Great design only becomes iconic design when it captures the imagination of a historical moment while also pointing beyond it. That might sound lofty, but how else could one describe the Barcelona Chair? Or, for that matter, how else can one describe Flexform’s transformative Groundpiece seating system, which in 2026 is celebrating its 25th birthday?

Groundpiece by Flexform | Photo by Gabriele Basilico

When it was introduced in 2001, Groundpiece redefined what a sofa could be. It didn’t do so in a loud way, but with a modular concept and subtle changes in proportion and scale that anticipated the needs of the 21st century.

“Aware that changes in lifestyle spark new behaviors and needs, Groundpiece introduced a new dimension to the way the sofa is used, investing it with new functions. On today’s sofas, people rest, watch TV, read, and often work and even have dinner,” outlines Saul Galimberti, Design Center Director at Flexform. Groundpiece addresses these needs in three key ways: it uses generous proportions that invite relaxed, informal lounging; it incorporates practical features like shelves, storage and surfaces that support everyday living; and it offers a highly modular system that easily adapts to different spaces and needs.

Today, these features can be found to some extent in a number of different seating systems. But this wasn’t the case when Flexform was introduced. “From the very first glance, the Groundpiece sofa transcended the moment for which it was created,” explains Galimberti. “It has witnessed shifting habits and changing lifestyles. It watched the kitchen transform — from a once-isolated room to the star player in a new blended living space — becoming, like our modernity, an elegant hybrid. It remained still, but never static. It absorbed every evolution, becoming living proof that true design has no fear of time — it moves with it.”

Groundpiece by Flexform

Groundpiece’s silhouette is defined by low, inviting shapes and generous cushions, which can be ordered in either premium goose-down or durable dacron. It manages to be both elegant and comfortable, transforming chic spaces into authentic homes while complementing the surrounding architecture. The informality of the silhouette in no way compromises its aesthetic unity.

Groundpiece can be specified in a number of different arrangements — or in Flexform’s words, “compositions” — to meet the needs of specific spaces. In some formulations that remove the back cushions, it really isn’t a sofa at all, but more of a chaise, daybed or bench. To put it another way, Groundpiece isn’t a sofa, but a modular system. This means that it can be anything you need it to be.

Upholstery is removable in both fabric and leather versions (a must for coffee drinkers). There are five different types of upholstery — linen, cotton, cashmere and leather — and each is available in several colors. While Groundpiece sofas are best known in muted colors, the Ernest fabric can be ordered in bright orange and green. In the right space — say a midcentury California bungalow – these options would really shine.

Groundpiece by Flexform

The most iconic element of the Groundpiece seating system, however, is the armrest. Well, armrest is really not the right word for these low metal storage elements covered in cowhide that can be inserted in different parts of the structures. In 2001, this simple modular element elevated Flexform from a great sofa into something iconic.

Groundpiece was the creation of architect Antonio Citterio. He recalls that, when he first conceived of the piece, he was not sure it would catch on: “When we designed it, in 2001, it felt like an idea rich in substance but with little chance of success. Too simple, too direct, non-traditional. It wasn’t even clear whether it was a sofa or not. And yet we found the experiment compelling — this encounter between art and a cushion — something extraordinary, almost paradoxical. So, we went ahead with it.”

Preliminary sketches for Groundpiece by Antonio Citterio

Preliminary sketches for Groundpiece by Antonio Citterio

Groundpiece’s legendary armrest was conceived as a tribute to Donald Judd, the most influential and austere American designer of the 20th century. Judd, an artist and art critic by training, designed furniture by searching rigorously for the essence of the object. In Judd’s formula, “a work of art exists as itself; a chair exists as a chair itself.”

Like Judd, Citterio took his cues from the materials he was working with: “In the case of Groundpiece, the leather allowed us to translate proportions and asymmetries — borrowed from art — into a domestic object. That’s the essence of creativity: a chain of references, emotions and perceptions filtered through our own sensibilities.”

At 25, Groundpiece has earned its spot in the annals of design history. But it’s no museum object. It belongs in contemporary homes — in your home.

Truly, there is no other sofa on the market that reflects the needs of our time — the way we live and work in our domestic spaces — more effortlessly than Groundpiece. It is, to paraphrase Judd, simply itself.

Designers looking furnish with Flexform’s modular icon can read more about the sectional sofa, Groundpiece, here.

Cover Image: Groundpiece by Flexform, photo by Maria Vittoria Backhaus

The post Flexform Groundpiece at 25: Portrait of an Icon appeared first on Journal.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

In the field of construction, there has been a contemporary obsession — or rather a fascination — with flexibility. Modular systems, adaptable plans, moving components and even demountable walls make buildings that can be “anything, anytime.” Perhaps, one reason may be that architecture is responding to the world’s pressing uncertainty, that being economic, social or environmental. Design enhances impermanence and plasticity to keep up with the rapid cultural shifts, both in terms of construction as well as program, when inhabited. But what if flexible architecture actually masks a deeper desire, specifically, the longing to live in more stable cities, where permanence is the norm and not the exception?

The housing crisis, the rise of the digital nomad lifestyle, short-term leases and an overall tendency for temporary living have resulted in a state of persistent residential precarity. Architecture that proposes lightweight systems that can be easily dismantled, offering more impermanence in an already unstable world. Yet, amidst this temporality of construction, there are products that opt for permanence. They are heavy, materially honest and structurally stable. Architizer’s 2025 product winners feature some of the most notable examples of this counter-tendency, presenting façades, wall finishes and distinct architectural elements that refuse lightness and privilege mass.

Silver City Smooth & Wirecut by Glen Gery Corp | Jury Winner, Building Envelopes, Cladding & Roofing, 2025 A+Product Awards

One example is the Silver City Smooth & Wirecut brick collections, produced by Glen Gery Corp, that can be used for commercial façades as well as residential homes. The collections blend timeless materials with a contemporary edge that delivers a polished, modern finish. The Silver City Smooth design follows clean, smooth lines that can easily complement other, more lightweight materials such as glass, steel and wood.

On the other hand, Silver City Wirecut offers a more tactile texture that creates a dynamic interplay between light and shadow and is used particularly for revitalizing heritage sites, adding a touch of modern craftsmanship to existing architectural structures. Both options are unique examples of masonry envelopes that excel in durability, weather resistance and energy efficiency, showcasing how a single material can reaffirm permanence as an active design choice rather than a passive afterthought.

The Nagomi collection by Mirage, Jury Winner & Popular Choice Winner, Hard Surfacing, Tiles & Stone, 2025 A+Product Awards

Similarly, the Nagomi collection by Mirage, created in collaboration with architect Hadi Teherani, features a ceramic wall cladding option that operates beyond the mere concept of decoration. Instead, it pays tribute to ceramic production practices, incorporating a significant percentage of glass derived from the recycling of cathode ray tubes as the primary material, and showing how recycling and sustainability can become mechanisms for permanence through active reuse.

Additionally, Teherani infuses the collection with a strong cultural narrative, where its form originates from traditional patterns but evolves into a different type of architectural language — one that can be reappropriated to suit different, more contemporary contexts. In the Nagomi collection, permanence resides through the ability of the material to remain relevant throughout time, both in terms of production and cultural identity.

