"The backrest on Arkona Chair curves in from both sides, enough that a bag hooked over it stays put rather than sliding off. That shape comes from rooflines in traditional Indonesian architecture, carried into a stacking chair built in mesh — the same design worked out in both metal and wood, for hotels and resorts that need something low-maintenance in either material.
They carry the chair's rounded language into two shapes: a round café table for two or four people, and a long version for four or six. Aluminium legs are bent and welded for strength; wood needs a different joinery approach entirely, so each material was engineered on its own terms. What stayed constant across both was the drainage pattern cut into the top, keeping water from pooling outdoors regardless of which material a table's ordered in.
The roofline curve that shapes the dining chair goes further here, sweeping deeper through both seat and backrest to suit a lounging rather than dining posture. It's built in the same low-maintenance mesh as the rest of the collection, so a hotel terrace reads as one family across every piece it orders."
The armrests double as the chair's stacking guide, which meant matching the seat's curve to the exact radius the frame needs to nest cleanly onto the one below it. Getting both curves to align took real trial and error before they'd stack cleanly, in either metal or wood. Sit down and the body never actually touches the frame — only the mesh, held clear of the structure it stretches across.
Each version follows its own logic rather than forcing one look across both materials. The aluminium top is one wide plate, bent down at the edges, running nearly the full surface. Wood breaks into many thin slats instead, echoing the thin leaves of a palm tree, closer to what teak actually wants to do at that thickness than a single flat sheet would allow.
The aluminium version stacks across the whole range, lounge chair through 3-seater, something the wood version isn't built to do. What makes it possible: each leg splits into two lines rising from the floor, one continuing straight up to carry the seat, the other peeling away into the armrest, meeting again where the armrest reaches the backrest. Two parts that read as separate are actually one line that splits and rejoins.
The tree came first in this logo, not the letters. B and A were shaped afterward to grow out of it, their inner curves carving the negative space into a trunk rather than framing a tree added on top. Leaves branch from the crown where the two letters meet, so the mark reads as one continuous idea rather than a monogram with a plant stitched in.
Amethyst gave the reference here, not the fixed color: how its gradients run several shades of the same tone in one stone, some darker, some lighter, never flat. That same layered casting technique carries across whatever color the resin is poured in, red, green, purple. Light passes straight through and picks up highlights whose shape and color shift depending on where you're standing, sometimes casting that same color onto the floor beside it.
Most streaming and gaming setups connect their sound devices with magnets. A-01 does it differently: a single strong connector holds everything together instead, simple enough to use daily but sturdy enough that pulling cables around a desk won't loosen it. That connector is also the unit's color accent, so the thing holding a setup together is also the thing you notice first. Built for anyone running several sound devices from one desk, it turns a cluttered corner into something closer to a small studio.
Akioto's mark starts as three stacked bars, the shorthand for sound volume. Bending just the top one into a peak turns it into a temple roofline without touching the other two, so the same shape reads as a minimal kanji and a minimal building depending on how you look at it. The name means "sound of fall": aki for autumn, source of the brand's orange, and oto for the sound its hardware controls.
The dining chair translates the rounded silhouette of the lounge into a lighter, more compact form while preserving the collection’s identity. A cantilever-inspired aluminium frame is reinforced through the rear support, giving the chair the visual lightness of a floating seat while providing the strength, stability and durability required for demanding hospitality environments.
Rather than treating the parasol as an accessory, Konoha was designed around it. The radial teak slats converge on the umbrella opening, making the pole feel like a natural extension of the table, while the concealed weighted base provides stability without compromising the clean, open silhouette.
The collection began with the image of a large leaf gently wrapping around the seat. The enveloping shell creates a sense of comfort and privacy without becoming visually heavy, while establishing the soft, rounded language that defines every piece in the family and allows the collection to remain consistent across different seating typologies.
Japanese homes often demand furniture that occupies as little space as possible. The backrest was carefully proportioned to slide beneath the tabletop when not in use, reducing the overall footprint while preserving a comfortable sitting position. The final balance allows the chair to disappear neatly under the table without compromising everyday comfort.
