The Museum of Wisconsin Art is presenting chairs that Frank Lloyd Wright never saw completed. These designs existed only as sketches and architectural fragments until 2025. After seven decades buried in archives, Wright’s unbuilt chair concepts have been reconstructed for the first time, revealing the master architect’s furniture vision that time forgot.

Designer: Frank Lloyd Wright

Frank Lloyd Wright: Modern Chair Design runs at the Museum of Wisconsin Art in West Bend from October 4, 2025 to January 25, 2026, bringing together more than forty works and newly fabricated chairs based on Wright’s archival drawings.

This isn’t another retrospective celebrating Wright’s famous pieces like the Robie House dining chairs or Imperial Hotel seating. These are the designs that never made it past the drawing board. Conceptual furniture that Wright envisioned but never had the chance to realize during his 70-year career.

The Museum Project Behind the Reconstructions

The project is led by MOWA’s curator of architecture and design Thomas Szolwinski in collaboration with Eric Vogel of the Taliesin Institute, with reconstructions realized by expert makers including S. Lloyd Natof, Wright’s great-grandson, and Stafford Norris III.

What makes this exhibition remarkable is the completeness of Wright’s documentation. Working with the Frank Lloyd Wright Foundation to access and interpret archival drawings, the team discovered detailed architectural sketches, specifications, and material notes. Wright had essentially created complete furniture blueprints that his contemporaries never executed.

The reconstructed pieces span Wright’s evolution as a furniture designer across five distinct periods from 1911 to 1959. The progression shows his Prairie School geometric sensibilities transitioning through organic forms and culminating in his integration of natural materials with modernist principles.

The detailed drawings uncovered a missing chapter in Wright’s creative story. The designs were filed away in Wright’s personal archive, separate from his architectural projects.

Modern Technology Brings Vintage Designs to Life

Bringing these decades-old concepts to reality required combining traditional woodworking techniques with contemporary precision. The reconstruction team interpreted Wright’s two-dimensional drawings using modern tools while employing period-appropriate joinery methods.

The challenges were significant. Wright’s drawings sometimes lacked crucial construction details, presumably because he expected to supervise the building process personally. The team made educated interpretations based on Wright’s documented furniture-making philosophy and his documented preferences.

The reconstructions showcase diverse materials and techniques. One armchair fabricated in 2025 features cypress with upholstered fabric and gold leaf, demonstrating the range of Wright’s material vocabulary.

Many of Wright’s joint designs pushed materials to their limits, requiring tolerances that were difficult to achieve with mid-century equipment but are now feasible with modern precision tools.

Wright’s Furniture Philosophy on Display

The reconstructed chairs illuminate Wright’s approach to furniture as architectural elements rather than standalone pieces. Each design demonstrates his belief that furniture should emerge organically from the building’s overall design concept. Wright called this “integral ornamentation.”

The exhibition traces this philosophy across five distinct periods spanning 1911 to 1959, showing dramatic evolution throughout Wright’s career. Early Prairie School pieces display geometric vocabulary with right angles and linear elements that complement the horizontal emphasis of his prairie houses. Later work reveals significant shifts toward organic forms, with flowing curves that anticipate his Fallingwater period.

Highlights include first-ever fabrications of designs never built during Wright’s lifetime, such as cafe chairs envisioned for the Solomon R. Guggenheim Museum. These cafe chairs, now realized with a Milwaukee metal-spinning firm, represent some of the exhibition’s most significant reconstructions.

Why Wright’s Contemporaries Couldn’t Build These Designs

The reconstructions reveal technical hurdles that explain why Wright’s contemporaries couldn’t execute them. Some designs required techniques that were uncommon in furniture making of that era. Others demanded precision joinery that was difficult to achieve without contemporary tools.

Wright’s specifications often pushed the limits of available materials and techniques. His joint designs required tolerances that were nearly impossible to achieve consistently with period woodworking equipment. Modern craftsmen could execute Wright’s vision precisely because today’s tools and techniques finally match his ambitious specifications.

What seemed impossibly complex decades ago became achievable in 2025 through advances in precision machining and manufacturing.

Exhibition Details and Significance

The exhibition demonstrates how great design transcends its original time period, remaining relevant and inspiring across decades. The reconstructions bring Wright’s architectural principles to physical reality.

