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vondom cradles both body and space with expanded africa collection by eugeni quitllet

vondom reveals africa sofa designed by eugeni quitllet

Vondom and Eugeni Quitllet return to elemental design, expanding the Africa collection with a generously proportioned sofa that doesn’t demand attention. It simply exists with quiet confidence, as if it had always belonged. Designed to cradle both body and space, the Africa sofa carries the ease of simplicity and the depth of an object shaped by time. Outdoor living, in this context, becomes something softer, more reflective, and more enduring.

Vondom and Eugeni Quitllet collaborate to expand the Africa collection | all images courtesy of Vondom

africa sofa expands the collection with sustainable comfort

Founded with a mission to create bold and intelligent outdoor furniture, Vondom is no stranger to sculptural design that dares to defy conventional expectations. With roots in Valencia, the company has developed a distinctive language, one that favors bold silhouettes, refined materials, and a conscious approach to outdoor living. In collaboration with Catalan designer Eugeni Quitllet, Vondom has cultivated a body of work that is both future-facing and deeply grounded in timeless forms. The Africa collection, born from their first chair together, remains a central thread in this shared story.

What started as a simple armless chair has grown into a lineage: barstools, loungers, cushioned dining seats—and now, the Africa sofa. Offered in two- and three-seater configurations, the piece translates the clean silhouette of the original chair into a plush, lounge-worthy form. It’s a natural evolution, not just in function but in spirit—one that invites you to sit longer, share more, and still feel the quiet elegance of minimalist design.

offered in two- and three-seater configurations, the Africa sofa translates the clean silhouette of the original chair into a plush, lounge-worthy form

how do you simplify without compromising?

Each new Africa creation begins with a question: how do you simplify without compromising? The answer is found in the use of monobloc injection molding, allowing Vondom to achieve optimal ergonomics, lightweight durability, and stackability—all wrapped in a silhouette that feels almost effortless. The sofa continues this approach, bringing the brand’s indoor-level comfort to the outdoors, with high-quality upholstery that resists the elements yet remains soft to the touch.

There’s a sense of fashion here too, not in the fleeting, trend-chasing sense, but in the way each sofa is ‘dressed’ for occasion. Its upholstered finish, available in a range of textiles, lets it adapt to changing tastes and moods without losing the identity of the collection, giving its modular minimalism a tailored twist.

the sofa brings the brand’s indoor-level comfort to the outdoors with high-quality upholstery

But beyond the aesthetics and engineering lies a deeper intention: longevity. For Quitllet, true beauty is in endurance. A product should weather storms, saltwater splashes, and sun-soaked summers without losing grace. It’s sustainability not as a buzzword, but as a design philosophy – a product you can live with, and live in, for a lifetime.

The Africa sofa doesn’t just extend a collection – it continues a conversation between designer and material, between brand and lifestyle, between past and future. And in that dialogue, Vondom reminds us that design is not always about creating something new; sometimes, it’s about perfecting the essence of what already works.

the monobloc injection molding, allows Vondom to achieve optimal ergonomics for its products

the upholstered finish, available in a range of textiles, lets it adapt to changing tastes and moods without losing the identity of the collection

project info:

name: Africa

company: Vondom | @vondomslu

design: Eugeni Quitllet | @eugeniquitllet

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aquapraça: floating cultural plaza by carlo ratti & höweler + yoon unveiled for brazil’s COP30

carlo ratti & höweler + yoon urge global climate dialogue

Amid rising sea levels and growing calls for adaptable infrastructure, AquaPraça is a proposal for a floating cultural plaza hosting gatherings for global climate dialogue. Developed by CRA–Carlo Ratti Associati and Höweler + Yoon for the upcoming COP30 in Brazil, the public space harnesses natural intelligence, responsive technologies, and Archimedes’ principle to adapt to rising water levels and occupancy demands, exploring a new symbiosis between architecture and the environment.