The Silver Sterling Coated Staircase by Marretti, Jury Winner, Best of the Year – Architectural Design, 2025 A+Product Awards

Finally, the Silver Sterling Coated Staircase by Marretti is a rather unique architectural product in relation to permanence. Usually, staircases are considered part of circulation spaces, where movement and transition take place. They are often made of lightweight materials, blending with the immediate space. However, the specific staircase features a box structure crafted from polished stainless steel, coated in silver, while the external railing is constructed from 3/8-inch by 3/8-inch curved ultra-clear structural glass, recessed into the structure. On the internal side, a polished stainless-steel convex helical band, also silver-coated, is complemented by a flat handrail for comfort, while the steps are made from solid walnut wood, with integrated LED lighting on the underside.

Consequently, the staircase no longer functions as a mere circulation device but also takes on the role of architectural anchor, accentuating the act of movement throughout the space. It celebrates physical longevity by using durable, tactile materials that prolong the staircase’s life and enhance its spatial presence. In parallel, this gesture of elevating a simple architectural element into a component that matters suggests a long-term investment in the building itself, making it unlikely to be replaced or dismantled.

Together, these products offer solutions for quiet permanence. They produce a more subtle architecture that avoids being rigid or authoritarian and instead chooses to introduce permanence as care: production through reuse, materials that support the renovation of historic sites and interior components that act as anchors of inhabitation. More importantly, these products suggest a much-needed sense of optimism, “daring” to stay still in an age of constant adaptation and asking what might change if architects started investing in endurance again.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

Featured Image: The Nagomi collection by Mirage, Jury Winner & Popular Choice Winner, Hard Surfacing, Tiles & Stone, 2025 A+Product Awards

The post The Return of Mass: How Material Weight Is Reframing Architectural Value Today appeared first on Journal.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

In the past couple of decades, “the wall” as a surface has been rather ignored in terms of architectural resolution and interior design. The rise of the open plan space — where circulation was prioritized over enclosure — as well as furniture celebrated as objects that carried spatial identity, led to “the wall” becoming a screen, a background, rather than a tactile surface with material presence. This, in addition to the misapplied legacy of minimalism paired with the need for “Instagrammable” backdrops, encouraged smooth plaster finishes and Farrow & Ball neutrals to become the dominant decoration choices for these vertical surfaces.

And yet, this year’s Product Awards winners display cladding systems and finishes with depth, texture and thickness. It appears that there has been a quiet rebellion amongst architects, who once again elevate the wall into an inhabited element rather than a cosmetic one.

Wanderlust by Jill Malek | Jury Winner, Walls & Wall Coverings, 2025 A+Product Awards 

Starting with Wanderlust by Jill Malek, this mural collection draws inspiration from the designer’s travels: the expansive terrains of Iceland, the undulating, glistening mountaintops of Sedona and finally, the endless textures found in the city of Tokyo. The designer introduces the idea of “functional artwork”, i.e., a wall treatment that responds carefully to its context. To be more specific, apart from their conceptual dimension, the murals can be scaled and composed uniquely, tailored to each space, allowing every installation to respond rather than impose a fixed image.

Wanderlust is a characteristic example of a wall finish that resists easy consumption. Even though such murals might steal the spotlight and photograph poorly, they perform well in real space. The mural’s complexity and customizability form a palpable surface, one that changes with light, proximity or movement. In parallel, the specific collection introduces the “return of the hand” — not via a nostalgic reminiscence of craft but as material presence — regardless of whether that presence is achieved through industrial precision or handcrafted processes.

The Pleat&Weave Collection by Plyboo (Smith & Fong) | Popular Choice Winner, Walls & Wall Coverings, 2025 A+Product Awards 

In contrast to popular opinion, a flat wall is not sustainable; in fact, such surfaces thrive on disposability. A lightweight plasterboard system, for instance, is easy to install, paint and eventually be replaced, offering ease but at the cost of being environmentally inefficient and heavily consumptive. However, the Pleat&Weave Collection by Plyboo (Smith & Fong) suggests a wall finish that is highly durable and ecologically conscious. The design uses bamboo as the primary material to create panels that balance organic texture with engineered precision. Bamboo lasts longer than most wood-type products, while also being biodegradable and contributing to reducing deforestation.

Nevertheless, the specific product’s advantage is not merely its positive sustainable impact. The patterns etched on the panels are inspired by traditional weaving techniques, featuring chevron motifs and accordion pleats that create spatial narratives and rhythm. These patterns, in combination with the use of natural materials, aim to create environments that trigger positive neuro-aesthetic responses. In doing so, the wall shifts from a passive enclosure to an active sensory and spatial agent, playing with light and texture. It ceases from being just a natural backdrop and becomes a performative interface that delivers a heightened architectural experience.

Biowood by BARRISOL | Finalist, Best of the Year – Sustainable Design, 2025 A+Product Awards 

Finally, to push against the wall (rather than accept it as a limit), the Biowood product by BARRISOL expands the wall’s role beyond enclosure. The Biowood range features eco-friendly fabrics – upon which any image can be printed – crafted from up to 92% natural ingredients that can dress up various interior surfaces and particularly ceilings. The product can be installed quickly, producing zero debris or dust and can be easily fitted and refitted without damaging the existing structure. However, apart from their durability and eco-friendly composition, these fabrics are equally functional. They are resistant to water and humidity, thus becoming ideal for high-moisture areas such as bathrooms, swimming pools, etc. and have a high fire tolerance. In that sense, the product does not merely operate as decorative cladding but becomes a form of intelligence, functioning in this case, as a barrier for humidity and water.

These three Product Award winners have signaled a growing discomfort regarding interiors that were designed mainly for instant consumption and digital circulation. They advocate for spaces where the surface is transformed once more into a protagonist, not in a stylistic manner but as a performative agent. Consequently, the wall forms relationships between body and movement, light and shadow, architecture and context, becoming materially as well as sensorily activated. Ultimately, the “death of the flat wall” signifies a change in architectural values, where architects shift from visual neutrality into tactile engagement.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

Featured Image: Wanderlust by Jill Malek | Jury Winner, Walls & Wall Coverings, 2025 A+Product Awards 

The post The Flat Wall Is Dead: Designers’ Sensory Revolt Against the Instagram Interior appeared first on Journal.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

These days, it seems every brand describes itself as “sustainable.” The word appears on packaging, websites and press releases so often that it’s in danger of losing its meaning (architects take note: we’ve written about this before!). But every once in a while, a firm or a company comes along for which sustainability isn’t a tagline; it’s an ethos.

In the world of architectural materials, Cosentino is one of those rare examples. From its base in Almería, Spain, this family-run company has transformed from a local marble processor, founded back in 1945, into one of the world’s leading producers of architectural surfaces. The minds behind designer favorites like Silestone and Dekton continue to innovate; they have recently announced a groundbreaking new material that pushes both performance and sustainability to new heights: Ēclos. The story behind the new product is a microcosm of the brand’s mission. Yet to understand what makes Cosentino different, you have to look beyond its products and dive into its philosophy.

Innovation as a Way of Life

From the mountains of Almería to global design applications, Cosentino’s evolution reflects the fusion of natural stone and advanced technology. | Photo via Cosentino

At Cosentino, innovation and sustainability have always been two sides of the same coin. Each new material the company develops is both a technical advancement and an environmental experiment. When Silestone revolutionized the countertop market in the 1990s, it redefined what engineered stone could be. When Dekton arrived in 2013, it introduced ultra-compact surfaces built to last decades.