The project also establishes a methodology for recovering other lost design treasures from architectural archives. The systematic approach to interpreting archival drawings and executing reconstructions could apply to unrealized furniture by other mid-century masters.

For Wright scholars, these chairs provide new insights into his creative process during different career phases. The evolution from geometric Prairie School forms to organic modernist curves tells the story of American design’s transformation through the 20th century.

Frank Lloyd Wright: Modern Chair Design continues at the Museum of Wisconsin Art through January 25, 2026. The exhibition offers visitors the chance to experience furniture designs that were lost to time but never lost to imagination.

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The North Face’s newest HKe collection is anchored by a striking sculpture created by Dutch designer Johannes Offerhau. The centerpiece is built entirely from the brand’s proprietary SPECTRA® fabric, a high‑performance material originally developed for extreme‑use applications such as climbing ropes and ballistic protection. SPECTRA® is an ultra‑high‑molecular‑weight polyethylene (UHMWPE) fiber that delivers exceptional tensile strength while remaining lightweight and flexible . This combination allows the sculpture to achieve a towering, multi‑tiered form without the bulk of traditional metal or wood structures.

The installation consists of three distinct fabric panels: white at the top, gray in the middle, and black at the base. They are stretched over a skeletal framework of tall poles and tensioned cables . The color gradient reinforces the sense of altitude, echoing the shifting tones of a mountain sky. Because SPECTRA® resists abrasion, UV degradation, and moisture, the fabric maintains its crisp appearance even in harsh alpine conditions . Its inherent elasticity also enables the panels to tension evenly across the poles, creating smooth, flowing surfaces that appear to float in the landscape.

Designer Name: Johannes Offerhaus for North face

Offerhau’s design process emphasized both artistic expression and environmental responsibility. The entire sculpture was assembled on site using only the fabric and a minimal set of reusable hardware. After the installation was photographed, every component, including the poles, cables, and fabric panels, was carefully disassembled and carried out by the team, leaving the remote location untouched . This “Leave No Trace” approach mirrors The North Face’s broader sustainability goals and showcases how high‑tech materials can support low‑impact creative practices.

Beyond its visual impact, the sculpture serves as a functional demonstration of SPECTRA®’s protective qualities. The fabric’s high tensile strength makes it resistant to tearing and puncture, while its low weight allows it to be packed and transported with relative ease which is an essential feature for outdoor gear that must perform in demanding environments . The installation’s tensioned design also illustrates how the material can distribute loads across a structure, a principle that informs the engineering of The North Face’s HKe jackets and backpacks.

The collaboration between Offerhau and The North Face highlights a growing trend where fashion, technology, and art intersect. By translating the technical attributes of SPECTRA® into a sculptural language, the project invites viewers to consider how material innovation can shape our relationship with nature. The result is a compelling visual metaphor: a fabric‑based form that rises like a mountain peak, yet can be folded, carried, and removed without leaving a trace . This balance of durability, portability, and ecological mindfulness positions the Spectra sculpture as a benchmark for future outdoor art installations.

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The USM Haller system, launched in the late 1960s, is celebrated for its chrome‑plated steel frame and ball‑connector that lets shelves, desks and storage units be re‑configured at will . For the 2025 Designers’ Saturday biennale in Oslo, the theme “Repurpose” inspired a group of ten Norwegian designers to reinterpret the system using reclaimed and self‑sourced materials.

Martin A. Andersen, founder of Studio M3, began the project by rescuing a batch of old USM filing cabinets from the former Kreditkassen headquarters. The sturdy frames were still functional, providing a ready‑made skeleton for new ideas . Andersen’s own contribution consists of two benches wrapped in reclaimed timber, climbing rope woven into a macramé back, tall grass inserts and a transparent balloon pump that adds a light, playful accent.

Designer: Studio M3

Bård Arnesen took a different route, covering his re‑imagined Haller piece with large tapestry blankets. Rather than cutting or stapling the fabric, he left the blankets whole so they can be reused as wall hangings after the exhibition. Kjetil Smedal transformed a standard Haller unit into a functional record player. He applied a fibreglass shell over the frame and incorporated mass‑timber panels to create a resonant acoustic enclosure, turning the modular furniture into a retro‑style audio device.