The structure spans over 400 square meters and comprises a series of sloping surfaces and adaptive systems. Sensors, responsive technologies, and the natural flow of water work together to ensure the submersible platform adjusts its buoyancy in real-time. As water levels shift, so does AquaPraça, holding and releasing water to maintain a minimal difference between its surface and the sea. It is also designed to meet visitors at eye level with the ocean, bringing various perspectives on the realities of climate change into physical, immediate view. While models were unveiled at the main exhibition of the 19th Venice Architecture Biennale, the design team will return in September to debut the built prototype. In November, it will be taken to COP30 in Belém where it will anchor the Italian Pavilion, and as the summit concludes, the structure will remain in the Amazon as a long-term cultural landmark.

all images courtesy of CRA–Carlo Ratti Associati

A FLOATING PLAZA FOR climate discourse at COP30 in THE AMAZON 

AquaPraça is currently under construction by Cimolai in northeastern Italy, and at COP30, to be held in the Amazonian city of Belém, it will host exhibitions, workshops, and symposia as the centerpiece of Italy’s pavilion, capable of hosting over 150 people at once. Beyond its distinct position carved into the sea, the project is defined by its insistence on responsiveness.

‘In 1979, Aldo Rossi launched the Teatro del Mondo at the first Biennale Architettura, positing that architecture could engage with the past,’ says Carlo Ratti, curator of the 2025 Biennale and co-founder of CRA. ‘Today, AquaPraça shows how architecture can engage with the future — by responding to climate and engaging with nature rather than resisting it.’ 45 years after Rossi’s floating theatre moved through the Venetian lagoon, this new platform builds on that legacy, recasting architecture’s role as an active participant in shaping the environmental futures of the cities it touches.

AquaPraça is a proposal for a floating cultural plaza hosting gatherings for global climate dialogue

developed by CRA–Carlo Ratti Associati and Höweler + Yoon

sensors, responsive technologies, and the natural flow of water work to ensure the platform adjusts its buoyancy

the project will debut at the Venice Architecture Biennale in September 2025

in November, it will be part of the Italian Pavilion at COP30 in Brazil

exploring a new symbiosis between architecture and the environment

project info:

name: AquaPraça

architect: CRA–Carlo Ratti Associati | @crassociati, Höweler + Yoon

collaborators: Italy’s Ministry of Foreign Affairs and International Cooperation, Italy’s Ministry of Environment and Energy Security, Brazil’s Ministry of Foreign Affairs, CIHEAM Bari, World Bank Group’s Connect4Climate program, Bloomberg Philanthropies

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nik bentel studio bends single, unbroken loop of steel into sculptural chair

Nik Bentel Studio handcrafts sculptural Loopy Chair

The Loopy Chair by Nik Bentel Studio is a sculptural seating object that transforms the energy of a spontaneous, childlike sketch into a fully functional chair. At first glance, it feels like a cartoon brought to life — a single, looping line frozen mid-doodle. But behind its playful exterior lies a carefully engineered object, produced using high-quality materials and precise fabrication techniques. The project began in 2019 with the release of the original Loopy Chair: a single-color, thinner version that quickly captured attention for its whimsical form and bold silhouette. Now, several years later, the studio revisits and refines the concept, thickening the frame, upgrading the materials, and introducing a full spectrum of vibrant colorways including yellow, black, white, red, green, and blue. Each chair is handcrafted from a continuous tubular frame. The outdoor version is made of powder-coated steel, while the indoor versions include high-gloss fiberglass or a plush cloth-wrapped foam for extra comfort.

all images courtesy of Nik Bentel Studio

a continuous tubular frame shapes Loopy Chair

The form is the same across versions of the Loopy Chair — a three-dimensional sketch with no clear beginning or end — but the material choice shifts the tone from sturdy and architectural to light and tactile. To further bring the design’s world to life, Nik Bentel Studio’s team staged a whimsical photoshoot using miniature chair models and a surreal grassy landscape built inside their studio. The result captures the same sense of curiosity and delight that defines the chair itself, like flipping through a sketchbook that suddenly becomes reality. Debuting at ICFF 2025 in New York City, The Loopy Chair continues the studio’s tradition of creating limited-edition objects that blend art, performance, and design. True to its ethos, the chair is released in a small batch, with no restocks — a collectible moment frozen in line, loop, and color.