Now, with Ēclos, Cosentino has taken another leap — this time by creating an entirely new category of surface technology: the Inlayered Mineral Surface. Developed using proprietary Inlayr® technology, Ēclos fuses multiple mineral layers to achieve realistic 3D depth, veining and texture that extend through the material’s thickness. It’s made with at least 50% recycled minerals, with some colors reaching up to 90%, and it’s completely free of crystalline silica, marking a major health and safety milestone.

A New Benchmark for Architectural Surfaces

Swatches of Ēclos color options, from left, Tajnar; Legnd; Phantome.

Ēclos isn’t simply a new aesthetic — it’s a demonstration of what happens when design, engineering and sustainability converge. The surface offers high impact resistance, thermal tolerance up to 220°C (428°F), and improved flexibility that allows for larger slab formats and finer detailing. In practical terms, that means architects can use it for everything from kitchen islands to interior cladding.

But perhaps its most important innovation lies in its intent: to show that material progress is at its best when undergirded by an ethical approach. By removing crystalline silica and incorporating recycled content, Ēclos embodies Cosentino’s belief that true innovation must sustain the systems — human, environmental — it touches. As a result, Ēclos isn’t just a product launch; it’s a statement of Cosentino’s ethos.

A Global Brand in a Remote Landscape

Cosentino’s industrial park, seen from above. 

Unlike many design companies headquartered in major cities, Cosentino’s story begins far from Spain’s metropolitan centers. Its vast industrial park sits in the arid region of Cantoria, in Almería, surrounded by desert hills dotted with vast expanses of greenhouses. For the company, this geography isn’t a logistical challenge — it’s a defining advantage.

Because the community around Cosentino is small, the company’s success is inseparable from the vitality of the region. In a place where rural flight threatens to drain local populations, Cosentino has invested heavily in maintaining culture and opportunity. On top of being a motor for local employment, it invests in educational programs for local students and cultural initiatives in nearby locales, ensuring that the community sustaining the company can, in turn, sustain itself. This definition of sustainability is as much social as it is environmental.

Sustainability as Survival

Solar panels that power Cosentino’s campus. 

A company based in a remote region can only endure if its ecosystem endures too. In Cosentino’s view, sustainability isn’t a corporate add-on — it’s existential. Cosentino’s facilities run on 100% renewable electricity, reuse 99% of process water, and incorporate recycled minerals into their materials — the impetus for this approach is not simply that these practices look good in a report (to be clear, they do), but actually because they make sound business sense.

Like the greenhouses that cloak the arid earth in nearby regions, Cosentino’s campus embraces the unrelenting sunlight that beats down on the region for over 3,000 hours every year. To this end, over 60,000 photovoltaic panels have been installed to capture this solar energy. Meanwhile, closed-loop water systems conserve resources and lower costs: this investment in water treatment is already paying off in spades while its nearby towns reap the benefits.

Likewise, new circular production models are securing the company’s independence in a resource-constrained world. Why not find ways to make an income on what would otherwise be a by-product? In short, the operation exemplifies that what’s good for the planet can also be good for the bottom line. This pragmatic idealism — the idea that doing right by the environment also means investing in the company’s future — is a long-term strategy that expands commonplace definitions of sustainability.

An Industrial Ideal, Revisited

Another view of Cosentino’s industrial park in the mountains of Spain’s Almería province. 

Cosentino’s approach might feel radical in the 21st century, but its roots reach back to the earliest experiments in socially oriented design. In the 18th and 19th centuries, figures like Claude-Nicolas Ledoux and Robert Owen imagined utopian industrial communities. Ledoux’s City of Chaux placed a saltworks at the heart of a perfectly ordered society. The British model village of Saltaire did much the same, pairing factories with access to education and housing homes to support workers’ well-being.

By the early 20th century, Ebenezer Howard’s “Garden Cities of To-morrow” and Tony Garnier’s “Cité Industrielle” expanded those ideas, merging industry and ecology in self-sustaining settlements. Each vision, in its own way, argued that production and place were interdependent. In Cosentino’s Almería campus, those historic ideals find a contemporary echo. It’s not a utopia, but a functioning model of what an industrial ecosystem can look like when designed with long-term sustainability in mind. From Southern Spain to global outlets, the company’s ongoing evolution proves that this holistic definition of sustainability doesn’t have to be abstract or aspirational; it can be operational, measurable, and even profitable — the logic of a company that plans to be around for generations.

Sustainability as Innovation, Innovation as Sustainability

A kitchen richly detailed with Cosentino’s new Ēclos surface. 

For architects, the connection between innovation and sustainability is increasingly clear: the most forward-looking materials are those designed to endure.  In an era when “greenwashing” can make even sincere sustainability efforts seem suspect, Cosentino’s approach feels refreshingly grounded. The company doesn’t separate environmental performance from economic pragmatism or social responsibility. Instead, it treats them as the same problem to solve — a systems design challenge that architects will immediately recognize.

Architects today talk about regenerative design, buildings that give back more than they take, and Cosentino’s example suggests that manufacturers, too, can operate regeneratively. For architects specifying materials, it offers not just technical assurance, but a story worth sharing — one that aligns with the growing cultural demand for transparency and care in design.

Meanwhile, as global design moves toward circularity and climate responsibility, Cosentino offers a powerful reminder: the future of architecture depends not only on what we build, but on how we make the materials that make it possible. For architects looking to specify surfaces that align performance with purpose, Ēclos marks a new chapter in that story — a material built not just to last, but to sustain.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

The post Sustainability as Structure: Cosentino Puts Industrial Ecology into Practice appeared first on Journal.

There is a particular kind of minimalism that refuses to explain itself. You encounter it in certain Italian design objects — a table that appears to have no visible means of support, a bookcase whose shelves seem to float independent of structure — and the immediate response is not understanding but disbelief. How is that standing up? Where did everything go?

This is not minimalism as a style, the stripped-back aesthetic you can apply to anything. It is minimalism as a method: a process of removal so rigorous that what remains feels close to impossible. The object works, but you can’t quite see how. MDF Italia has been practicing this discipline since 1992, when founder Bruno Fattorini established the company on principles of formal simplicity and what they now describe as ‘subtraction’ — the elimination of the superfluous to reveal the meaning and soul of objects. The Tense table, reaching up to 13 feet (4 meters) in length, maintains a perfect balance between form and function. The Random bookcase, a design icon in its own right, whose apparent disorder conceals a precise modular logic. The Minima shelving system, an exercise in making structure disappear.

But here is the tension that defines contemporary furniture design: sustainability tends to add. It adds recycled content, which behaves differently in manufacturing. It adds disassembly mechanisms, so components can be separated at the end of life. It adds modularity, so parts can be replaced rather than entire objects discarded. It adds complexity to supply chains, certifications, and traceability. All of this is necessary and good. Yet for a company whose identity is built on taking things away, it poses an interesting problem. How do you make something more — more repairable, more circular, more adaptable — while staying true to a philosophy of less?

Array, the modular sofa system developed with Norwegian architecture studio Snøhetta and winner of a Jury Award at the 2025 Architizer A+Product Awards in the Furniture Systems category, is MDF Italia’s answer. And the solution, it turns out, is not to add to the surface but to build sustainability into the core — so deeply embedded that it becomes invisible.