Lloyd Winter’s entry looks as if it has been abandoned for years. Weathered paint, rusted bolts and a patina of dust give the piece a deliberately aged appearance, prompting viewers to consider the life cycle of objects and the beauty of decay. Josefin Johansson contributed a sleek bench that combines the classic USM geometry with a mix of reclaimed oak slats and soft upholstery, offering a comfortable seating option that still respects the system’s clean lines.

The exhibition also featured work by Bjarte Sandal, Hunting & Narud, Mic Poy, Marianne Skarbøvik, Stian Korntved Ruud and others, each employing materials such as surplus acrylic tiles, reclaimed metal, and even repurposed office furniture components. All eleven pieces served as audience seating during the talks programme, demonstrating how modular design can be both functional and expressive.

Beyond the visual spectacle, the project highlights a broader shift in contemporary design toward circularity. By reusing the original steel frames and pairing them with locally sourced or salvaged materials, the designers reduce waste while showcasing the adaptability of a system that was originally intended for corporate offices. The modular nature of USM Haller makes it an ideal platform for such experiments; components can be detached, re‑assembled and combined with new surfaces without compromising structural integrity.

Visitors praised the diversity of approaches, noting that the exhibition offered “inspiration” and “playful solutions” that could be applied in everyday interiors . The success of USM Haller Re‑framed suggests that classic mid‑century systems still have relevance today, especially when designers embrace up‑cycling and local craftsmanship. As sustainability becomes a central concern for consumers and manufacturers alike, projects like this may encourage more brands to open their archives for reinterpretation, turning legacy products into fresh, environmentally conscious statements.

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“Why can plants be considered native to more than one nation while people can’t?” This is a question that is very much relevant today with issues of immigration, identity, and diaspora constantly hounding those that live in countries that experience a huge influx of people coming in. What better way to explore these themes than in art?

Raul de Lara’s exhibition “Host” is a powerful and personal exploration of home, identity, and the immigrant experience, captured through the surreal and intricate medium of wood. The New York-based sculptor, who immigrated from Mexico at the age of twelve and is a DACA recipient, uses his art to give shape to the complex emotions and paradoxes of living between two cultures. The works on display are not just sculptures; they are silent companions, a testament to the artist’s journey.

Designer: Raul de Lara

“Host” reimagines the familiar. Everyday objects chairs, ladders, and most notably, wild-growing flora are transformed into anthropomorphic forms. The central inspiration for the exhibition came from de Lara’s return to Austin, Texas, after two decades. During his visit, he studied plants native to both northern Mexico and Texas, such as the firewheel and lazy daisy. He then recasts these wild plants as confined, domesticated houseplants in his work. This is a deliberate and poignant metaphor, questioning why plants can be “native” to two places, but people cannot.

The materiality of the “Host” sculptures is just as important as their form. De Lara works primarily with wood, a medium he grew up with in his father’s workshop in Mexico. This intimate connection to the material is evident in the finished pieces, which blend technical skill with a poetic sensibility. The artist’s mastery allows him to create sculptures that are both sturdy and delicate, reflecting the dual nature of his subject matter.

The designs are often characterized by a sense of magical realism and humor. While the forms are intricate and complex, they carry a certain whimsical quality that makes them accessible. The smooth, polished surfaces of some pieces contrast with the raw, textured grain of others, highlighting the organic nature of the material. Each piece is a testament to de Lara’s meticulous attention to detail and his ability to fuse traditional craftsmanship with a contemporary and deeply personal design vision. The sculptures stand as a physical manifestation of his journey, a beautiful and thoughtful dialogue between two cultures captured in wood.

The exhibition speaks to a universal human desire to belong. Through his intricate carvings, de Lara articulates the paradox of contingency the feeling of being in a place but never fully of it. His wooden plants, though rooted and sustained, are contained, unable to flourish freely. They stand as a quiet reflection on the systems that determine who is permitted to belong, and the quiet endurance required to navigate such a world. The sculptures invite viewers to reflect on their own understanding of home, cultural identity, and the silent narratives carried by the objects around us.

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We love exhibits that are able to blend together culture, politics, and storytelling seamlessly into eye-catching visual representations. Argentine artist Gabriel Chaile (b. 1985, San Miguel de Tucumán) makes his New York exhibit debut exhibit at the Marianne Boesky Gallery with “Esto es América, o qual é o limite?”. The exhibition features a striking suite of adobe sculptures, charcoal drawings, and protest photographs that fuse indigenous aesthetics with contemporary political commentary.

