeting place rooted in everyday rituals. CUDO Studio’s renovation keeps that memory alive, while shifting the space into the present. Concrete columns with visible formwork, bottle-green tiles, and honey-toned plywood echo the textures of the past. Large communal tables invite conversation, while the bar recalls the familiar meblościanka of the Polish home. It’s an update that doesn’t erase history. A modern bistro, with the soul of the 1980s still intact. 📐 @cudo.studio 📸 @migdal.studio 📌 @hubertus.wroclaw archilovers #architecturelovers #interiorarchitecture #interiordesign #hospitalitydesign

A brewery transformed into a contemporary gathering space. 🍻🍺 Vaulted brick arches, oak-clad floors, and handmade clay lamps frame a Taproom where history meets modern craftsmanship. A central self-service tap column and distillation display invite participation, while mirrors and steel shelves expand and brighten the space. A place where the past and present meet naturally. 📐 @projektpraga 📸 @onistories 📌 @taproomtenczynek #contemporaryarchitecture #designplusmag #publicarchitecture #architekturawnetrz #architektura

Niels Jørgen Haugesen designed this chair in the late 1970s. It joins @haydesign collection now because nothing about it needed updating. The X-Line Chair is made from thin metal wire, its high-precision steel construction a precise expression of the 1970s high-tech movement. The X-structure at its core is not a visual gesture: it distributes flexibility and strength through the frame while giving the chair its identity. Stackable, durable, available for indoor and outdoor use, equally at home in a private apartment or a corporate setting. A chair that resolved its own brief completely the first time and has had nothing to apologise for since. #chairdesign #scandinavianfurniture #vintagefurniture #industrialdesign #timelessdesign

Concrete blocks, galvanized steel, multiplex, solid beech, plexiglass. The table does not hide where it came from. Designed by Dries Hamels, this table and chair set borrows its language directly from construction sites and assembles it through mechanical joints alone, no adhesives, no concealment. The chairs echo the same logic in galvanized steel, multiplex, solid oak, and plexiglass. Raw material and careful assembly held in the same object, the structure legible from every angle. A composition that asks why furniture and building materials have always been kept in separate conversations. 📐 @dries.dries 📸 @anatole.melot #furnituredesign #tabledesign #industrialdesign #objectdesign #conceptdesign