The collaboration itself signals a shift in how MDF Italia approaches product development. Snøhetta is not a furniture designer. It is a transdisciplinary architecture practice with over 350 employees across nine studios, responsible for buildings like the Norwegian National Opera in Oslo, the Bibliotheca Alexandrina in Egypt, and the San Francisco Museum of Modern Art expansion. Their product design division, established in 2017 under director Marius Myking, brings an architectural sensibility to objects — a concern not just with form but with how things occupy and interact with space over time.

Architizer spoke with MDF Italia’s Marco Cassina about why a minimalist furniture company sought out architects for its most ambitious sustainability project, what happens when you design a sofa from the inside out, and whether flexibility and purity can coexist in the same object.

Sam Frew: What prompted MDF Italia to initiate the Array project, and what was the original brief you brought to Snøhetta?

Marco Cassina: The Array project was born from the ambition to go beyond the traditional canons of the sofa, introducing a vision that combines sustainability and innovation with comfort. The initial brief was focused on developing a flexible system, designed to last over time and capable of adapting to different contexts, from residential to contract.

Snøhetta is known for its work across architecture, landscape and product design. What drew you to collaborate with them specifically, and how did their approach align with MDF Italia’s design values?

In recent years, MDF Italia has embarked on a path that has led to collaborations not only with designers but also with major architecture studios. We believe that architects provide a distinctive insight into how an object fits into and interacts with space, opening up perspectives that go beyond the purely formal dimension. In this sense, Snøhetta was a natural choice. Their multidisciplinary approach — ranging from architecture to landscape and product design — mirrors the openness that guides MDF Italia. What attracted us was their holistic and experimental mindset, capable of exploring new aesthetic and technical boundaries without ever losing the formal purity and essentiality that are at the core of our identity.

How does Array fit into the wider design philosophy and product offering at MDF Italia? What gap or opportunity does it respond to?

At MDF Italia, research and innovation clearly emerge as fundamental elements of the company’s philosophy. Array fits into this journey as a concrete expression of design that preserves the purity of form while opening itself up to multiple interpretations. It responds to the growing need for flexibility, offering a system that adapts to ever-evolving lifestyles while also providing architects and designers with versatile solutions.

What makes Array distinct from other modular sofa systems currently on the market, and how important was flexibility to the final concept?

Each module is conceived as an independent cell within a broader organism. What distinguishes Array is the ease of assembly, the intuitive disassembly, and the possibility of replacing the upholstery — all of which guarantee durability and adaptability. Flexibility was central to the concept: Array is not just a system that adapts, but one that evolves together with those who use it.

From the injection-moulded recycled polypropylene base to the bio-polyurethane foam and hidden fastening system, sustainability is embedded throughout. How did these decisions come together technically, and what challenges did they pose in production?

The project required more than two years of intensive research and engineering. The objective was twofold: to use as little material as possible and to integrate recycled components wherever feasible — such as the recycled polypropylene base and polyurethane foams made with up to 51% recycled content. The real challenge was bringing these elements into industrial production, ensuring an accessible cost while making no compromises on performance or durability.

Was the hollow-core structure a functional decision, an environmental one, or both?

Both. On the one hand, the hollow-core structure reduces material usage and therefore environmental impact. On the other hand, it ensures lightness and long-term strength, while also facilitating transport, storage, and assembly.

Array challenges conventional ideas of comfort. How do you define comfort as a manufacturer today, and how did that influence this design?

For MDF Italia, comfort today has a 360-degree dimension. It is not only about ergonomics but involves all the actors in the process: from design to production, through logistics and installation. With Array, this vision translated into a system that is comfortable not only in use but throughout all phases of the process, from transportation through to installation.

What aspects of working with Snøhetta helped push the boundaries of what was possible with this system — creatively or technically?

Working with Snøhetta allowed us to adopt a completely different approach to product design. We did not start from a form, but from a concept, from a sociological reflection on how furniture can impact and interact with people’s lives. For MDF Italia, this was an entirely new design modality, capable of pushing boundaries both creatively and technically.

How do you see Array evolving over time? Do you imagine additional modules or adaptations in response to market demand?

Array was conceived as an open system, destined to expand and evolve over time. Together with Snøhetta, we are already considering future developments of the project.

Has the system changed the way you think about future product development, especially with regard to environmental responsibility and end-of-life design?

Yes, it has reinforced the importance of considering the entire product life cycle from the earliest design stages. Array stands as a reference point for a future where aesthetics, functionality, and environmental responsibility are inseparable.

What did recognition at the Architizer A+Product Awards mean to you, and what would you say to other manufacturers considering participating?

It was a significant confirmation: Array was recognized as an innovative project not only by the public but also by industry professionals. The award gave the system additional visibility, enhancing its journey. For other manufacturers, it is an opportunity to gain exposure, strengthen brand identity, and open up to new collaborations.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

The post The Subtraction Problem: How MDF Italia and Snøhetta Designed a Sofa From the Inside Out appeared first on Journal.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

In 1994, Stewart Brand published How Buildings Learn, a book that changed how architects think about time. His central insight was that buildings aren’t single objects but nested layers, each moving at different speeds. The site is eternal. Structure lasts centuries. Skin gets replaced every few decades. Services (wiring, plumbing, HVAC) cycle every fifteen years or so, and the space plan shifts with tenants and trends.

And then, at the very center, spinning fastest of all: Stuff. Furniture. The layer that changes “with the seasons and the current trends.” The ephemeral layer. The disposable layer.

Brand’s diagram became canonical. But by the time he published it, King Living had already been proving it wrong for seventeen years.

The Australian company started with a simpler question: why did sofas keep ending up on the curb? David King, founder and visionary, visited secondhand shops around Sydney, studying how things failed. What he discovered was timber frames that were cracked at the joints, arms that gave way under the lightest pressure and tired cushions that compressed never to come back. The failures, he found, weren’t random. They were clearly designed to behave like that. So King did what any good designer would do: he designed the flaws out. Creating steel frames influenced by automotive suspension, covers that came off and went back on easily. He created furniture that was built to be serviced, not replaced.

The rest of the industry? They kept spinning. Brand’s model described what most manufacturers were already doing, and thats what they kept doing. Shockingly, the average sofa still only lasts seven years and Americans throw away over twelve million tons of furniture annually. Eighty percent of that ends up in landfill.

Recent research suggests this way of thinking was a huge mistake. Firms like LMN Architects and MSR Design have begun quantifying the cumulative carbon impact of that innermost ring, and their findings are startling. Over a building’s sixty-year life, the embodied carbon of furniture, cycled every seven to fifteen years, can equal or exceed the carbon embedded in the structure itself. One MSR study found that furniture alone accounted for more than half of a commercial renovation’s total embodied carbon. What we’ve learned is that the fast layer is where the damage accumulates.

This fall, King Living opened a US showroom in Portland, its third in the United States, marking the beginning of a journey to reverse how a whole new subset of consumers thinks. Architizer spoke with CEO David Woollcott about building furniture for the long run.

You’ve described King Living as a “forever brand.” When you look at a space, what role do you think furniture plays in shaping the stories people tell about how they live there?

David Woollcott: Furniture is the framework of people’s lives. It’s where they gather, celebrate, and rest. A sofa becomes the setting for family moments, a dining table is the witness to milestones, and a bed supports our daily renewal. When furniture is made to endure, it becomes a backdrop to people’s stories for decades.