Chaile’s work is built on what he calls the “genealogy of form,” the idea that visual motifs recur across history, gaining fresh meaning each time they reappear. In this show he reinterprets the ceremonial vessels and architectural gestures of Northeast Argentina’s native communities, using the earthy medium of adobe to create large‑scale pieces that feel both ancient and urgent. The central sculpture: a towering form that hints at a lizard or bird caught in transformation, commands the gallery space. It is surrounded by four anthropomorphic “bread‑oven” shapes, together suggesting a procession, a march, or a protest.

Designer Name: Gabriel Chaile

The sculptures were built on site in New York, allowing the material to absorb the city’s energy while retaining the tactile qualities of traditional earthenware. Their surfaces are covered in dense black line drawings that interweave symbols, maps, and abstract marks. The intricate networks make each piece a visual encyclopedia of memory, inviting viewers to linger and decode hidden stories.

A key inspiration for the exhibition was Chaile’s observation of a No Kings Day protest while in residence at Tinworks Art in Bozeman, Montana. Photographs and charcoal sketches documenting the event line the walls, providing a contextual backdrop for the sculptures. In the protest, participants stood quietly on sidewalks, holding ambiguous signs that spanned ages, from children to elders. Chaile recalls feeling a subtle alignment with the gathering, not necessarily with its political stance but with its broader call for inclusive coexistence.

The charcoal drawings were executed directly on canvas attached to the walls while the adobe pieces dried, allowing the artist’s hand to echo the same motifs that appear on the sculptures. This parallel process creates a dialogue between the three‑dimensional forms and the two‑dimensional marks, reinforcing the notion that history and present moment are intertwined.

The bilingual title deepens the conceptual layer. “Esto es América” declares in Spanish, “This is America,” while the Portuguese phrase “o qual é o limite?” asks, “What is the limit?” The juxtaposition of Spanish and Portuguese, which are languages that colonized the continents, mirrors the exhibition’s exploration of borders, limits, and shared futures. Chaile’s work asks viewers to consider where the boundaries of cultural identity end and where the possibility for collective belonging begins.

“Esto es América, o qual é o limite?” offers a compelling blend of material craft, anthropological insight, and timely protest imagery. It invites the general audience to reflect on how ancient forms can speak to modern struggles, and how art can serve as both a memorial and a catalyst for change. The exhibition runs at Marianne Boesky Gallery through October 31, 2025.

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Bringing together two brands that I absolutely love, Peak Design, the crowdfunding champion known for their innovative camera gear and carry solutions, has partnered with Fujifilm to create FIELD LAB at their NYC retail location. What we’re seeing here goes far beyond typical product showcases – it’s a community-driven space where photographers can actually touch, test, and trust the gear before making decisions. The collaboration represents something refreshingly different in photography retail, addressing what many of us have been craving: the ability to properly test cameras with the accessories we’ll actually use, rather than handling sterile display units in traditional retail environments.

Designer: Peak Design

The timing couldn’t be more perfect, launching on World Photography Day (August 19) and running through the end of 2025. What makes this particularly exciting is how it transforms Peak Design’s Lafayette Street location into what CEO Peter Dering calls “a playground where creativity and connection come first.” Instead of being rushed through quick demos, photographers can take their time exploring Fujifilm’s latest cameras, including the recently launched X-E5 mirrorless model.

A Playground for Photography Enthusiasts

FIELD LAB occupies Peak Design’s Lafayette Street location in Manhattan, creating a genuinely different camera store experience. The setup allows visitors to pair cameras directly with Peak Design’s signature straps and bags, creating a real-world testing environment that eliminates the guesswork when finding the right combination of camera body and carrying solution. Having both brands’ expertise under one roof makes perfect sense when you consider how often photographers struggle with compatibility between different manufacturers.

Every Thursday from 11 AM to 7 PM, a dedicated Fujifilm representative joins the Peak Design staff to answer technical questions and provide deeper insights into the camera systems. This approach ensures genuine expertise is always available, unlike typical retail experiences where staff might know basics about everything but lack deep knowledge of specific systems. The collaboration brings together people who really understand their respective technologies.