a sketch turned seat — Loopy Chair brings a line doodle into 3D form

a single looping line becomes a sculptural object for sitting

bold curves and clean lines are engineered from a continuous tubular frame

powder-coated steel ensures durability

childlike spontaneity meets high-quality fabrication

a surreal grassy set captures the chair’s glossy loopy volumes

project info:

name: The Loopy Chair

designer: Nik Bentel Studio | @nikbentelstudio

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

edited by: christina vergopoulou | designboom

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V&A east storehouse by DS+R opens in london, bringing museum storage into public view

london welcomes a new kind of museum

Opening on May 31, 2025, in London’s Queen Elizabeth Olympic Park, the V&A East Storehouse by Diller Scofidio + Renfro, in collaboration with British architectural firm Austin-Smith:Lord, reimagines what a museum archive can be. Rather than hiding collections away, the Storehouse turns the concept of museum storage inside out, inviting visitors to explore, engage, and even order to view objects from over half a million items, simply by booking online in advance, spanning ancient Egyptian shoes to Frank Lloyd Wright interiors. This new cultural model allows public access to national collections through a working museum space, immersive displays, and hands-on programming. Anchored by six monumental objects, including a section of Robin Hood Gardens and Wright’s 1930s Kaufmann Office, the only one of its kind outside the US, the Storehouse places conservation and creativity at the heart of its experience that feels more like a backstage pass than a gallery stroll.

all images by Hufton Crow, courtesy of V&A, unless stated otherwise

ds+r flips the archive inside out at v&a east storehouse

Diller Scofidio + Renfro’s team treats the building as a hybrid between archive, studio, stage, and civic space. Lighting weaves together the exhibition and workplace, allowing one to flow into the other. Material choices are intentionally raw, exposed concrete, steel, and translucent polycarbonate, framing the people at work and the collections they care for. Visitors move through looping circulation paths, with moments of openness and connection. Along the way, they catch glimpses into conservation labs, handling areas, and reading rooms, spaces that reveal the ongoing life behind the collections.

A new public viewing gallery is devoted to the display of oversized rolled works—carpets, stage cloths, and painted backdrops rarely seen due to their scale and fragility. Here, Natalia Goncharova’s Firebird backcloth (1926) and Picasso’s 1924 stage design for Le Train Bleu are suspended like theatrical relics in a cinematic, warehouse-like volume. 

At the heart of the building is the Weston Collection Hall, a monumental double-height space that quite literally turns storage inside out. Racks, drawers, vitrines, and industrial shelving units are carefully arranged as part of the visitor path, with curated ‘hacks’, over 100 mini-exhibitions interrupting the utilitarian grid with stories, objects, and unexpected juxtapositions.

V&A East Storehouse design by Diller Scofidio + Renfro reimagines what a museum archive can be

the public gains full access to half a million hidden treasures

Designed as part of East Bank, the £1.1 billion Olympic legacy initiative, the Storehouse is a purpose-built home for 250,000 objects, 350,000 books, and 1,000 archives from the V&A’s vast collections. But this isn’t about simply warehousing culture. The public is invited on a self-guided journey through over 100 curated mini displays embedded directly into the storage systems—exploring themes like Collecting Stories, Sourcebook for Design, and The Working Museum. These include unexpected treasures like embroidered samplers stitched by Hackney schoolgirls in the 17th century and a music hall program from 1890s Stratford. East London’s own creative legacy is also reflected through contemporary work by Jasleen Kaur, Xanthe Somers, Rahemur Rahman, and Imane Ayissi.

One of the Storehouse’s most radical offerings is the ‘Order an Object’ service. Visitors can book online to view any item in the collection—free, any day of the week. Whether you want to examine Leigh Bowery’s costumes up close, inspect a Lucie Rie ceramic, or get hands-on with Eames and Memphis Group furniture, the power to choose is in the public’s hands. For those who prefer a more serendipitous encounter, daily Object Encounters sessions offer pop-up insights led by collections staff.

treating the building as a hybrid between archive, studio, stage, and civic space

the Storehouse turns the concept of museum storage inside out

inviting visitors to explore, engage, and even order from over half a million items

visitors can explore, engage, and even order to view objects

items span from ancient Egyptian shoes to Frank Lloyd Wright interiors

material choices are intentionally raw

visitors move through looping circulation paths, with moments of openness and connection

racks, drawers, vitrines, and industrial shelving units are carefully arranged as part of the visitor path