Spaces are defined as much by how they’re furnished as by how they’re built. How do you see King Living’s modular systems shaping the way people move through and inhabit space?

Traditional furniture locks you into one decision, one layout. The beauty of modularity is freedom. The customer shapes the furniture to suit their lives, not the other way around. As a business philosophy, it’s transformative because it creates longevity. People don’t have to purchase a new sofa when they move house or downsize. They can rearrange, expand, or simplify it. That ability to evolve is what allows our customers to truly inhabit a space on their terms.

In architecture, we talk about buildings that “age well.” What allows a piece of furniture to do the same?

Timeless design is built on discipline and the removal of unnecessary details. Clarity of form, enduring materials, and thoughtful engineering that anticipates change. Our best-selling designs have remained icons for over two decades because they embody those values. Their modular foundation, steel frame, and balanced proportions give them a timeless quality that evolves with their owner and space. King Living reinforces this longevity with a 25-year steel frame warranty, a commitment that ensures the design endures for a lifetime.

King Living has always designed for change, bringing pieces to market that can be reconfigured, refreshed, and repaired. How does that choice connect to current conversations about adaptable and resilient design?

Adaptability has been part of King Living since day one. We were designing modular, repairable, recoverable furniture before “resilience” and “circular design” became part of the global conversation. What’s different now is that society has caught up. Customers expect products to adapt to their ever-changing lifestyles and living spaces.

Australian design has a reputation for being relaxed yet rigorous, connected to light, landscape, and lifestyle. How do you see that spirit translating when you take the brand overseas?

The spirit of Australian design is more than the aesthetic. It’s an ethos. Australian design is shaped by our environment, our climate, and our relaxed way of life. When we enter markets like the U.S. or the U.K., customers sense that honesty. It’s rigor without pretension, comfort without compromise. That authenticity is what resonates globally.

You’ve worked in cars, appliances, and now furniture. Each of those touches daily life in a profound way. What have you learned about how people connect to the things that surround them?

In every category I’ve worked in, I’ve seen that people form emotional bonds with the products they use every day. At BMW, a car was pride and identity. With appliances, it was reliability and trust. With furniture, it’s comfort and connection. It’s truly part of your daily rhythm. What connects all three is the desire for products that respond to real human needs, not purely technical specifications. Connection happens when products evolve in step with people’s lives.

The Portland showroom brings King Living into a city with its own strong design culture. What kind of conversations do you hope will happen there between designers, architects, and the public?

Portland was a natural fit because it’s a city with a progressive design culture. I hope our showroom becomes a hub for dialogue and inspiration. Conversations about sustainable living, about the role of modularity in design, about how furniture can evolve with its inhabitants. We are at the forefront of furniture’s future.

Beyond comfort and durability, what role does experimentation play in the design process at King Living? Are there risks you encourage your team to take, even if they don’t all make it to market?

Experimentation is vital. If every prototype makes it to market, you’re not taking enough risks. Our founder, David King, encourages the in-house design team to test new materials, integrate emerging technologies, and continually innovate and refine. Being a vertically integrated company, we are in a unique position. We have fully owned and operated manufacturing facilities and teams with decades of experience that enable us to push the boundaries.

Repair, refurbishment, and reuse are part of King Living’s story. Do you think attitudes toward furniture, and perhaps architecture too, are shifting from ownership to stewardship?

Yes, and I think it’s one of the most important cultural shifts of our time. Ownership implies disposal at the end of the cycle. Stewardship implies care, maintenance, and responsibility. That’s how we’ve approached design from the very beginning: steel frames that can be recovered, covers that can be replaced, parts that can be repaired. It’s our role to make it easy and desirable for customers to choose stewardship over replacement. If we can be part of a movement that shifts the conversation from “What’s new?” to “How can I make this last?” then we will have lived up to our purpose.

Finally, if we spoke again in twenty years and looked back at this moment, what would you hope to say about King Living’s contribution to the way people live with design?

I’d hope to look back and say that King Living showed the world a different way to think about furniture. That we proved adaptability and sustainability could be the foundation of a global brand. That we influenced not only how people furnish their homes, but how they think about living in them. And above all, that we stayed true to our founding family values, built on a desire to do things better and differently.

Brand’s layers were meant to describe how buildings actually work. But descriptions have a way of becoming prescriptions. If furniture is classified as fast, it gets designed as fast, and the carbon costs compound with every cycle.

King Living’s bet is that the hierarchy isn’t fixed. That furniture can be slow if you build it that way. The warranty runs for twenty-five years. The frame is steel. And the company commits to continuing to service sofas from the 1980s.

The fastest layer, it turns out, really can slow down.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

Images courtesy of King Living.

The post Curb-Proof: The Australian Sofa Brand That Declared War on Planned Obsolescence appeared first on Journal.

Split Cabin by Washington-based studio Syndicate Smith offers a definitive answer. Located in the forested foothills of Lake Wenatchee, this 1,289-square-foot getaway rethinks the mountain retreat as a tool for immersion rather than escape. Its rich use of materials and stunning connection with the surrounding landscape captured the imagination of jurors in the 2025 Best of LaCantina competition, netting it the coveted Best in Show Award.

Photo by Will Austin

Split Cabin is split into two compact wings — one for living, one for sleeping — joined not by an interior corridor but by a covered outdoor breezeway that invites occupants to interact with the elements daily. “With its unpretentious charm,” the architects explain, “this cabin stands as a modest starting point, enabling residents to venture into the wilderness and return to a serene, unassuming space for relaxation and gatherings with family and friends.”

This sense of modesty is a guiding principle throughout the design. From the material palette to the massing, every decision supports a quiet clarity. Privacy is maintained through solid wall planes that shield views from neighboring lots, while the dwelling is oriented to capture panoramic vistas of the forest and distant ridgeline.

Photo by Will Austin

Passive strategies are built into the form — roof overhangs mitigate summer sun, while the split plan promotes cross ventilation. Yet the small footprint never feels enclosed, thanks in large part to the use of LaCantina’s aluminum wood sliding door systems, which form the project’s most transformative architectural element.

“We chose LaCantina Doors because their slim profiles maximize panoramic views while maintaining the cabin’s minimalist aesthetic,” said the design team. Installed along the main living volume, the doors open fully to the covered patio, enabling the breezeway to function as a true extension of the home. The gesture expands the living space without adding square footage, allowing natural light, air and movement to define the interior experience.

Photo by Will Austin

Equally important was performance. In a high-altitude, year-round climate, the team needed systems that would support comfort and durability without compromising the visual language of the project.

“They provide the energy efficiency needed for year-round comfort in a mountain climate,” the architects noted, adding that “durable hardware and multi-point locking ensure reliability in a simple, low-maintenance retreat.” The selected systems feature black aluminum exteriors for resilience and vertical grain fir interiors to harmonize with the project’s warm, wood-toned palette.

Photo by Will Austin

What makes Split Cabin exceptional is that, through simple design choices, every element has been calibrated to serve both function and feeling. “LaCantina’s consistent design language across door systems supported the clean, understated character of the project,” the architects emphasized, reinforcing the importance of cohesion in a design that resists architectural showmanship. By prioritizing formal subtlety and material clarity, Syndicate Smith has created a structure that acts less like an object and more like a lens on the landscape.