QR codes on each displayed camera link to detailed product information, while a co-branded microsite keeps visitors updated on events and services. These thoughtful touches show both brands understand modern shoppers want comprehensive information before making significant purchases. The technology integration feels natural rather than gimmicky.

The hands-on approach makes sense when you consider how photography gear performs in real situations versus controlled demo environments. Being able to test how a camera feels with your preferred strap or bag configuration can make or break a purchasing decision.

Beyond Gear Testing: Building Community

What distinguishes FIELD LAB from a simple product demonstration space is its commitment to fostering photography community connections. The monthly calendar includes artist meetups, networking mixers, print swaps, and workshops designed to bring New York’s creative community together. This approach recognizes that photography gear represents just tools; the real magic happens when photographers connect and inspire each other.

The free monthly Clean & Check service, offered every third Thursday from 11 AM to 4 PM, addresses a practical need many photographers face. Professional camera cleaning can be expensive and time-consuming to arrange independently. Having Fujifilm technicians inspect and clean up to four items per visitor transforms routine maintenance into a community touchpoint where photographers can learn about proper gear care.

Launch events like the August 19 opening party (6-8 PM) featuring drinks, music, and print swaps show FIELD LAB’s community-first approach. No RSVP required.

Print swaps particularly resonate with both film and digital photographers who want to see physical representations of their work and discover new perspectives from fellow creators. These events create natural opportunities for knowledge sharing and artistic inspiration that online communities struggle to replicate authentically.

Creative networking events address something many photographers experience: the isolation that comes with spending most shooting time working alone. Having a dedicated space for community building helps counter that natural tendency toward isolation.

The workshop programming will likely evolve based on community feedback and emerging photography trends. Both brands have histories of listening to their users and adapting offerings accordingly, which suggests FIELD LAB will grow organically rather than following rigid predetermined schedules.

Why This Partnership Works

This collaboration makes perfect sense when you examine both companies’ trajectories and core values. Peak Design built their reputation through 15 successful Kickstarter campaigns, raising $57 million while remaining investor-free. This approach allowed them to focus on designing genuinely useful products rather than chasing quarterly profits, creating a philosophy of “make the best things” that aligns naturally with Fujifilm’s commitment to imaging innovation.

Victor Ha, Vice President of Electronic Imaging and Optical Devices at Fujifilm North America, noted that both audiences “share a love for gathering in spaces that blend adventure and creative freedom.” This shared customer base makes the collaboration feel organic rather than forced. Both brands attract photographers who value quality, creativity, and authentic experiences over flashy marketing promises.

FIELD LAB represents something photography retail has been missing: a space where community, education, and product experience intersect meaningfully. The success of this NYC location could easily inspire similar collaborations in other major photography markets, given both brands’ global reach and loyal followings. The collaboration’s focus on long-term community building rather than short-term sales metrics suggests both companies understand that modern consumers value experiences and relationships alongside products. As photography continues evolving with new technologies and platforms, spaces like FIELD LAB provide anchors for the creative community to gather, learn, and grow together.

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Paper umbrellas have deep roots in Chinese culture, symbolizing both shelter and celebration. For centuries, these umbrellas were crafted from bamboo and oiled paper, often hand-painted with intricate designs of flowers and birds. They were used in weddings, parades, and even in the quiet moments of daily life, offering not just protection from rain or sun, but also a sense of artistry and ritual. MAD Architects, celebrated for their futuristic and poetic approach to architecture, have taken this humble, beloved object and reimagined it for the modern era. Their “Chinese Paper Umbrella” is more than a nod to tradition: it’s an invitation to see the familiar with fresh eyes and to experience a new kind of shelter that bridges past and future.

Situated in the garden of the China Pavilion at the 2025 Venice Biennale, the installation transforms a simple outdoor space into a place of sensory discovery and quiet reflection. The umbrella is crafted from Xuan paper, a material revered in Chinese calligraphy for its soft texture and absorbency. The paper is treated with layers of tung oil, which gives it water resistance and an elegant, translucent quality, making it both practical and beautiful for the Venetian climate.