Designed alongside the chair, the table solves the second half of the nesting system. Its structure was refined to remain as slim as possible while providing enough clearance for the chair to slide completely beneath the top. Every structural decision was made to maximise usable space without sacrificing stability or visual lightness.
The lounge seating extends the collection’s vertical proportions into a more relaxed typology. A restrained frame supports generous cushions that appear to float within the structure, maintaining a light visual presence while creating a calm seating experience. The result feels consistent with the dining pieces without simply repeating their proportions.
The dining chair translates the sheltered feeling of the lounge into a lighter form suited to shared spaces. Curved elements partially surround the user, creating a subtle sense of enclosure while remaining open enough for conversation. The design preserves the collection’s character without introducing unnecessary visual weight.
The collection was inspired by the feeling of sitting among the trunks of palm trees on a small island, where layers of vertical elements naturally create privacy. High-back versions work as soft spatial dividers in hotels and lounges, while lower versions retain the same sense of shelter in more open environments.
The chair explores how a bent aluminium tube can become both the structure and the visual identity of the product. Minimising the amount of wood and rope creates a cleaner expression, while the larger diameter tubing provides the rigidity needed for outdoor use and establishes a balanced silhouette inspired by mountain ridgelines.
Building on the same mountain-inspired structure, this version introduces a woven rope backrest and deeper cushions for a softer seating experience. The additional comfort changes the character of the chair while preserving the distinctive structural silhouette, allowing both versions to belong naturally within the same collection.
The lounge pieces continue the softer direction introduced by the second chair, combining generous cushions with the same angular structural frame. Maintaining the geometry across different typologies creates a cohesive family while offering a more relaxed seating experience that complements the dining collection rather than competing with it.
The chair combines a solid teak frame with woven cane panels to balance visual warmth and lightness. Its continuous curved armrest wraps around the back in a single gesture, while the open sides allow light to pass through, creating changing patterns of shadow that reinforce the relaxed character of the collection.
A generous chamfer beneath the tabletop became the defining detail of the design. By catching light differently throughout the day, it creates strong contrasts between light and shadow that visually reduce the thickness of the solid wood. The result is a table that feels lighter than its construction while retaining the strength expected for everyday use.
The lounge seating extends the chair’s combination of solid teak and woven cane into a more generous form. Keeping the back and sides visually open allows light to filter through the cane, softening the presence of the larger pieces while creating changing patterns of light and shadow that enrich the surrounding space.
The front silhouette was shaped to recall the soft, imperfect geometry of a hand-formed onigiri. Rather than relying on straight lines or sharp edges, the woven shell uses gentle curves to create a welcoming presence while naturally supporting the body. The result is a recognisable profile that gives the chair its identity from the very first glance.
The curved aluminium legs were shaped to create the shadow of a palm tree when paired with a glass top, bringing movement and a changing visual detail throughout the day. Hidden within the same geometry is a heart shape that served as the starting point for the design, remaining visible only to those who look closely.
Creating the impression of a floating woven shell became the main design objective. A restrained aluminium frame supports the seat with minimal visual interference, while the wicker folds outward to form generous armrests that conceal the supporting structure beneath. Their broad, rounded edges provide a comfortable place to rest the arms while reinforcing the collection’s soft character.
The glass top rests directly on the edges of the teak frame, creating a crisp floating surface that highlights the warmth of the wood beneath. A restrained powder-coated aluminium structure supports the volume with minimal visual weight, balancing transparency and solidity in a clean, contemporary composition.
Designing the sliding doors required balancing function with safety. The perforated pattern allows remote control signals to pass through the closed cabinet, while the small openings help reduce the risk of trapped fingers when the doors slide. A technical requirement became the defining graphic element of the piece.
“You will want to put it wheels” Bumpers ads campaign for YouTube. 15-second videos where you can tell in a direct and clear way that Mutua’s car insurance is the cheapest in the sector, whatever the vehicle is. We created two CG visualisations of a piano and armchair with wheels. Mutua Madrileña is a large Spanish insurance company founded in 1930 that provides life, automobile, health and accident insurance as well as pension and investment funds.