Photo by Will Austin

For architects working at the intersection of environment, durability, and minimalism, Split Cabin is a valuable case study in how glazing systems can be used not just as a feature, but as the foundation of a design. Its restrained execution and quietly radical spatial logic make it a worthy recipient of the top honor in this year’s Best of LaCantina competition.

To see more award-winning designs and explore the systems that helped bring them to life, visit LaCantinaDoors.com.

The post The World’s Most Beautiful Basecamp: Split Cabin Wins LaCantina’s “Best in Show” Award appeared first on Journal.

Resistance to speed and disposability — to the flattening of visual culture — isn’t inherently nostalgic. In this case, it emerges from a craftsman’s studio, one where leather is revered as a complex trade with architectural applications that go beyond upholstery or accent. Unfolding from London to Miami to Nevada to Brooklyn, the studio’s contemporary commissions testify to this singular approach, with rooms calibrated through grain, stitched edges that read like spatial notation, and surfaces that hold light with the quiet authority of something living.

Leather floors by Bill Amberg Studio in Clorane Gardens, London, United Kingdom

These effects rely on a technical vocabulary drawn from many trades: saddlery, bookbinding, case making, upholstery — all leather-adjacent disciplines that rarely share a bench. Amberg dissolves those boundaries on purpose. “So there are many types of leather, and there are many techniques associated with those types of leather,” he explains. “And really, in my world, never the twain shall meet. But I kind of like to disassemble that and reassemble it.”

So, Amberg’s studio splices these worlds together. “I like to take something from an idea from bookbinding and put it into a cabinet. And that might be the material or the technique or just meshing them together to make something really unusual and beautiful.” An experimental spirit is integral to the studio’s ways of work. Recently, they have been exploring formed timber substrates from a Finnish maker, where heat and pressure raise the wood into blistered reliefs wrapped in burnishable leather.

A three-year apprenticeship ensures that every maker in the studio can wield this interdisciplinary grammar. The resulting craft is meticulous, the kind of bar that is necessary for architectural precision. Consider the importance of hand stitching: two needles passing through each hole, locking the seam tight against the underlying structure. Yet the finish is refined: “We apply a plant-based gum and hand polish it,” he explains, fusing the fibers and softening the corners so that the seam reads as one continuous stroke. These joints trace the edges, becoming a kind of architectural datum; “one’s hand will register these transitions before the eye does.”

Leather banquette seating by Bill Amberg Studio in 80 Charlotte St, for Derwent London with MAKE Architects | Photography by David Cleveland

Left and right: Leather staircase by Bill Amberg Studio in a designer’s house, Kings Cross, United Kingdom| Photo by David-Cleveland

A little background on the studio’s founder provides context for this approach. Amberg’s mother was an architect who worked with Alvar Aalto in Helsinki, while his father ran a lift and escalator firm. Tools lived in the house, and making was part of the family’s culture: “My mother had a huge old drawing board, and she would design it, and my dad would make it,” Amberg recalls.

Geography mattered, too. The family hails from near Northampton, a leather town defined by hides and tanneries. “Leather was kind of everywhere when I was a boy,” he said. That ubiquity bred fluency. Amberg cut and stitched for fun, becoming increasingly familiar with his material’s possibilities and limitations. An apprenticeship in Australia deepened the practice, grounding him in the discipline, and a bag business followed, with shops in New York and Tokyo. But as fashion lurched toward speed, Amberg stepped away. “I was interested in making beautiful, lasting products that somebody would use every day and keep for the rest of their life,” he said.

The next step, architecture may seem like a leap, but with its inherently longer horizon, crafting spaces was a logical territory. The first commission — a leather floor in Kensington in 1986 — proved decisive. Though nearly 40 years have passed, “it still looks absolutely beautiful now,” Amberg notes.

Leather banquette seating by Bill Amberg Studio in 80 Charlotte St, for Derwent London with MAKE Architects | Photography by David Cleveland

Left: Leather-clad staircase by Bill Amberg Studio in Paris Apartment by  Dora Hart | Photo by Vincent Leroux | Right: Leather walls and pocket doors by Bill Amberg Studio in Orset Terrace, London, United Kingdom 

Today, the studio’s ethos is simple but radical: you design at the bench. “Sori Yanagi had a principle of designing through making,” Amberg said. “That’s the foundation of my principles now.” A drawing sparks the idea; prototypes test its truth; the hand resolves what the paper cannot. This cycle — iterative but physical — explains the studio’s unique ability to inextricably unite architectural thinking with craft.

Through this approach, leather exceeds ornament, becoming an intelligent surface. The hides, vegetable-tanned in specialist Northern European tanneries, undergo a process that is deliberately slow: bark, water, patience. Amberg avoids plasticized finishes that alter the color but smother the texture in the process. You can pigment it, he warns, “but you are disguising all of the character, all of the grain.” Instead, he favors aniline dyeing, with which “you get a gorgeous depth of color, a gorgeous nuance of material.”

That commitment forces the supply chain toward higher welfare practices. “A happy cow has beautiful skin,” Amberg says. Imperfections cannot hide beneath coatings; provenance is visible. Variations in tone and structure, as well as varying depths to the grain, are further influenced by which parts of the animal hide — flank, shoulder — are used. “You start to think about that like a joiner would think about different grains of wood,” he remarks, hinting at an architectural reading of his material.

Leather walls and doors by Bill Amberg Studio for Lever House by Marmol Radzinger, New York City, New York | Photo by Nick Chard

Left: Leather bench seat in aniline dyed shrunken bull leather by Bill Amberg Studio, Derwent London | Right: Leather bench seat upholstered in red aniline upholstery leather with twin saddle stitch detailing by Bill Amberg Studio, Southampton Row, Derwent London

Digital consumption has changed our culture’s expectations for architectural space. In a context where photogenic qualities are prized above all else, the material’s nuances feel almost oppositional. Leather carries sound differently; it emits a scent; it offers a tactility that resists the sanitizing tendencies of the contemporary world. It is also an investment that is meant to last generations. Spaces warm up while calming down; they deepen in character, changing over time as the leather gracefully ages.

Reverence for the material lends itself naturally to sustainable practices. Since a premium is put on the animal’s husbandry (they source from some of the highest welfare livestock on the planet), scraps of aniline hide are considered raw material rather than a discard: “We keep all of our waste.” Offcuts are used in clamped belts, while experiments are underway to set smaller remnants into a terrazzo-like surface set in bio-resin. A desk in the studio was made this way: “It feels gorgeous,” Amberg gushes, as his hand grazes the surface.

Though its been larger at times, the workshop remains intentionally small, currently manned by just twelve craftspeople. Projects rely on trusted joiners and metalworkers, but the leatherwork remains in-house, built from early involvement. “I like to come in very early,” Amberg explains, “when somebody is thinking about using leather or thinking about that as a possibility within the palette of materials.” The team examines context, adjacent materials and junctions, using prototypes to test every transition. Craft becomes architectural detailing.

The studio thrives in partnerships with architects that are based on collaboration and mutual admiration, where “you can build ideas together.” Fabrication unfolds in London; installation reaches globally, with recent work spanning continents: leather walls in Miami; a new commission in Nevada; past projects in Nashville; furniture collaborations in Brooklyn and the U.K.