Designer: MAD Architects

This structure is not just about providing shade; it’s about creating an intimate, inviting atmosphere that encourages visitors to pause and experience the interplay of light, shadow, and air beneath the canopy. The umbrella’s lightness and airy contours echo the gentle elegance of its traditional inspiration, while its scale and setting make it feel welcoming and contemporary. MAD’s design goes beyond the static. The Chinese Paper Umbrella features a built-in misting system at its apex, which automatically activates to cool the space when temperatures rise. This thoughtful addition ensures comfort for visitors and elevates the experience, making the umbrella not just a visual delight but also a responsive, almost living element within the garden. Throughout the day, the translucent canopy filters daylight, casting shifting patterns and creating a dynamic, immersive environment.

As part of the China Pavilion’s broader exhibition for the Biennale, the installation fits seamlessly into themes of cultural dialogue, innovation, and the blending of nature with human creativity. It’s a perfect example of how traditional motifs can be reinterpreted in contemporary forms, offering both a sense of nostalgia and a vision for the future. The “Chinese Paper Umbrella” will remain on view at the Venice Biennale’s China Pavilion garden through November 23, 2025. It stands as a gentle reminder that the most meaningful designs are those that honor the past while embracing new possibilities.

With this project, MAD Architects have created a space that is both timeless and refreshingly modern—a haven where tradition and imagination meet, and where every visitor is invited to linger under its graceful canopy. For design lovers, collectors, and anyone who appreciates cultural artistry, this installation is a must-see highlight of the Venice Biennale—one that captures the enduring spirit and innovative future of Chinese craft.

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Art has always been a mirror, reflecting not just what we see around us, but also what we feel, remember, and dream. In Nosheen Iqbal’s Botanical Allegory series, nature is not just a subject but a metaphor, a memory, and a celebration of resilience. If you’re a collector or simply a lover of contemporary textile art with a story, this series is worth a closer look. Nosheen Iqbal is a British-Pakistani artist whose innovative work pushes embroidery into exciting new territory. She’s best known for her sculptural embroideries on wood, where traditional hand-stitching meets the sturdy, organic surface of timber. Iqbal’s multicultural heritage weaves through her art, creating a rich tapestry of influences that speak to belonging, identity, and the beauty of cultural intersection.

Botanical Allegory is one of Iqbal’s most evocative and visually stunning bodies of work. Here, she uses botanical motifs like leaves, vines, petals, and tendrils to explore themes of growth, transformation, and the cycles of nature. But these aren’t simply pretty plants; they’re carefully chosen symbols, each telling a layered story. In this series, Iqbal drills precise grids or organic patterns into wooden panels, then hand-embroiders vibrant threads through the holes. The result is a three-dimensional artwork where the softness of thread and the solidity of wood create a harmonious tension. The botanical forms seem to grow from the wood itself, as if nature is reclaiming and transforming the surface.

Designer: Nosheen Iqbal

One of the most captivating aspects of the Botanical Allegory series is its use of allegory. She uses the language of plants to express deeper ideas. Each piece is like a visual poem, inviting you to look beyond the surface. Many works feature plants pushing through cracks or reaching towards the light, echoing themes of perseverance and hope. Iqbal also often draws on South Asian floral motifs, linking each piece to her own cultural background and the history of textile arts. Moreover, the merging of wood and embroidery reflects the ways we change and adapt, blending old roots with new growth. The artist’s choice of rich, earthy tones and jewel-like colors adds another layer of meaning. The threads shimmer against the grain of the wood, suggesting vitality and renewal, reminding us of the cycles of life, loss, and rebirth that we all experience.

Collectors are always searching for artwork that feels unique, heartfelt, and beautifully made. The Botanical Allegory series delivers all this and more. Each piece is meticulously hand-stitched, meaning no two are ever alike. The tactile contrast between wood and thread makes these works stand out on any wall, inviting viewers to linger and look closer. Moreover, Iqbal’s art is deeply personal yet universally resonant. Her use of botanical metaphor bridges cultures and generations, making the series meaningful for a wide range of collectors. Whether you’re drawn to the craftsmanship, the symbolism, or simply the sheer beauty of the work, each embroidery is a conversation piece—one that brings warmth, story, and inspiration into your home.

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One of the favorite past times of friend groups the past few years are teaming up or going against each other in escape rooms or mystery rooms. I haven’t tried it myself since I know I’m not that great at problem solving games but from what I’ve heard it’s a good activity for groups and even as team building activities for companies. Imagine though that you’re going through rooms surrounded by items from a luxury brand and trying to solve such a rich person mystery.