Picasso’s 1924 stage design for Le Train Bleu

project info:

name: V&A East Storehouse

architect: Diller Scofidio + Renfro | @diller_scofidio_renfro

local architect: Austin-Smith:Lord | @austinsmithlord

location: Queen Elizabeth Olympic Park, London, United Kingdom

client: V&A Museum | @vamuseum

gross floor area: 14,865 square meters (160,000 square feet)

engineering (structures & services): Arup UK

principal design advisers: Orsa

cost consultant: Gardiner & Theobald

project manager: Artelia

exhibition consultant (competition phase): Studio Gardere

ds+r partner team: Elizabeth Diller, Ricardo Scofidio, Benjamin Gilmartin, Charles Renfro

project leader: David Allin

design team: Bryce Suite, Anthony Saby, Mark Gettys, Kevin Baker, Bo Liu, Mario Bastianelli, Laura Haak, Xing Yue Wen, Charles Blanchard

competition team: Merica May Jensen, Jack Solomon, Swarnabh Ghosh, Kumar Atre, Jedidiah Lau, Andreas Kostopoulos, Benjamin Vanmuysen, Eric Hsu, Yushiro Okamoto

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dries van noten to transform venetian palazzo pisani moretta into cultural venue

dries van noten acquires palazzo pisani moretta in venice 

Venice Sotheby’s Realty announces that Dries Van Noten has acquired the Venetian Palazzo Pisani Moretta. The Belgian fashion designer, who stepped down from his own label in 2024 after 38 years of helming it, is yet to reveal his plans for the palace. Given the history of the location, Dries Van Noten’s new venture can foresee him transforming Palazzo Pisani Moretta in Venice into a cultural venue. He describes it as a personal journey, adding that it is about creating something while respecting what came before.

Before he left his fashion brand, PUIG acquired a majority stake in his company in 2018. During the time, he was still the Chief Creative Officer. He still contributes to the brand and presented his final collection as the house’s creative director in June 2024. Julian Klausner has succeeded the designer as the label’s creative director, presenting his first women’s runway collection on March 5th, 2025. Now, Dries Van Noten focuses on his recent adventure in Venice, Italy, after having acquired the historical, 15th-century Palazzo Pisani Moretta.

portrait of Dries Van Noten | image courtesy of Dries Van Noten

Gothic- and baroque-style cultural venue and palace

A recap: the Palazzo Pisani Moretta in Venice stands along the Grand Canal between the Rialto Bridge and Ca’ Foscari. It belonged to the Pisani family since its construction in the late 15th century. The palace had demonstrated the Gothic Floral architecture, and then, between the early 16th and mid-18th centuries, it underwent significant changes and expansions. It wasn’t used in the late 19th century, so in the late 20th century, the palace was again restored. The efforts included bringing back original furniture and artwork to revive the palace’s historical value.

Because of this timeline, it now has its current appearance, the one that Dries Van Noten has acquired in Venice. Its facade keeps its Gothic-style mullioned windows, while the interiors present a Baroque style. The palace’s history states that renowned Venetian artists like Giambattista Tiepolo, Jacopo Guarana, Gaspare Diziani, and Giuseppe Angeli contributed to the interior decoration. Then, a prominent double-ramp staircase, also from the Baroque period, replaced the original external Gothic staircase. A report by the Corriere del Veneto says that Dries Van Noten has already had a house with his partner, Patrick Vangheluwe, for some time on the Grand Canal in Venice. Acquiring then the Palazzo Pisani Moretta may be an expansion step, a way for the designer to establish his new roots.

exterior view of Palazzo Pisani Moretta in Venice | image courtesy of Venice Sotheby’s Realty

double-ramp staircase that replaced the original external Gothic staircase | image courtesy of Venice Sotheby’s Realty

Main Hall | from here, all images courtesy of Palazzo Pisani Moretta

view of the Living Room

inside Palazzo Pisani Moreta at night

project info:

designer: Dries Van Noten | @driesvannoten

palace: Palazzo Pisani Moretta | @palazzo.pisani.moretta

realty: Venice Sotheby’s Realty | @sothebysrealty_venice

location: Quartiere San Polo, 2766, 30125 Venice, Italy

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