Leather staircase by Bill Amberg Studio for a private residence, Hertfordshire, United Kingdom | Photo by David Cleveland

Left: Leather Inglenook by Bill Amberg Studio for the Leathersellers’ Hall | Photo by David Cleveland | Right: Leather wall and paneling by Bill Amberg Studio for the Leathersellers’ Hall | Photo by David Cleveland

The argument for leather in architecture often defaults to luxury. (Can you imagine anything more sumptuous than the feeling of walking down a set of leather steps barefoot?) Yet Amberg counters with something more democratic: daily ritual. “Our senses need to be fed in a broader way,” as he put it, “the sensory fields are much more emotive than people imagine.”

For clients wary of surface area, he proposes targeted intensity. “If designers can’t use too much of our material, we always say, do the touch points,” he said. Handrails, pulls, banquettes, desk edges — the places where the body meets the building. A narrow band of leather can recalibrate an entire room.

For architects seeking interiors that feel richer without spectacle, the invitation is straightforward: treat leather as architecture, not an accent. Bring the maker in early and work alongside the craftsman, allowing them to extend and push detail. This is the type of collaboration that allows you to make something truly unique. Invite your clients to feel the difference.

For designers interested in detailing their next space with leather, investigate future collaborations with Bill Amberg Studio by clicking here.

The post “You Design Through Making”: Inside Bill Amberg Studio’s Tactile Architecture appeared first on Journal.

“I grew up in Utah, in the mountains,” says architect Michael Upwall. “I’m a mountain boy … it’s a sacred place for me. If we’re going to go in and move into the wilderness, we want to make sure we create something that is worthy of it, that can be a part of it, not just detract from it. So what we do is try to be of the mountains, to be of the land, and make that our priority.”

Architecture That Serves the Landscape

Pinnacle Sky rises from the Utah hillside like a geological formation — faceted, dynamic, and deeply attuned to its alpine surroundings. Rather than dominating the terrain, the house threads through it, folding into the slope with crisp geometries that mirror the surrounding ridge lines. “This home is situated in a development called Promontory, which … sits back and looks up at the ski mountain,” Upwall explains. “So that’s your view. Instead of being part of it and in it, you get … the panoramic experience of the mountain.”

The design began with a simple walk through the trees. “We met [the clients] on the lot and walked the property with them … and we just kind of wandered on the lot until we found a spot that felt magical to them,” he recalls. “What’s your favorite spot here? … What’s your favorite view? … We literally built the home around those ideas.”

The house orients itself around an open-air living space — a protected courtyard that blurs the boundary between interior and exterior. “The home is really designed around the outdoor living room,” Upwall says. “That is a room that’s wrapped by floor-to-ceiling doors that open up and disappear. We are blurring that line between inside and outside space. … Even if you’re inside, you’re connected to [the surrounding landscape].”

“As you view the home from the exterior, it’s very sculptural,” says Upwall. “It was inspired by origami — the act of origami, where that single plane of material, if you treat it the right way, can become an object. I see the home as a bird in flight, connecting with the wilderness. It’s not a static place … It’s living with the place.”

The Art of the Frame

For Upwall, framing the view was both a technical and poetic act. “The whole modern philosophy is to get out of the way of the view, to get out of the way of yourself, and to respond to what the sense of place is,” he says. “What is the landscape, what is the land — to be a part of that, the best way to do that.”

Achieving this demanded a blend of creativity, customization and collaboration — which is where Marvin came in. “We found the Marvin Modern collection to be so accommodating to our design intent,” says Upwall. “For so long, I was working with window companies, and they would tell me what my windows had to look like … and it drove me crazy. I don’t want a window company to design my home for me; I want one that can be flexible enough and to have a product that can respond — to have them always ask:  ‘How do we get to yes?’ instead of starting at no … that collaboration and that connection is key. I found that Marvin Modern really hit those marks for me.”

The result is undeniably breathtaking — huge expanses of glass envelop the living spaces, uninterrupted by heavy structure. “The window panes are extremely large, while the mullions are very small,” says Upwall. “They met that need — I was immediately connected, in my soul, to the mountains.  It’s a consistent language that’s framing the view, and it’s not cluttered … even though they’re beautiful windows, I’m not looking at the windows. I’m looking through the eyes of the house.”

The material composition of the windows was equally integral. “It’s an authentic frame,” says Upwall. “The materials help with the construction of the thermal bridge. The building has to have a skin  where, on one side, it is freezing cold … but on the inside, it’s always comfortable.  To be able to bridge those two extremes [is critical].  The technical qualities of the window meet that mark as well.”

Quiet Modernism

The stairway, enclosed in glass, becomes a spatial centerpiece. “I thought the windows could act as a jewel box to frame these stairs and present them to visitors,” says Upwall. “When you arrive, you see the stairs right away. The mullions of the windows create rhythm like a musical staff, as if you are moving through the music. It gives you context to help celebrate … the act of movement. You’re involved in the dance.”

Upwall’s collaboration with Marvin extended beyond windows to include expansive multi-slide doors that erase boundaries entirely — and can be opened effortlessly. “The doors slide easily,” he says. “Instead of doing all of the gymnastics to get ready to open the door … it’s a single movement and a slide. That elegance was very important to me. I have my cup of coffee and I’m walking, and oh, suddenly I’m outside. I didn’t really have to think about that transition … that’s the idea.”

For Upwall, the design philosophy is as much about restraint as innovation. “I believe that Marvin Modern … adhere[s] to the modern philosophy of design,” he says. “It’s the simplicity of it. It’s not about the busy-ness, the bells and whistles. It’s about the silence. That’s really what we want, so we can hear the music.”

A Beacon of Light

As day turns to dusk, the house seems to glow from within — its glass stair tower transforming into a beacon. “At night,  it’s a beautiful lantern,” says Upwall. “It gives you that ‘welcome home’ experience. … I just love the way that the sculpture evolves and [provides] that sense of arrival as a human.”

In Pinnacle Sky, every gesture — from the folded limestone planes to the thin-framed windows that dissolve into the horizon — is an act of deference to the mountain itself. “We can’t compete with it,” Upwall says simply. “All we can do is acknowledge it and be of the mountains, to be of the land.”

For architects designing homes that embrace the landscape through precision glazing and performance, explore Marvin’s architectural solutions at Marvin.com.

All images courtesy of Marvin.

The post “Pinnacle Sky” Reimagines Mountain Modern Architecture in the Utah Wilderness appeared first on Journal.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

Walls don’t always need to be rigid, solid and permanent to shape how we experience and occupy spaces. “Room-forming” systems offer innovative ways to define interiors through flexible partition systems that balance openness and enclosure, privacy and connection. Unlike decorative screens that simply add a homey or visual touch, these partitions are an integral part of the architecture that contains them. They can be fixed, sliding, pivoting or folding, adapting to different spatial and functional requirements.

Beyond their room-forming function, these systems enable spaces to expand and contract, to breathe and flow. Some use translucent, colored or perforated materials to redefine the enclosing capacity of a wall while regulating light transmission and transparency; others integrate fabric, wood, metal, polycarbonate or even recycled cardboard to introduce texture. While these features give each material its unique appeal and enrich the overall design of interior spaces, what unites these systems is their ability to organize spaces, creating distinct zones without enclosing them within solid walls.

The examples that follow showcase the expressive and technical versatility of room-forming systems in residential and commercial settings, from study partitions that are integral to the architecture to ephemeral space dividers that add a sense of playfulness. They reflect design trends and technological advancements in the wall-system manufacturing industry. Combining aesthetics, functionality and performance, each solution illustrates that spatial definition is not only about form and function, allowing for flexible space configuration, varying degrees of privacy or openness and striking uses of color and texture, but also about experience: how we perceive, navigate and occupy space.