That’s what Hermès’ Mystery at the Grooms’ interactive installation is all about. Instead of just doing the usual exhibit to showcase their collection, they created an immersive journey that blurs the line between art, fashion, and playful discovery. They’re offering a feast for the senses and a treasure trove of inspiration for both collectors and design aficionados or those who are just interested in doing a high-end escape room.

Designer: Hermès

The installation is actually based on “The Grooms” which is a reference to the iconic bellboys that are already part of the Hermès universe with their dapper uniforms, polished brass buttons, and a dash of old-world charm. A row of bellboys actually welcome you into the exhibit as you prepare to play detective, piecing together clues and exploring themed rooms. The mystery is that the horses have gone missing and through a phone-based game, you need to locate them as you move through the six rooms, namely the Head Grooms’ Office, Dormitory, Pantry, Refectory, Laundry, and Stock Room.

You start off in a stylized garden with horse-shaped topiaries, various floral arrangements, and of course, some Hermès motifs tucked into these displays. Each of the rooms serve as a stage set and a showcase of their items like ready-to-wear clothes, ceramics, leather goods but they are integrated into the narrative to make everything cohesive. As expected from the brand, they have a meticulous attention to detail with their polished oak cabinets, hand-painted tiles, and other things that you will notice (or maybe not notice).

The clues are both visual and tactile. a concealed safe opens only when the right code is cracked, while in the dormitory, a secret peephole tucked behind a painting reveals another elusive member of the herd. The entire adventure is set against a ticking clock with guests getting just seven minutes in each room, with their progress tracked digitally as they move from clue to clue. And what do you get when you solve it? You get a notebook and a coloring book. Unfortunately there are no Hermès products, although those gifts were designed by the brand.

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Even though you’ve probably seen “AI this” and “AI that” for the past couple of years, we’re still barely scratching the surface of what Artificial Intelligence can contribute to mankind. Whether you feel strongly against it or you’ve gotten used to it or you’re lukewarm about it, we do know that it’s here to stay. And it’s also much, much more than just getting ChatGPT to write your email or getting a Ghibli-fied photo for your Facebook post. We’re discovering ways it will be able to do good while also hopefully walking that balance between creativity and humanity and all the other ethical issues we’re facing when it comes to its use.

At the 2025 Venice Architecture Biennale, ecoLogicStudio introduces “FundamentAI,” a groundbreaking installation that merges artificial intelligence, biotechnology, and environmental data to envision a new paradigm of responsive urbanism. This project aligns seamlessly with the Biennale’s theme, “Intelligens. Natural. Artificial. Collective.,” curated by Carlo Ratti, which emphasizes the integration of diverse forms of intelligence to address contemporary architectural challenges.

Designer: ecoLogic Studio

“FundamentAI” is a collaborative effort between ecoLogicStudio, the Synthetic Landscape Lab at Innsbruck University, and the Urban Morphogenesis Lab at the Bartlett, UCL. Installed at the Arsenale, the project draws inspiration from Venice’s traditional wooden ‘bricole’ foundation poles, reinterpreting them as bio-fabricated, biodegradable 3D-printed columns embedded with responsive technology. These columns are designed to interact dynamically with environmental data, particularly signals from the Venetian lagoon’s microorganisms, such as acidity levels and microbial activity.

The installation employs a suite of AI technologies to process and visualize real-time ecological data. Tools like DeepSeek-R1 and GPT-4o analyze user-submitted images and texts, while FLUX.1-dev on ComfyUI generates corresponding images. TRELLIS handles 3D modeling, and Kling AI produces animation outputs. This multimodal AI system enables the creation of adaptive architectural forms that respond to both user input and environmental conditions, effectively giving the lagoon a participatory role in the design process.

Architecturally, “FundamentAI” features a full-scale immersive environment where the 3D-printed columns respond to environmental changes with subtle lighting effects. These visual cues translate data streams, such as light intensity, acidity, and microbial growth, into atmospheric shifts within the space, creating a sensory experience that reflects the dynamic interplay between architecture and ecology. By integrating AI and ecological data into the fabric of urban design, “FundamentAI” proposes a shift from static, human-centric architecture to a more symbiotic and ecologically attuned approach. The project envisions urban environments where natural systems are not merely considered but actively participate in the design process, fostering a more sustainable and responsive urban future.

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