Shimmering Divisions: Kriskadecor

Space divider by Kriskadecor. IPG Mediabrands offices designed by Tétris Netherlands in Amsterdam, Netherlands | Photo by Niels Kramer

Space divider by Kriskadecor. VIP lounge Pau Casals at Barcelona’s International airport by efebearquitectura.com. | Photos by Marcela Grassi

Kriskadecor offers an elegant partitioning solution, where defining areas for privacy isn’t a priority. Kriskadecor’s partition systems enable a subtle space division with a level of transparency, letting one look through and remain aware of the continuity of a space, while at the same time defining different areas. It’s like looking at an adjacent space through a floor-to-ceiling window, except there is no glass, but instead, chains of anodized aluminum. This transparency helps visitors to easily navigate through spaces, feeling connected to their surroundings. In this way, the shimmering dividers serve as space organizers that facilitate circulation.

Precision in Motion: Portapivot

Portapivot 5730 multiple doors by Portapivot

Euromonitor International US headquarters by Eastlake Studio | Photos by Kendall McCaugherty, Hall + Merrick Photographers

Portapivot manufactures bespoke architectural hardware, such as pivot hinges and sliding door rails. Their products are sold online and shipped as self-assembly kits with all the necessary installation accessories. Their pivot door system model 5730 is made from anodized aluminum and available in four finishes: black, silver, bronze, and stainless. The model offers several configurations: double door, double door combined with fixed partitions, and multiple doors. The pivot hardware is concealed within the slim frame, eliminating door jambs or headers. The Portapivot 5730 is an appealing, modern design solution for architects and designers, offering a multiple-door system that promotes fluidity in large spaces.

When opened, it combines rooms for larger gatherings; when closed, it effectively divides areas for different functions. It’s a stylish alternative to traditional drywall doors, creating distinct spaces within larger environments. Eastlake Architect used pivot doors extensively in their design for Euromonitor International US Headquarters, as shown above. Reflecting Euromonitor’s vibrant brand identity, colorful transparent panels pivot around the Forum, a gathering space, delimiting it while maintaining a connection with adjacent open workspaces.

Translucent Intelligence: Panelite and Bencore

Left: Bonded Series – TC – Tubular Clear; polycarbonate core by Panelite | Right: Bonded Series, Hexaben; translucent honeycomb panel by Panelite 

Left: Bonded Series – EC – Expanded Polymer by Panelite. Project: Atrium D of the Faculty of Civil Engineering, Czech Technical University by VYŠEHRAD Atelier | Photo by Filip Šlapal | Right: Bonded Series – R100 – 100% Recycled Honeycomb Translucent Panel by Panelite

Since 1998, Panelite has pioneered the translucent honeycomb panel and focuses on manufacturing products in the composite technology field. Panelite is also the exclusive partner and distributor of Bencore Italy under its Bonded Series line. The Bonded Series stands out as a lightweight, self-supporting, translucent honeycomb panel system for interior use. It is available in a wide range of colors and finishes to enhance light transmission and a creative aesthetic across a wide range of applications, including partitions, backlit walls, sliding doors, and ceilings. The lightweight cores sandwiched between translucent skins can either be aluminum honeycomb or Tubular UV-stable Polycarbonate.

These diverse options make Panelite products a highly versatile material, lending to infinite design opportunities. An example of Panelite’s design potential is the Atrium D project at the Faculty of Civil Engineering, Czech Technical University. VYŠEHRAD Atelier’s design introduced four suspended classrooms built with lightweight steel frames and clad in Panelite’s bright green panels. The project highlights the material’s potential as a creative room-forming solution. Because the panels are translucent, they allow light through, offering a sense of openness and lightness that is emphasized by the hovering effect of the classrooms above the open space. The high-tech character of the design intervention contrasts with the existing concrete structure, resulting in a dynamic academic environment.

Crafted Boundaries: ACGI – Architectural Components Group

Grille system from ACGI – Architectural Components Group

ACGI is a US manufacturer of wood wall and ceiling systems. With innovation at its core, the company customizes its products to meet the aesthetic, functional, and performance requirements of every project. Their expertise in veneer and solid wood enables ACGI to create architectural solutions that bring warmth and craftsmanship to interior spaces. In the example above, a series of panels formed by thin horizontal wood slats frames a seating area on two sides. This approach demonstrates that a space doesn’t always need to be bounded by solid walls to feel distinct or intimate. Instead, subtle framing can be enough to establish a sense of place. From an aesthetic point of view, the natural tone of the screens adds a warm and tactile counterpoint to the roughness of the ceiling with exposed ducts and pipes.

The Disappearing Wall: ModernfoldStyles

Operable Partitions: Skyfold by ModernfoldStyles

Partitions don’t always have to be fixed. ModerfoldStyles has established itself in the space management solutions industry by offering operable partitions and glass wall systems for residential and commercial use. Skyfold is a notable product line that unites design, performance, and acoustics effectively. It includes vertical folding retractable walls, as shown above. Unlike other systems that fold horizontally and stack against a wall, Skyfold folds up to the ceiling, keeping the room unobstructed. This lightweight, made-to-measure, and electrically powered system is particularly well-suited for work environments where flexibility is a priority.

Soft Architecture: Molo

Aluminum textile softwall by Molo

It can be difficult to imagine a soft and flexible interior partition when we are so accustomed to the traditional, rigid and flat wall. Molo offers a solution with Softwall + Softblock, a flexible and deeply textured wall system made of aluminum textile. This modular, lightweight, and robust system utilizes a honeycomb geometry that allows it to flex, expand, and compress. These features create creative opportunities to shape interior spaces, facilitating quick and easy rearrangement of spaces. Softwall + Softblock can gracefully curve and wrap around columns or existing structures, forming fluid, organic partitions that define areas or divide spaces. The interplay of light and shadow across the material’s surface gives it a poetic and elegant quality. Both functional and visually expressive, Softwall + Softblock has earned itself a place in the collections of museums and galleries worldwide, including the New York Museum of Modern Art.

Acoustic Geometry: International Contract Furnishings (ICF)

Airflake ceiling-hung screen by ICF | Airflake ceiling-hung screen by ICF | Aircone ceiling-hung screen by ICF

International Contract Furnishings, Inc. (ICF) has been providing the American design community with innovative European design for over 50 years. Their carefully curated selection of products offers innovative design solutions for contemporary interiors. Among these designs are Aircone and Airflake, designed by Stefan Borselius and manufactured by the Swedish company Abstracta. Made of felt-laminated molded fiber felt modules, they can be hung from the ceiling or fastened to a wall with a straight aluminum rail. Designed to define areas without fully enclosing them, these ceiling-suspended partitions bring subtle separation into spaces. Thanks to their modular design and geometric patterns, they can be configured in countless ways, creating playful compositions that merge furniture design, art, and craftsmanship. They act as sculptural dividers, delineating areas within open-plan spaces, while giving each area its own distinct identity and atmosphere.

The jury is deliberating... stay tuned for the winners of Architizer's A+Product Awards! Register for the A+Product Awards Newsletter to receive future program updates.

The post Rethinking the Wall: 7 Room-Forming Systems for More Fluid Architectural Spaces appeared first on Journal.